Podcasts about Full house

In this episode, Christy and Lynn chat about the inspiration we got from watching 80's TV/movies like Full House and Desperately Susan, then Lynn describes her first medical pedicure, and Christy shares sunscreen picks that actually feel good on your body.You can subscribe via Apple, Spotify, or wherever you like to listen to podcasts; please leave us a kind rating/review you do!Visit https://genxtaste.substack.com/podcast for show notes and links! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit genxtaste.substack.com/subscribe

When D.J. volunteers at a nursing home and meets Eddie, she’s exposed to the realities of Alzheimer’s disease. And, Jesse tries to prove that he can be pregnant for a day, but that “bun in the oven” shirt can only get him so far! Plus, Comet falls in love with a Gibbler?! It’s another memorable Full House episode and it’s all right here on How Rude, Tanneritos! Follow us on Instagram @howrudepodcast & TikTok @howrudetanneritosSee omnystudio.com/listener for privacy information.

ONE IF BY LAND, TWO IF BY SEAPAUL REVERE AND THE RAIDERS GREATEST HITS by Paul Revere and the Raiders (Columbia, 1967)This group, this record: they were fundamental elements in the experience of the 13 year old Captain Billy. My band, The Full House, played a smokin' cover of “Steppin' Out”; Dick Clark's WHERE THE ACTION IS tv show was a can't miss, daily after-middle school check in; I coveted those Vox amps and Mark Lindsay's ponytail. And, re-listening to this setlist 56 years later verifies that this band kicked hard and tight. Just ask Quentin Tarantino, who included two of the cuts for the soundtrack of ONCE UPON A TIME IN HOLLYWOOD. America's answer to the British Invasion actually started earlier, in 1958, in Boise Idaho, when keyboardist Paul Revere and sax player Mark Lindsay met and collaborated in the instrumental group The Downbeats. Revere was the organist's actual name, so the subsequent donning of Revolutionary outfits was a natural, if cringey gimmick. The fact that Mark Lindsay was also one of America's best rock singers was a secret weapon.The initial bombshell was dropped in April, 1963, in Portland, Oregon, when the group recorded the seminal rock standard “Louie Louie” in the same year and the same studio as the Kingsmen (the version everybody remembers): The Northwestern Motion Pictures and Sound Recordings, Inc. studio. But, that didn't matter. Yes, The Kingsmen's recording was a one hit mega-wonder, but, the Raiders became a national institution with a string of 12 top 30 hits. The first incarnation of the Raiders dissolved around the same time that this collection came out, but they kept reforming in various line ups until Revere's death from cancer in 2014. Like their contemporaries, The Monkees, there was a media hyped, manufactured quality (Producer Terry Melcher fattened their sound with the help of The Wrecking Crew), but the Raider's street cred as musicians was impeccable, and very few could wail like Mark Lindsay. 

We would love to hear from you!!! We are on location for this podcast episode! Angie could only talk 3 of her siblings to be on the podcast and one of those said he would join if he didn't have to talk. Will let you decide which one! HA!! Aric moderates and asks us questions all about growing up in a very large family! There are pros and cons! Hit play to either appreciate your upbringing or wish you were part of our reality show type family life! As always, thanks for listening! Angie & Aric www.sevensboutique.comwww.milesforhim.com www.blendedblessedalwaysamess.com#bigfamily #chaos #seven #podcastclips #podcast #blessed #fights #siblings Support the show

What do Full House and Glee have in common? Tune in to find out on this pod swap! Jodie & Andrea pod swap with Jenna Ushkowitz and Kevin McHale from Glee and the podcast And That's What You REALLY Missed, and the laughs and revelations are nonstop!Get ready to find out why Jenna and Kevin freaked out at a party John Stamos invited them to, the differences between Full House's and Glee's final season that had them all saying, 'How rude!' Plus, the group opens up about the emotional toll of losing beloved castmates, overcoming grief, and sharing stories honoring and celebrating their lives.Head over to the And That's What You REALLY Missed podcast feed to heart Part 2! It's all right here on How Rude, Tanneritos! Follow us on Instagram @howrudepodcast & TikTok @howrudetanneritosSee omnystudio.com/listener for privacy information.

What do Full House and Glee have in common? Tune in to find out on this pod swap! Yes, it's a Full House and Glee crossover! Jodie Sweetin & Andrea Barber from Full House and the podcast How Rude, Tanneritos! pod swap with Jenna and Kevin, and the laughs and revelations are nonstop!Get ready to find out why Jenna and Kevin freaked out at a party John Stamos invited them to, and the differences between Full House's and Glee's final season that had them all saying, 'How rude!' Plus, the group opens up about the emotional toll of losing beloved castmates, overcoming grief, and sharing stories honoring and celebrating their lives.Don't miss Part 1 of this crossover event - available now on the How Rude, Tanneritos feed. For fun, exclusive content, and behind-the-scenes clips, follow us on Instagram @andthatswhatyoureallymissedpod & TikTok @thatswhatyoureallymissed! See omnystudio.com/listener for privacy information.

Paulo feels XXXtra Strong, while Dori can't believe the price of Chappies.We uncover some of the weirdest sitcoms from the '80s — and surprisingly, none of them carried the bizarre 2-21 age restriction enjoyed by Emmanuelle 1–12.Dori reviews a Shifty podcast, while Paulo finds out what happens when Monty Python, Cheech & Chong, Mel Brooks' troupe, and David Bowie play pirate dress-up.Finally, Rod Stewart really shouldn't be allowed near ChatGPT — and The Pogues are definitely going to ruin our Christmas.Jump To: Strangest 80s TV Shows (00:05:11)Nearly Departed: https://www.youtube.com/watch?v=Z2roa-VT-9URubik the amazing cube: https://www.youtube.com/watch?v=LYs_GCy9PRkWhere's Rodney: https://www.youtube.com/watch?v=WDREFBAAcBYHeil Honey I'm home: https://www.youtube.com/watch?v=K_T3z5OuiNgTV in Apartheid South Africa (00:15:19): https://youtu.be/xUXXgPKADuk?si=PadjTnXeyZAutXRZPodcast Recommendation: The Rest is Shifty (00:24:42): https://iono.fm/c/9439Mobile Recording Studio & Lloyd Ross (00:30:37): https://www.saha.org.za/shiftyrecords/lloyd_ross_at_work_in_the_shifty_caravan.htmYellowbeard (00:35:43)Trailer: https://youtu.be/3RC69keaDGo?si=wPPKnkoSVhbpji1LBehind the scenes documentary: https://youtu.be/0CNzeAzh288?si=1BNGsFfbWrUX2081Rod Stewart, AI, and Technology Misuse (00:45:26): https://youtube.com/shorts/EgTAewBGzRY?si=ZhJygYM_Rn6VIX_yBBC Radio 2's Ultimate 80s Duet List (00:48:38): https://www.bbc.com/mediacentre/2025/bbc-radio-2-ultimate-80s-duet-results#80s pop culture, #That 80s Show, #sitcom theme songs, #SportBilly #1980s television, #1980s movies, #nostalgia, #strange TV shows, #short-lived sitcoms, #movie ratings, #censorship, #apartheid South Africa, #Full House, #Cheers, #Growing Pains, #Perfect Strangers, #Three's Company, #Nearly Departed, #Rubik the Amazing Cube, #Where's Rodney?, #Hail Honey I'm Home, #Everything 80s podcast, #PG-13 rating, #National Lampoon's Vacation, #censorship in films, #South African media, #audio work, #nostalgic candies, #tariffs, #inflation, #comedy, #boy bands, #Menudo, #Rodney Dangerfield, #social commentary, #political themes, #racial issues, #South African music history, #Shifty Records, #80s duets, #Philip Bailey, #Phil Collins, #Joe Cocker, #Jennifer Warnes, #David Bowie, #Mick Jagger, #Meatloaf, #Kylie Minogue, #Jason Donovan, #The Communards, #Pet Shop Boys, #Dusty Springfield, #Freddie Mercury, #Montserrat Caballé, #Queen, #David Bowie, #The Pogues, #Kirsty MacColl, #Fairytale of New York, #conspiracy theories, #podcasting, #humor, #cultural reflections.

We've made it to Full House's 100th episode!! To celebrate, the writers gave us a $25,000 puppet, a new TV career for Joey and new tap shoes for Michelle. Plus, we have an "everywhere you look" that made us laugh out loud. It's all right here on How Rude, Tanneritos! Follow us on Instagram @howrudepodcast & TikTok @howrudetanneritos See omnystudio.com/listener for privacy information.

Last time we spoke about the Siege of Japan. In the summer of 1945, Japan faced its most devastating siege. A pivotal component was the aerial mining campaign entitled "Starvation," masterminded by General Curtis LeMay. B-29 Superfortress bombers were deployed to lay mines in critical waterways, cutting off resources and crippling Japan's industrial capabilities. This silent assault inflicted chaos on Japan's shipping lanes, sinking over 670 vessels and significantly disrupting supply lines. Amid this turmoil, the Allies intensified their firebombing campaigns, targeting urban centers like Tokyo, Osaka, and Kobe, leading to extensive devastation and loss of life. By August, Japan's civilian and military morale crumbled under the weight of destruction. The climax of this siege came with the atomic bombing of Hiroshima, which unleashed unparalleled destruction. As Japan's leadership struggled for options, the nation was effectively brought to its knees. The relentless siege had achieved its goal, Japan was irrevocably broken, marking a profound moment in history. This episode is the Atomic Bombing of Nagasaki Welcome to the Pacific War Podcast Week by Week, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about world war two? Kings and Generals have an assortment of episodes on world war two and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel you can find a few videos all the way from the Opium Wars of the 1800's until the end of the Pacific War in 1945.  Hello there, again like in the previous episode, this one is just going to state what happened, I am not going to delve into the why's just yet. I am currently writing an entire special episode on why exactly Japan surrendered, focused on the actions of Emperor Hirohito, who I will argue prolonged the 15 year war to protect the Kokutai. So a bit of a spoiler there I guess.  The worst has come to pass for the Japanese Empire. An atomic bomb has fallen, devastating an entire city. In a blinding flash, over 140,000 lives were lost or forever altered. But this was merely the beginning. The Americans were poised to unleash destruction from the skies, a scale of devastation never before witnessed on this planet. The choices were grim: surrender or complete annihilation.The Japanese faced not only this overwhelming threat but also another peril. The Soviet Union prepared to invade Manchuria and other crucial territories within its reach. As we last left off, the Americans had been conducting a prolonged and devastating air and naval siege of the Japanese Home Islands in preparation for the invasion of Kyushu. This campaign culminated in the atomic bombing of Hiroshima on August 6, reducing the once-great city to ruins and leaving a staggering casualty toll that would forever haunt the Japanese people. Survivor accounts recount the haunting experience of wandering through the destruction, disoriented and unsure of where to go. They spoke of hearing the desperate cries of those trapped beneath crushed buildings or suffering from horrific burns. As small fires ignited by the blast began to spread, they coalesced into a firestorm that surged through the rubble, claiming the lives of many still trapped inside. Frightened residents jumped into the rivers of Hiroshima, only to drown in their desperate attempts to escape the flames. Over 90% of the doctors and 93% of the nurses in Hiroshima perished or were injured, and most hospitals were either destroyed or heavily damaged. By early afternoon, police and volunteers worked tirelessly to establish evacuation centers at hospitals, schools, and tram stations. Yet, tragically, many would die before receiving aid, leaving behind grim rings of corpses around these facilities. Some survivors who initially appeared unharmed would succumb within hours or days to what would later be identified as radiation sickness. Most members of General Hata's 2nd General Army headquarters were undergoing physical training on the grounds of Hiroshima Castle, barely 900 yards from the hypocenter. As a result, 3,243 troops lost their lives on the parade ground. Miraculously, Hata himself survived the explosion with only minor injuries, but many of his staff were not so fortunate, including Lieutenant-Colonel Yi U, a prince of the Korean imperial family, who was killed or fatally wounded. In total, the 2nd General Army, 59th Army, 5th Division, and other combat units in the city lost an estimated 20,000 troops. Survivors regrouped at the Ujina Air Base on the outskirts of Hiroshima, where they organized relief efforts and maintained public order once martial law was declared. With Mayor Awaya Senkichi killed at the mayoral residence, Hata assumed control of the city's administration and coordinated relief efforts. The initial reaction of the Japanese government to the devastation in Hiroshima was mixed. The Imperial Japanese Army and Imperial Japanese Navy military leadership received only fragmentary reports about the tragedy, as communications with Hiroshima had been severed. Meanwhile, American and British radio broadcasts promptly informed ordinary Japanese civilians and their government about the atomic bomb attack on August 7. The following day, Tokyo issued a press release confirming the bombing of Hiroshima, but it notably did not state that the United States had dropped an atomic weapon. After technical teams visited the site of the bombing, they concluded that the enemy B-29s had indeed used a nuclear device. At this juncture, the diplomatic situation within Japan was chaotic. Many members of the Japanese cabinet believed that surrender was the only viable option, while others, particularly military figures like Hata, were determined to continue the fight. Looking back, between July 17 and August 2, Soviet leader Joseph Stalin, British Prime Minister Winston Churchill, and U.S. President Harry Truman convened in Potsdam to negotiate terms for the end of World War II. The Potsdam Conference is perhaps best known for President Truman's conversation with Soviet leader Joseph Stalin on July 24, during which Truman informed Stalin that the United States had successfully detonated the first atomic bomb on July 16. Prior to leaving for the conference, a top-level civilian Interim Committee, led by Secretary of War Henry Stimson, suggested that Truman inform Stalin about America's new nuclear capability. This was intended to prevent the Soviets from learning about the bomb through leaked information, and Truman agreed to share this news. Historians have often interpreted Truman's somewhat firm stance during negotiations as a reflection of the U.S. negotiating team's belief that their nuclear capability would enhance their bargaining power. However, Stalin was already well-informed about the American nuclear program, courtesy of the Soviet intelligence network. This understanding enabled him to hold firm in his positions, complicating the negotiations. In the end, the leaders of the United States, Great Britain, and the Soviet Union, despite their differences, remained allied throughout the war. However, they would never meet again collectively to discuss cooperation in postwar reconstruction. One of the critical topics discussed was how to handle Japan. During the conference, Truman sought and received Stalin's final assurance of entering the war on August 9, in accordance with the agreements made among the Allies during the Yalta Conference in February 1945. On April 5, Soviet Foreign Minister Vyacheslav Molotov informed Tokyo of the Soviet Union's unilateral abrogation of the Soviet-Japanese Neutrality Pact. He assured Japan that the treaty would remain in effect until April 1946, even though the Soviets were already planning an offensive in the Far East. A Soviet invasion would prove beneficial for the Americans, as it could prevent the movement of hostile troops from Manchuria, Korea, and North China to the Home Islands of Japan before an invasion of Kyushu was launched. On July 26, the United States, Great Britain, and China released a declaration demanding Japan's immediate surrender. The declaration called for the dismemberment of Japan's remaining empire, the demobilization of all military forces, trials for war criminals, and the elimination of Japan's capacity for future belligerence. While the declaration did not alter the requirement for unconditional surrender, critically it left ambiguous how the Japanese people might shape their future government, as it did not specify a direct end to or continuation of the imperial dynasty. The crux of that matter was the preservation of the Kokutai. The Kokutai was the national essence of Japan. It was all aspects of Japanese polity, derived from history, tradition and customs all focused around the cult of the Emperor. The government run by politicians was secondary, at any given time the kokutai was the belief the Emperor could come in and directly rule. If you are confused, dont worry, I am too haha. Its confusing. The Meiji constitution was extremely ambiguous. It dictated a form of constitutional monarchy with the kokutai sovereign emperor and the “seitai” that being the actual government. Basically on paper the government runs things, but the feeling of the Japanese people was that the wishes of the emperor should be followed. Thus the kokutai was like an extra-judicial structure built into the constitution without real legal framework, its a nightmare I know. Let me make an example, most of you are American I imagine. Your congress and senate actually run the country, wink wink lets forget about lobbyists from raytheon. The president does not have executive powers to override any and all things, but what if all American voters simply felt he did. So the president goes above his jurisdiction, and the American people violently attack Congress and the Senate if they don't abide by the president's wishes. That's kind of how it works for a lack of better words. Again in the specials I will roll out soon, it will make more sense after I blabber about it in roughly 7000 words. Now, in response, Prime Minister Suzuki Kantaro expressed to the Japanese press on July 29 his belief that the Potsdam Declaration was nothing new and held no "significant value." This statement was interpreted by Truman and his administration as a rejection of the declaration. In reality, since the Yalta Conference, Japan had repeatedly approached the Soviet Union in an attempt to extend the Neutrality Pact and to enlist the Russians in negotiating peace with the Allies, offering attractive territorial concessions in return.  The Japanese, therefore, chose not to officially respond to the Potsdam Declaration as they awaited a reply from the Soviet Union. However, this response never materialized. The Soviet Union was preparing for an invasion of Manchuria, fully aware that Japan had become a weakened nation after suffering several defeats in the Pacific. In contrast, the once-inadequate Russian military had transformed into one of the strongest forces of the time. They had successfully absorbed powerful German offensives in 1941, 1942, and 1943, and rebounded with their own offensives in 1944 and 1945, ultimately crushing the military might of Nazi Germany. Motivated by Allied requests for support and the desire to solidify the Soviet Union's post-war position in the Far East, Soviet leaders began planning in March for a final campaign to reclaim Manchuria, northern Korea, southern Sakhalin, and the Kuril Islands from Japan. However, most Soviet troops were stationed more than 10,000 kilometers away in Europe. As a result, forces and equipment designated for deployment to Manchuria had to be transported along a fragile and limited-capacity network over a five-month period from April to August. Initially, they stockpiled equipment in the Far East to re-equip units already present in that region. Then, a massive regrouping of forces to the east commenced in May, with units still arriving even as the campaign opened in August. This shift, involving nearly one million men, effectively doubled the strength of Soviet forces in the Far East from forty to more than eighty divisions. Opposing Valisevsky's Far East Command was General Yamada Otozo's Kwantung Army, along with its Manchukuoan and Inner Mongolian auxiliaries. Once the most prestigious and powerful unit of the Imperial Japanese Army, the Kwantung Army had significantly eroded in strength and quality over the past few years due to the diversion of its main assets to other theaters. Consequently, many experienced units were siphoned off and replaced by formations made up of draft levies, reservists, and smaller, cannibalized units. By August, the Kwantung Army consisted of General Kita Seiichi's 1st Area Army in eastern Manchuria, which included the 3rd and 5th Armies, alongside two divisions under direct area army control. General Ushiroku Jun commanded the 3rd Area Army in central and western Manchuria, encompassing the 30th and 44th Armies, plus two divisions, three independent mixed brigades, and one independent tank brigade under his direct command. In northern Manchuria, Lieutenant-General Uemura Mikio led the 4th Army, which was composed of three divisions and four independent mixed brigades. Additionally, the army of Manchukuo contributed eight infantry and seven cavalry divisions, along with fourteen brigades of infantry and cavalry. Mengjiang added six cavalry formations and other garrison forces from Inner Mongolia. Furthermore, Lieutenant-General Kozuki Yoshio's 17th Area Army was stationed in central and southern Korea, totaling seven divisions and three independent mixed brigades. In northern Korea, Lieutenant-General Kushibuchi Senichi's 34th Army consisted of two divisions and one independent mixed brigade. Recognizing that his forces lacked adequate training and equipment, Yamada's plans called for a delay at the borders, followed by a defense consisting of successive positions culminating in a final stand at a stronghold constructed in the Tunghua area. This strategy would see roughly one-third of the Japanese forces deployed in the border region, while the remaining two-thirds would be concentrated in operational depth to create a series of defensive lines. By July 25, Soviet force deployments to the Far East were virtually complete. The Soviets meticulously tailored all military units, from the front level down to army, corps, division, brigade, and battalion, to effectively achieve specific missions. This tailoring took into account not only the strength and dispositions of enemy forces but also the terrain where the unit would operate and the desired speed of the operation. Each unit was equipped with the necessary artillery, anti-tank, tank, air defense, and engineer support. For instance, the 1st Far Eastern Front received heavy artillery attachments to provide the firepower needed to breach heavily fortified Japanese positions. In contrast, the Transbaikal Front was given heavy vehicular and motorized rifle support, enabling it to conduct rapid, balanced combined arms operations across the broad expanses of western Manchuria and Inner Mongolia. Within each front, armies assigned to assault strong enemy fortified zones had significantly more artillery assets compared to those operating on open axes of advance. Units deployed in difficult terrain were afforded extensive engineer support to facilitate their operations. At the lowest tactical levels, specially tailored forward detachments from rifle divisions and tank and mechanized corps, alongside assault groups from rifle regiments and battalions, ensured the firepower and mobility necessary to execute high-speed operations. However, the final decision to attack would not be made until August 7, when Vasilevsky committed the Transbaikal and 1st Far Eastern Fronts to a simultaneous assault scheduled for August 9. It is believed that the detonation of the atomic bomb the previous day prompted this hasty decision, resulting in the short two-day period between the decision and the planned attack. Vasilevsky's strategy called for a double envelopment conducted by Soviet forces along three axes to secure Manchuria and destroy a significant portion of the Kwantung Army. The Transbaikal Front was tasked with attacking eastward into western Manchuria, while the 1st Far Eastern Front would move westward into eastern Manchuria. Both offensives were to converge in the Mukden, Changchun, Harbin, and Kirin areas of south-central Manchuria. Meanwhile, the 2nd Far Eastern Front would conduct a supporting attack into northern Manchuria, driving southward toward Harbin and Tsitsihar. Moreover, the timing of on-order operations against southern Sakhalin and the Kuriles would depend on the progress of these main attacks. For the western pincer, Malinovsky's plan involved the 17th and 39th Armies and the 6th Guards Tank Army, followed by the 53rd Army, launching the primary assault. Their objective was to bypass the Halung-Arshaan Fortified Region to the south and advance toward Changchun. The success of the Transbaikal Front operation hinged on speed, surprise, and the deployment of mobile forces across virtually every sector, aiming to preempt effective Japanese defenses. To achieve this swiftness and surprise, tank formations were positioned in the first echelon of units at all command levels. The operation required tank-heavy forward detachments at each command level, with the 6th Guards Tank Army designated to spearhead the front's efforts. A tank division would lead the advance of the 39th Army, supported by tank brigades assigned to the first-echelon corps and divisions. Planned rates of advance were ambitious: 23 kilometers per day for combined arms units and an impressive 70 kilometers for tank units. However, the operation involved significant risks. If Japanese units responded quickly to the Soviet attack, or if even nominal forces occupied strategic positions in the Grand Khingan mountain passes, the Soviet advance could be severely hampered. Additionally, the success of the operation relied heavily on logistical units' capability to supply these fast-moving formations deep into Manchuria. Despite these challenges, the Soviets confidently accepted the risks involved. Their mission was to crush the enemy in the border regions, cross the Grand Khingan Mountains, and occupy positions in the central Manchurian plain from Lupei to Solun by the tenth to fifteenth day of the operation.In support, the Soviet-Mongolian Cavalry-Mechanized Group was to attack across the Inner Mongolian desert and southern Grand Khingan Mountains toward Kalgan and Dolonnor. Simultaneously, the 36th Army was set to advance from Duroy and Staro-Tsurukaytuy across the Argun River to secure Hailar. In the next phase, for the second pincer, Meretskov's plan involved the 1st Red Banner Army, the 5th Army, and the 10th Mechanized Corps launching the main attack from the Grodekova area, located northwest of Vladivostok. Their objective was to advance toward Mutanchiang to exploit and secure the Kirin, Changchun, and Harbin regions, while coordinating with Soviet forces from the Transbaikal Front. Additionally, the 35th Army was tasked with attacking from the Lesozavodsk-Iman area, north of Lake Khanka, to capture Mishan, Linkou, and Poli. Meanwhile, the 25th Army would launch an offensive from northwest of Ussurysk to secure the Tungning, Wangching, and Yenchi areas. Once the 1st Far Eastern and Transbaikal Fronts converged in the Changchun area, they would advance together to eliminate the final Japanese resistance on the Liaotung Peninsula and secure the strategic naval base at Port Arthur. Furthermore, Purkayev's 2nd Far Eastern Front was to advance on a broad front across the Amur and Ussuri rivers, extending from Blagoveshchensk to south of Khabarovsk. This movement aimed to exert maximum pressure on Japanese forces in northern Manchuria. The 15th Army would spearhead the main attack across the Amur River in the Leninskoye area, advancing southward into the regions around the Sungari and Ruhe rivers. In support, the 2nd Red Banner Army was designated to attack across the Amur River from the Blagoveshchensk area to Sunwu and then advance southward to Tsitsihar. The 5th Rifle Corps would also be involved, attacking from Bikin to secure Paoching and Poli. This multifront operational plan aimed for the complete destruction of Kwantung Army units in Manchuria with maximum speed, effectively cutting off Japanese troops from reinforcements coming from northern China or Korea. These relentless mobile attacks, deployed across the broadest of fronts, were designed to prevent the Japanese from reallocating forces, leading to their ultimate collapse and piecemeal defeat. As planned, the Japanese were caught completely by surprise when they received the Soviet declaration of war just an hour before midnight on August 8. At the same time, they were facing a critical decision in response to the recent bombing of Hiroshima. After learning about the success of Colonel Tibbets' mission, President Truman released a pre-approved statement that detailed the atomic bomb's destructive capabilities and warned that if Japan did not accept the Potsdam Declaration, "they may expect a rain of ruin from the air, the like of which has never been seen on this earth." Although Truman had only the plutonium Fat Man device remaining for use, he had been informed that a third bomb might be ready sometime in August. Among American military leaders, including Admiral Nimitz and Generals Spaatz, LeMay, and Twining, there was a belief that this third nuclear weapon should be dropped on Tokyo if Japan did not surrender. Conversely, some Japanese senior officials, like Admiral Toyoda, speculated that even if the Allies had used an atomic bomb, they likely would not have many more at their disposal. They argued that the Japanese people should be prepared to defend their home islands to the death if favorable terms of surrender could not be secured. However, on August 8, Prime Minister Suzuki instructed Foreign Minister Togo Shigenori, who advocated for negotiating with the United States, to inform Emperor Hirohito about the devastation caused by the atomic bomb in Hiroshima. Hirohito responded by authorizing foreign minister Togo to notify the world on August 10th that Japan would accept the allied terms of surrender with one condition “that the said declaration does not comprise any demand which prejudices the prerogatives of His Majesty as a Sovereign Ruler.”  In the meantime, to increase pressure on the Japanese, Twinning launched additional conventional B-29 raids. A total of 412 B-29s targeted the Nakajima aircraft plant in Musashino during a daylight attack on August 8. However, the United States also needed to demonstrate to the Japanese government and people that Little Boy was not just an isolated experimental device. As a result, a decision was made to drop the Fat Man plutonium bomb on either the primary target of Kokura or the secondary target of Nagasaki, with this mission scheduled for August 9. For this operation, Tibbets selected Major Charles Sweeney to pilot the B-29 named Bockscar and deliver the device. The leading B-29 would decide the ultimate target based on weather reports from two reconnaissance B-29s, followed by two additional aircraft assigned to scientific and photographic missions. To prepare for takeoff, the bomb was armed by installing three plugs. At 03:49 on August 9, Sweeney departed from Tinian, heading toward Yakushima Island to rendezvous with his escorts. The mission began with complications that only escalated. A typhoon near Iwo Jima forced mission planners to relocate the planned rendezvous between Bockscar and her escorts to Yakushima, an island south of Kyushu. Sweeney took off at 03:49 on August 9 and headed north, but strong headwinds hindered her progress toward Yakushima. A further issue arose when a photographic specialist assigned to the support aircraft Full House was barred from flying due to forgetting his parachute. Consequently, Major Hopkins on Full House had to break radio silence to seek instructions on operating the camera. However, a more critical situation was uncovered when Commander Ashworth and his assistant discovered that an indicator was showing that Fat Man's electronic fusing circuits had closed, indicating that arming was complete. A faulty switch, with incorrectly installed wiring, posed the risk of a premature explosion. As the mission continued over Yakushima, Sweeney successfully met up with Captain Bock, piloting the scientific support B-29, but failed to rendezvous with Major Hopkins. This meant that Bockscar would only have The Great Artiste to accompany it for the final leg of its mission. According to Ashworth's log, they arrived at the rendezvous point at 09:00 and saw Bock at 09:20, while Full House waited south of the arranged position. Sweeney had initially agreed to circle Yakushima for only 15 minutes; however, he ended up waiting approximately 50 minutes for Hopkins to arrive, wasting precious fuel in the process. Due to the weather conditions, Hopkins had lost visual contact with the other B-29s and had to break radio silence again to locate Bockscar, but Sweeney did not respond. Despite reports indicating 30% cloud cover over Kokura, Sweeney chose to proceed there, believing the haze over the city would clear. Bockscar arrived at the initial start point for the bomb run over Kokura at 10:44, but unfortunately, heavy cloud cover had settled over the city, preventing a successful bomb delivery. After three unsuccessful bomb runs, which consumed an additional 45 minutes of fuel, a flight engineer discovered that a fuel pump had malfunctioned, trapping 600 gallons of fuel in the auxiliary bomb bay fuel tanks. Despite fuel concerns, Sweeney chose to proceed with the mission, heading south and then east toward Nagasaki, which he reached at 11:50. Unfortunately, the weather there was as poor as it had been at Kokura, prompting Sweeney to make the controversial decision to drop Fat Man using radar guidance. Due to the fuel shortage, he only conducted a single bomb run. Just before initiating the radar approach, a hole in the clouds opened, revealing the aim point: the Mitsubishi Steel and Arms Works located on the Urakami River. Fat Man was dropped at 11:58 and detonated approximately 1,650 feet above the target after a 50-second descent. Initial reports indicated that the explosion occurred about 500 yards north of the Mitsubishi plant and roughly 0.8 miles south of another Mitsubishi facility. While Fat Man had a more powerful detonation, the damage and casualties were not as extensive as those caused by the lower-yield Little Boy. The topography of Nagasaki, surrounded by hills, confined the explosion to the bowl-shaped center of the city, in stark contrast to Hiroshima's relatively flat landscape. Of the 7,500 Japanese employees at the Mitsubishi plant, 6,200 were killed, with an additional 17,000 to 22,000 employees at other war plants and factories also perishing. Unlike Hiroshima, where the military death toll was high, only about 150 Japanese soldiers were killed instantly, alongside at least 8 prisoners of war. Overall, it is estimated that around 45,000 civilians lost their lives due to the explosion, with between 50,000 and 60,000 sustaining injuries. The radius of total destruction extended about one mile, with fires spreading across the northern portion of the city to two miles south of the impact point. Thankfully, no firestorm developed as it had in Hiroshima. Bomb damage to physical structures in Nagasaki was erratic. Some areas, such as the Nagasaki Arsenal and the Mitsubishi plant, experienced significant destruction, while nearby locations appeared almost untouched. Despite this, Sweeney's mission resulted in an estimated 68.3% loss of pre-existing industrial production, excluding the harbor facilities, without disrupting the critical north-south National Railway track. While Fat Man's debut was historic, its destructive capability was comparable to other B-29 incendiary night raids. After circling Fat Man's expanding mushroom cloud, Sweeney headed toward Okinawa at 12:05, with only 300 gallons of fuel remaining. Fortunately, Bockscar's crew managed to return to Yontan Field with just seven gallons of fuel left, successfully making their way back to Tinian later that same day.  Simultaneously, Vasilevsky's Far East Command began its offensive just ten minutes after midnight on August 9. Reconnaissance units, forward detachments, and advanced guard units of the Transbaikal Front crossed the border into Inner Mongolia and Manchuria. Initially, attacking units faced resistance primarily in the 36th Army zone, where their attack routes passed through fortified Japanese border installations. However, most assault units advanced with little opposition. By 04:30, main force units had begun to follow closely behind the assault troops. Colonel-General Issa Pliyev's Soviet-Mongolian Cavalry-Mechanized Group advanced in two march columns, 200 kilometers apart. By nightfall, they had penetrated 55 miles into the arid expanses of Inner Mongolia, moving southward toward Dolonnor and Kalgan while sweeping aside small detachments of Inner Mongolian cavalry. Meanwhile, Lieutenant-General Aleksei Danilov's 17th Army entered Inner Mongolia virtually unopposed in two columns, advancing approximately 70 kilometers by nightfall. To the left, Colonel-General Andrey Kravchenko's 6th Guards Tank Army led the main attack into Inner Mongolia in two columns, encountering limited opposition and rapidly advancing about 150 kilometers until reaching the foothills of the Grand Khingan Mountains, west and north of Khorokhon Pass, by nightfall. Simultaneously, Colonel-General Ivan Lyudnikov's 39th Army advanced along two divergent axes. The 5th Guards and 113th Rifle Corps gained 60 kilometers as they bypassed the Halung-Arshaan and Wuchakou Fortified Regions to the south. Meanwhile, the 94th Rifle Corps struck northeast towards the rear of the Hailar Fortified Region, swiftly overcoming light resistance. The 124th Rifle Division was also deployed between both axes to probe toward the Halung-Arshaan Fortified Region. Lieutenant-General Alexander Luchinsky's 36th Army advanced on two fronts, with the 2nd and 86th Rifle Corps successfully crossing the rain-swollen Argun River between Staro-Tsurukhaytuy and Duroy and securing key bridges north of Hailar. Additionally, an operational group of two rifle divisions attacked across the border, establishing a foothold in the small fortified post at Manchouli. During the night, Luchinsky sent the 205th Tank Brigade to assault Hailar from the northeast, while the 152nd Rifle Regiment maneuvered to attack from the southeast. This offensive succeeded only in capturing the railroad station in the northern part of Hailar, as the southern and eastern sections of the city fell the following day. However, the 80th Independent Mixed Brigade continued to delay the Soviet advance, while the 119th Division moved eastward to fortify positions in the Grand Khingan Mountains, stretching from Yakoshih to Pokotu. Despite these setbacks, the 36th Army had advanced 60 kilometers into Manchuria and had partially secured Hailar. Meanwhile, to the east, drenched by inundating thunderstorms, the 1st Far Eastern Front advanced under the worst weather conditions during the dark of night. This totally surprised the Japanese defenders and led to the rapid reduction of many unsuspecting border posts. Colonel-General Nikolay Krylov's 5th Army spearheaded the main attack, with the 17th, 65th, and 72nd Rifle Corps quickly breaking through the Volynsk center of resistance. They achieved a penetration of 16 to 22 kilometers toward Laotsaiying and Machiacho. Meanwhile, the 105th Fortified Region and assault engineer units attacked the Suifenho center of resistance, successfully seizing critical railroad tunnels on the main rail line into Manchuria. In support, Colonel-General Afanasy Beloborodov's 1st Red Banner Army to the north launched an assault with the 26th and 59th Rifle Corps over a 16-kilometer sector through heavily wooded, wet terrain. As they advanced, they constructed roads through the forest. By nightfall, forward divisional elements had advanced five to six kilometers deep into Manchuria, crossing the Shitouho River and half of the forested region. At the same time, the 6th Field Fortified Region and the 112th Fortified Region stormed several Japanese border positions and slowly advanced north towards Mishan. This assault supported Lieutenant-General Nikanor Zakhvatayev's 35th Army, which deployed the 66th and 363rd Rifle Divisions to cross the Sungacha River and attack towards Mishan. The 264th Rifle Division and the 109th Fortified Region assaulted across the Ussuri River against Hutou. After securing a crossing over the Sungacha, the 66th Division penetrated deep into the swamps, managing to advance 12 kilometers into Tachiao. Meanwhile, the 363rd Division successfully broke through an enemy strongpoint at Maly Huankang, ultimately reaching the southwest edge of Tachiao. In turn, the 264th Division crossed the Ussuri River and outflanked Hutou to the south, capturing the railroad depot and cutting the highway to Hulin. Lastly, Colonel-General Ivan Chistyakov's 25th Army launched an attack along two principal axes. The 39th Rifle Corps and the 259th Tank Brigade targeted Tungning, while border guard units, along with the 108th and 113th Fortified Regions, crossed the Hunchun and Tumen rivers to engage Japanese defenses in Korea and at Hunchun. Shielded by rain, the Russians swiftly captured or subdued the Japanese forward defenses along the front. By nightfall, the 39th Rifle Corps had advanced ten to twelve kilometers into the Japanese rear along the Pad Sennaya River. Lead elements, reinforced by the 72nd Tank Brigade, began their assault on the town of Tungning and the vital railroad line to Tumen. To the north, the 2nd Far Eastern Front deployed its forces across three separate sectors. Lieutenant-General Stepan Mamonov's 15th Army was tasked with the main attack across the Amur River in the center of the front sector. Lieutenant-General Makar Teryokhin's 2nd Red Banner Army was assigned to conduct a supporting attack against the Aihun and Sunwu Fortified Regions, while Major-General Ivan Pashkov's 5th Rifle Corps aimed to seize the fortified region at Jaoho. Supported by the Amur Naval Flotilla, reconnaissance and advanced detachments of the 15th Army launched assaults without artillery preparation and rapidly secured major islands in the Amur River. Mamonov's rifle divisions then sent reconnaissance units across to the south bank of the river, which was likewise secured against light opposition. Throughout the remainder of the day, reconnaissance units and advanced battalions of the 15th Army consolidated their positions on the islands and the south bank, while main forces concentrated on conducting a challenging river crossing, hampered by heavy rains, high water, and mud. At the same time, assault units and reconnaissance detachments of the 5th Rifle Corps crossed the Ussuri River, successfully securing a beachhead north of Jaoho while the remainder of the corps was transported across the river. From August 9 to 11, the forces of the 2nd Red Banner Army limited their activities to reconnaissance, focusing on seizing islands in the Amur River and harassing Japanese installations. This operation occurred at a critical moment for the Japanese, who were still reeling from the impacts of two atomic bombings. The Soviet Union had successfully initiated its invasion of Manchuria, setting the stage for a campaign that, although brief, was just beginning. I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. Two atomic bombs have been dropped and the Soviet Union has invaded Manchuria. For months the Japanese had been working tirelessly to obtain better peace terms through the Soviets, hoping above all else to preserve the Kokutai. It was all for nothing. The Americans offered terms, leaving the Kokutai ambiguous. What would Japan, or better said, the Emperor do?

Radio's favorite trio is live answering callers' questions and explaining the latest financial and economic news! 

Welcome to the Clubhouse!NEW MERCH: https://thissideoftheradio.myspreadshop.com/ You can reach the show at hamradioclubhouse@gmail.com

Jesse Stirnemann, Young Adults Pastor

The McGraw Show 8-4-25: True Crime, Dr. Page, Full House & A Return from 30-A by

Jesse Stirnemann, Young Adults Pastor

【乜Cult都傾 x One Guest Talk】不赦之罪｜譚善揚、林善導演訪問｜挑戰人性與信念｜8/16 溫哥華｜9/7 多倫多 主持：Kate/朗 OneNightTalk《不赦之罪》已經喺7月嚟咗加拿大嘅卡加里首映咗

A 90's heartthrob is joining us this week! He made a brief appearance on Full House, but we know you loved him on Hey Dude, Blossom & Sabrina the Teenage Witch... it's David Lascher! Transport back to the 90's with us as he recalls some of his favorite memories as a child actor (& the time he dated Christine Taylor). It's all right here on How Rude, Tanneritos! Follow us on Instagram @howrudepodcast & TikTok @howrudetanneritosSee omnystudio.com/listener for privacy information.

Candace Cameron Bure, is an actress, producer, director, and bestselling author, best known for playing D.J. Tanner on Full House and Fuller House. She's starred in over 40 romantic comedies and mysteries, including the hit Aurora Teagarden series. Candace competed on Dancing with the Stars, co-hosted The View, and voiced Pinky in the Emmy-nominated Reindeer in Here. In 2024, she starred in and produced Unsung Hero with Lionsgate.  Beyond acting, she's the CEO of Candy Rock Enterprises and Chief Creative Officer of Great American Media, where she develops family-friendly content focused on faith and lifestyle. We are about to take some of you right back to your childhood growing up years. You're going to love this conversation with Candace Cameron Bure. . . . . .  Follow Candace Cameron Bure on Instagram Check out the work she's doing here Candace Cameron Bure . . . . .  Owen Learns He Has What it Takes: A Lesson in Resilience Lucy Learns to Be Brave: A Lesson in Courage⁠ Grab your tickets today for the ⁠⁠⁠⁠⁠Raising Capable Kids Conference⁠⁠⁠⁠⁠ with David Thomas, Sissy Goff and special guests! Sign up to receive the ⁠⁠⁠⁠⁠monthly newsletter⁠⁠⁠⁠⁠ to keep up to date with where David and Sissy are speaking, where they are taco'ing, PLUS conversation starters for you and your family to share! Connect with David, Sissy, and Melissa at ⁠⁠⁠⁠⁠raisingboysandgirls.com⁠⁠⁠⁠⁠ . . . . .  If you would like to partner with Raising Boys and Girls as a podcast sponsor, fill out our ⁠⁠⁠⁠⁠Advertise with us⁠⁠⁠⁠⁠ form. A special thank you to our sponsors: JOLIE: Jolie will give you your best skin & hair guaranteed. Head to jolieskinco.com/RBG to try it out for yourself with FREE shipping.  QUINCE: Give your summer closet an upgrade—with Quince. Go to Quince.com/rbg for free shipping on your order and three hundred and sixty-five -day returns.  THRIVE MARKET: Skip the junk without overspending. Head over to ThriveMarket.com/rbg to get 30% off your first order and a FREE $60 gift.  NIV APPLICATION BIBLE: Save an additional 10% on any NIV Application Bible and NIV Application Commentary Resources by visiting FAITHGATEWAY.COM/NIVAB and using promo code RBG.  KIDS ADVENTURE BIBLE: Visit AdventureBible.com to check out the free Bible activities, reading plans, and teaching resources. Go to AdventureBible.com today. GOMINNO: Visit GoMinno.com to get a one month FREE TRIAL using code RBG. This is a web-only offer. Sign up at GoMinno.com with the code RBG. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on Unscripted, Natalie and Paige peel back the layers on Mary-Kate and Ashley Olsen, the famously private twins who went from child stars on Full House to the understated queens of high fashion. From oversized sunglasses to oversized influence, the hosts explore how the Olsens built an empire while disappearing from the spotlight. Learn more about your ad choices. Visit megaphone.fm/adchoices

October 8-16, 1988  This week Ken welcomes Mike and Scot from the First Seven Inch podcast.   Ken Mike and Scot discuss obscure hardcore, punk rock, having to pivot to make the fans happy, the power of Patreon, The Equalizer, TV and movies with punks, John Wick, Donnie Yen, being an easy mark, Midnight Caller, Silk Stalkings, Nick/Forever Night, USA Network, what to do when it's "too hot to sleep", creepy work pervs, smoking, being straight edge, brown cigarettes, Brendan Tartikof, Ed Grimley, the mythical magic of the big white TV Schedule board, testing your brain at the pharmacy, Amazon Women on the Moon, Real Men, Hellraiser, anthology TV, WNDS TV 50, Weather with Al, Mary Woronov, Sledge Hammer, NBC, Alf, Stevie Wonder, TV's Blooper and Practical Jokes, Librace, Throb, the career of Jim Hanks, CT people, the Moby of Puppets, The Hogans, Mr. Rogers, Letterman, Dear John, US remakes of UK shows, Who's the Boss, Donna Mills in Outback Bound, the American obsession with Australia, 'roid free world, Growing Pains, Nova, sexy Walter Mathau in Hopscotch, why 1985 is Ken's favorite year in movies, why the early 80s made us desperate for nerds to save us, fascist eagles, Slayer, Tyne Daly and kids in gangs, Just a Regular Kid an AIDS story, Highway to Heavan, Halloween epsiodes, Michael Berryman, being obsessed with guns, Chuck Norris' uzis in the Invasion USA poster, divorced parents, Just the Ten of Us, Crossing the Mob with Jason Batemen, Philly accents, the wonder of the phrase "also starring Frank Stallone", just the Maura Tierny scenes, bad NJ accents, Bush v Dukakis debate, collar up acting, UFO Coverup, Perfect Strangers, not liking Full House, how awful Halloween is Grinch Night is, Disney Channel, spoiled cousins getting cable channels from your grandparents, being a Freddy Kruger Kid, Corbin Bernson, Amanda Payes, and finally doing the show and hoping it holds up to all your hopes and dreams. 

Welcome to our podcast series from The Super Network and Pop4D called Tubi Tuesdays Podcast! This podcast series is focused on discovering and doing commentaries/watch a longs for films found on the free streaming service Tubi, at TubiTVYour hosts for Tubi Tuesdays are Super Marcey, ‘The Terrible Australian' Bede Jermyn, Prof. Batch (From Pop4D & Web Tales: A Spider-Man Podcast) and Kollin (From Trash Panda Podcast), will take turns each week picking a film to watch and most of them will be ones we haven't seen before.Film Starts Playing At: 00:11:49Welcome back to The Tubi Tuesdays Podcast, the number one Tubi related podcast that's hosted by two Australians, one Canadian and one American! Happy 5th Anniversary to The Tubi Tuesdays Podcast! Yes folks, some how we have been doing this show for 5 years and to celebrate the occasion all four co-hosts are here with Super Marcey, Bede Jermyn, Prof. Batch and Trash Panda Kollin! For the anniversary show as is tradition, we let fate decide on what film is to be watched for the occasion. Each co-host picked two films each, we placed them on a wheel and whatever the wheel landed on would be the film and as it turned out the wheel spin landed on one of Kollin's pick with Get Off My Lawn (2025), which also happens to be a Tubi Original film as well! How is the show after 5 years? Listen to find out!Get Off My Lawn was directed by Amara Cash, it stars Tahj Mowry, Camila Banus, Jonah Hwang, Max E. Williams, Lydia Look and Ben Zelevansky.If you have never listened to a commentary before and want to watch the film along with the podcast, here is how it works. You simply need to grab a copy of the film or load it up on Tubi (you may need alcohol), and sync up the podcast audio with the film. We will tell you when to press and you follow along, it is that easy! Because we have watched the films on Tubi, it is a free service and there are ads, however we will give a warning when it comes up, so you can pause the film and provide time stamps to keep in sync.Highlights include:* Happy 5 years of doing this show!* Woo Kollin is happy one of his pick's was chosen with this film!* Ok why does Alec look like Temu Chuck Bass from Gossip Girl?* Why yes lead actor Tahj Mowry was a child actor, he was in Full House!* There will be no boobie fair on a Tubi Original* This Alec guy really loves his grandpa's house!* Why don't they call the cops? Oh .. that's why ..* Plus much, much more!Check out The Super Network on Patreon to gain early access to The Tubi Tuesdays Podcast!DISCLAIMER: This audio commentary isn't meant to be taken seriously, it is just a humourous look at a film. It is for entertainment purposes, we do not wish to offend anyone who worked on and in the film, we have respect for you all. Music provided by DeNNo, introduction and podcast editing by Super Marcey & Bede Jermyn Hosted on Acast. See acast.com/privacy for more information.

Can you figure out if these storylines happened on FULL HOUSE or GOLDEN GIRLS?See omnystudio.com/listener for privacy information.See omnystudio.com/listener for privacy information.

As Pod Meets World Live! comes to an end, we’re throwing it back to the ‘90s, before the San Francisco tour stop, with guests Andrea Barber and Jodie Sweetin! Find out how much (or how little) the hosts know about their respective shows, and what it’s like for Jodie and Andrea to come to visit the IRL location of “Full House.” Plus, will How Rude, Tanneritos go on tour soon? So Wake Up, San Francisco! It’s time for a brand new, on location, episode of Pod Meets World!See omnystudio.com/listener for privacy information.

After raising seven daughters, one son, and two grandchildren, I've navigated the wild ride of parenting through sports, activities, and everything in between.Join me as I share the highs, lows, and hard-earned lessons about raising kids, understanding behavior, and embracing the parenting choices that others might not agree with. This is a real talk from a seasoned parent who's been there.Did I forget the fact that we have 20 grandchildren total to date? Tune in and share!#Parenting#RaisingKids #FamilyLife #ParentingTips #MomLife #DadLife #ChildBehavior#FamilyDynamics

October 27 - November 2, 1990 This week Ken welcomes former MA resident and current producer of The Last Drive-In, and owner of Not a Funeral Home productions Matt Manjourides.  Ken and Matt discuss working at video stores, MA Video Stores, Video Smith, Mike's Video, Video Oasis, Live Poultry Fresh Killed, Palmer Video, buying VHS tapes,  having cable growing up, black boxes, "On Deman" video that was just 24 hours of a movie in a loop, Pay Per View, why horror almost always makes money, the video boom, PG-13 Movies with Nudity, realizing women love horror and marketing to them, the CW, Get A Life, going to school for animation, Warriors of the Wind, Fist of the North Star, the 5am Saturday morning weird local slot, 5 and 10 Store, Child World, Mr. Big's Toyland, GI Joe, Alien Nation, Return of Swamp Thing, why working with restrictions can get better results, Wes Craven, weird sleazy vibes, Day of the Dead, collecting screen used props, weird relaxing go to sleep movies, Made for TV Movies, the movie section of TV Guide, Angelica Houston's sexual explosion, Best of the New, personally killing Sadam Hussain, The Gulf War, Full House, MacGuyver, Jasmine Guy in "A Killer Among Us", when the killer is on the jury, Major Dad, Murphy Brown, Who's the Boss, Head of the Class, Coach, why Salem's Lot is Ken's favorite Tobe Hooper movie, Funhouse, Return to Salem's Lot, Sam Fuller, TCM II, Billy Connolly, Nightmare on the 13th Floor, occult elevators, USA Network Original movies, haunted item films, haunted dresses, being afraid to compete with Must See TV on Thursday, Arthur C. Clark's Mysterious World, The 1990 Flash, Quantum Leap, contempt for your audience, why Universal Studios Florida Amusement Park meant Superboy and Swamp Thing stayed on the air way too long, shared experience, and convincing a major streaming network to air "Things". 

It was time to turn YOUR emails into a very special, fan-dedicated minisode. We've finished half the series, what are our thoughts? What is proper fan etiquette? How were the Full House sets made and stored? Plus, we have some very special shoutouts at the end... It's all right here on How Rude, Tanneritos! Follow us on Instagram @howrudepodcast & TikTok @howrudetanneritosSee omnystudio.com/listener for privacy information.

We ask the questions, you give the reply on a brand new episode of Go Fact Yourself!Jodie Sweetin has been in show business for most of her life. She's famous for her role as Stephanie Tanner on "Full House." She'll tell us what it was like being on a major TV show at such a young age and how she revisited that time in her podcast, "How Rude Tanneritos."Marc Evan Jackson is best known for his stoic performances across a number of TV roles including for "The Good Place" and "Brooklyn 99." He'll tell us why he loves the fans of the shows he's a part of and explain why the art of improv is so important. Areas of Expertise:Marc: The TV show “The Office,” vessels in the Maine windjamming fleet, and the lyrics to the song “Knockin' Boots” by CandymanJodie: Jim Henson movies, the TV show “Arrested Development,” and American Girl Dolls. What's the Difference: Treasure IslandWhat's the difference between to treasure and to cherish?What's the difference between a traffic median and a traffic island?Guest Experts:Candyman: Rapper and producer who co-wrote and performed the hit song “Knockin' Boots.”Dave Goelz: Emmy-winning performer and producer who's worked with the Muppets for more than 50 years – and in several movies with Jim Henson.Hosts: J. Keith van StraatenHelen HongCredits:Theme Song by Jonathan Green.Maximum Fun's Senior Producer is Laura Swisher.Co-Producer and Editor is Julian Burrell.Seeing our next live-audience shows by YOU!

In this episode of Greece Chats I am joined by Nikitas Tsoukales. Nikitas is a Greek American entrepreneur. Nikitas Tsoukales is the founder of RealTop, a digital marketing agency based in Boston MA. In this episode we discuss what is happening in Greece right now! The Acropolis being closed due to the heat, people being taxed to visit Santorni and Mykonos, flights to Greece are cheaper than ever and a fun fact about John Stamos from Full House, Jessie Kotsopoulos. **GREEK CITIZENSHIP LINK: ⁠https://www.greece-media.com/greekcitizenship⁠** **WILD OLIVE OIL LINK: ⁠https://zoefull.com/products/wild-olive-oil sca_ref=4914230.gcITlDHuVU&sca_source=YOUTUBELINK⁠** Learn more about Nikitas and his businesses at ⁠⁠https://www.nikitas.com⁠⁠. **REALTOP: ⁠https://www.realtop.com⁠**

Ep 4: Stamos & the Soundtrack of Grief (Part 2) Part two with Stamos, baby! We go even deeper in this one. We recorded before the recent passing of Brian Wilson's wife, Melinda, so the conversation around his work with The Beach Boys hits even harder now. We talk about how music helps us survive grief, the real behind-the-scenes magic of Full House, and how our mutual friend Jeff Ross plays a big role in how we process pain through comedy. We talk about what it's like to keep loving after loss… and how grief keeps surprising you, even years later. This one felt like a warm hug with a drum solo. Listen when you're ready to cry, laugh, or just feel seen. Buy his book If You Would Have Told Me: ⁠https://a.co/d/9RCTKwS⁠ FOR MORE FUN IN YOUR LIFE...FOLLOW JESSIMAE! SUBSCRIBE TO THE DYING LAUGHING POD: ⁠⁠⁠⁠https://found.ee/DyingLaughing⁠⁠⁠⁠  SUPPORT THE FAN CLUB:  ⁠⁠⁠⁠https://found.ee/JessimaePeluso-Patreon⁠⁠⁠⁠ SEE JESSIMAE LIVE: ⁠⁠⁠⁠https://found.ee/jessimaetour⁠⁠⁠⁠  CHECK OUT JESSIMAE'S WEBSITE:  ⁠⁠⁠⁠https://found.ee/Jessimae⁠⁠⁠⁠ FOLLOW JESSIMAE ON IG: ⁠⁠⁠⁠ https://found.ee/InstaJess⁠⁠⁠⁠ BOOK A CAMEO: ⁠⁠⁠⁠https://found.ee/cameo-with-jessimae⁠⁠⁠⁠  Learn more about your ad choices. Visit megaphone.fm/adchoices

We're back to talk all about season 3 with the Full House creator himself... Jeff Franklin! Remember that terrifying dream sequence this season? Well, Jeff admits he should've "cut that out"! And, what does he think is "Bob's best episode" or the episode with "Jesse's worst behavior"? Join us as we close out on another iconic season of Full House, right here on How Rude, Tanneritos! Follow us on Instagram @howrudepodcast & TikTok @howrudetanneritosSee omnystudio.com/listener for privacy information.

We've recruited Jeff Franklin, the creator of Full House, to help us rank Season 3 of the show! With Jeff's unparalleled knowledge of the series, we knew there'd be no one better to help us rate this iconic season. Plus, you'll learn some BTS facts you haven't heard before... It's all right here on How Rude, Tanneritos! Follow us on Instagram @howrudepodcast & TikTok @howrudetanneritosSee omnystudio.com/listener for privacy information.

In this solo update, host Andrew Walker revisits his three 2025 stock ideas (disclosure: long all three!): Sage Therapeutics (SAGE), Keros Therapeutics (KROS), and Full House Resorts (FLL). He breaks down Sage's acquisition by SUPN and the chance of a higher bid from Biogen, discusses Keros' announced capital return, and digs into why Full House Resorts has lagged so far despite promising insider buying and strong project progress. Andrew also highlights why active shareholder engagement still matters and how insider moves can reveal conviction.For links to the prior podcast ideas and open letter, please see this post: https://www.yetanothervalueblog.com/p/midyear-2025-podcast-ideas-updatesChapters[00:00:00] Andrew opens midyear update.[00:01:00] Recaps Sage, Keros, Full House.[00:07:33] Sage sold, Biogen topping bid?[00:14:27] Keros capital return progress is slow.[00:18:44] Full House lagging; insider buying.[00:27:59] CEO massive buy from ex-wife.[00:30:30] Refinancing risk key catalyst ahead.Links:Yet Another Value Blog: https://www.yetanothervalueblog.com See our legal disclaimer here: https://www.yetanothervalueblog.com/p/legal-and-disclaimer

In this episode of "Normal World," Dave Landau, 1/4 Black Garrett, and Angela react to a 10-foot orb that crashes into an Indiana neighborhood with no explanation. They break down their top 10 theories — ranging from Epstein's client list to Fauci's beagle urns and a Diddy party tank. Ezra Miller resurfaces with a rebrand no one asked for. Bhad Bhabie's $1M OnlyFans payday sparks a brutal look at grooming culture and the public's obsession with child stars. Diddy's name keeps coming up, and Disneyland Paris hosts a child-bride wedding. Angela drops dark truths about Jodie Sweetin and the "Full House" era, while the team tries to make sense of a world where no one's protecting kids — and everything is played for laughs. It's raw, deranged, and weirdly honest.   Today's guests on "Normal World" are Derek Richards and Mike Landau. SponsorsMiracle Made Upgrade your sleep with Miracle Made! Go to https://try.miraclebrand.co/sheets/ksp?utm_source=trymiracle and use the code NORMAL to claim your FREE 3 PIECE TOWEL SET and SAVE over 40% OFF. Learn more about your ad choices. Visit megaphone.fm/adchoices

He's a Yankee Doodle Dandy, he's Blake McIver Ewing!! You know him as Derek from Full House and Waldo from The Little Rascals, but that's just the tip of the iceberg for Blake... He's a director, vocal coach, personal trainer, and "recovering child actor" (which Jodie and Andrea can relate to)! This is a Full House reunion you definitely don't want to miss, and it's all right here on How Rude, Tanneritos! Follow us on Instagram @howrudepodcast & TikTok @howrudetanneritosSee omnystudio.com/listener for privacy information.

What do a live TV news blunder, the most Christmas-y of small towns, and a mystery surrounding a Christmas tree have in common?Jennifer + Josh are back to wrap up our 'Coal For Christmas?' June series with a DOOZY. You know we love a local news trope and that's front and center in 'Every Christmas Has A Story,' starring Aunt Becky from "Full House"! (AKA Lori Loughlin.)So... is this a story worth reliving, or a hard pass?? Check out our 'Gold or Coal' segment for hot takes and plenty of laughs -- including a slew of Josh's cheesy Christmas jokes -- along the way!Connect with us online at www.DoYouWatchWhatIWatch.com for all things about our podcast. And, as always, may your days be merry and bright!

We are officially HALFWAY through the Full House series!! Season 5 welcomes us by revealing that Becky and Jesse are having twins... Woah, baby! What do we think about this season opener? What can we expect to see throughout Season 5? Is it a Fannerito favorite?! Join us as we dive into another year with the Tanner family, right here on How Rude, Tanneritos! Follow us on Instagram @howrudepodcast & TikTok @howrudetanneritosSee omnystudio.com/listener for privacy information.

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

Stay hydrated AND satiated during this week's heat wave! Eli has a ton of recommendations for you to eat at, from Thai to Mexican and all cuisines in between. Marisa has a lot of shore shout-outs, and the gang take a trip down memory lane with their teenage music tastes and a Full House analysis. Sara discovers a new speakeasy behind a vending machine in Northern Liberties. Plus, In It To Win It is back! Get the secret word to win a $100 gift card to The Mulberry, thanks to our partners at Center City District.  (00:00) Beach Boys and Aerosmith CDs (07:47) Whatcha Been Eatin': Crickets on salad and veggie eats down the shore  (27:02) In It to Win It: The Mulberry  (31:23) Dining Al Fresco: Where to eat outdoors in Philly (43:32) The Sauce: Make sure you're dining out this summer, because there are a ton of new spots opening!  And of course, we could not do this without our amazing partners who are as passionate about food and drink as we are: In the mood for fresh, fast and healthy? Then you need to be dialing up the Honeygrow App and ordering your favorite salad or noodles. And if you're a crab lover, Honeygrow has just launched their seasonal Chesapeake Crab Stirfry and it's here just in time for summer. Use discount code TASTY to get $3 off any order of $15 or more did you order from the Honeygrow app. Valid through 9/8 If your restaurant or company wants to be in the headlines for all the right reasons, click here to discover how Peter Breslow Consulting and PR can take your business to the next level Social media and digital content are two of the most important things you can create for your brand. Check out Breakdown Media, a one stop shop for all of your marketing needs.

Jodie Sweetin stole our hearts in the 1990s as precocious middle-child Stephanie Tanner on “Full House” as well as in the 2015 Netflix reboot. Jodie joins me to talk about a very different kind of project: her new movie “Dateless to Dangerous: My Son's Secret Life” (Saturday, June 21st at 8/7c on Lifetime) about a mother's struggle to help her angry teenage son who turns isolated and hostile after being rejected by young women at his high school. Jodie talks about the intense experience making the film; how the “Fuller House” reboot came to be, and the emotional rollercoaster she faced after losing her friend and costar, Bob Saget. The only way “Group Text” happens is with YOUR support and support from mm amazing sponsors! Try VIIA! Head to ⁠⁠⁠⁠⁠⁠⁠⁠Viiahemp.com⁠⁠⁠⁠⁠⁠⁠⁠ and use the code GROUPTEXT This is another Hurrdat Media Production. Hurrdat Media is a podcast network and digital media production company based in Omaha, NE. Find more podcasts on the Hurrdat Media Network by going to ⁠⁠⁠⁠⁠⁠⁠⁠HurrdatMedia.com⁠⁠⁠⁠⁠⁠⁠⁠ or the ⁠⁠⁠⁠⁠⁠⁠⁠Hurrdat Media YouTube⁠⁠⁠⁠⁠⁠⁠⁠ channel! Learn more about your ad choices. Visit megaphone.fm/adchoices

You asked, we listened! Here is part 1 of our live event that we did on June 5th at the iHeartRadio Theater... From the moment Jodie and Andrea stepped on stage to the highly-anticipated appearance of Lori Loughlin and John Stamos. If you missed the event and couldn't watch the video, this is your chance to experience our jam-packed Full House reunion. It's all right here on How Rude, Tanneritos! Follow us on Instagram @howrudepodcast & TikTok @howrudetanneritosSee omnystudio.com/listener for privacy information.

We Like Shooting Episode 615 This episode of We Like Shooting is brought to you by: Black Rhino Concealment, Gideon Optics, Matador Arms, RMA Defense, Die Free Co., Rost Martin, and Mitchell Defense   Welcome to the We Like Shooting Show, episode 615! Our cast tonight is Jeremy Pozderac, Aaron Krieger, Nick Lynch, and me Shawn Herrin, welcome to the show! GunCon PUBLIC EVENT - June 28th Location - Cleveland, Ohio at the Twist Drill Building (1242 E 49th St) Industry/Media Events - June 25-28 (Mixed locations around Cleveland area) https://guncon.net/event/guncon-2025/ Use code wlsislife for $5 off   GOALS   August 9th and 10th in Knoxville, Tennessee. https://events.goa.org/goals/   GunCon/GOALS Shirt contest- Take selfies with the cast at both events. Win a free custom shirt. Bonus- Photo evidence of Jeremy choking you out, get a sticker.   Guest Info:  David Borges - Matador Arms President of Sales   https://www.instagram.com/matador_arms @matador_arms https://matadorarms.com/   Gear Chat Shawn - Flatline Fiber Co. Vibes Flatline Fiber Co. Qela Shawn - HK Parts Adaptor Fun HK Parts Adaptor Bullet Points Gun Fights Step right up for "Gun Fights," the high-octane segment hosted by Nick Lynch, where our cast members go head-to-head in a game show-style showdown! Each contestant tries to prove their gun knowledge dominance. It's a wild ride of bids, bluffs, and banter—who will come out on top? Tune in to find out! https://welikeshooting.com/reviews/springfield-armory-trp-operator-review/ https://welikeshooting.com/reviews/guns/canik-tp9-sa-glock-killer/ https://welikeshooting.com/reviews/nemo-omen-review/ https://welikeshooting.com/reviews/guns/rock-island-armory-revolver-m200-revolver-range-report/ https://welikeshooting.com/reviews/guns/kel-tec-plr-16/   WLS is Lifestyle Aaron's Alley Hunting's Cool. Gun Control, Not. Hunting's Cool. Gun Control, Not. Going Ballistic Gun Rights: The Right Call I WAS RIGHT...SORT OF Trump vs. Illinois: Gun Showdown! Trump DOJ Files Amicus Brief Supporting Challenge to Illinois ‘Assault Weapons' Ban Silencers: The Real Sound Debate Podcast: Inside the Senate Silencer Deregulation Fight (ft. American Suppressor Association's Knox Williams) Mobs vs. Cars: Buckle Up! Florida Sheriff: Mobs Blocking Cars in Our County Will Probably Be Run Over Suppressors: Not Just for Crime Sen. Chris Murphy: Firearm Suppressors ‘Primarily Designed for Crime' Reviews ⭐⭐⭐⭐⭐ - from PokerFace - The cast of We Like Shooting are a gamey bunch, both in odor and what the do in their spare time. As we sit around the poker table of WLS how would we equate each cast member to a hand of Poker, 5 card stud of course because these guys are all about 5 studs. First we have Aaron, never first in many things but here we compare him to a Full House, Queens over Jacks, because if anything we know he keeps his house full and is jack'n it to queens. Next is the venerable Nick Lynch. Of course he is a Straight Flush. A solid cast member who brings a lot to the table, but isn't always solid in other rooms of the house. Following Nick we have Savage, always traipsing behind and in this case just like real life he is pretty paltry at the table. He is High Card, other wise known as nothing and often High. But we keep him around to sit in the cuck chair. Almost last but certainly not least is Jeremy. Jeremy is 3 of a Kind. With 4 kids in tow he is trying to build out his fire team one hand at a time but missed on the last deal to make it 4 girls. Congrats on the Son. Last we have the Dealer of this Game. Constantly shuffling the guests to have the best content, Turning and Burning unworthy Sponsors and always ready to Flop out on the table. Shawn is represented by a Pair, and in this case a Low Pair.

She was a face you grew up with—DJ Tanner from Full House—but today, Candace Cameron Bure is a creative force, entrepreneur, and mom of three navigating a media landscape that's changed dramatically since the 1980s. In this refreshingly honest conversation, Candace opens up about what it's like to raise kids in a streaming world—one with infinite entertainment options but fewer shared family experiences. She shares how fame shaped her childhood, how motherhood grounded her, and why she's working so hard to bring back meaningful content that families can enjoy together. Ginny and Candace talk about real transitions—career pivots, unexpected isolation, raising kids in radically different childhoods than their own—and the power of media to connect or divide. Plus, Candace introduces her newest children's book The Crazy Compromise, a heartwarming story about friendship across differences. Whether you're nostalgic for simpler times or just looking for ways to reconnect with your kids in today's media-saturated world, this episode will make you laugh, reflect, and maybe rethink family movie night. ***

In episode 1880, Jack and Miles are joined by hosts of Kim & Ket Stay Alive... Maybe, Kim Burns and Ketryn Porter, to discuss… Trump Ft. Bragg - He Gave A Rousing Speech Where EVERYONE? Cheered? DJ Tanner Thinks That Her TV Is a Portal To Hell and more! Bragg Soldiers Who Cheered Trump's Political Attacks While in Uniform Were Checked for Allegiance, Appearance Troops and marines deeply troubled by LA deployment: ‘Morale is not great’ ‘Full House’ Star Candace Cameron Bure: ‘I Don’t Even Want Someone Watching a Scary Movie in Our House’ Because ‘That’s a Portal’ to Something ‘Demonic’ Candace Cameron Bure avoids scary movies at home because they can be 'a portal' to something 'demonic' Movie's Are Hell Portals And Liquid Death Is Cursed Catch Ketryn on Major Slayage - A Buffy Rewatch Podcast! Instagram: @majorslayagepod TikTok: @majorslayagepod LISTEN: leavemealone ft. Baby Keem (Nia Archives Remix) by Fred again...See omnystudio.com/listener for privacy information.

Happy Friday! We're stuck on Common Man's face to start the show, we recap the Oilers historic comeback, update you on the US Open, today is Timmy's favorite day, Buckeyes get a new basketball court design, Timmy loves the Full House theme song, we play multiple TV theme songs & we send people to jail.

It's been a week since we reunited with most of our Full House family, so we're recapping some of our favorite moments, the craziness that went on behind the scenes, and how everyone's feeling post-show! Plus, we're answering some fan questions that you can't miss... It's all right here on How Rude, Tanneritos! You can still purchase a ticket to watch the live show virtually at veeps.com/howrudetanneritos! Follow us on Instagram @howrudepodcast and TikTok @howrudetanneritosSee omnystudio.com/listener for privacy information.

The incredible Bob Saget stops by to talk about Full House, writing jokes for America's Funniest Home Videos, getting roasted by his friends & tells a Dave Coulier story you won't hear again. Learn more about your ad choices. Visit megaphone.fm/adchoices

Actress Jodie Sweetin and reality star Reza Farahan join Jeff and Shane to talk about Jodie's multiple ex-husbands and Jeff reveals which company collab is making him feel unhinged.• • • Want more Jeff Lewis? Click here to sign up for 3 free months of SiriusXM and listen weekdays to "Jeff Lewis Live" from 12-2pE/9-11aP on Radio Andy Channel 102. Plus, tune into The Jeff Lewis Channel for even more Jeff content streaming exclusively on the SiriusXM app channel 789.• • • Host - Jeff LewisGuests - Jodie Sweetin, Reza Farahan, & Shane DouglasSenior Director – Lisa MantineoDirector - Alyssa HeimrichSenior Producer & Editor - Jamison ScalaAssociate Producer – Oscar Beltran

Gather 'round the dinner table, it's time to slop-up some SECOND HELPINGS, including MJ's watchin' "Full House" with their TWO YUTES and how "A Very Special Episode" led to them realizing the hand they've played in creating today's WOKE BULLSHIT generation, a parallel experience of finishin' "Andor" S2 and divin' STRAIGHT in C H R O N O L O G I C A L O R D E R to "Rogue One: A Star Wars Story" as they each launch into their "Star Wars" JOURNEY, Jackie's watched the first episode of "90 Day: Hunt for Love" (ANOTHER "90 Day" spinoff, but this time it's a DATING REALITY COMPETITION!), MJ can now humbly give AN ANSWER on if they can still enjoy "The Secret Lives of Mormon Wives" or are these women just suffering too much?, Jackie and Geoff discovered a youtuber that's her version of ASMR during a late-nite can'tsleepYoutubedive (audio included in episode around 22min; Snakealive - Grand Illusions), MJ's givin' their kids a 90's Summer, but NOT THAT KIND, "Everybody's Live with John Mulaney" has ended and Jackie must scream but she won't be screamin' any spoilers for "The Rehearsal" other than she says 'the ending is GENUIS', MJ is just watchin' the TikTok of Alexander Skarsgård and Pedro Pascal kissin', Dakota Fanning has a new movie about her goin' after TWO old men, the "Jurassic World Rebirth" popcorn bucket is.....something, MJ's gettin' hawt for sad boi Barry profile, Sydney Sweeney selling bath water soap with Dr. Squatch, Amy Poehler had the OG I C K from Tom Cruise because he did a bunch of flips in a movie and NOT because he's part of a bullshit cult that's slowly dying, Michelle Williams recently talked about how horrible it was living with Ryan Gosling during the shooting for "Blue Valentine", Kelly Ripa and Mark Consuelos are letting us all know they fuck....a lot.....again, Jackie is askin' MJ to watch "Hereditary" and asks WE ALL try to absorb the new "Pee-wee" doc before NEXT WEEK PLS, Hugh Jackman's divorce has finalized and here's hoping she takes him for it all, Dick Van Dyke just wants that sweet sweet release, AND SO MUCH MORE TO SLURP UP THIS WEEK!Want even more Page 7? Support us on Patreon! Patreon.com/Page7Podcast  Subscribe to SiriusXM Podcasts+ to listen to new episodes of Page 7 ad-free.Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus.