Podcasts about Hearts

Hearts That Expand: Learning Compassion from Abraham and Jesus Today's readings focus on two powerful biblical stories . . . . . . the first from the life of Abraham, Sarah, and Ishmael, and the second from the Gospel account of Jesus healing two possessed men. In the first story, Sarah's jealousy over Hagar and Ishmael leads her to demand their banishment, despite Ishmael being Abraham's son. Abraham, torn but obedient, sends them away with provisions. God intervenes with care and promise, ensuring Ishmael's survival and future as a great nation—reminding us that Abraham is the spiritual ancestor of Jews, Christians, and Muslims. The Gospel story presents a stark contrast: Jesus heals two tormented men, but the local people focus on the loss of their pigs rather than the miracle of healing. They reject Jesus, displaying closed hearts and misplaced priorities. The Homily ends by urging listeners to choose which example to follow: Abraham's compassionate, open heart or the villagers' closed-off indifference. We are invited to let our hearts expand through the grace of God, even when it's difficult, and to strive to love, help, and care for others like Abraham and Jesus did. Listen more to this Meditation Media. Listen to Hearts That Expand: Learning Compassion from Abraham and Jesus ----------------------------------------------------------------- Quote From The Homily And so, then there's us, and we have choices to make. We can become more and more like Abraham or more and more like those people in the town, more and more where our hearts are touched. By the suffering, by the needs, by the hopes and dreams of so many people that we do whatever we can to show tender care, to help to pray, or we close off, we build walls. ----------------------------------------------------------------- Abraham Dismissing Hagar and Ishmael: Dutch Artist: Nicolaes Maes, 1653 One of the artist's earliest works. ----------------------------------------------------------------- Gospel Reading: Matthew 8: 28-34 First Reading: Genesis 21: 5, 8-20

Pastor Dru Rodriguez explains that suffering produces perseverance, which builds tested character, and character gives birth to hope—a hope that never disappoints because God's love has been poured into our hearts by the Holy Spirit.

Reviews of Jurassic World: Rebirth, Heads of State, This Is Spinal Tap, Taste the Revolution and Squid Game Season 3. Plus an interview with Zoetrope Archivist James Mockoski about the 4K rerelease of Hearts of Darkness. Hilarity ensues!

Welcome to episode 286 of the Grow Your Law Firm podcast, hosted by Ken Hardison. In this episode, Ken sits down with Paul Bamert, Vice President of Marketing at Case Status.   Paul is a proud member of the Case Status leadership team with a focus on Product Marketing. He specializes in bringing new and disruptive technology and SaaS solutions to market, refining solutions to provide more value to customers and enabling staff to be outcome oriented and success driven. He is passionate about technology and its role in delivering win-wins: helping businesses like law firms run better while at the same time delighting the consumers they serve.  Paul has more than 25 years experience as a technology leader helping businesses and organizations grow through outstanding engagement with consumer-clients. Paul holds a BS in Engineering and Material Science from Duke University and a Masters in Business from The Citadel.     What you'll learn about in this episode: 1. Importance of Client Feedback:     - Minimize negative reviews by addressing concerns early.     - Encourage client referrals and reviews for firm growth. 2. Leveraging Positive Feedback:     - Turn negative feedback into positive outcomes for client loyalty.     - Recognize satisfied clients for stronger relationships and referrals. 3. Evolution of Case Status Software:     - Started with real-time updates, now uses predictive analysis for client interactions.     - Future-focused approach to meet client needs proactively. 4. Client-Centered Approach:     - Proactive client engagement for transparency and satisfaction.     - Integrate case management systems with user-friendly apps for seamless experience. 5. Maximizing Client Satisfaction:     - Prevent negative reviews and leverage satisfied clients for referrals.     - Satisfied clients as key marketing assets for firm growth. Resources:    Website: Case Status LinkedIn: Paul Bamert | LinkedIn Facebook: Facebook Additional Resources:    https://www.pilmma.org/aiworkshop https://www.pilmma.org/the-mastermind-effect https://www.pilmma.org/resources https://www.pilmma.org/mastermind

It's Thursday of Ordinary Time, Proper 8 in the Church Calendar, July 3, 2025.Our general order and lectionary come from the Book of Common Prayer Daily Office.Psalms 131, 132, 133Luke 23:13-25Today's song: Take Your Place (Jon Thurlow)Playlist of songs from Morning Prayer.If you have a prayer request please ⁠submit it here⁠. Sign up ⁠here⁠ for the email list.Morning Prayer and Worship is a production of Steady Stream Ministries, a 501(c)(3) non profit organization. Thank you for your support. ⁠You can go here to find out more⁠.Get an ad-free feed of the podcast with a monthly contribution of any amount!⁠Join our Facebook group here!⁠Photo by Free Photos.cc.Collect of the DayProper 8, Rite TwoAlmighty God, you have built your Church upon the foundation of the apostles and prophets, Jesus Christ himself being the chief cornerstone: Grant us so to be joined together in unity of spirit by their teaching, that we may be made a holy temple acceptable to you; through Jesus Christ our Lord, who lives and reigns with you and the Holy Spirit, one God, for ever and ever. Amen.

We're all dolled up to celebrate this "great" country. Follow Matt: @matthwatson Follow Ryan: @elirymagee Follow the show: @supermegashow Learn more about your ad choices. Visit podcastchoices.com/adchoices

Pastor Danielle Frazer reminds us that the peace Jesus gives isn't tied to our circumstances but to his constant presence, holding us steady even when life feels chaotic.

Opening your heart to others can feel uncomfortable, exposed, uncertain or vulnerable... anyone else?? But love is worth the risk. Join us as we talk about courageously choosing connection even when past wounds or fears try to hold us back. Has past failure discouraged you? Can you share something practical you've done that has worked to establish community? Where is the Lord inviting me to risk a “yes” in friendship?You're invited every Tuesday at 1 pm ET to join us on the BIS Member Community for The Weekly Visit

Lady Diana Spencer was the daughter of an Earl and was hand picked at 19 to become the bride of heir to the throne, Charles, Prince of Wales. But he was already in love with another woman and the fairytale marriage soon devolved into a messy divorce splashed across the tabloids. Though she would never get to be Queen, Diana's glamor, likability and compassionate charity work made her the Queen of Hearts. In 1997 she died tragically in a car crash while being chased by paparazzi. Join me every Tuesday when I'm Spilling the Tea on History! Check out my Youtube Channel: https://www.youtube.com/c/lindsayholiday Follow me on Facebook: https://www.facebook.com/profile.php?id=100091781568503 Instagram: https://www.instagram.com/historyteatimelindsayholiday/ Tik Tok: https://www.tiktok.com/@historyteatime Please consider supporting me at https://www.patreon.com/LindsayHoliday and help me make more fascinating episodes! Intro Music: Baroque Coffee House by Doug Maxwell Music: Brandenburg Concerto No4-1 BWV1049 - Classical Whimsical by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100303 Artist: http://incompetech.com/ #HistoryTeaTime #LindsayHoliday Please contact ⁠⁠advertising@airwavemedia.com⁠⁠ if you would like to advertise on this podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, we dive into 1 Samuel 7, where Israel finally turns back to God under Samuel's leadership, casting out idols and reclaiming spiritual authority. As the people repent and return, God thunders from heaven, delivering them from the Philistines and restoring peace.

Pastor John Knapp teaching out of the Book of 2 Thessalonians Chapter 2.

It's easy to place our priorities ahead of God's.  (Haggai 1:3)

Julia Day:- Jesus Our Teach: Tending The Garden Of Our Hearts Pt.8 by

Sun, 29 Jun 2025 10:00:00 EDT https://www.substance

Lois Kennis lives in Iowa within thirty minutes of all six grandchildren. Rise on Eagles' Wings is her first novel. She writes realistic fiction to stir hearts with a healthy gleam of hope. She is the Winner of the 2023 NYC Big Book Award for Christian Fiction.Lois says, “I don't have it all together, and neither do the characters in my books. Most are broken in some way, whether by their own mistakes, or somebody else's. But they're strong, too, and somehow, these broken yet lovable people find ways to rise above their situations and learn from their struggles. They want more out of life. More purpose and meaning. Like the creek, their lives twist and turn. Laughter, heartache, and redemption are part of their journey.”Born and raised in Central Minnesota, her higher education spans forty-plus years, including Concordia College and RCTC. Finally, at age sixty, Lois earned her BA in Multi-Disciplinary Studies from University of Minnesota. She is a member of Women's Fiction Writers Association (WFWA), American Christian Fiction Writers (ACFW), Oregon Christian Writers (OCW), and The Authors Guild. Lois loves the outdoors, libraries, and reading. Make sure to check out this author & Stay in touch with Lois by checking out her website—https://loiskennis.net/aboutYou can listen to the podcast on Apple Podcasts, Spotify, Google Podcasts, or visit my website www.drkatherinehayes.com

Nehemiah 8–10 marks a pivotal shift from rebuilding walls to rebuilding hearts. God's people had finished the external work, but true renewal required turning their attention to the soul—by returning to the foundation of God's Word, repentance, and covenant faithfulness. Their journey reminds us that structural restoration is incomplete without spiritual renewal at the center.

Loving Like Jesus - Sensitive To The Hearts Of Others Pt 6How can we love like Jesus unless we believe we are loved BY Jesus.  How can we love OTHER'S with the love ofJesus if we can't see Jesus IN THEM. Enjoy this message! Watch today's ‘edited' message on YOUTUBE:  https://youtu.be/d4DPU-rT4yQ PODCAST: https://podcasters.spotify.com/pod/show/michael-zenkerWeekly Blog: https://mikezenker.blog/  ***Love what you are hearing?  DONATE TODAY and help keep this going:  Hope Fellowship:   https://hopefellowshipycc.com/donate/ Growing In Grace Canada:  https://www.paypal.com/donate/?hosted_button_id=XHQ9UTBPTKDPW  Hope Fellowship, Your Community Church ContentWeb: www.hopefellowshipycc.com Facebook  https://www.facebook.com/hopefellowshipycc Youtube: https://www.youtube.com/c/MichaelZenker  Growing In Grace Canada ContentYouTube:  https://youtube.com/playlist?list=PLKfv-9uArQHIzcebDIyS8F3nj2MF_FV-H Facebook: https://www.facebook.com/growingingraceministriescanada  Web: www.growingingrace.caSpotify: https://open.spotify.com/show/6AvFWO7epyVeIuNf5WHFRD Grace Awakening Network weekly Program 9:30pm EST: https://www.gantv.com/  GAN ‘On Demand': https://watch.gantv.com/categories/102/still-growing-in-grace

Satan fills the hearts of Ananias and Sapphira instead of the Holy Spirit. God reminds the church of His holiness and His continued zeal for it.

Your intrepid hosts, Ben Creighton and Kenny Windorski, have meticulously ranked Batman: The Animated Series, The New Batman Adventures, Superman: The Animated Series, Matlock, Batman Beyond, Murder She Wrote, and Justice League with unimpeachable SCIENCE! After a science-free year with Static Shock, now we're back to SCIENCE with Justice League Unlimited!Join us on Discord at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠bit.ly/LandOfTheBlind⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Get your own Justice League Cold Open Bingo card and play along: ⁠⁠⁠⁠⁠⁠⁠⁠https://bingobaker.com/#64c7bfe36e604708⁠⁠⁠⁠⁠⁠⁠⁠The List: 1.) A Better World2.) Starcrossed3.) Fearful Symmetry4.) Secret Origins5.) Murder She Wrote - The Death of Sherlock Holmes6.) Savage Time7.) Kid Stuff8.) A Knight of Shadows9.) In Blackest Night10.) The Enemy Below11.) Hereafter12.) Wild Cards13.) For the Man Who Has Everything14.) Initiation15.) Comfort and Joy16.) Only a Dream17.) The Greatest Story Never Told18.) Eclipsed19.) Tabula Rasa20.) Twilight21.) The Brave and the Bold22.) Paradise Lost23.) Ultimatum24.) Legends25.) Injustice For All26.) War World27.) The Return28.) This Little Piggy29.) Secret Society30.) Maid of Honor31.) Hawk & Dove32.) Fury33.) Hearts and Minds34.) The Terror Beyond35.) Metamorphosis36.) Dark Heart

Verse by verse study through the book of Acts Chapter One and Verse Twenty Four

The yearly anniversary of the signing of the American Declaration of Independence on July 4th, 1776, has become a festive national holiday with food, music, and fireworks, celebrated by millions of Americans of all ages and backgrounds, in every part of the United States. It's a good time to revisit the roots of Ambient Americana—influences from American folk songs, blues, jazz, and country, classics from the American songbook, and the pan-diatonic harmonies of AARON COPLAND. On this transmission of HEARTS of SPACE we celebrate the spirit of American Independence, on a program called AMERICAN HORIZON. Music is by BRIAN KEANE, MARK ISHAM, JEFF OSTER & VIN DOWNES & TOM EATON, SPENCER BREWER & PAUL McCANDLESS, GEORGE WINSTON, CHAD LAWSON, BARRY STRAMP, JOHN WILLIAMS, ("Ambient country" band) SUSS, CHUCK JOHNSON, and MARK PRESTON. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

Your 8B+ Proposal: FROM ZERO TO BILLIONS in few yearsWelcome to a MARVELOUS day!

To get live links to the music we play and resources we offer, visit www.WOSPodcast.comThis show includes the following songs:Dylan Taylor - Radio Flyer FOLLOW ON SPOTIFYCactus Tree - Federal Ave FOLLOW ON SPOTIFYThe Canyon Drifters - Until You Loved Me FOLLOW ON SPOTIFYElena Erin - What Are You Doing Here FOLLOW ON SPOTIFYThe Dumes - Boring FOLLOW ON SPOTIFYAlyra Dolce - Love You Anyway FOLLOW ON SPOTIFYIzzi Stone - ROUND AND ROUND FOLLOW ON SPOTIFYSarah Boyden - Tattered Shirt FOLLOW ON SPOTIFYThe Corrupted Hearts - Space Traveler FOLLOW ON SPOTIFYBel Aguiar - him FOLLOW ON APPLE MUSICSONIQUE - My Calling FOLLOW ON SPOTIFYClaire Boyer - The Scarecrow FOLLOW ON SPOTIFYSonia Heller - Sorry (Sonia's version) FOLLOW ON SPOTIFYIndia Eve Hartley - The Final Harvest FOLLOW ON SPOTIFYOriana Nash - Strawberry Chapstick FOLLOW ON SPOTIFYFor Music Biz Resources Visit www.FEMusician.com and www.ProfitableMusician.comVisit our Sponsor Profitable Musician Newsletter at profitablemusician.com/joinVisit our Sponsor 39 Streams of Income at profitablemusician.com/incomeVisit our Sponsor Kick Bookkeeping at profitablemusician.com/kickVisit www.wosradio.com for more details and to submit music to our review board for consideration.Visit our resources for Indie Artists: https://www.wosradio.com/resourcesBecome more Profitable in just 3 minutes per day. http://profitablemusician.com/join

In this Libra Bloom reading, we get into the soft-spoken truths—the kind your feminine energy feels but your mouth won't say. It's not just about what we say—it's about what we don't. And somewhere between that silence, I ended up cracking open the tender topic of interracial dating. It's layered. I support it for others. But when it comes to me, I wrestle with it. Another day, another Catch-22. Another mirror, another bloom.#LibraBloom #SeerineTarot #UnspokenTruths #FeminineEnergy #TarotTalks #InterracialDatingThoughts #EnergyCheckIn #ModernMysticVibes #FridayReflections #TarotDownloads #Catch22Chronicles #SpiritualRealness #BloomButDon'tBreakBecome a supporter of this podcast: https://www.spreaker.com/podcast/seerine-tarot--5349584/support.

Connect with God — on Abide, a Christian meditation app that provides a biblically grounded place to experience peace and progress in your relationship with Christ. Use this biblical meditation, narrated by Lonein Lara, to center yourself on the truth in God's word. God’s speaking. Are you ready to listen? Meditate on Hebrews 3:15. Allow the music & nature sounds, deep breathing, prayer, and scripture help you connect with God in a new way. For a 30 day free trial of our premium ad-free content, your trusted friend for meditation is right here: https://abide.com/peace Discover more Christian podcasts at lifeaudio.com and inquire about advertising opportunities at lifeaudio.com/contact-us.

Hosts Tony and Rick, joined by special guest Vince DiCola, explore the creation of unforgettable tracks like “Training Montage,” “War,” and “Hearts on Fire,” which defined the 1985 classic. In this episode, Vince shares behind-the-scenes stories, his creative process, and the lasting impact of his music on Rocky fans and pop culture. From the synth-driven energy to the emotional depth of the score, we unpack why these tracks still inspire. Perfect for Rocky enthusiasts and music lovers!

Jesus teaches his disciples that to be known by him we must hear his words and then act on them, allowing our relationship with Christ to transform our hearts. (Lectionary #374) June 26, 2025 - Cathedral Rectory - Superior, WI Fr. Andrew Ricci - www.studyprayserve.com  

Today's broadcast is C1E96 for Theme Thursday, June 26th, 2025 (happy 27th "dating" anniversary to my dear wife, St. Jodee). Today's theme is a collection of music from games in my own personal Steam Library – planned, curated, produced, and distributed entirely on/from the Steam Deck (SteamOS desktop mode)! A collection dominated by music from indie games from the 2010's and 2020's and peppered with music from bigger-named games from the 1990's and 2000's and contains not one, but TWO chill zones, which collectively account for almost half of the mixtape runtime! Special thanks to Professor Tom from Shujin Acadamy VGM Club podcast for helping me settle on episode title. Other candidate titles I'd been considering included "Gimme Steam" (which was the working title), "Steam Punk", and "All Hands on Deck". Lastly, this is our debut episode on Terra Player!    SKIP STRAIGHT TO THE MUSIC TIMESTAMP: 00:07:22     Tracklist:     Track# - Track - Game (System is always presumed to be PC for this episode) - Composer(s) - Timestamp     A1) Intro - 00:00:00     01) Main Theme - Mr. Run and Jump - Fat Bard and/or Andrew P. Masson - 00:07:22     02) Blackout City - Bit Trip Runner - Petrified Productions - 00:09:24     03) Solace Tomorrow - ExZodiac - Ben Hickling - 00:12:44     04) Starry Sky - Toree 3D - Nash Music Library - 00:15:51     05) Southisland 2 - Fantavision 202 X - Soichi Terada - 00:18:07     06) Shame (aka “The Shameful Last Minute”) - EDGE - Romain Gauthier - 00:21:16     07) Syreen Theme - Star Control III - Andrew M. Frazier - 00:24:23     08) Analog Control Loop - Formula Retro Racing - John Williams - 00:27:14     09) UFO 50 - UFO 50 - Eirik Suhrke - 00:29:17     10) Hinterwald Dungeon Explore - Dungeons of Hinterberg - David Zahradnicek, and/or Markus Zahradnicek - 00:32:01     11) Control - Cloundpunk - Harry Critchley - 00:35:18     12) Blast Pit 1 - Black Mesa - Joel Nielsen - 00:37:29     13) The Nomai - The Outer Wilds - Andrew Prahlow - 00:39:14     14) Dream Town - Fallout 2 - Mark Morgan - 00:43:01     15) Earth - Lords of Magic - Keith Zizza - 00:46:12     16) grip - qomp - Britt Brady - 00:50:14     17) Returning the Flavour - Olli Olli World - Potatohead People - 00:52:45     18) Portabellahead - Crypt of the Necrodancer - Danny Baronowsky - 00:55:43     19) Delirious Acting - Pseudoregalia - potatoTero - 00:58:29     20) Relentless - Gunborg - Cato Hoeben - 01:00:27     21) Kurodabushi - Koi Koi Japan Hanafuda - Unknown - 01:03:21     22) Security Bridge - System Shock Classic - Greg LoPiccolo and/or Tim Ries - 01:04:50     23) Battle - Caveblazers - Paul Zimmerman - 01:08:02     24) Salt and Sepulcher - The Mummy Demastered - monomer - 01:09:55     25) Main Theme - Blade Assault - Planetboom and/or Creative Factory - 01:12:10     26) Main Theme - Fury Unleashed - Adam Skorupa and/or Krzysztof Wierzynkiewicz - 01:15:08     27) Witness Prevention Program - Killing Floor - Zynthetic - 01:17:21     28) The Audience Chamber - Elder Scrolls Arena - Eric Heberling - 01:20:08     29) Trademeet - Baldur's Gate II - Michael Hoenig - 01:21:46     30) Wayward Dreamers - Dreams of Aether - flashy goodness - 01:22:39     31) Save Room - Gato Roboto - Britt Brady - 01:25:30     32) Equanimity - Lucid9 - Breezee - 01:27:14     33) Pillar Gardens - In Other Waters - Amos Roddy - 01:31:40     34) Completely Safe - Deliver Us Mars - Sander Van Zanten - 01:36:02     35) Karst Pass - Even the Ocean - Melos Han-Tani - 01:39:34     36) Title Screen - Cubot - Kevin MacLeod - 01:44:33     37) Splash of Color - Flower - Vincent Diamante - 01:49:45     38) Beast Road - Touhou Mystia's Izakaya - Hannari and/or Can Shi - 01:58:56     39) Pra Me Lembrar Amanha - Before I Forget - Dave Tucker - 02:02:31     40) Candy Store Crush - Donut Dodo - Sean Bialo - 02:05:04     41) Toastopia - Pikuniku - Calem Bowen - 02:07:22     42) April Mountains - Lovely Planet 2: April Skies - Calem Bowen - 02:10:17     43) Clouds - Nidhogg - Daedalus - 02:12:47     44) Home - Retrowave - Resonance - 02:15:20     45) Battle Theme - Void Invaders - kingdaro - 02:18:43     B1) Outro - 02:21:58     Music Block Runtime: 02:14:43 / Total Episode Runtime: 02:34:01    Our Intro and Outro Music is Funky Radio, from Jet Grind Radio on the Sega Dreamcast, composed by BB Rights.    Produced using a nearly equal mix of Audacity and Ardour in SteamOS desktop mode on the Steam Deck! Recorded with a Shure SM7B XLR dynamic microphone on a RØDE PSA1+ boom arm through a Cloudlifter and a Focusrite 4i4 XLR-to-USB interface!    If you aren't already a listener of Shujin Acadamy VGM Club, please go show the good professor some love, and tell him St. John sent ya! You can find Shujin Acadamy on Terra Player, Instagram, Threads, Bluesky, Facebook, Mastodon, Podbean, or on your podcatcher of choice. Here's a link to his show on Terra Player and on Podbean:    https://terraplayer.com/shows/shujin-academy-vgm-club    https://shujinacademyvgmclub.podbean.com/    Speaking of Terra Player, we are now a member podcast as well. You can find us there at  https://terraplayer.com/shows/nerd-noise-radio. Also, check out their outstanding collection of other podcasts and radio stations at https://terraplayer.com/! From now on, when sharing episodes of Nerd Noise Radio, I will most likely use the Terra Player link rather than the Podbean link like I have been using.    You can also find all of our audio episodes on https://archive.org/details/@nerd_noise_radio as well as the occasional additional release only available there, such as remixes of previous releases and other content.    Our YouTube Channel, for the time being is in dormancy, but will be returning with content, hopefully, in 2022. Meanwhile, all the old stuff is still there, and can be found here:     https://www.youtube.com/user/NerdNoiseRadio    Occasional blogs and sometimes expanded show notes can be found here:    nerdnoiseradio.blogspot.com.    Nerd Noise Radio is also a member of the VGM Podcast Fans community at     https://www.facebook.com/groups/VGMPodcastFans/    We are also a member of Podcasters of Des Moines at https://www.facebook.com/groups/1782895868426870/    Or, if you wish to connect with us directly, we have two groups of our own:     Nerd Noise Radio - Easy Mode: https://www.facebook.com/groups/276843385859797/ for sharing tracks, video game news, or just general videogame fandom.    Nerd Noise Radio - Expert Mode: https://www.facebook.com/groups/381475162016534/ for going deep into video game sound hardware, composer info, and/or music theory.    Or you can reach us by e-mail at nerd.noise.radio@gmail.com    You can also follow us on Threads at https://www.threads.net/@nerdnoiseradio , Instagram at https://www.instagram.com/nerdnoiseradio?igsh=MWF4NjBpdGVxazUxYw== , Mastodon at https://universeodon.com/@NerdNoiseRadio , and BlueSky at  And we are also now on TuneIn, Pandora, iHeartRadio, Vurbl, Amazon Music and Audible!     But frankly, probably the absolute best way you can connect with us is on our new Discord Channel: "Nerd Noise Radio – Channel D", which includes various sub-channels for all sorts of different types of connection and conversation:     https://discord.gg/GUWdaXUw    Thanks for listening! Join us again in July for C1E97 (Channel 1, Episode 97): the Super Metroid soundtrack, part of a collaboration with Shujin Academy VGM Club, The Messenger Presents: A VGM Journey, and any other shows which wish to join us in lieu of an official Masters of VGM event this year - Delicious VGM on "Noise from the Hearts of Nerds"! And wherever you are - Fly the N!    Cheers! 

Dr. Andrew Wakefield discusses his vaccine safety advocacy and the impact of his film "Protocol 7" on public awareness. He highlights Robert F. Kennedy Jr.'s appointment to major health agencies as a crucial development and calls for reforms to remove conflicts of interest. Wakefield critiques pharmaceutical advertising's influence on media integrity and addresses rising parental distrust due to mandatory vaccines and increasing autism diagnoses. He previews a new project aimed at supporting families with autism and emphasizes the need for transparency in vaccine discussions, while expressing hope for future reform in the vaccine safety narrative. PROTOCOL 7 - An Andy Wakefield Film   WEBSITE          protocol7.movie  X/TWITTER      x.com/P7Movie INSTAGRAM     instagram.com/protocol7movie Andy Wakefield has been likened to the Dreyfus of his generation -- a doctor falsely accused of scientific and medical misconduct, whose discoveries opened up entirely new perceptions of childhood autism, the gut-brain link, and vaccine safety. As an ‘insider,' the price for his discoveries and his refusal to walk away from the issues they raised, was swift and brutal, with loss of job, career, reputation, honours, colleagues, and country. And yet he enjoys a huge and growing support from around the world. Wakefield's stance made him a trusted place for whistle-blowers -- from government and industry to confess and ‘download.' He has extraordinary stories to share. Wakefield is now an award-winning filmmaker. Despite elaborate attempts at censorship, his documentary VAXXED: From Cover-Up to Catastrophe – the revelations of a vaccine scientist at the U.S. Centers for Disease Control and Prevention- changed the public mindset on the truth about vaccine safety. Wakefield's is a story that starts with professional trust in the instincts of mothers, choice and consequences, a quest for truth, and perseverance against overwhelming odds. Andy has long pursued the scientific link between childhood vaccines, intestinal inflammation, & neurological injury in children.   Dr. Wakefield is the co-founder of the Autism Media Channel & the founder of 7th Chakra Films.   He is the director of his first major narrative feature, the recently released #Protocol7,  co-written with Terry Rossio (Aladdin, Shrek, Pirates of the Caribbean, Fast and Furious, Godzilla vs. King Kong).   Connect with Hearts of Oak...

Our card this week is Luther Meshell, the 9 of Hearts from Louisiana. On a mild spring night in 1991, Luther's teenage son found him lying dead on his bedroom floor next to his overturned wheelchair and a knife. With a locked door and no signs of forced entry, police believe his killer could have been someone he knew and trusted… but when they zoom out, investigators notice a series of other crimes with eerie similarities… and they begin to consider whether a serial killer could be to blame.Anyone with information on who is responsible for the death of Luther Meshell is urged to contact the Shreveport Police Department by calling 318-673-7300 and asking for someone in investigations or by emailing the Assistant Chief of Police in the Investigations Division at Steve.Pfender@shreveportla.gov.View source material and photos for this episode at: thedeckpodcast.com/luther-meshell Let us deal you in… follow The Deck on social media.Instagram: @thedeckpodcast | @audiochuckTwitter: @thedeckpodcast_ | @audiochuckFacebook: /TheDeckPodcast | /audiochuckllcTo support Season of Justice and learn more, please visit seasonofjustice.org.The Deck is hosted by Ashley Flowers. Instagram: @ashleyflowersTikTok: @ashleyflowerscrimejunkieTwitter: @Ash_FlowersFacebook: /AshleyFlowers.AFText Ashley at 317-733-7485 to talk all things true crime, get behind the scenes updates, and more!

Ben Maller opens hour 3 of the show discussing recent comments from Nuggets owner Josh Kroenke where he said there could exist a reality where Denver considers trading Nikola Jokic if certain players were to get injured. Then, he reacts to the news that the Florida Panthers racked up a $500k bill while celebrating their Stanley Cup win. Plus, more fun with new editions of 'Too Much or Not Enough' and 'Queen of Hearts'!See omnystudio.com/listener for privacy information.

Shea and Jason recap a heart wrenching Game 7 that crowned a formidable new NBA Champ in the Oklahoma City Thunder, and saw Tyrese Haliburton go down with a torn Achilles. Meanwhile, draft prospect Ace Bailey plays it close to the chest, Alex Caruso disses his “bubble” title with the Lakers, and Desmond Bane appreciates the windows in Orlando. Plus, the guys debate whether the Kevin Durant trade is actually bad for the Rockets, review Danny Boyle's new zombie threequel 28 Years Later, and share how they'd hold up in a zombie apocalypse.Get 10% off Oura Ring 4 at ouraring.com/six @oura_ring. *Offer ends 7/31/2025.Be the first to know about Wondery's newest podcasts, curated recommendations, and more! Sign up now at https://wondery.fm/wonderynewsletterListen to Six Trophies on the Wondery App or wherever you get your podcasts. You can listen to all episodes ad-free on Wondery+. Join Wondery+ in the Wondery App, Apple Podcasts or Spotify. Start your free trial by visiting wondery.com/links/six-trophies/ now.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Mother Miriam Live - June 25th, 2025 Mother reads from a new article by Leila Miller: "Catholic Parents: Free the Hearts of Your Daughters" - https://crisismagazine.com/opinion/catholic-parents-free-the-hearts-of-your-daughters A Caller Supports the Article's Message How the Holy Spirit Comes at Baptism and Confirmation Observant Muslims and Marriage

We come to the end of Season 5 and host Jessica Yañez and returning favorite Erika Sanchez come together for more than just wine and chisme. They open with an important conversation about the current climate in our country, addressing the ICE raids affecting our communities and the ongoing No Kings protest movement that's demanding justice and accountability. From there, the two reflect on the end of another incredible season of the Wine & Chisme Podcast. From recording 37 episodes this year to transitioning into a more structured seasonal format, they dive into lessons learned, memorable moments, and their favorite chisme of the season. But that's not all — Jessica drops exciting news about a new summer YouTube series spotlighting San Diego wineries, staying true to her mission of amplifying voices in communities of color within the wine industry. With signature banter, candid laughter, and a few surprises along the way (like a broken Coravin needle), this episode is the perfect wrap-up for a season full of wine, wisdom, and cultura. Opening Segment: Important discussion on ICE raids and their impact on our communities The No Kings protest movement and why it matters How current events affect our cultural conversations Season Reflection: Reflecting on going seasonal vs weekly podcasting How 37 episodes STILL feels like 50 The evolution of the Wine & Chisme community Lessons learned from another year of amplifying marginalized voices Exciting Announcements: Sneak peek into Jessica's new summer wine YouTube series Focus on San Diego wineries and Latiné representation in wine How this aligns with Jessica's mission of cultural ownership and economic empowerment The Real Talk: Erika's reactions to Jessica's new wine adventures The hustle behind community-driven content Wine gadget fails and real-life wine girl problems

Hospitality isn't just about hosting dinner—it's a disposition of the heart. In this final visit of our June series, we'll explore what it means to welcome the people God places in our lives with open hearts, even when it's inconvenient or challenging. We'll talk about boundaries, vulnerability, and the holy work of making room for others.Who in your life needs your welcome right now—and what might it look like to receive them as Christ would? Come if you want to love people better without losing your peace or feeling drained.Join us every Tuesday at 1pm ET for The Weekly Visit on the BIS Member Community!

Time to talk righteous violence!   S.A. Cosby is a writer on a meteoric rise. After the insane success of Razorblade Tears, and the Gothic horrors of All the Sinners Bleed, he's back with a fresh crime epic of titanic brutality.   King of Ashes is the tale of a family under threat from criminal forces, and the shocking depths they will go to in their fight back. It's a challenging book, full of unexpected character arcs, Shakespearean intrigue, and a candid exploration of kink.   It's also bloody, very damn bloody. The crematorium at the story's centre gets well fed!!   We talk about all of that, as well as the strange commonalities of our small town lives, and the influence of violent men.   Enjoy!   Other books mentioned:   All The Sinners Bleed (2023), by S.A. Cosby Razorblade Tears (2021), by S.A. Cosby Blacktop Wasteland (2020), by S.A. Cosby A Thousand Acres (1991), by Jane Smiley “The Dog Park,” (1983), by Dennis Etchinson Darkness, Take My Hand (1996), by Dennis Lehane Gone, Baby, Gone (1998) by Dennis Lehane Jar of Hearts (2018), by Jennifer Hillier   Support Talking Scared on Patreon   Check out the Talking Scared Merch line – at VoidMerch   Come talk books on Bluesky @talkscaredpod.bsky.social  on Instagram/Threads, or email direct to talkingscaredpod@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

There's a saying that's attributed to the Dalai Lama: in the practice of tolerance, one's enemy is the best teacher. It's a nice idea. But when people don't share our values, it's hard for us to tolerate theirs. This week, we bring you a favorite episode with sociologist Robb Willer. We discuss the common mistakes we make in trying to persuade others of our point of view — and how to break out of our echo chambers. Then, Kenji Yoshino answers your questions about how we hide our true selves.In this week's show, you'll learn:*What's happening in our minds when we're trying to win an argument.*Techniques for how to take another person's perspective — and how to become more effective in persuading them of your perspective.*The most successful protest tactics in winning allies.*Why we might shift from trying to change someone's mind to trying to change their behavior.If you love Hidden Brain, come see Shankar live in a city near you this summer! For more info and tickets to our “Perceptions” tour, visit https://hiddenbrain.org/tour/

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

Jim Franks discusses Malachi 4:5-6—“Behold, I will send you Elijah the prophet before the coming of the great and dreadful day of the LORD. And he will turn the hearts of the fathers to the children, and the hearts of the children to their fathers, lest I come and strike the earth with a curse.”

We hope you enjoy today's Scripture reading and devotional aimed at equipping you for moral and spiritual transformation. Today's Bible reading is Jeremiah 17:1–13. To read along with the podcast, grab a print copy of the devotional. ESV Bible narration read by Paul R. House. Follow us on social media to stay up to date: Instagram Facebook Twitter

Pastor Sam Cirrincione Matthew 6:1-18

Fan Favorite: This episode originally aired on September 28, 2021. The truth about life, success, and failure is everything depends on you. The problem is that you, and nearly every other person around, defaults to being at the mercy of the people, the environments, and unfortunate situations that mark the course of life. Mel Robbins is the personification of motivation on steroids packed with a high potency of raw truth. You could say she's joining Tom to discuss her newest book, The High 5 Habit, but it's more fitting to say she's back to give you the kick in the ass you've been waiting for. Mel is not only talking about why high fiving yourself is powerful, she's reminding you that you have a responsibility to heal yourself and do the work. While you're chasing your dreams, understand that what the world sees as failure may just be a massive success in the timeline of your life, as has been the case for Mel Robbins. Order Mel's new book, The High 5 Habit: https://www.amazon.com/High-Habit-Take-Control-Simple-ebook/dp/B096JQSWQ6 SHOW NOTES: 0:00 Introduction Mel Robbins 1:42 | A-Ha Moments In Life 7:20 | Why High 5 Yourself 19:54 | Feel Worth Celebrating 25:15 | R.A.S. Looking for Hearts 34:59 | Powerful of Jealousy 37:44 | Life Is Your Responsibility 47:38 | Interrupting Destructive Worry 51:37 | Mel's Vermont Painting Follow Mel Robbins: Website: https://melrobbins.com/ Twitter: https://twitter.com/melrobbins Facebook: https://www.facebook.com/melrobbins/ Instagram: https://www.instagram.com/melrobbins/ CHECK OUT OUR SPONSORS Vital Proteins: Get 20% off by going to ⁠https://www.vitalproteins.com⁠ and entering promo code IMPACT at check out Allio Capital: Macro investing for people who want to understand the big picture. Download their app in the App Store or at Google Play, or text my name “TOM” to 511511. iTrust Capital: Use code IMPACTGO when you sign up and fund your account to get a $100 bonus at ⁠https://www.itrustcapital.com/tombilyeu⁠  Shopify: Sign up for your one-dollar-per-month trial period at ⁠https://shopify.com/impact⁠ SKIMS: Shop SKIMS Mens at ⁠https://www.skims.com/impact⁠ #skimspartner ********************************************************************** Do you need my help? STARTING a business: Join me inside ZERO TO FOUNDER here SCALING a business: Click here to see if you qualify Get my battle-tested strategies and insights delivered weekly to your inbox: sign up here. ********************************************************************** If you're serious about leveling up your life, I urge you to check out my new podcast, Tom Bilyeu's Mindset Playbook —a goldmine of my most impactful episodes on mindset, business, and health. Trust me, your future self will thank you. ********************************************************************** Join me live on my Twitch stream. I'm live daily from 6:30 to 8:30 am PT at www.twitch.tv/tombilyeu ********************************************************************** LISTEN TO IMPACT THEORY AD FREE + BONUS EPISODES on APPLE PODCASTS: apple.co/impacttheory ********************************************************************** FOLLOW TOM: Instagram: https://www.instagram.com/tombilyeu/ Tik Tok: https://www.tiktok.com/@tombilyeu?lang=en Twitter: https://twitter.com/tombilyeu YouTube: https://www.youtube.com/@TomBilyeu Learn more about your ad choices. Visit megaphone.fm/adchoices

Tracy and Holly share experiences of having their hearts monitored using EKG technology. They also talk about whether or not Albert Bierstadt had any natural talent. See omnystudio.com/listener for privacy information.

Your intrepid hosts, Ben Creighton and Kenny Windorski, have meticulously ranked Batman: The Animated Series, The New Batman Adventures, Superman: The Animated Series, Matlock, Batman Beyond, Murder She Wrote, and Justice League with unimpeachable SCIENCE! After a science-free year with Static Shock, now we're back to SCIENCE with Justice League Unlimited!Join us on Discord at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠bit.ly/LandOfTheBlind⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Get your own Justice League Cold Open Bingo card and play along: ⁠⁠⁠⁠⁠⁠⁠⁠https://bingobaker.com/#64c7bfe36e604708⁠⁠⁠⁠⁠⁠⁠⁠The List: 1.) A Better World2.) Starcrossed3.) Fearful Symmetry4.) Secret Origins5.) Murder She Wrote - The Death of Sherlock Holmes6.) Savage Time7.) Kid Stuff8.) A Knight of Shadows9.) In Blackest Night10.) The Enemy Below11.) Hereafter12.) Wild Cards13.) For the Man Who Has Everything14.) Initiation15.) Comfort and Joy16.) Only a Dream17.) The Greatest Story Never Told18.) Eclipsed19.) Tabula Rasa20.) Twilight21.) The Brave and the Bold22.) Paradise Lost23.) Ultimatum24.) Legends25.) Injustice For All26.) War World27.) The Return28.) This Little Piggy29.) Secret Society30.) Maid of Honor31.) Hawk & Dove32.) Fury33.) Hearts and Minds34.) The Terror Beyond35.) Metamorphosis

Mexico's electronics has always been one of the main events at APEX, but this year they are doubling down! I explore the journey of IPC Mexico and their first-ever dedicated pavilion at Apex after 25 years of Mexican participation at the show. Lorena Villanueva, the dynamic leader of IPC Mexico, reveals their groundbreaking "three-helix" strategy that's reshaping their position in the Mexican electronics landscape. By forging deep partnerships between state governments (including aerospace hub Querétaro and automotive electronics center Guanajuato), academic institutions, and industry leaders, IPC Mexico has created a powerful ecosystem that drives education, innovation and growth throughout the region.What truly sets IPC Mexico apart is their authentic approach to community building. "We are huggers," Lorena explains, highlighting how cultural understanding and personal connections have been game-changers in their success. Rather than imposing American methodologies, IPC has empowered their Mexican team to develop strategies that resonate locally while maintaining global best practices. This cultural intelligence has transformed IPC from being perceived as a foreign entity to becoming a truly Mexican association in just the past 12 months.The future looks bright as IPC Mexico continues hosting regional events that facilitate networking and knowledge-sharing in comfortable, open environments. Their commitment to supporting both members and the broader industry demonstrates how international organizations can achieve global excellence through local relevance. Want to see how genuine connection and cultural understanding can transform an industry? Follow IPC Mexico's journey as they continue building bridges between Mexico and the global electronics community!EMS@C-Level Live at APEX is sponsored by global inspection leaders Koh Young (https://www.kohyoung.com) and Creative Electron (https://creativeelectron.com)EMS@C-Level is sponsored by global inspection leaders Koh Young (https://www.kohyoung.com) and Creative Electron (https://creativeelectron.com) You can see video versions of all of the EMS@C-Level pods on our YouTube playlist.

Gio lamented how quickly jokes spread and become stale, referencing a Shedeur Sanders joke. Gio voted for King of NY Sports for Evan & Tiki, while Boomer did not. Adam Schefter is getting into golf; Gio reflected on his own golf game. Gio agreed with a caller about letting go of comparisons in sports, noting teams use them to sell tickets. A caller shared Schefter is always on his phone, leading Gio to believe people seek info from him. CLo updated after Joey from Yonkers revealed the Yankees and Mets last had simultaneous 5-game losing streaks in August 1996. The Yankees lost their sixth straight (Cody Bellinger's HR wasn't enough), and the Mets their fifth. Both aim to avoid a second consecutive sweep. Scottie Scheffler noted fans want golf "carnage" but not in other sports; varied courses make golf unique. A kindergartener drew Boomer and Gio. Finally, Boomer and Gio congratulated Ann Liguori on her Gracie Award for "Talking Golf with Ann Liguori" on WFAN. The segment ended with a note about parking difficulties.

Love Thai food? It might be thanks to a two-decade long policy on the part of the government of Thailand to promote its food culture abroad, with the express aim of increasing trade and tourism. Ruth Alexander explores how food can be used as a foreign policy tool, influencing not just world leaders but seeking to win the hearts and minds of the public. Academic Sam Chapple-Sokol at George Washington University in the US explains why gastro-diplomacy is such an effective tool for soft power. Jan Wisansing, tourism policy consultant in Bangkok, explains the impact of the Global Thai scheme on international tourism to the country. Ruth speaks to the owners of LumLum Thai restaurant in Copenhagen, Denmark, who have recently received a Thai SELECT award, an official endorsement from the government of Thailand. And writer and historian Ali Domrongchai in the US talks about the impact of this approach on her own family's Thai restaurant in Florida. Producer: Beatrice Pickup. Reporter: Gideon Long in Bangkok(Image: A plate of pad thai, said to be Thailand's national dish, with Thailand's flag in the background. Credit: Getty Images/BBC)

In our previous episode, “Death Industry,” Vera told us her secret that she dismembers human bodies as part of her job.  She's back to share the grim reality of specific cases she's worked on.  And it's not for the faint of heart.  SHADY RAYS Thanks, Shady Rays. Get 35% off polarized glasses at shadyrays.com - code SECRET. HERS HAIR Start your initial free online visit today forhers.com/SECRET for your personalized hair loss treatment options. Individual results may vary. Compounded products are not FDA-approved or verified for safety, effectiveness, or quality. Prescription required. Price varies based on product and subscription plan. See website for full details, restrictions, and important safety information. PICTURES See pictures of Vera and her operating room. They are waiting for you on Threads, Facebook, Instagram and X.  Handle: @secretroompod. THE SECRET ROOM | UNLOCKED Remember Lauren from our episode called Pee Freeze? She told Ben the hilarious secret about teaming up with her mom to outwit a drug test that could've derailed her military career. Well, Lauren is back to explain a plot twist she teased near the end of her secret.  That's right, we find out why her family doesn't know she's married, and you'll get the juicy details. Host: Susie Lark. The Secret Room | Unlocked is yours when you support your favorite indie podcast that could with a membership at patreon.com/secretroom, Apple Podcasts or Spotify. There's a free trial! ALL OUR SPONSORS See all our sponsors past and present, and their offers, many of which are still valid: secretroompodcast.com/codes  FACEBOOK DISCUSSION GROUPThere's even more fun at The Secret Room Podcast Facebook Discussion Page!  Just ask to join, all are welcome. :) YOUR SECRET  Click "Share a Secret" at secretroompod.com! PODCAST TEAM Producer: Susie Lark. Story Development: Luna Patel. Music and Theme: Breakmaster Cylinder. LISTENER SURVEY Take our Listener Survey at SecretRoomPod.com!

The first electrocardiograph was invented in 1895. That device looked a lot different from today’s machines, and there are some other contenders for the title of “first.” Research: AlGhatrif, Majd, and Joseph Lindsay. “A brief review: history to understand fundamentals of electrocardiography.” Journal of community hospital internal medicine perspectives vol. 2,1 10.3402/jchimp.v2i1.14383. 30 Apr. 2012, doi:10.3402/jchimp.v2i1.14383 Baldassarre, Antonio et al. “The Role of Electrocardiography in Occupational Medicine, from Einthoven's Invention to the Digital Era of Wearable Devices.” International journal of environmental research and public health vol. 17,14 4975. 10 Jul. 2020, doi:10.3390/ijerph17144975 Browne, Sir Thomas. “Chap. IV: Of Bodies Electrical.” From Pseudodoxia Epidemica. 1672. https://penelope.uchicago.edu/pseudodoxia/pseudo24.html Case Western Reserve. “Cambridge Electrocardiograph, 1920.” https://artsci.case.edu/dittrick/online-exhibits/explore-the-artifacts/cambridge-electrocardiograph-1920/ Fisch, Charles. “Centennial of the string galvanometer and the electrocardiogram.” Journal of the American College of Cardiology. Volume 36, Issue 6, 15 November 2000. https://www.sciencedirect.com/science/article/pii/S0735109700009761 Friedman, Paul A. “The Electrocardiogram at 100 Years: History and Future.” Circulation. Volume 149, Number 6. https://doi.org/10.1161/CIRCULATIONAHA.123.065489. Fye, W. Bruce. “A History of the Origin, Evolution and Impact of Electrocardiography.” The American Journal of Cardiology. Vol. 73, No. 13. 5/15/1994. Goodrich, Joanna. “Forget Electrodes, the First EKG Machine Used Buckets of Saline Solution and Telephone Wire.” IEEE Spectrum. 1/5/2021. https://spectrum.ieee.org/forget-electrodes-the-first-ekg-machine-used-buckets-of-saline-solution-and-telephone-wire Howell, Joel D. “Early Perceptions of the Electrocardiogram: From Arrythmia to Infarction.” Bulletin of the History of Medicine, SPRING 1984, Vol. 58, No. 1. Via JSTOR. https://www.jstor.org/stable/44441681 Jenkens, Dean and Dr Stephen Gerred. “A (not so) brief history of electrocardiography.” ECG Library. 2009. https://ecglibrary.com/ecghist.html Macfarlane PW, Kennedy J. Automated ECG Interpretation—A Brief History from High Expectations to Deepest Networks. Hearts. 2021; 2(4):433-448. https://doi.org/10.3390/hearts2040034 Rautaharju, Pentti M. “Eyewitness to history: Landmarks in the development of computerized electrocardiography.” Journal of Electrocardiology 49 (2016) 1 – 6. Rivera-Ruiz, Moises et al. “Einthoven's string galvanometer: the first electrocardiograph.” Texas Heart Institute journal vol. 35,2 (2008): 174-8. Salam, Amar M. “The Invention of Electrocardiography Machine.” HeartViews. 2019 Nov 14;20(4):181–183. doi: 10.4103/HEARTVIEWS.HEARTVIEWS_102_19. Vincent, Rony. “From a laboratory to the wearables: a review on history and evolution of electrocardiogram.” Iberoamerican Journal of Medicine, vol. 4, núm. 4, pp. 248-255, 2022. https://www.redalyc.org/journal/6920/692072548011/html/ See omnystudio.com/listener for privacy information.

The investigators pair off to follow up on multiple leads. Watch the video here: https://youtu.be/J3PONlOQFHI For a limited time, use code "TFC" to save 15% on Cthulhu products at ⁠⁠⁠⁠⁠⁠chaosium.com⁠⁠⁠⁠⁠⁠. Access exclusive podcasts, ad-free episodes, and livestreams with a 30-day free trial with code "GCN30" at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠jointhenaish.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Join Troy Lavallee, Joe O'Brien, Skid Maher, Matthew Capodicasa, Sydney Amanuel, and Kate Stamas as they tour the country. Get your tickets today at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://hubs.li/Q03cn8wr0⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. For more podcasts and livestreams, visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://hubs.li/Q03cmY380⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Watch new episodes when they premiere every Friday at 8PM ET on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠youtube.com/theglasscannon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, starting July 11th. Learn more about your ad choices. Visit megaphone.fm/adchoices