Podcasts about happily

We are thrilled to welcome rockstar business coach Bill Gallagher, the founder of Scaling Coach, as our guest.  Bill has dedicated his career to helping entrepreneurs organize their lives, refine their leadership skills, and elevate their performance. He joins us today to share his journey, insights, and the story behind his impressive startup success. Tune in to learn the strategies that have helped countless leaders scale with confidence, clarity, and purpose! io: Bill Gallagher Bill Gallagher is a highly rated business coach whose passion is helping CEOs and entrepreneurs manage growth more effectively, restore order and sanity to their lives, and achieve greater growth or faster growth. With over 40 years of entrepreneurial and executive experience and 20 years of coaching and training leaders seeking to enhance their leadership and performance, he now works with leaders and teams in more than 31 cities across 15 countries. He has led four companies as CEO/owner and was a partner/executive in two others as they grew from startup to more than $550 million in annual revenue. A former DJ and radio executive, Bill hosts the Scaling Up Podcast. In his free time, he is an avid surfer, sailor, skateboarder, pilot, scuba enthusiast, and recovering triathlete. Happily married for 30 years, he and his wife, Lori, live in the Oakland Hills and are parents to two very successful young adult entrepreneurs. Connect with Eric Rozenberg On LinkedIn Facebook Instagram Website Listen to The Business of Meetings podcast Subscribe to The Business of Meetings newsletter Connect with Bill Gallagher On his website Scaling Up Business (Podcast) Email: Bill@scalingcoach.com  LinkedIn  

Darcey is still happy and horny, salivating over a turkey leg at a carnival; Miami Fight House ensues as Andrei issues a Moldovan ultimatum; Gino finds a Natalie in VIEGUS. Sign up for our premium podcast feed with 3x the content! Just go to ⁠⁠https://www.realitycraycray.com/⁠⁠ for a 30 second sign up for as little as $5, or if you already have a Patreon account, go to ⁠⁠http://patreon.com/realitycraycray⁠⁠.  Other Links: Instagram ⁠⁠https://realitycraycray.com/instagram⁠⁠ Leave us a review: ⁠⁠https://realitycraycray.com/review-us⁠⁠ Gift a Subscription: ⁠⁠https://realitycraycray.com/gift⁠⁠ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Happily, metro Phoenix has some great pizza places. Places? Joints? Choose your own colloquialism. Your favorite pizza place says a lot about you. So who has the best? Lucky for us, we have a way of figuring this out. The Arizona Republic's 2025 Phoenix Pizza Poll... This week on Valley 101, a podcast by The Arizona Republic and azcentral.com about metro Phoenix and beyond, host ⁠⁠Bill Goodykoontz⁠ chats with Endia Fontanez, the food and dining reporter for The Republic and the lucky winner of the contest, Jeff Carlberg. ⁠⁠Submit your question⁠⁠⁠⁠⁠ about Phoenix! Subscribe to ⁠⁠⁠⁠⁠The Watchlist⁠⁠⁠⁠⁠, our Friday media newsletter. Follow us on ⁠⁠⁠⁠⁠X,⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠Tik Tok⁠⁠⁠⁠⁠. Guests: ⁠Endia Fontanez, Jeff Carlberg Host: ⁠⁠⁠⁠⁠Bill Goodykoontz⁠⁠⁠⁠⁠ Producer: ⁠⁠⁠⁠⁠Abby Bessinger Learn more about your ad choices. Visit megaphone.fm/adchoices

Wherein Gino heads to Vegas for some secret fun and Jasmine struggles with her new reality. Darcey and Georgi celebrate a milestone. Kara and Guillermo face challenges. Loren and Alex host a heated barbecue that Elizabeth, Andrei, Jovi and Yara attend.—Please support us by giving us a 5-star review on Apple Podcast, Spotify, Amazon Music or any podcast app of your choice. Patron supporters get EXCLUSIVE content such us a live every first Monday of the month. Follow us! Instagram, X and TikTok: @docusweeties @justcallmewah @Chrislfarah Patreon.com/docusweeties (http://Patreon.com/docusweeties) Join us on our Facebook group!  https://www.facebook.com/groups/6702616296426962Become a supporter of this podcast: https://www.spreaker.com/podcast/docusweeties-with-chris-and-wah--6618122/support.

Chloe Cole, writer/director of the Happily Ava After social media horror ARG, joins the show to discuss this viral new project! Tune in for behind-the-scenes insights on how the project came together, along with a discussion on film inspirations like The Entity and playing with form / pushing boundaries in the horror space.Check out the immersive project on Instagram/TikTok through these handles:@avakatmills @_justmemaddie @americangirldahlia @bravely_robin @piperisabadtexter @soothiesaysJoin the Happy Harvest Horror Show Book Club on our⁠⁠⁠ Discord channel⁠⁠⁠!Theme music by Brendan Dalton // https://www.brendan-dalton.com/

Want to sound more like a native English speaker? In this fun lesson, we explore 13 common idioms with the word “arm” — like cost an arm and a leg and twist your arm.

Sometimes the most impactful horror is watching someone choose their own cage. Comments? Join our discord at https://discord.gg/mqbYZSxZHc. Email us at vaultveritas@gmail.com.

Send us a textIn this episode of the Village Church sermon podcast, Pastor Eric concludes the series on Ruth by asking a hard question: Why? Why did Naomi have to lose her husband and sons before experiencing blessing? Why does suffering come first? This reflection opens up a conversation about hope, the shape of an epic life, and the promise of happy endings. Pastor Eric highlights Boaz as the Redeemer who points to Jesus—and as a picture of how we, too, can live as representatives of Christ in the world.Support the showThe Village Church's sermon podcast is more than just a weekly message. It is an invitation into the great and ongoing story of God's work in the world. Pastors Eric, Mark, Susan, Daniel, and other leaders open the Scriptures not as a collection of abstract ideas but as the living, breathing witness to God's kingdom breaking into our midst. Each episode is a call—not merely to listen, but to take part, to step forward into the life of faith with renewed vision and purpose. Week by week, the pastors and leaders explore the deep rhythms of Christian discipleship—prayer, fasting, generosity—not as isolated duties but as part of a larger, richer, and more beautiful whole. They unpack these ancient practices in light of Jesus himself, the one in whom heaven and earth have come together. But they also turn their attention to the realities of everyday life—relationships, finances, the struggles and joys of being human—demonstrating how the gospel is not merely about what we believe but about how we live as God's renewed people in the present age. The Village Churchvillagersonline@gmail.comMore information at www.villagersonline.com

In this announcement, Chelsea shares her decision to take a summer break from the podcast to focus on personal growth, family time, and self-reflection. While the show pauses, the community's safe space continues, and Chelsea promises to return in early September with fresh perspectives and new stories about love, loyalty, and authenticity. She encourages listeners to use this hiatus as their own opportunity for self-discovery and self-care.SUBMIT YOUR OWN STORYhttps://www.theotherwomanandthewife.com/submitASK US A QUESTIONWe answer questions from other women and wives on our podcast:Submit yours hereHOW WE CAN HELPJoin the Other Women Community: Use Code PODCAST to receive $10 off a community membershipApply for 1:1 CoachingOUR LINKSWebsite: https://towtw.com/Instagram: https://www.instagram.com/theowandthewife/TikTok: https://www.tiktok.com/@theowandthewife

Pastor Kevin Thompson offers practical advice for maintaining a healthy and happy marriage in a discussion based on his book Happily: 8 Commitments of Couples Who Laugh, Love. Receive the book A Rebel’s Manifesto plus a free audio download of “Laughing, Loving, and Lasting With Your Spouse” for your donation of any amount! Get More Episode Resources If you've listened to any of our podcasts, please give us your feedback.

The greater glory of Jesus always attracts, always draws people near. -------- Thank you for listening! Your support of Joni and Friends helps make this show possible.     Joni and Friends envisions a world where every person with a disability finds hope, dignity, and their place in the body of Christ. Become part of the global movement today at www.joniandfriends.org   Find more encouragement on Instagram, TikTok, Facebook, and YouTube.

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

Today I am throwing out the wellness myths, the silly trends, and celebrating the freedom that comes from finally understanding what works—and what's just hype. Here's the truth: most women over 50 have tried all the things—Keto, detox teas, bulletproof coffee, the ab roller and thigh master, chronic cardio—you name it. But today? We're smarter. We're done chasing trends. And the FASTer Way is not a trend—it's science-backed, sanity-saving, and actually sustainable long term. Join me today to look at the wellness trends that are no longer trendy, because they never worked in the first place.   CONNECT with Amy Bryan any of the following ways:  ENROLL in my next FASTer Way 6-week online class at https://www.fasterwaycoach.com/AMYBRYAN SCHEDULE a discovery call, VOICE MESSAGE me, JOIN my free Facebook community group, and DOWNLOAD my latest freebies at www.linktr.ee/amybryanfasterway Email me at amy@fatlossschool.net 

TW: This episode covers a book about PPD. We also talk a lot about our own personal journeys dealing with PPD. What's up book nerds?!?Welcome to Season 3! This week we have Author Jane Hayes, who stopped by to chat!If you enjoy this episode, please go give us a rate and review. It does wonders for us small podcasts!!!Don't forget to visit our website and subscribe to our newsletter  for all the latest updates and fun extras!As always- some links can include affiliate links (no cost to you, just helps pay for podcast expenses)To Connect with Jane:Jane's WebsiteInstagramTo Connect with Cortney:InstagramYouTubeAudible Free TrialSupport this podcast at — https://redcircle.com/what-the-smut-are-you-talking-about/exclusive-content

Leadership. Heart. Grit. And all under the age of 40. Those are just some of the defining traits of the 2025 Class of Westfair Business Journal's 40 Under Forty honorees. Nearly 200 guests gathered on Thursday, June 12, 2025, at Serafresca at The IC in Stamford, Connecticut, to celebrate these rising stars, recognized for their resilience, innovation, and community impact. The event, launched in 2006 by Westfair Communications, shines a spotlight on young leaders making a difference across Fairfield County. Westchester Talk Radio was on site, with host Joan Franzino speaking with 40 Under Forty honoree Jaclyn Gartner, Founder and President of Happily Furever After Rescue, about her mission to save animals and inspire compassion through her nonprofit organization.

Content Warning: talk of death by suicideDr. Laura welcomes Nick Jonsson, Certified Master Coach, keynote speaker, and author of the best-selling book “Executive Loneliness: The 5 Pathways to Overcoming Isolation, Stress, Anxiety, and Depression in the Modern Business World”, to the show to examine mental health, especially in leaders. Nick shares his personal story of loss of confidence, mental health challenges, and a spiral into addiction in a vulnerable illustration of how he learned the necessity of sharing and support to facilitate recovery. Sober and healthy today, Nick's drive is to share his story so others can find the strength to break out of loneliness like he did. Nick and Dr. Laura dive deep into the truth about loneliness on an executive level, the prevalence of death by suicide among men, and why support groups are vital for a healthy life before we ever hit addiction. Nick is honest about how difficult it is to be vulnerable, but how life-changing it also proves to be. He shares stories from his coaching, his book, and the culture he currently nurtures in his company. His definition of spirituality is “accepting the things we are not in control of,” and he uses spirituality as a way to connect with people and continue to thrive in recovery and assist others to do the same.“I mean, it's uncomfortable to be vulnerable, but we can practice that. And I talk a lot about the vulnerability muscle, and that it's like going to the gym. We train our muscles. We need to do that with vulnerability as well. And it's about starting small. And I was fortunate that I had a drinking problem, because that brought me to the 12-step programs. And over the years, I've been to almost a thousand of these meetings. Perhaps the first 100, I needed the help. The rest of the 900 were for me to give back and help others. And that has kept me on this path of being vulnerable, sharing my challenges, and no matter what is on my mind, I will come in there and I will share what the challenge is and I will leave the meeting feeling better.” Nick JonssonAbout Nick Jonsson:Nick Jonsson's narrative is a compelling tale of success, adversity, and authentic triumph. Initially driven by societal expectations and a desire to meet external standards of success, Nick led major international firms before facing a period of profound adversity. He confronted personal and professional crises, including executive loneliness, addiction, and the loss of a close friend to suicide. This sparked a transformative journey.    From these challenges, Nick emerged with a redefined purpose and a commitment to holistic success. He authored the best-selling book "Executive Loneliness: The 5 Pathways to Overcoming Isolation, Stress, Anxiety, and Depression in the Modern Business World," which draws on his personal struggles to guide others facing similar challenges.  As a Certified Chief Master Coach (CCMC) and a Certified ICF Coach (ACTP), Nick Jonsson excels in executive coaching, empowering business leaders to enhance their effectiveness and become better leaders in their professional environments. Through life coaching, he helps individuals discover their purpose and craft their legacies, offering comprehensive guidance that addresses both personal aspirations and professional development. Celebrating six years of sobriety, Nick is also an accredited Sober Coach by the Sober Club in the UK, specializing in supporting grey zone drinkers to make transformative lifestyle changes.  Furthermore, Nick founded a weekly men's group, creating a supportive space for men to connect, grow, and thrive. He is also the co-founder of EGN, the largest peer network for executives in Southeast Asia. His impact extends through his roles as a coach, speaker, and Ironman Top 2% World Age Group Athlete. His advocacy for mental health, physical wellness, and emotional well-being stems from his experiences and his commitment to helping others achieve holistic success.  Today, Nick gives back to society not only through his advocacy but also as a fundraiser and volunteer for a suicide prevention agency. He is actively involved in coaching other business executives to overcome loneliness, addiction, and to find their life purpose and write their legacy.  Nick's dedication to mental health advocacy was recognized when he was a finalist for the International Mental Health Campaigner of the Year at the InsideOut Awards in London, in 2021, and he won the Sabre PRovoke Award for Southeast Asia in the same year.  Nick is an award-winning keynote speaker and workshop facilitator. He has been featured on over 100 international podcasts discussing his journey to assist others and has appeared in more than 30 newspapers and magazines, as well as on radio and TV.  Happily married and with a son aged 15, Nick Jonsson stands as a testament to the power of resilience and the human spirit. His journey from societal-induced success through adversity to a life of authentic achievement offers inspiration and a roadmap for those seeking to find their own path to genuine fulfillment.Resources:Website: NickJonsson.comBook: “Executive Loneliness: The 5 Pathways to Overcoming Isolation, Stress, Anxiety & Depression in the Modern Business World” by Nick Jonsson“The Art and Science of Connection: Why Social Health is the Missing Key to Living Longer, Healthier, and Happier” by Kalsey KillamRich Roll podcastLearn more about Dr. Laura on her website: https://drlaura.liveFor more resources, look into Dr. Laura's organizations: Canada Career CounsellingSynthesis Psychology

Send us a textFree Marketing Audit: MavenMarketingAudit.comMaven Method Training: MavenMethodTraining.comOur Website: https://frankandmaven.com/Instagram: https://www.instagram.com/frankandmavenmarketing/TikTok: https://www.tiktok.com/@frankandmavenTwitter: https://twitter.com/frankandmavenLinkedIn: https://www.linkedin.com/company/frank-and-maven/Host: Brandon WelchCo-Host: Caleb AgeeExecutive Producer: Carter BreauxAudio/Video Producer: Nate the Camera GuyDo you have a marketing problem you'd like us to help solve? Send it to MavenMonday@FrankandMaven.com!Get a copy of our Best-Selling Book, The Maven Marketer Here: https://a.co/d/1clpm8a

  One of the most vexing societal problems of the modern, social media-driven era is the ongoing crisis in youth mental health. The latest data on the number of children who suffer from depression and other symptoms – and who even contemplate or attempt suicide – are staggering. Happily, a small ray of light in […]

Hey gang, how are you doing this fine evening?Can we take a break from news and rumors for a moment? Let's just have fun playing pinball. It's late at night here in the Doncade and I'd like to share some pinball experiences with you.I love to hear from you guys. Let me know what you're playing at the moment and what makes you happy about pinball.email the Donster! donspinballpodcast@gmail.comJoin the paatreon for wacky fun times and giveaways!patreon.com/donspinballpodcast

When you think of Artificial Intelligence, does it inspire confidence, or concern?Although it's now generally accepted that this technology will play a major role in our future, a lot of conversations around AI and machine learning come back to the argument over us losing control and robots taking over. Happily, Neil Lawrence has a more optimistic view of the power of AI, and how we might navigate the potential pitfalls. Neil is the DeepMind Professor of Machine Learning at the University of Cambridge, and over the course of his career has been involved in deploying AI and machine learning in both academic and commercial scenarios, with a stint at Amazon as well as working across fields as varied as movie animation, Formula 1 strategy, and medical research.Speaking with Professor Jim Al-Khalili, Neil says ultimately his efforts are all about making a difference to our everyday lives - and that we need to learn how to embrace AI, albeit with a healthy dollop of scepticism; not least when it comes to how our data is used, and the power of 'the digital oligarchy'...Presented by JIm Al-Khalili Produced for BBC Studios by Lucy Taylor

The False Promise of Happily Ever After :: [Ep. 272]Join us this week as we debunk the entitlement myth that pervades modern marriages. We are challenging couples to reevaluate their lives through the lens of God's purpose rather than personal paradise. We will explore how cultural expectations and fairytale narratives create dangerous assumptions about what marriage should provide.We will be talking about the following:• Marriage wasn't designed to be perfect—it was designed to be purposeful• God created marriage for dual purposes• The pursuit of earthly paradise leads to disappointment and destructive behaviors• Nothing on earth was meant to be permanent or fully satisfying• Shifting our expectations from spouse-centered to God-centered• Action steps needed to move forward in the right directionWe hope you are helped and encouraged! Be sure to join us next week for part four of the Powerful Pursuit series: "Why Your Spouse Should Be Your Closest Friend."Support the showFor episode transcripts, click HERE.For more marriage encouragement, visit: www.VowsToKeep.com | V2K Blog | Marriage Counseling | Insta | FBApple Podcast listener? Would you consider leaving us a review, as this helps more couple's to find our resources?! Leave your review HERE.

Everyone wants to have a care-free life with the perfect job, the perfect spouse, perfect children and to never have any problems or worries. Yet we all know that never happens. But I know a secret!Support the showSupport our ministry by clicking "Support the show" above where you will be directed to our website. You will find a "Donate" button at the bottom of the page. Thank you and God's blessings.Dr. Debra Peppers, "Dr Pepper" https://saltandlightministry.com/

This podcast introduces two works by Karl Weigl (1881-1949), his Symphony No. 3 and the Symphonic Prelude to a Tragedy. Both were written at the beginning of the 1930s but then suffered from decades of neglect. Weigl drew on the sound world of late Romanticism, never abandoning this aesthetic in favour of more progressive contemporary trends. Happily, his distinctive style can now be savoured in these long-awaited world premiere recordings. Raymond Bisha presents.

"Feel Good Now" Alright, let's get the spicy stuff out of the way; yes, the Loft split up onstage in front of 3,000 people while opening for the Colorfield at the Hammersmith Palais. That happened. But a lot happened before and a lot has happened after, so let me catch you up. Formed in 1980, The Loft were one of the first bands signed to Alan McGee's Creation Records. Their wistful pop had jangle and nerve and they tore out of the gates cramming their resume with notable achievements for McGee's lable like being the first Creation band to appear on television, the first top the indie singles chart, the first to be invited on to a major UK tour and the first to record a Janice Long BBC radio session. The Loft were poised to be a huge band, but the public split came before their first album was ever released and so fans could only be left to wonder what might have been had they been able to just get a record on the shelves. Compilations like Magpie Eyes and Once Around The Fair were released over the years, but as we know, great as they may be, it's not the same thing. Singer Pete Astor and drummer Dave Morgan went on the form the Weather Prophets, while guitarist Andy Strickland formed The Caretaker Race and bassist Bill Prince formed The Wishing Stones. Happily, the ice that forms after an argument started to thaw and the Loft slowly drifted back to each other. I'll let Andy and Pete tell you that story, but let me just say this. We're so lucky that it did because the band's debut album is one we finally get to hear and it was well worth the wait. The ten songs on Everything Changes, Everything Stays The Same are perfectly crafted pop gems with spry rhythms, jangling beauty and melodic mastery. I love this record. Pete's been on the show before, and he's a lovely guy to chat with, but having him back with Andy was a real treat. www.tapeterecords.de (https://www.tapeterecords.de) www.bombshellradio.com www.stereoembersmagazine.com (http://www.stereoembersmagazine.com) www.alexgreenbooks.com (http://www.alexgreenbooks.com) Stereo Embers The Podcast IG + BLUESKY: @emberspodcast Email: editor@stereoembersmagazine.com (mailto:editor@stereoembersmagazine.com)

It's wedding season. The time for white dresses, vows, and dreams of a long happy marriage. But beware: fairy tale weddings can hide deadly secrets. Behind the veil, not every story ends in ‘happy ever after'. Some promises come with curses. Some “I do's” lead to murder. In this collection, love isn't always a blessing, it can be a curse waiting to strike. First, the ring chooses love Followed by legacy of terror Finally in our last story, vows, blood and betrayal Learn more about your ad choices. Visit megaphone.fm/adchoices

Life isn't a fairytale where every problem can be solved with the wave of a wand, and then we all get to live happily ever after. No, the problems we face in this world are big and complicated, so it can take a long time to make any progress on solving them. So our calling, as followers of Jesus, isn't to give up when things don't happen quickly. Our calling is to stand firm, no matter how long it takes.

Cooperate with God in redeeming your marriage! Dannah Gresh will encourage you to stop pretending everything's OK, to let the Lord strengthen you, and to fight for your husband rather than with him. Discover seven beliefs essential to marital survival and participate in your spouse's redemptive journey. You'll acquire a love that endures as Christ heals the broken places in your union.Become a Parshall Partner: http://moodyradio.org/donateto/inthemarket/partnersSee omnystudio.com/listener for privacy information.

 This week on The VCR Show: Vara and Roxy venture into the shadowy woods  of storytelling as they explore the darker side of classic fairy tales. From the grim origins of the Brothers Grimm  to the twisted truth behind Pinocchio , the duo unpacks the eerie elements that Disney left behind. Grab your lantern  and stay on the path—these fairy tales aren't for the faint of heart .  Image credits:Concept by Vara and Roxy. Illustrations created by ChatGPT with DALL·E, courtesy of OpenAI. Tune in and find out — are you Team Roxy or Team Vara on this one?Follow Roxy: TikTok: ⁠⁠⁠⁠@Thepoproxx⁠⁠⁠⁠ Instagram: ⁠⁠⁠⁠@Poproxx428⁠⁠⁠⁠ Facebook: ⁠⁠⁠⁠Roxy Perez - Curvy Model⁠⁠⁠⁠Follow The VCR Show: Website: ⁠⁠⁠⁠TheVCRShow.com⁠⁠⁠⁠ Email: ⁠⁠⁠⁠thevcrshow@gmail.com⁠⁠

If you've ever dreamed of a hospital stay just to get a break (guilty!), this episode is for you. Sarah and I crack open the truth about how we ignore our body's whispers until they start screaming - whether it's migraines, burnout, or a mysterious case of adult-level grumpiness. From feather nudges to metaphorical Mack trucks, we explore how our bodies are basically yelling, “Stop volunteering for crap you hate!” We talk about: Why self-care isn't selfish (and might just save your sanity). “Feather, rock, truck” – the escalation path of ignoring your intuition. How resentment and migraines might be soul-siblings. Ditching the “busy badge” and choosing joy instead. Reclaiming the right to do absolutely nothing (and love it). Why being awkward and honest beats perfection every time. This episode is full of real talk, belly laughs, and gentle-but-firm reminders to check in with your own damn needs before your body checks you into a hospital. Find out more about Sarah: https://www.thejuicygoodlife.com/ Check out Sarah's Book, Worth the squirm: https://www.thejuicygoodlife.com/books Find out more about Suzanne here: https://www.suzanneculberg.com For exclusive content, including a private solo podcast, join Suzanne's Patreon here: https://www.patreon.com/suzanneculberg Enjoy my podcast? You'll love my emails, sign up here: https://www.suzanneculberg.com/newsletter Join Networking without Schmooze with Laura & Suze, Register here - https://networkingwithoutschmooze.substack.com/ Want to be a guest on The Nope Coach podcast? Send Suzanne Culberg a message on PodMatch, here: https://www.podmatch.com/hostdetailpreview/thenopecoach  The Nope coach Suzanne Culberg teaches you how to put yourself first without feeling selfish, by setting healthy boundaries and reclaiming the unapologetic badass you long to be. Contact Suzanne here: https://www.suzanneculberg.com/contact   Quotable Moments: “If you don't listen to your body's whispers, you'll end up hearing it scream.” “Highly judged? Yes. Happily rested? Also yes.” “Migraine or Maldives? Either way, your body is asking for a break.”

Make an effort to carry your cross with the attitude of Christ—and think of others, no matter what the circumstances. -------- Thank you for listening! Your support of Joni and Friends helps make this show possible.     Joni and Friends envisions a world where every person with a disability finds hope, dignity, and their place in the body of Christ. Become part of the global movement today at www.joniandfriends.org   Find more encouragement on Instagram, TikTok, Facebook, and YouTube.

If you revisit all the beaches where you built sandcastles in the sun, chances are, you'll never even find a one.  The constant pull of wash and wave reduces all the outposts where we once asserted sovereignty. Our turrets and our towers, our moats and battlements have long since lost the struggle to insist on what was never really ours. And so it is as grace subdues the castles of our pride and self-assertion. The lovely, unrelenting rhythm of God's kindness and His mercy overruns our fierce objections and erodes our staked positions. While we were sleeping at our stations, we were flooded by forgiveness, cracked and circled by repeated offers of redemption. And for many—all who acknowledge they are beaten—grace reclaims a life that always was the property of God. Unless you build cement into your soul—unless you daily and deliberately refuse the pull of God's unceasing love—you'll yet surrender to the grace that outmaneuvers all our pride. With the apostle Paul, you'll soon exclaim, “But I received mercy because I had acted ignorantly in unbelief, and the grace of our Lord overflowed for me with the faith and love that are in Christ” (1 Tim 1:13-14). There is an hour for yielding crumbling fortresses to grace. Your hour has come. The tide is in. Rejoice in what you used to fight. And stay in grace. -Bill Knot

If you revisit all the beaches where you built sandcastles in the sun, chances are, you'll never even find a one.  The constant pull of wash and wave reduces all the outposts where we once asserted sovereignty. Our turrets and our towers, our moats and battlements have long since lost the struggle to insist on what was never really ours. And so it is as grace subdues the castles of our pride and self-assertion. The lovely, unrelenting rhythm of God's kindness and His mercy overruns our fierce objections and erodes our staked positions. While we were sleeping at our stations, we were flooded by forgiveness, cracked and circled by repeated offers of redemption. And for many—all who acknowledge they are beaten—grace reclaims a life that always was the property of God. Unless you build cement into your soul—unless you daily and deliberately refuse the pull of God's unceasing love—you'll yet surrender to the grace that outmaneuvers all our pride. With the apostle Paul, you'll soon exclaim, “But I received mercy because I had acted ignorantly in unbelief, and the grace of our Lord overflowed for me with the faith and love that are in Christ” (1 Tim 1:13-14). There is an hour for yielding crumbling fortresses to grace. Your hour has come. The tide is in. Rejoice in what you used to fight. And stay in grace. -Bill Knott

In this candid episode, I sit down with Dr. Elliot Justin—emergency physician turned sex tech innovator—to talk erectile fitness, aging erections, and why the humble c*ck ring might just be the unsung hero of midlife pleasure. From horse accidents and centaur metaphors to revolutionary wearable tech, this episode explores the real (and often overlooked) science behind erections and the emotional toll of performance anxiety. If you're ready to shift shame, embrace better tools, and reignite connection with your partner—this one's for you.Timestamps:00:00 – Introduction01:40 – Meet Dr. Elliot Justin & his journey from ER to sex tech04:00 – The horseback accident that changed everything06:15 – What erectile dysfunction really means (and doesn't)08:20 – Why most cck rings don't work — and how FirmTech changed that11:00 – The confidence-erection connection no one talks about13:30 – Why your partner's erection is a health signal15:50 – Can data actually improve erections? (Yep.)18:00 – RingMate: The pleasure product designed for her20:10 – Redefining what counts as sx22:00 – Final thoughts on pleasure, performance & partnershipKaren Bigman, a Sexual Health Alliance Certified Sex Educator, Life, and Menopause Coach, tackles the often-taboo subject of sexuality with a straightforward and candid approach. We explore the intricacies of sex during perimenopause, post-menopause, and andropause, offering insights and support for all those experiencing these transformative phases.This podcast is not intended to give medical advice. Karen Bigman is not a medical professional. For any medical questions or issues, please visit your licensed medical provider.Looking for some fresh perspective on sex in midlife? You can find me here:Email: karen@taboototruth.comWebsite: https://www.taboototruth.com/Instagram: https://www.instagram.com/taboototruthYouTube: https://www.youtube.com/@taboototruthpodcastAbout the Guest:Elliot Justin, MD, FACEP, is the CEO and Founder of FirmTech, the first sex tech company dedicated to improving men's erectile fitness. He has a background in Emergency Medicine and healthcare technology consulting. Dr. Justin is also a serial healthcare entrepreneur, having founded and sold Pegasus Emergency Group and Swift MD. He has provided guidance to various services, telemedicine, and tech startups. Dr. Justin pursued Slavic Studies at Harvard University and studied medicine at Boston University. Happily married for 35 years, and father of three children, Elliot and Ann live in Montana with three energetic mares and a flock of chickens.Connect with Elliot Justin, MD:Instagram: @doctorelliotjustin @myfirmtechWebsite: https://myfirmtech.comEnjoy 15% off with code TABOO15 using this link: https://myfirmtech.com/karenbigmanKaren Bigman, a Sexual Health Alliance Certified Sex Educator, Life, and Menopause Coach, tackles the often-taboo subject of sexuality with a straightforward and candid approach. We explore the intricacies of sex during perimenopause, post-menopause, and andropause, offering insights and support for all those experiencing these transformative...

Join us as we dive into the world of Science Fiction and Fantasy, counting down our favorite SFF shows and movies that we just can't get enough of! From epic space battles to magical quests, we're exploring these gems of the genre and discussing what makes them so unforgettable. Whether you're a fan of Star Wars, Lord of the Rings, or something entirely new, this episode is for you! So grab some popcorn, settle in, and let's geek out over those iconic SFF shows and movies that we love to watch again, and again, and again!#FantasyForTheAges #readingrecommendations #scifi #sciencefiction #fantasy #fantasyfiction #MovieAdaptations #TVAdaptations #SFF #booktube #booktuberWays to connect with us:Support us on Patreon: https://www.patreon.com/FantasyForTheAges Follow Jim/Father on Goodreads: https://www.goodreads.com/user/show/13848336-jim-scriven Join us on Discord: https://discord.gg/jMWyVJ6qKk Follow us on "X": @Fantasy4theAges Follow us on Blue Sky: @fantasy4theages.bsky.socialFollow us on Instagram: fantasy_for_the_ages Follow us on Mastodon: @FantasyForTheAges@nerdculture.de Email us: FantasyForTheAges@gmail.com Check out our merch: https://www.newcreationsbyjen.com/collections/fantasyfortheagesJim's Microphone: Blue Yeti https://tinyurl.com/3shpvhb4 ————————————————————————————Music and video elements licensed under Envato Elements:https://elements.envato.com/

Mike Kocolowski's early years were formed by scarcity as part of a large family with little income. But a call to ministry in his twenties led him to take radical steps on a faith journey to trusting God with his finances and tackling many of the most common barriers to generosity. As the Chief Stewardship Officer of Christian Financial Resources, Mike has been working with churches for decades to deepen their passion for generosity and to approach the topic of finances with a healthier, biblical perspective.    In his book Happily Generous, Mike invites people to connect with God as the Great Giver, addresses the major barriers to generosity, and provides a spiritual framework to help people understand the tangible joy that comes from a generous life.   Major Topics Include: Mike's background and calling to vocational ministry Recognizing seeds of generosity in the midst of scarcity The cumulative effect of small, generous acts How God set the stage for what Mike does today Backstory and current goals of Christian Financial Resources Advice for experiencing happiness in generosity Translating God's generosity into your daily life Growing in generosity while writing his book Tips to transition from a scarcity mindset to an abundant mindset Encouragement for pastors on the topic of generosity  An invitation to start each day with gratitude QUOTES TO REMEMBER “If you trust Me for your salvation, can you trust Me for your finances too?” “We all have room to grow in the area of generosity, it doesn't matter if you've been tithing since you were two years old or you've never given away a dime.”  “The road to happiness is paved with generosity.” “The manifestations of God's generosity are endless.” “If we accept the premise that God's the great giver and we're crafted in His image, we will realize that generosity resides in our DNA. We are genetically designed to give.” “The happiest people I know are the most generous. And the most generous people I know are the happiest.” “Love gives.” LINKS FROM THE SHOW Christian Financial Resources Happily Generous by Mike Kocolowski The Finish Line Community Facebook Group The Finish Line Community LinkedIn Group BIBLE REFERENCES FROM THE SHOW Deuteronomy 8:18 | The Power to Get Wealth   You shall remember the Lord your God, for it is he who gives you power to get wealth, that he may confirm his covenant that he swore to your fathers, as it is this day.   Acts 20:35 | More Blessed to Give   In all things I have shown you that by working hard in this way we must help the weak and remember the words of the Lord Jesus, how he himself said, ‘It is more blessed to give than to receive.'”   James 1:17 | Every Good and Perfect Gift   Every good gift and every perfect gift is from above, coming down from the Father of lights, with whom there is no variation or shadow due to change.   John 3:16 | He Gave His Only Son   “For God so loved the world, that he gave his only Son, that whoever believes in him should not perish but have eternal life.   Romans 12:2 | Renew Your Mind   Do not be conformed to this world, but be transformed by the renewal of your mind, that by testing you may discern what is the will of God, what is good and acceptable and perfect.   Psalm 23:1 | Lacking Nothing   The Lord is my shepherd; I shall not want.   Matthew 6:26 | Fed by the Father   Look at the birds of the air: they neither sow nor reap nor gather into barns, and yet your heavenly Father feeds them. Are you not of more value than they?   John 10:10 | Abundant Life   The thief comes only to steal and kill and destroy. I came that they may have life and have it abundantly. WE WANT TO HEAR FROM YOU! If you have a thought about something you heard, or a story to share, please reach out! You can find us on Instagram, Facebook, and LinkedIn. You can also contact us directly from our contact page. If you want to engage with the Finish Line Community, check out our groups on Facebookand LinkedIn.

Going Long Podcast Episode 523: Why I Happily Thank Corporate Life For My Optionality Mindset  ( To see the Video Version of today's conversation just CLICK HERE. ) In today's solo episode of The Going Long Podcast, you'll learn the following:   [00:17 - 01:19] Introduction to the show. [01:19 - 11:11] Billy explains why he is not anti-corporate but actually thankful for his time living the corporate life for starting him on the path towards having a fully developed optionality mindset, despite having eventually chosen to leave his corporate role.  [11:11 - 12:27] Billy wraps up the show.   Today's featured Catch-Up episodes: G.L.P. Episode 457: Here's A Remarkably Simple Process That'll Reduce Your Anxiety: https://podcasts.apple.com/gb/podcast/episode-457-heres-a-remarkably-simple-process/id1518643887?i=1000669783626     G.L.P. Episode 453: How To Easily Identify The Number To Make Your Job Optional: https://podcasts.apple.com/gb/podcast/episode-453-how-to-easily-identify-the-number-to-make/id1518643887?i=1000670000907  Sign up for Billy's FREE course to learn how to make your corporate role optional in 5 proven phases at:  https://www.makeitoptional.com/ What you can expect to get out of this course: Learn How to Achieve Financial Optionality Gain True Control Over Your Career Turn Corporate Skills into Personal Assets With 26 years of experience in corporate sales leadership, achieved optionality through multiple income streams, Billy has helped dozens of executives build their paths to take control of their time. This free course gives you everything you need to identify, plan, and take control of your career while building financial optionality, leveraging your skills, and start living your IDEAL day - today! Go to: https://www.makeitoptional.com/   To see the Video Version of today's conversation just CLICK HERE.   How to leave a review for The Going Long Podcast: https://youtu.be/qfRqLVcf8UI     Be sure to connect with Billy!  He's made it easy for you to do…Just go to any of these sites:   Website: www.billykeels.com Youtube: billykeels Facebook: Billy Keels Fan Page Instagram: @billykeels Twitter: @billykeels LinkedIn: Billy Keels

Jasmine Guillory is a New York Times bestselling author of nine novels including 'The Wedding Date' and 'The Proposal.' Jasmine joins Jenna to talk about her captivating new romance novel 'Flirting Lessons,' how she stayed resilient and optimistic through a hundred rejections, and how she made the leap from law to literature—and found bestseller success. Plus, she gives her best book recommendations. 

Tired all the time? Mood all over the place? Period wrecking your week?But every time you get your labs done, it's the same thing: “Everything looks normal.”

Our guest today talks about how she no longer believes that ‘relaxation' is hot baths, massages or getting our nails done. Instead, relaxation is the deep, deep knowing that ALL IS WELL with our finances. Key Takeaways from This Episode: ► How to recreate a relationship with money from the inside out and step into a world of financial overflow ► How to live blissfully and abundantly ► Is it possible to create wealth without compromising our health, wellness and/or happiness? ► How 'healing' our finances might heal our trauma and be the missing puzzle piece to ultimate health! ---------------------------------------------------Money Coach, Hanna Bier, works with ambitious women from around the world to recreate their relationship with money from the inside out and step into a world of financial overflow. Known as the founder of Money Bliss and author of her new book, Wealth From Within, Hanna has led tens of thousands of private and group sessions and has helped hundreds upon hundreds of clients join her in living blissfully and abundantly. She spent seven years trying to answer the question: Is it possible to create wealth without compromising our health, wellness and/or happiness. Can we actually create abundant lives while living a life of joy? Happily, the answer is a resounding YES. And this is the work she now does with clients. -------------------------------------------- Learn More from Hanna Bier: ► Free Gift: 100 Ways to Make More Money Right Now: hannabier.kit.com/more-money ► Free Gift: The 10 Min Wealth Creation Ritual https://www.hannabier.com/wealth ► Hanna's new book: Wealth From Within: https://www.hannabier.com/book ► Website: https://www.hannabier.com/ ► Instagram: https://www.instagram.com/hannamoneybliss/

Get your copy of Nikki's book today on Audible, Amazon, Barnes & Noble, and through Bookshop.Org, where every purchase supports your local bookstore.Want a sneak peek of Nikki's book?  Download a FREE chapter!Today, we're revisiting what we loved about Nikki's conversation with Leisha Drews, a mom of three, RN, FDN-P, Holistic Hormone Coach, and host of the Happily Hormonal Podcast. Her unique understanding of how our body systems work together and how stress on the body and mind impacts overall health is a must-listen.You won't want to miss hearing her tips on having it ALL when it comes to health and motherhood and helping you restore energy, balance hormones, and feel good in your body again.Connect with Leisha on Instagram and be sure to take her FREE Hormone Imbalance Quiz to figure out where to begin on your journey to becoming happily hormonal! Support the showFollow Nikki on Instagram and Facebook! Wanna be on the show or sponsor an episode? Email your pitch to nikki@youridealmomlife.com.

Join host Blake Howard and a handpicked team of film experts as they ambush John Frankenheimer's RONIN (1998). Over 12 episodes, they'll explore the mysteries of the briefcase MacGuffin, praise co-writer David Mamet's tough, balletic dialogue, and break down the film's iconic action and chase sequences. Tune in because, as Sam says, 'Whenever there is any doubt, there is no doubt. That's the first thing they teach you.'BenDavid Grabinski, Jason Bailey and Jordan Harper, what's the colour of the boathouse at Hereford?Scene 4: 26.21-31.22BenDavid GrabinskiWriter/Director behind films like Happily and T.V series ARE YOU AFRAID OF THE DARK?, SCOTT PILGRIM TAKES OFF, and MIKE & NICK & NICK & ALICEJason BaileyFilm critic, historian, author, and podcaster (and host of Guide for the Film Fanatic)Jordan HarperJordan Harper is the Edgar-Award winning author of SHE RIDES SHOTGUN, THE LAST KING OF CALIFORNIA, EVERYBODY KNOWS and the short story collection LOVE AND OTHER WOUNDS.Join our Patreon for as little as $1 a month for an exclusive weekly podcast + access to the OHM discord here.ONE HEAT MINUTE PRODUCTIONSWEBSITE: ONEHEATMINUTE.COMPATREON: ONE HEAT MINUTE PRODUCTIONS PATREONTWITTER: @ONEBLAKEMINUTE & @KATIEWALSHSTX & @OHMPODSSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In all the talk about senior White House officials discussing military attack plans over the messaging app Signal (and accidentally invited a journalist to the chat), one detail is being overlooked: the impact of the attacks on Yemen. We’ll get into it. And, we’ll unpack the chilling effect the Trump administration is having on U.S. tourism. Plus, nobody remembers that embarrassing time you misspoke in a Zoom meeting, right? Here’s everything we talked about today: “Foreign Travelers Are Rethinking Travel to the U.S.” from The New York Times “Beyond the Signal fiasco, Trump's Yemen strategy needs more scrutiny” from The Washington Post “Here Are the Attack Plans That Trump's Advisers Shared on Signal” (gift link) from The Atlantic “Living Car-Free in Arizona, on Purpose and Happily” from The New York Times “The Ford Executive Who Kept Score of Colleagues' Verbal Flubs” from The Wall Street Journal “As Republicans Denounce NPR and PBS, Democrats Mock Hearing” from The New York Times Help Marketplace and Make Me Smart plan for an uncertain future. Donate now during our March fundraiser.

In all the talk about senior White House officials discussing military attack plans over the messaging app Signal (and accidentally invited a journalist to the chat), one detail is being overlooked: the impact of the attacks on Yemen. We’ll get into it. And, we’ll unpack the chilling effect the Trump administration is having on U.S. tourism. Plus, nobody remembers that embarrassing time you misspoke in a Zoom meeting, right? Here’s everything we talked about today: “Foreign Travelers Are Rethinking Travel to the U.S.” from The New York Times “Beyond the Signal fiasco, Trump's Yemen strategy needs more scrutiny” from The Washington Post “Here Are the Attack Plans That Trump's Advisers Shared on Signal” (gift link) from The Atlantic “Living Car-Free in Arizona, on Purpose and Happily” from The New York Times “The Ford Executive Who Kept Score of Colleagues' Verbal Flubs” from The Wall Street Journal “As Republicans Denounce NPR and PBS, Democrats Mock Hearing” from The New York Times Help Marketplace and Make Me Smart plan for an uncertain future. Donate now during our March fundraiser.

I may not be interested in the career my parents pushed me into, but I have them to thank when I meet my handsome boss on the first day of my internship after college graduation. He's the only man ever to spark my interest—some may say obsession. Hoping the old adage is true that the way to a man's heart is through his stomach, I spend the summer baking, searching for the recipe that will have my boss tasting and falling in love with more than just my desserts. A Taste of His Angel is a standalone, spicy short story featuring Shayla & Bailey's parents, Miranda & Sherman, which takes place nearly twenty years before The Guardian's Angel. All characters are 18+. Please read the Author's Note at the beginning of the book. Happily ever after guaranteed. Get the eBook: https://bit.ly/4jcI5Cr Amazon: https://bit.ly/4bTdqrh Their Angels Series: https://bit.ly/4bWKjTS Big Boys of Berenson Trucking: https://bit.ly/420AiRc ♥ ♥ ♥ AR – Patreon: https://www.patreon.com/AuthorAlexaRiley BRAND NEW ALEXA RILEY: https://bit.ly/3h0y68D AR Taboo: https://bit.ly/3YcaWwL ♥ ♥ ♥ RMR Website: https://bit.ly/3ifFIyw Weekly New Release: https://bit.ly/30iDete Follow Read Me Romance on Instagram: https://geni.us/uUVdVeY Join Read Me Romance Headquarters on FB: https://geni.us/IdL7B

We interview Brandon Hayden, a pattern designer, sewing teacher, and content creator who makes menswear with bold fabrics and cool details. He wants to empower sewists to build their skills and express themselves! Show Notes

SEASON 3 EPISODE 107: COUNTDOWN WITH KEITH OLBERMANN A-Block (1:45) SPECIAL COMMENT: He has to go. And Minority Whip Katherine Clark. And Caucus Chair Pete Aguilar. And for that matter, Gavin Newsom has to go. Because after these standard-issue moderate Democrats vanished on election night they have suddenly reappeared 125 days later to address the REAL issue: Democratic House members who actually DID something to protest Trump - even just something symbolic like Al Green did, or those who supported him did. Jeffries and the others called them to a "come to Jesus" meeting to warn them never to ignore his "Dear Colleague" letter again, that the way to stand up to Trump lighting the county and the world on fire is to hold up mincing little pickle ball paddles with mild words on them and especially to coordinate outfits while not clapping. Out. Jeffries, Clark, Aguilar. And anybody else who doesn't realize that the last people capable of piercing Trump's bubble are Democrats at his speeches to Congress, and the media which has failed at the task even more than the Dems have. We need civil disobedience and instead Jeffries is warning Democrats, and 10 Democrats are joining the fascists, in punishing Democrats. And Newsom? His comments about trans athletes are bad enough. That he did them during a podcast with Charlie Kirk, arranged by Newsom's ex-wife Kim Guilfoyle, is far worse. I mean Newsom's judgment was already in doubt (he married Kim Guilfoyle FFS), but this is insanity. The nation is ablaze and the Dems are sending strongly worded notes. The media continues to collapse.It believed Trump's lies about pressuring Russia while he was in fact increasing his demands of Ukraine to include Zelensky resigning. And when Trump told a reporter he couldn't ask a certain question the White House Correspondents Association continued its policy of not commenting. And golly why did Trump think he could publicly threaten Nicolle Wallace and Rachel Maddow? Well, because of Joe Scarborough, obvs. B-Block (38:00) THE WORST PERSONS IN THE WORLD: Stephen A. Smith is not running for president, but keep asking him. Happily he IS showing he doesn't understand the first thing about any of this. His newest political crush? Candace Owens. Meanwhile Musk doesn't understand sports or America. And the Prime Minister of New Zealand fired a diplomat for reminding Britain that Trump is simply doing now what they did to Czechoslovakia in 1938. C-Block (49:20) THURBER SPECIAL: Thurber House in Columbus, Ohio, needs about $200,000 to keep going. The least we can do is raise consciousness. So for the first time since the election here is not just one but two Thurber stories: my favorite ("A Box To Hide In") and my late father's ("I Went To Sullivant." See omnystudio.com/listener for privacy information.