Podcasts about Hampshire

It's another question and answer session this week. Archaeologist Dr Helen Geake is taking the questions you've been asking on Patreon. She'll discuss how rich Romans heated their villas in chilly northern Europe, whether archaeologists behave different around human remains depending on the religion the deceased person might've been from; and just how do you date pottery? There's also Helen's Find, this week it's this object found in Hampshire: https://finds.org.uk/database/artefacts/record/id/185032 Don't forget, you can submit your question to Helen for a future edition of the podcast. Go to patreon.com/timeteamofficial and join us in funding archaeology across the UK and around the world.

AI therapists dangerous? :: Rob from VT gives an update on his case :: Are socialists evil or just ignorant? :: Skeeter falls in love with AI :: Sarah calls about how dangerous public transportation is :: Are the homeless causing wildfires? :: The big business of wildfires :: Gov mismanagement of forests :: Alu's book on California secession :: Trump losing the public with his masked ICE goons :: No due process :: Racial profiling :: How to know your rights :: RIP Hulk Hogan Why is Trump not releasing the Epstein List? :: They are ALL criminals :: Should Ghislaine be pardoned? :: 2025-07-27 Hosts: Lori, Bonnie, Angelo and Rich E Rich

California secession :: Is it possible to secede? :: Is Idaho slightly racist? :: The Great Covid Migration :: Trump doesn't believe states are sovereign :: What kind of American are you? :: Did Roger Ver mess up? :: Can you choose to be stateless? :: Decriminalization better than legalization for marijuana :: Skeeter's new videos on YouTube :: ICE federal goons are scared they'll get their pictures taken :: Cops; technically homo sapiens but not human :: Path to citizenship really not clear and quite expensive :: Americans on welfare are also leeches :: Zoning moral questions :: Does Trump draw pictures? Ian found proof he does! :: LBJ's Great Society caused massive societal issues :: Crazy dems may get involuntarily committed :: Many homeless a result of the War On Drugs :: The cops are retards :: 2025-07-26 Hosts: Bonnie and Chris R

Young mother Danielle Vaughan knew her children were being abused in the home of her mother, Sherry Connor. She spent years pleading for someone to intervene before it was too late. No one listened, and Danielle's worst nightmare became reality when her five-year-old son, Dennis “Boo” Vaughan Jr., was pronounced dead on Christmas Eve, 2019.Boo's body told a story of severe and prolonged suffering, and an autopsy revealed that Boo had been savagely beaten, ultimately dying from blunt force trauma to the head and neck. Even though it was painfully obvious what had happened, nearly five years passed without anyone being held accountable.This is the story of young siblings who were failed by the system at every turn, and whose mother's cries for help went ignored. This is part two of the heartbreaking story of Dennis “Boo” Vaughan Jr.Justice for Dennis “Boo” Vaughan Facebook page: https://www.facebook.com/profile/100090309441118/ Photos related to today's episode can be viewed on Facebook: https://www.facebook.com/sufferthelittlechildrenpod You can also follow the podcast on:Instagram: https://www.instagram.com/sufferthelittlechildrenpodTikTok: https://www.tiktok.com/@STLCpodMy Linktree is available here: https://linktr.ee/stlcpod Visit the podcast's web page at https://www.sufferthelittlechildrenpod.com. By supporting me on Patreon, you'll also access rewards, including a shout-out by name on the podcast and exclusive rewards. Visit www.patreon.com/STLCpod. You can also support the podcast on www.Ko-Fi.com/STLCpod. **New! Become a member of my YouTube channel for perks, ranging from a shout-out, members-only chat emoji, and loyalty badges to other rewards. Click here: https://www.youtube.com/channel/UCogRWoIzWMy7TX5PuX18smQ/join Join my Spreaker Supporters' Club: https://www.spreaker.com/podcast/suffer-the-little-children--4232884/support This podcast is researched, written, hosted, edited, and produced by Laine.Music for this episode is licensed from https://audiojungle.net. Subscribe to Suffer the Little Children:Apple Podcasts: https://podcasts.apple.com/us/podcast/suffer-the-little-children/id1499010711Google Podcasts: https://playmusic.app.goo.gl/?ibi=com.google.PlayMusic&isi=691797987&ius=googleplaymusic&apn=com.google.android.music&link=https://play.google.com/music/m/I5mx3lacxpdkhssmk2n22csf32u?t%3DSuffer_the_Little_Children%26pcampaignid%3DMKT-na-all-co-pr-mu-pod-16Spreaker: https://www.spreaker.com/show/suffer-the-little-children Pandora: https://www.pandora.com/podcast/suffer-the-little-children/PC:61848?part=PC:61848&corr=podcast_organic_external_site&TID=Brand:POC:PC61848:podcast_organic_external_siteSpotify: https://open.spotify.com/show/0w98Tpd3710BZ0u036T1KEiHeartRadio: https://iheart.com/podcast/77891101/ ...or on your favorite podcast listening platform.

On episode 139, I sit down with Simon Goddek, and we talk about cancel culture, living off grid, and more. Subscribe via this link or where ever pods are cast. Check out Think Penguin for your digital privacy needs. This podcast is covered by the BipCot NoGov license. This allows use and re-use by anyone except governments and government agents. Learn more at https://bipcot.org Suppport me on Patreon: Send Bitcoin: 1MnoYoPirXQHfhknDxbDHhLsF9u7kUggKy Send Bitcoin Cash: qpp62s8uupdqkrfew7vgp805pnsh5jk2ncnfkndwrd Dash: XpApo1jcPzTJyLLB6G8GJ7DoW9CGjcV5xT Ether: 0xFb1a23163bea743BB79B93849D864ad070597855 Lightcoin ltc1q6ygsamrkwl0at93datyqfh47z4crg4jkg4fx30

Donna Jones spoke to Shine Radio reflecting over the last few months since we last spoke to her. The Police Station is now fully operational in Petersfield. Anti social behaviour is down by 6.3% in the last 12 months. Hampshire is one of 23 out 43 forces nationally that has a violent crime unit to work with organisations to prevent knife crime. And the latest news is that Hampshire and the Isle of Wight Constabulary has been rated one of the best police forces in the country. Only five forces nationally have hit this milestone.See omnystudio.com/listener for privacy information.

Today's guest is one of Britain's best-loved and most fearless voices in wildlife and environmental broadcasting - it's the brilliant Chris Packham.Chris first made his name back in the 1980s as a presenter on The Really Wild Show, a programme that inspired a whole generation of children - myself included - to get out into nature. But before that, he was actually behind the camera, working as a wildlife cameraman after studying zoology. And it's that deep understanding of animals, ecosystems and science that still underpins everything he does.Since those early days, Chris has become a fixture on British television. You'll know him from Springwatch, Autumnwatch, and Winterwatch, from his BBC documentaries like The Walk That Made Me and Inside Our Autistic Minds, and from his powerful activism, whether he's leading anti-hunting campaigns, protesting HS2, or calling out the destruction of biodiversity in the UK and beyond.He's won multiple awards for his environmental work and was awarded a CBE for services to nature conservation. But he's also never been afraid to challenge the establishment, and I think that's one of the reasons so many people connect with him. In today's episode, we explore the places that have shaped him, from Kathmandhu to Kashmir, Mauritius to Marrakech. He talks about the awe and purpose he finds in travel, the power of experiencing landscapes that tell stories - whether it's battle sites like Little Bighorn in Montana or the brutalist war memorials of the Balkans - and the importance of discomfort, of being challenged by a place.We talk about being neurodivergent and how that shapes the way he sees the world when he travels - and also the places he'll never return to. Spoiler: it's not a great day for Dubai or Vegas.Destination Recap:White Sands National Park, New Mexico, USABig Bend National Park, Texas, USAEverglades National Park, Florida, USAZion National Park, Utah, USANew Forest National Park, Hampshire, England HondurasBorneoScotlandArles, France MauritiusSeville, SpainKathmandu, Nepal Kashmir, IndiaAntarcticaGalapagos, EcuadorMarrakech, Morocco Bar of sand nr Sanibel Island, Florida, USALittle Big Horn, Montana, USADubaiLas Vegas, USAPhilippines RainforestThe ‘Stans - Uzbekistan, Turkmenistan, Kazakhstan Finding the Spomeniks With thanks to Airbnb for their support of today's episode.Thanks so much for listening today. If you want to be the first to find out who is joining me on next week's episode come and follow me on Instagram I'm @hollyrubenstein, and you'll also find me on TikTok - I'd love to hear from you. And if you can't wait until then, remember there's the first 14 seasons to catch up on, that's over 155 episodes to keep you busy. Hosted on Acast. See acast.com/privacy for more information.

Get your favorite Magic Mind formula (like my favorite, MAXX) at www.magicmind.com/lainemf, and use code LAINE60 for 60% off your subscription!In 2016, toddler Dennis “Boo” Vaughan Jr. and his three siblings were removed from their parents' custody due to concerns of substance abuse and domestic violence. They were ultimately placed in the Laconia, New Hampshire, home of their maternal grandmother, Sherry Connor. Their mother, Danielle Vaughan, had experienced her mother's abuse firsthand and knew Sherry was mistreating and abusing her children. Over the next two years, DCYF received at least 27 reports of child abuse and neglect against the Vaughan children. Despite these warnings from Danielle and several others, including mandatory reporters, DCYF continually overlooked the increasingly egregious and shocking ways Sherry treated her grandchildren. Only after Sherry accidentally sent Danielle audio of one abusive incident did DCYF act, and it was nowhere near enough.This is part one of the heartbreaking story of Dennis “Boo” Vaughan, Jr.Justice for Dennis “Boo” Vaughan Facebook page: https://www.facebook.com/profile/100090309441118/ Photos related to today's episode can be viewed on Facebook: https://www.facebook.com/sufferthelittlechildrenpod You can also follow the podcast on:Instagram: https://www.instagram.com/sufferthelittlechildrenpodTikTok: https://www.tiktok.com/@STLCpodMy Linktree is available here: https://linktr.ee/stlcpod Visit the podcast's web page at https://www.sufferthelittlechildrenpod.com. By supporting me on Patreon, you'll also access rewards, including a shout-out by name on the podcast and exclusive rewards. Visit www.patreon.com/STLCpod. You can also support the podcast on www.Ko-Fi.com/STLCpod. **New! Become a member of my YouTube channel for perks, ranging from a shout-out, members-only chat emoji, and loyalty badges to other rewards. Click here: https://www.youtube.com/channel/UCogRWoIzWMy7TX5PuX18smQ/join Join my Spreaker Supporters' Club: https://www.spreaker.com/podcast/suffer-the-little-children--4232884/support This podcast is researched, written, hosted, edited, and produced by Laine.Music for this episode is licensed from https://audiojungle.net. Subscribe to Suffer the Little Children:Apple Podcasts: https://podcasts.apple.com/us/podcast/suffer-the-little-children/id1499010711Google Podcasts: https://playmusic.app.goo.gl/?ibi=com.google.PlayMusic&isi=691797987&ius=googleplaymusic&apn=com.google.android.music&link=https://play.google.com/music/m/I5mx3lacxpdkhssmk2n22csf32u?t%3DSuffer_the_Little_Children%26pcampaignid%3DMKT-na-all-co-pr-mu-pod-16Spreaker: https://www.spreaker.com/show/suffer-the-little-children Pandora: https://www.pandora.com/podcast/suffer-the-little-children/PC:61848?part=PC:61848&corr=podcast_organic_external_site&TID=Brand:POC:PC61848:podcast_organic_external_siteSpotify: https://open.spotify.com/show/0w98Tpd3710BZ0u036T1KEiHeartRadio: https://iheart.com/podcast/77891101/ ...or on your favorite podcast listening platform.

Immoral to own an outdoor cat? :: Astronomer CEO cheating caught during Coldplay concert :: Old school conspiracy theorists aren't that shocked by Epstein :: VigilantCitizen.com :: PizzaGate :: Bohemian Grove :: Alex Jones :: Did Koch brother ask waiter to hand wash his underwear? :: Should Trump fire Jerome Powell? :: The Federal Reserve should just be disbanded :: Inflation is an increase in the money supply :: Trump giving Medicaid info to ICE agents :: Trump pretends to cut down on welfare :: Floods in Texas, campground owner used his buddies to declare his land not a flood zone :: Government lie caused the girls' deaths :: Fake Christians :: Gov notoriously bad at maintaining infrastructure :: End gov welfare :: Mayor Eric Adams ran criminal enterprise from NYPD :: Cointelpro RFK jr :: David's activism in the NM State House :: 2025-07-19 Hosts: Bonnie, Riley

Solutions :: Tim in FL calls about exemption on tips being a move toward "cashless economy" :: Catholic church in Gaza hit by Israeli bomb :: Genius act :: Skeeter yells a bunch :: Stablecoin regulation allows banks to issue crypto assets :: AI bots going schizophrenic over maga vs Epstein files :: Banks engaging in censorship of games :: 82 year old grandpa deported to a strange country for trying to renew green card :: Sarah in NM calls about her theory that the NPR cuts were instigated by big oil :: David in NM calls about the caucus system :: 2025-07-20 Hosts: Stu, Riley, Mr. Penguin

Solutions :: Tim in FL calls about exemption on tips being a move toward "cashless economy" :: Catholic church in Gaza hit by Israeli bomb :: Genius act :: Skeeter yells a bunch :: Stablecoin regulation allows banks to issue crypto assets :: AI bots going schizophrenic over maga vs Epstein files :: Banks engaging in censorship of games :: 82 year old grandpa deported to a strange country for trying to renew green card :: Sarah in NM calls about her theory that the NPR cuts were instigated by big oil :: David in NM calls about the caucus system :: 2025-07-20 Hosts: Stu, Riley, Mr. Penguin

Immoral to own an outdoor cat? :: Astronomer CEO cheating caught during Coldplay concert :: Old school conspiracy theorists aren't that shocked by Epstein :: VigilantCitizen.com :: PizzaGate :: Bohemian Grove :: Alex Jones :: Did Koch brother ask waiter to hand wash his underwear? :: Should Trump fire Jerome Powell? :: The Federal Reserve should just be disbanded :: Inflation is an increase in the money supply :: Trump giving Medicaid info to ICE agents :: Trump pretends to cut down on welfare :: Floods in Texas, campground owner used his buddies to declare his land not a flood zone :: Government lie caused the girls' deaths :: Fake Christians :: Gov notoriously bad at maintaining infrastructure :: End gov welfare :: Mayor Eric Adams ran criminal enterprise from NYPD :: Cointelpro RFK jr :: David's activism in the NM State House :: 2025-07-19 Hosts: Bonnie, Riley

Sunday Service

Wednesday Night Bible Study

Ian is joined by Manda to talk about T20 Knockout Qualification and The Championship fixtures with Notts and Worcs to come

Man in NH who cheered on Trump ICE raids has it happen to him :: ICE raids an American family in Oklahoma :: Are we seeing a hard pendulum swing to the right? :: Don't blame drugs, blame the welfare :: The cities are getting so bad because of the welfare :: The dads aren't in the picture :: Coke is a drug too far, even for Jay, Riley and Bonnie :: Your nose, your property :: Jay's experience at Porcfest this year :: Freedom breeders :: Understanding Your Slavery, the book :: Mothers Against Cruel Sentencing :: Teaching kids about silver and gold :: The milk mafia :: Fabulous civil disobedience done by drinking illegal raw milk, the Strong Sistas :: Who is the worst parasite? The state of welfare recipients? :: Silver is money ::Did you know drug addicts get disability? :: Elon Musk and Trump fight real as WWE fight :: Did they kill Massie's wife? :: Arrest all Federal Reserve employees :: Trump threatens to revoke Rosie O'Donnell's citizenship :: German American from Nashua, NH being held indefinitely :: 3rd worlders being shipped in as human weapons :: Covid revealed the New World Order :: Hawaii new Epstein Island in the future? :: 2025-07-12 Hosts: Bonnie, Riley, Jay Noone

Morse code transcription: vvv vvv Trump says Attorney General Bondi should release credible information on Epstein Physician associates need new job title, says review Southern Water issues hosepipe ban for Hampshire and Isle of Wight Emma Watson Harry Potter actress banned from driving for six months for speeding Trip drink advert banned for claiming it makes you calm Ben Wallace makes no apology for Afghan gagging order Man who murdered British backpacker Peter Falconio dies UK inflation hits highest for almost a year and a half NHS Fife tribunal over nurses changing room row with trans doctor to resume Co op boss says sorry to 6.5m people who had data stolen in hack

Morse code transcription: vvv vvv Ben Wallace makes no apology for Afghan gagging order NHS Fife tribunal over nurses changing room row with trans doctor to resume Man who murdered British backpacker Peter Falconio dies UK inflation hits highest for almost a year and a half Physician associates need new job title, says review Co op boss says sorry to 6.5m people who had data stolen in hack Trump says Attorney General Bondi should release credible information on Epstein Trip drink advert banned for claiming it makes you calm Southern Water issues hosepipe ban for Hampshire and Isle of Wight Emma Watson Harry Potter actress banned from driving for six months for speeding

Morse code transcription: vvv vvv UK inflation hits highest for almost a year and a half Trip drink advert banned for claiming it makes you calm Physician associates need new job title, says review Southern Water issues hosepipe ban for Hampshire and Isle of Wight Co op boss says sorry to 6.5m people who had data stolen in hack Emma Watson Harry Potter actress banned from driving for six months for speeding Ben Wallace makes no apology for Afghan gagging order Trump says Attorney General Bondi should release credible information on Epstein Man who murdered British backpacker Peter Falconio dies NHS Fife tribunal over nurses changing room row with trans doctor to resume

Morse code transcription: vvv vvv Southern Water issues hosepipe ban for Hampshire and Isle of Wight Emma Watson Harry Potter actress banned from driving for six months for speeding UK inflation hits highest for almost a year and a half NHS Fife tribunal over nurses changing room row with trans doctor to resume Ben Wallace makes no apology for Afghan gagging order Trump says Attorney General Bondi should release credible information on Epstein Trip drink advert banned for claiming it makes you calm Co op boss says sorry to 6.5m people who had data stolen in hack Man who murdered British backpacker Peter Falconio dies Physician associates need new job title, says review

I buy crack houses :: Turd's Addison Rae album review and he's moving to Hollywood :: Why is there only one strip club in NH? :: Ashera Poles :: Control freaks in gov :: The statists never grew up :: Do we co-own public property? :: Environmental poisoning :: The Albuquerque curse :: Mormons shut down Dirtylicious Dance Fitness :: Richard's UFO Story :: 2025-07-13 Hosts: Bonnie, Riley, Rich E Rich

Take a springtime wander along the River Test, near the pretty Hampshire town of Stockbridge. Plodcast host Fergus Collins joins regular Plodcast listener and children's author Andrew Hussey to explore the wildlife along this most famous of trout fishing rivers. Listen on for some rare wildlife encounters – and some curious and disturbing tales from the river. Andrew runs a small independent publishing company called Muddy Little Boots and his books are Any Trout About? and There's No Deer Around Here. Find out more at: www.muddylittleboots.com And now you can get in touch with the Plodcast team via: The BBC Countryfile Magazine Plodcast group on Facebook & BBC Countryfile Magazine's Instagram page. The BBC Countryfile Magazine Plodcast is the Publishers Podcast Awards Special Interest Podcast of the Year 2024 & 2025 and the PPA Podcast of the Year 2022. If you've enjoyed the plodcast, don't forget to leave likes and positive reviews. Contact the Plodcast team and send your sound recordings of the countryside to: theplodcast@countryfile.com. If your letter, email or message is read out on the show, you could WIN a Plodcast Postbag prize of a wildlife- or countryside-themed book chosen by the team. The Plodcast is produced by Jack Bateman and Lewis Dobbs. The theme tune was written and performed by Blair Dunlop Learn more about your ad choices. Visit podcastchoices.com/adchoices

I buy crack houses :: Turd's Addison Rae album review and he's moving to Hollywood :: Why is there only one strip club in NH? :: Ashera Poles :: Control freaks in gov :: The statists never grew up :: Do we co-own public property? :: Environmental poisoning :: The Albuquerque curse :: Mormons shut down Dirtylicious Dance Fitness :: Richard's UFO Story :: 2025-07-13 Hosts: Bonnie, Riley, Rich E Rich

From the Bahamas to Mississippi, Ricky Carmichael and Ryan Villopoto are remote discussing Spring Creek this past weekend, including Jeremy Martin ends his career on a high note, Jett and Hunter Lawrence do it again, Haiden Deegan battling adversity, Jo Shimoda and the rear brake, what's going on with Eli Tomac, Chase Sexton vs. the hill, and how the paddle tire changes the bike setting.(0:00) Welcome to Title 24 on the road.(3:40) Jeremy Martin's Perfect Send-Off.(8:51) Reliving Spring Creek 2007.(10:36) Haiden Deegan does what he needs to.(13:15) Hats off to Triumph.(13:41) Jo Shimoda: A good ride, and no rear brake.(16:46) Track conditions for a scoop?(17:30) Tom Vialle's head is elsewhere? (19:22) What's going on with Eli Tomac?(21:53) Chase Sexton vs. the Hill.(23:00) Jett Lawrence "there's not a lot of thinking..."(25:05) Look at the starts for the Lawrence's.(26:55) Kudos to Hampshire, he'll "get better."(29:37) Justin Cooper and the SMX implications.(34:18) Paddle Tires and the settings.(40:05) SMX on NBC this week.(40:50) Washougal Preview(42:34) Thoughts with Martin Davalos(42:46) See you next week with better WiFi!

Man in NH who cheered on Trump ICE raids has it happen to him :: ICE raids an American family in Oklahoma :: Are we seeing a hard pendulum swing to the right? :: Don't blame drugs, blame the welfare :: The cities are getting so bad because of the welfare :: The dads aren't in the picture :: Coke is a drug too far, even for Jay, Riley and Bonnie :: Your nose, your property :: Jay's experience at Porcfest this year :: Freedom breeders :: Understanding Your Slavery, the book :: Mothers Against Cruel Sentencing :: Teaching kids about silver and gold :: The milk mafia :: Fabulous civil disobedience done by drinking illegal raw milk, the Strong Sistas :: Who is the worst parasite? The state of welfare recipients? :: Silver is money ::Did you know drug addicts get disability? :: Elon Musk and Trump fight real as WWE fight :: Did they kill Massie's wife? :: Arrest all Federal Reserve employees :: Trump threatens to revoke Rosie O'Donnell's citizenship :: German American from Nashua, NH being held indefinitely :: 3rd worlders being shipped in as human weapons :: Covid revealed the New World Order :: Hawaii new Epstein Island in the future? :: 2025-07-12 Hosts: Bonnie, Riley, Jay Noone

Sunday Evanglistic

Sunday Evanglistic

Sunday School

WiscoJazz-Cast Episode 234 mixed by dj lukewarm Episode Two Hundred and Thirty Four features Ambient music & more... 01 - Kid Millions and the Sounds of Time - Must Be Dreaming [Ski School] 02 - Hammock - Requiem for Johan [Hammock Music] 03 - Hozuki & Cornwave - Oblivion [Kurate Music] 04 - 55 Cancri e - Att Lamna Tellus II/Solen Gar Ner [Music For Dreams] 05 - Bright & Findlay - Doom [Athens of the North] 06 - Patrick O'Hearn - Courage [PatrickOHearn.com Music] 07 - Stars of the Lid - A Meaningful Moment Through A Meaning(Less) Process [Kranky] 08 - DJ Shadow - Fleeting Youth (An Audible Life) [Mass Appeal] 09 - Hampshire & Foat - Call of the Forest [Athens of the North] 10 - Rikaar - Dream Structures [Apollo] 11 - Change Request - Momentary Lapse [Abstrakt Xpressions] 12 - Nightmares on Wax - The Other Ship [Warp Records] 13 - Khruangbin  Les Petits Gris [Dead Oceans] 14 - Flaer - Follow [Odda Recordings] 15 - Catching Flies - Diamonds (Strings) [Indigo Soul] 16 - Caoilfhionn Rose - Rainfall [Gondwana Records] 17 - Quiet Village - Reunion (Reprise) [The Quiet Village] 18 - Camilo Sanabria - Mariposas [Netflix Music] 19 - Kid Millions - Oh Well [Ski School] 20 - Jamie XX - Every Single Weekend (Interlude) [Young] Hope you enjoy. -dj lukewarm https://linktr.ee/djlukewarm http://djlukewarm.com http://hearthis.at/djlukewarm http://www.mixcloud.com/djlukewarm http://djlukewarm.podomatic.com https://soundcloud.com/wiscojazz http://www.youtube.com/WiscoJazzCast RSS: http://djlukewarm.podomatic.com/rss2.xml

In this episode of the Anglotopia podcast, host Jonathan Thomas speaks with Sophie Reynolds, Head of Collections, Interpretation & Engagement at Jane Austen's house in Chawton, Hampshire, about the enduring legacy of Jane Austen as a literary figure. 2025 is the 250th anniversary of her birth, so there are celebrations at Chawton and all over the world to celebrate this literary great. They discuss Austen's impact on literature, her proto-feminist perspective, and the evolution of her house museum in Hampshire. Sophie shares insights into her journey to working at the house, the immersive experiences created for visitors, and the significance of Austen's writing in contemporary culture. The conversation highlights the importance of preserving literary history and the relevance of Austen's work to modern readers. Links Jane Austen's House Official Website Chawton House A Jane Austen Year Book A Jane Austen Year Podcast Places to Visit in Britain for Jane Austen Fans Historic First: Jane Austen's Final Home Opens to Public Jane Austen: A visit to Jane Austen's Home - Video Great Britons: Everything You Need to Know About Literary Great Jane Austen Jane Austen Wrecked My Life Takeaways Sophie Reynolds has a background in theater and performance. Jane Austen's house is a modest but significant site in literary history. Austen's writing was influenced by her experiences and the society she lived in. The house has been transformed into an immersive experience for visitors. Austen's novels challenge social conventions and advocate for female agency. Her characters are realistic and relatable, transcending time and culture. Austen's writing style includes free and direct speech, influencing modern literature. The museum hosts various events to celebrate Austen's legacy. Visitors from around the world come to experience Jane Austen's house. Sophie emphasizes the importance of making literature accessible to all. Sound Bites On Jane Austen's modest writing conditions: "So many writers, you know, think of Dickens, his desk is very large and imposing and has a leather top and he had a lovely comfy chair and he had his own room that he could shut the door... Jane Austen didn't have that. She had this tiny, tiny, funny little table and it's barely big enough for a sheet of paper." On making the house feel lived-in: "We wanted to make the house feel populated... we have recordings of actresses speaking from Jane Austen's letters or from her novels. So there's a kind of little background, little hubbub. It's not intrusive, but it's just the sense that the house is occupied." On Austen as a proto-feminist: "She wrote realistic female characters... She doesn't give her male characters particular... they're not as three-dimensional as our female characters. They don't have thoughts and as much to say in the way that you sort of might expect." On visitor reactions to the writing table: "We get many visitors who burst into tears over the writing table because not only is it seeing where this extraordinary writer who they admire so much worked but it's such a tiny table. It's so modest." On Austen's real personality: "People seem to sort of have this idea of her as a very gentle, romantic soul in a bonnet and a long dress... And actually she was a very spiky person... she wrote some extraordinary letters to her sister where she is very rude about their neighbors and their friends and their family." On the challenge of literary house museums: "Something that's really difficult to do and that most museums don't do is set out to really showcase the creative life of that person... most museums... show the domestic life... the pots and pans, the cups and saucers, and maybe the clothes." On Austen's teenage writings: "They are so not what you would expect Jane Austen to be writing. They are really wild... There's a character who she kidnaps her children, they eat her fingers and they're all on a raft at sea." On the pilgrimage aspect: "For a lot of people, visiting Jane Austen's house is almost like a kind of pilgrimage. People... just love Jane Austen so much and it's an incredibly important... They want to have a very moving experience. They want to sense something about Jane Austen's presence there." On her literary innovations: "She wrote realistic novels in a time when that really wasn't the norm... After Jane Austen, that does become much more what the English novel is doing... She wrote really brilliant, realistic dialogue." On Austen's enduring cultural impact: "Once you start to sort of look for it and you get your eye in, she is in sort of every aspect of our culture... the first line of Pride and Prejudice... has been turned into every single imaginable universal truth that you could imagine on coffee mugs and on t-shirts." Chapters 00:00 Celebrating Jane Austen's Legacy 13:50 Sophie Reynolds' Journey to Jane Austen's House 27:55 The Evolution of Jane Austen's House Museum 41:45 Jane Austen's Feminism and Literary Innovations 55:25 Daily Life and Creative Process of Jane Austen Video Version

One of the biggest stumbling blocks for Wedding Business owners is conversion rate. If you get the enquiry but can't make the sale, something is going wrong. Today I am chatting with founder of Hampshire Event DJS about how he has ensured his conversion rate is one of the best in the industry. We talk about his radio background, his rise from DJ to one of the most trusted DJ teams in Hampshire and his new adventure into the world of tech. Visit Simons websiteCheck out the DJ Teams tech / music selection toolFollow Hampshire Event DJS on InstagramTime Stamps:00:14 - Transitioning to Wedding Marketing Strategies00:28 - The Journey from Radio to DJing: Lessons Learned09:05 - Building a Resilient Business Model in the DJ Industry19:36 - Building a Strong Team of DJs22:15 - Understanding Marketing Strategies for DJs32:56 - Understanding Conversion Rates39:20 - Understanding the Psychology of Music Choices for Events44:22 - Setting Expectations for a Successful Wedding DJ Experience46:32 - Understanding the DJ's PerspectiveMentioned in this episode:Wedding Pro AgencyNeed help and support this summer? Let us take some of the marketing tasks off your hands so you can remain consistent all summer long. From blog post writing to content creation, email marketing to website updates and even building out your CRM system, we can help. Get in touch to find out more.Wedding Pro Agency

Caller Paul says he figured Skeeter out :: Georgian theory of property :: Is land a different type of property? :: Skeeter tells us we are dumb libertarians :: Skeeter doesn't even know how to define his own favorite thing, Game Theory :: Can gen X get offended? :: Will AI companies keep AI aligned with humanity so it doesn't destroy us? :: Trump's latest immigration-related plot to take citizenship from people :: Does zoning keep housing prices too high? :: Alligator Alcatraz :: Dueling used to solve problems, bring it back :: 2025-07-06 Hosts: Bonnie, Riley, Rich E Rich

Caller Paul says he figured Skeeter out :: Georgian theory of property :: Is land a different type of property? :: Skeeter tells us we are dumb libertarians :: Skeeter doesn't even know how to define his own favorite thing, Game Theory :: Can gen X get offended? :: Will AI companies keep AI aligned with humanity so it doesn't destroy us? :: Trump's latest immigration-related plot to take citizenship from people :: Does zoning keep housing prices too high? :: Alligator Alcatraz :: Dueling used to solve problems, bring it back :: 2025-07-06 Hosts: Bonnie, Riley, Rich E Rich

Porc and Fork fest :: Big Beautiful Bill cuts down on benefits :: Increase in military spending and border patrol spending in the BBB :: The Trump wall is happening :: Did covid ruin things to do for kids? :: Should Turd do heroin? :: Prisoners getting hit by cars in Santa Fe :: Should the gov be allowed to kill people :: Blood Meridian theories and lessons :: UFC fight at the White House :: Becoming a cyborg :: AOC yearbook photo proved she lied about her background :: 2025-07-05 Hosts: Bonnie, Lori, Angelo

Porc and Fork fest :: Big Beautiful Bill cuts down on benefits :: Increase in military spending and border patrol spending in the BBB :: The Trump wall is happening :: Did covid ruin things to do for kids? :: Should Turd do heroin? :: Prisoners getting hit by cars in Santa Fe :: Should the gov be allowed to kill people :: Blood Meridian theories and lessons :: UFC fight at the White House :: Becoming a cyborg :: AOC yearbook photo proved she lied about her background :: 2025-07-05 Hosts: Bonnie, Lori, Angelo

In this chilling episode of The Most Dangerous Podcast, Fraser takes us deep into the terrifying true story of Hinton Ampner—a country house with a ghostly reputation spanning centuries. From disembodied voices and poltergeist activity to spectral sightings and unexplained tragedies, this Hampshire estate has long been considered one of England's most haunted houses.Who was the mysterious monk said to terrorise its halls? What secrets were buried behind the walls? And why did the hauntings only grow stronger with time?Join Fraser and James as they uncover the grim, eerie history of Hinton Ampner—and decide for yourself whether this house is cursed… or something far worse.New episodes every Sunday at 8pm on Spotify, YouTube, and everywhere you get your podcasts.#HauntedHouses #GhostStories #HintonAmpner #TrueGhostStory #ParanormalPodcast #BritishHauntings #HauntedEngland #MostDangerousPodcast #Ghosts #HauntedPlaces

Alex Forsyth presents political debate from Frogham in Hampshire, with Conservative MP Danny Kruger, the shadow minister for work and pensions; former Green Party leader Caroline Lucas; the historian Sir Anthony Seldon; and Labour MP and health minister Karin Smyth.

Alu calls about book banning and censorship :: immigration and detention :: skeeter gets slippery with the definitions :: Tim in FL calls about "reputable sources" :: Sarah in NM calls about "public financing" :: Jerome calls about immigrants and crime :: JR (David in NM) calls about accessibility features on iphone :: 2025-06-29 Hosts: Stu, Riley

Is Trump suffering from "Libertarian Derangement Syndrome? :: Skeeter - our consensus is narrow what if's don't resemble real market actions :: Victory in the Free State as NH does away with annual vehicle inspections :: Caller doesn't think Skeeter is good at talking through his message, want's to talk to him offline :: Riley is baking bread for his friends and neighbors without government intervention :: Sarah wants to support Chuck Colson's prison fellowship ministry :: We discuss steps you can take to make sure you're not getting taken in charitable giving :: 2025-06-28 Hosts: Chris R., Mr. Penguin, Riley

This is an interview from Porcfest of Angela McArdle, former Chair of the Libertarian Party who got the deal with Trump that ultimately freed Ross Ulbricht from a lifetime sentence in a supermax prison for starting a website and having libertarian beliefs. Bonnie and Angela talk Porcfest, what Angela is up to now and her story of going to Trump and asking for him to pledge to free Ross. Also, Mises Caucus, Can leftists learn economics?, Kids who will actually grow up libertarian, and asking Trump to free the other hostages of the war on Crypto. Thank you for your attention on this matter.

Jody Underwood of EdOpt.org sits down with Bonnie from a campground during Porcfest to talk about everything she knows about schooling in the Free State. She gets into some surprising details about the state's Education Freedom Accounts, homeschooling requirements in NH and how her new organization can help parents. Jody and her husband famously were part of the school board in Croyden, NH that successfully cut the school budget in half by a vote. Then, the town leftists organized against them to undo that vote and called more expensive education a win. It caused a huge conversation to be started on why government schools need to be so expensive when other options get the job done for less. Jody is very knowledgeable about the options parents have and is very passionate about helping.

In this episode, Robin Fleming and Sam Leggett discuss their work on an early fifth-century cemetery in the English village of Alton. Using bioarchaeological evidence from bones and teeth, they have made precise discoveries about the diets of individuals buried at Alton, their states of health, and even the ages at which they migrated from wetland ecosystems down tot he drier territory of the South Downs. Fleming and Leggett's analysis helps to revise and refine long-held ideas about barbarian invasions and the fall of the Roman Empire.For more information, visit www.multiculturalmiddleages.com.

FTL2025-06-29 by Free Talk Live

Is Trump suffering from "Libertarian Derangement Syndrome? :: Skeeter - our consensus is narrow what if's don't resemble real market actions :: Victory in the Free State as NH does away with annual vehicle inspections :: Caller doesn't think Skeeter is good at talking through his message, want's to talk to him offline :: Riley is baking bread for his friends and neighbors without government intervention :: Sarah wants to support Chuck Colson's prison fellowship ministry :: We discuss steps you can take to make sure you're not getting taken in charitable giving :: 2025-06-28 Hosts: Chris R., Mr. Penguin, Riley

On episode 137 of Anarcho Agenda, I talk about Fork Fest, the Porcupine Freedom Festival pre-party, and I interview a couple friends. Subscribe via this link, or where ever pods are cast. Take back your privacy by visiting my sponsor Think Penguin. This podcast is covered by the BipCot NoGov license. This allows use and re-use by anyone except governments and government agents. Learn more at https://bipcot.org Support me on Patreon: Send Bitcoin: 1MnoYoPirXQHfhknDxbDHhLsF9u7kUggKy Send Bitcoin Cash: qpp62s8uupdqkrfew7vgp805pnsh5jk2ncnfkndwrd Send Dash: XpApo1jcPzTJyLLB6G8GJ7DoW9CGjcV5xT Send Ether: 0xFb1a23163bea743BB79B93849D864ad070597855 Send Lightcoin ltc1q6ygsamrkwl0at93datyqfh47z4crg4jkg4fx30

This show was supposed to air Saturday, June 21, 2025 while the crew was at Porcfest. There were technical difficulties that Bonnie is still working out with Ian over slow prison email. The cause hasn't been figured out yet, but the following weekend will be a normal live show and that will air as normal. No ads for anyone this show because it's the least we could do for getting it out late! Thanks for listening. Porcfest is the annual libertarian camping festival held at Roger's Campground in New Hampshire. Thousands of libertarians from all over descend on the campground to live in peace for a week away from government tyranny. Cryptocurrency and precious metals are spent on vendor's wares, public speeches are given and listened to and private meeting up and bonding is done between liberty lovers. This episode displays what we love so much about the goal of bringing as many like-minded individuals together. Does this appeal to you? Come visit New Hampshire! Check out the FSP calendar! TJ THE SPY BACK :: FBI CANT KISSY KANOODLE WITH DEFENDANTS :: TJ ‘s TIME IN THE NSA :: UNDERLYING MATH OF BITCOIN :: BEING FRIENDS WITH NORMIES OR NOT :: OPEN CARRYING GUNS :: GUN SAFTEY :: ZEPHAN ON BITCOIN 2025 CONFERENCE :: LIGHTNING NETWORK HAS GOTTEN BETTER :: DAY TO DAY LIFE AS LIBERTARIANS IN NH :: ROSS ULBRICHT WAS TARGETED FOR HIS LIBERTARIAN VIEWS AND SPREADING BITCOIN :: TARAS FROM AUTONOMY :: GRAND THEFT WORLD :: HELPING PEOPLE BUILD SKILLS :: IS AUTONOMY A CULT? :: WHY IS TARAS MOVING TO NH? :: SPREAD BITCOIN, SPREAD PEACE :: INDONESIAN HYPER INFLATION AND GRTTING THEM BTC :: TRUMP WORSE THAN GEORGE BUSH :: WILL TRUMP RELEASE THE BITCOIN HOSTAGES? :: KAMALA WAS GOING TO PRICE FIX GROCERY STORES RHAT WOULD HAVE BEEN WORSE THAN TRUMP TARRIFFS :: ISRAEL IS A PROCY WAR FOR US :: ISTAEL SITUATION NOT AMERICA FIRST :: LIVING OFF JUST CRYPTO AND BEING A CRYPTO NOMAD :: ARTIST SAYS EFTS WERE USELESS :: TSA: AN EXERCISE IN COMPLIANCE :: 2025-06-21 Hosts: BONNIE, TJ THE SPY, ZEPHAN, TARAS, RILEY, ULYSSEES

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

FTL2025-06-15 by Free Talk Live

‘Without sensitivity there is no intelligence, and therefore no love. And where there is no love, there is no beauty.' This episode on Sensitivity has three sections. The first extract (2:38) is from Krishnamurti's second talk at Rajghat in 1967, and is titled: Most of Us Are Insensitive. The second extract (22:47) is from the second talk at Brockwood Park in 1969, and is titled: Extraordinary Sensitivity. The final extract in this episode (34:00) is from Krishnamurti's eighth talk in Saanen 1963, and is titled: The Highly Sensitive Brain. Each episode of the Krishnamurti podcast is based on a significant theme of his talks. Extracts have been carefully selected to represent Krishnamurti's different approaches to these universal and timeless topics. This episode's theme is Sensitivity. Upcoming themes are The Scientific and Religious Mind, Organisations, and The Heart. This is a podcast from Krishnamurti Foundation Trust, based at Brockwood Park in Hampshire, UK. Brockwood is also home to Brockwood Park School, a unique international boarding school offering a personalised holistic education. It is deeply inspired by Krishnamurti's teaching, which encourages academic excellence, self-understanding, creativity and integrity.  Please visit brockwood.org.uk for more information. You can also find our regular Krishnamurti quotes and videos on Instagram, TikTok and Facebook at Krishnamurti Foundation Trust. If you enjoy the podcast, please leave a review or rating on your podcast app.

Officially a riot in LA now that there's looting :: Apple and Addidas stores hit :: Protests spreading to other cities :: Rodney King riot comparisons :: Same playbook as the "Summer of Love" :: Growing up/ being young during SJW culture then Covid then BLM and now this :: DARE Program :: Trump to possibly invoke Insurrection Act :: Deportations are ramping up :: We're having a great Forkfest :: Why do libertarians move to New Hampshire? :: Are libertarians non-violent? :: The No Kings protests coming on Trump's birthday :: Israel bombed Iran :: Did the US get involved at all? :: WW3 closer than ever :: Trump's military parade birthday bash :: 2025-06-14 Hosts: Bonnie, Angelo, Mr.Penguin, Riley, Uber Jorge