Podcasts about Hepworth

We may tire of hearing dating referred to as a "waiting period" but that's often what we feel in the in-between. This is one of those messy, challenging topics that if we can embrace it and learn from it will do exceedingly more in and for us than we can yet see. Our guest, Ebie Hepworth, shares her testimony and the powerful lessons and gifts that waiting in the hard seasons has given her. Whether you are waiting on your future spouse or have been believing for a miracle—there is a way to wait, or in some instances suffer, WELL.Connect with Christian or find her new book "Break Up with What Broke You" at ChristianBevere.com

Charlie Couozzo talks to Louise Tait a Trustee of Cecil Hepworth Playhouse in Walton-on-Thames chats about two exciting upcoming events, Quip Shed Comedy on 25th October and West End Wickedness on 1st November.

In this special episode, artist Kedisha Coakley joins EMPIRE LINES live at the Hepworth Wakefield in West Yorkshire, connecting their work from Jamaican and Black diasporic communities across the UK, with their research into sculptor Ronald Moody, uncovering shared interests in Ancient Egypt, indigenous Caribbean cultures, and questions of restitution. Born in Brixton, and based in Sheffield, Kedisha Coakley's practice spans sculpture, glassmaking, and wallpaper printed with blocks of braided hair. Commissioned for an exhibition about Ronald Moody, one of the most significant artists working in 20th century Britain, their new installation is set between his large-scale figurative wood sculptures from the 1930s, and post-war experimentations with concrete and resin casting. From Kedisha's bronze afro-combs influenced by historic Taino cultures, we journey from objects held in the British Museum, to mahogany relief sculptures by major influences like Edna Manley. With audio transcripts, we discuss Moody's BBC radio broadcasts for Calling the West Indies produced by Una Marson, particularly ‘What is called Primitive Art?' (1949). Kedisha shares Moody's interest in primitivism, present in ancient Egyptian, Greek, Indian, and ‘oriental' Chinese cultural forms, as well as Gothic and Renaissance works from Western/Europe. We look at photographs from Kedisha's studio, exploring ‘African masks' in the work of European modernists like Man Ray and Pablo Picasso, and the often marginalised role of religion and spirituality in Black and diasporic art practices. Kedisha also details her wider practice in ‘Horticultural Appropriation', working with breadfruit, flowers, plants, and the natural environment, connecting with Moody's description of Jamaica's Blue Mountains and sea. We consider Moody's place in British art history, drawing from his contemporaries Barbara Hepworth, Henry Moore, Jacob Epstein, and Elizabeth Frink, as well as the group known as the Caribbean Artists Movement (CAM), of which Moody was a founding member.. As a self-described ‘mature student', we look at Kedisha's pursuit of independent, adult education, the role of market cultures and fashion, and the work of women taking care of history. This episode was recorded live at Ronald Moody: Sculpting Life, an exhibition at the Hepworth Wakefield in West Yorkshire, in October 2024. The exhibition runs until 3 November 2024: hepworthwakefield.org/whats-on/kedisha-coakley-and-empire-lines-live-podcast-recording/ Hear more about Kedisha's work around ‘Horticultural Appropriation' with Ashish Ghadiali, curator of Against Apartheid (2023) at KARST in Plymouth: pod.link/1533637675/episode/146d4463adf0990219f1bf0480b816d3 For more about the Caribbean Artists Movement (CAM), listen to curator Rose Sinclair in the episode on Althea McNish's Batchelor Girl's Room (1966/2022), recreated at the William Morris Gallery in London: pod.link/1533637675/episode/953b78149a969255d6106fb60c16982b On post-war ‘British' art and sculpture, read about Egon Altdorf: Reaching for the Light at the Henry Moore Institute in Leeds, in gowithYamo: gowithyamo.com/blog/postwar-modernism-egon-altdorf-at-the-henry-moore-institute Hear from artist Yinka Shonibare, in the episode on Decolonised Structures (Queen Victoria (2022-2023) at the Serpentine in London: pod.link/1533637675/episode/01fffb739a1bd9f84f930ce41ee31676 On the globalisation of ‘African' masks, listen to curator Osei Bonsu on Edson Chagas' photographic series, Tipo Passe (2014-2023), in the episode about Ndidi Dike's A History of A City in a Box (2019) at Tate Modern in London: pod.link/1533637675/episode/386dbf4fcb2704a632270e0471be8410 And for more about Édouard Glissant, listen to ⁠Manthia Diawara⁠, co-curator of The Trembling Museum at the Hunterian in Glasgow, and artist ⁠Billy Gerard Frank on Palimpsest: Tales Spun From Sea And Memories (2019)⁠, part of ⁠PEACE FREQUENCIES 2023⁠: ⁠instagram.com/p/C0mAnSuodAZ⁠

The Coming of Age series is a special set of episodes chronicling CFHA's 30 years of history. Even if you are not a CFHA member, listen in on the stories to gain insights into the key developments in healthcare from two veterans of healthcare transformation. Join Deepu & Grace as we listen in on the stories of collaboration that have brought us to where we are today! Episode 4: Jeri Hepworth & John Rolland

Special Guest ABBY HEPWORTH (Manysided Media) joins Kevin and Tim for a living autopsy of Tim Burton's latest. They talk pointless characters and confusing dad jokes before Abby makes an ALARMING statement about Ian McKellen you have to hear to believe.

Psalm 105 | Songs of the Summer| Abie Hepworth | St Paul's Shadwell by St Paul's Shadwell

Welcome to the final episode of our Summer Step Up Intern Series of Hey U! Hey U team members Rohan and Diego are back with our guests Ethan Hepworth & Talea Steele in a fun double-header episode. The Step Up internship program provides U of U undergraduate students who have preexisting unpaid internships with compensation for time with their host organization to allow them to focus on the internship and the learning and growth that can come from it! To learn more about the Step Up Internship program and deadlines for applications, visit Careers.Utah.edu.

Todd Hepworth is the co-founder of Orchard STEM School, a K-8 microschool located in a working orchard in his rural community of Santaquin, Utah that is scheduled to open this August. Todd worked as a public school teacher for more than a decade, as well as an administrator at a Waldorf-inspired charter school, before becoming an education entrepreneur. *** Sign up for Kerry's free, weekly email newsletter on education trends at fee.org/liberated.

Today is about reviewing the overall picture for rural businesses in 2024. Ben is joined by financial broker Andrew Hepworth Smith, owner of AHS Finance.  Make sure to check us out at RuralPod Media. You can follow Rural Business Focus and contact Ben on Twitter @ruralbf_pod or on Instagram @ruralbusinessfocusHave you thought about the benefits of podcasting for your business? If you  want to find out more or work with Ben to make your own podcast or to organise some podcast training for your business visit ruralpodmedia.co.uk Our podcast disclaimer can be found here. 

Fay Hepworth was born during the 2nd world war. Initially her family were living with her grandmother close to Silverstone in Northamptonshire.Fays father was a captain in the army and had served with the hussars and had seen action in North Africa.The family moved to Northern Ireland where Fay went to school. Fay is a lover of classical music and as a natural academic she absolutely loved school.Aged 15 Fay went to work with a family in France. She landed in Paris where she was met by the lovely family. However, At that time Fay didn't speak any French. She became fluent in no time at all.In due course Fay returned to Northern Ireland where she was encouraged to take a secretarial course which she hated!A colleague brought in literature to join the Royal Air Force. Fay saw opportunity to travel and informed her father that she intended to join up. However, he had a different ideas. Fay had a family member who was had been an admiral and she was told to join the senior service.Having joined the Royal Navy Fay went on to serve at the Ministry of Defence where she became a secretary for Earl Mountbatten for a period of 3 months. Following this she was posted to Malta where she enjoyed her posting immensely. With her American boyfriend “Art” she visited Tripoli!At the conclusion of her time in Malta she returned to Whitehall where she went back to the team with Mountbatten Mountbatten decided to stand down as Chief Of Defence and undertook a world tour to say his goodbyes, Fay travelled with him. She flew across the world. The trip stopped in New Zealand, and she returned to the UK on Military transport aircraft.Armed with a reference from Mountbatten she began to look for work in Civi Street. She went through a process of seeking employment and having worked in Northern Ireland she applied for and joined P&O as a purser on a cruise liner.In 1971 she met her future husband, Tony. Tony went to work on Bahrain and Fay went to work in Belgium and their relationship ended .It was rekindled a couple of years later and she went on to marry him. They went onto have 2 children and moved to the Middle East whereTony was the training manager at Gulf Air.The family returned to the UK. Fay went on to work for Essex Probation and since retirement she has become very active by singing in a Choir and playing the church organ. She also raises money for a local charity Wallace Kennels by selling her memoirs. Hosted on Acast. See acast.com/privacy for more information.

Lisa Benson and Kanani Hepworth are the two current members of the speed puzzling team, The Puzzler Pals. In this interview with Austin Pace, Benson and Hepworth talk about their passion for speed puzzling and their upcoming tournament at Nationals in San Diego, California. Check out the article here! https://www.byui.edu/radio/local-news/local-speed-puzzle-duo-head-to-nationals

Where is artificial intelligence going? How do we empower our workforce to embrace and use new capabilities? How can we best leverage the resources we have? These are some of the questions the Australian Army and the United States Marine Corps are working together to solve. In today's episode we are joined by Major Steven (Spike) Atkinson from the Marine Corps Warfighting Lab, who is leading the Robotic, Autonomy and Artificial Intelligence branch in the United States. Lieutenant Colonel Adam Hepworth has returned for another episode, sharing his insights from the Robotic and Autonomous Systems Implementation and Coordination Office. In our discussion, you'll hear how the United States Marine Corps, and the Australian Army are approaching emerging technology, together. Highlighting the importance of information exchange and shared experimentation to identify capability gaps, integrate technology and leverage shared opportunities.

On Sunday 11th February we returned to our series on Mark and we considered the words of Jesus in Mark 4:1-9, ‘Whoever has ears to hear, let them hear'. Terry got us thinking about what does it mean to hear? Actually, how do we even hear? And what are we going to do about it when we hear God? Links to things Terry referenced: Last week's Baptism service Spiritual Disciplines - Reading the Bible For more information about who we are, what we believe and how you can get involved, please visit our website

People are willing to pay serious money for adventures. Why? Is this a growing trend and what's behind this thrill seeking hobby? Jeremy Hepworth was a school's Head of Adventure and now runs Hepworth adventures. Listen in as he shares some awesome stories and insights into this craze. FIND OUT MORE

Surrounding yourself with exceptional people and building a winning team. It’s a recipe for success that Saskatchewan-born Lorne Hepworth has followed through three successful careers and now an appointment as Member of the Order of Canada. This week, RealAgriculture’s Shaun Haney sat down with Hepworth to discuss his journey, which includes a career arc with... Read More

Amid the detritus of tangerine peel, half-eaten chocolates, broken toys and jars of home-brewed chutney beneath the rock and roll Christmas tree we found various items still unwrapped and awaiting this week's podcast, among them … … how to create the Dylan Blonde On Blonde shuffle in under two minutes. … “Middlesex Hepworth!” David's triumph on University Challenge and an inside view of the whole experience. … Noel Coward revisited through the 21st century lens in the ‘Mad About The Boy' documentary. … Liam Gallagher & John Squire's super-duo: it's the Mancunian nostalgia jackpot but are the days of pre-release hype now over? … the most creative thing anyone can do. … actors from humble backgrounds used to pretend to be posher, now the posher ones affect to be working class. … how to listen to live albums: new Hepworth research reveals essential ingredient to enhance audio experience! … ‘a mix is never finished, it's merely abandoned', ‘snapping to the grid' plus the idiosyncrasies of a ‘smart drummer'.  This is the link to creating the Dylan shuffle: https://youtu.be/BMPoFYAwXQ0?t=78Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Amid the detritus of tangerine peel, half-eaten chocolates, broken toys and jars of home-brewed chutney beneath the rock and roll Christmas tree we found various items still unwrapped and awaiting this week's podcast, among them … … how to create the Dylan Blonde On Blonde shuffle in under two minutes. … “Middlesex Hepworth!” David's triumph on University Challenge and an inside view of the whole experience. … Noel Coward revisited through the 21st century lens in the ‘Mad About The Boy' documentary. … Liam Gallagher & John Squire's super-duo: it's the Mancunian nostalgia jackpot but are the days of pre-release hype now over? … the most creative thing anyone can do. … actors from humble backgrounds used to pretend to be posher, now the posher ones affect to be working class. … how to listen to live albums: new Hepworth research reveals essential ingredient to enhance audio experience! … ‘a mix is never finished, it's merely abandoned', ‘snapping to the grid' plus the idiosyncrasies of a ‘smart drummer'.  This is the link to creating the Dylan shuffle: https://youtu.be/BMPoFYAwXQ0?t=78Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Amid the detritus of tangerine peel, half-eaten chocolates, broken toys and jars of home-brewed chutney beneath the rock and roll Christmas tree we found various items still unwrapped and awaiting this week's podcast, among them … … how to create the Dylan Blonde On Blonde shuffle in under two minutes. … “Middlesex Hepworth!” David's triumph on University Challenge and an inside view of the whole experience. … Noel Coward revisited through the 21st century lens in the ‘Mad About The Boy' documentary. … Liam Gallagher & John Squire's super-duo: it's the Mancunian nostalgia jackpot but are the days of pre-release hype now over? … the most creative thing anyone can do. … actors from humble backgrounds used to pretend to be posher, now the posher ones affect to be working class. … how to listen to live albums: new Hepworth research reveals essential ingredient to enhance audio experience! … ‘a mix is never finished, it's merely abandoned', ‘snapping to the grid' plus the idiosyncrasies of a ‘smart drummer'.  This is the link to creating the Dylan shuffle: https://youtu.be/BMPoFYAwXQ0?t=78Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In this Episode we WadeOutThere with Tim Hepworth, from Central Alberta.  Tim was raised in a pastor's home with nine siblings.  Hunting and fishing was a way of life, and a source of sustenance.  He picked up fly fishing as a teenager, and used the sport to help him find balance in his job as a paramedic.  But it wasn't until the birth of his daughter, that Tim dove deep into fly fishing.  They learned together, and eventually, Tim became a guide on the Bow River at Fly Fishing Bow River Outfitters, and an instructor at the same school that taught him, Western Canadian Fly Fishing Guide School.  We discuss learning and teaching fly fishing with your daughter, late summer on the Bow River, and tying flies on Thursday nights.To learn more about Tim and the topics we discussed in this episode, check out the following links:Fly Fishing Bow River.comWhy We Take Our Children Fly FishingLessons From a Five Year Old in Fly FishingHow to Teach a Four Year Old to Tie FliesInstagram: @timandwrenShow notes + MORENewsletter Sign-UpView Jason's ArtworkThanks for listening.VR- Jason

Abie takes us through what it means to be in community and the helpful rhythms that help cultivate that. Streamed live at St Paul's Shadwell on Sunday, 22 October 2023. Join us as we gather to worship together every Sunday from 10am. Discover more at sps.church/sundays We hope you're encouraged by this sermon. For all the latest updates follow us on Social Media or check out sps.church #spschurch #towerhamlets #eastlondon Media Channels sps.church/instagram sps.church/facebook sps.church/twitter sps.church/itunes sps.church/spotify sps.church/youtube

Episode 2 of the ‘Adapting Army' podcast features Lieutenant Colonel Adam Hepworth and Emily Hughes. They discuss Artificial Intelligence and its use case for Army, now and in the future.

My Flirtations by Ella Hepworth Dixon audiobook. Many novels, most notably Hannah Webster's The Coquette, focused on how terrible it is for a woman to flirt before her marriage. 'I did not speak 20 sentences before sir Robert proposed to me', explained Lady Bidulph while teaching her daughter how to court properly in 'Memoirs of Miss Sidney Bidulph'. A coquette must be a fool, wicked, and immoral. But Peggy is none of these. She sees things as they are, sometimes too much for her own good, and flirts with men she finds interesting. She decides to tell about them, from her point of view. The feelings, the reasons they did not keep in touch, and her 'notions' about them. This is her way to examine late Victorian society including the lives of other oppressed minorities. This novel is considered semi autobiographical Learn more about your ad choices. Visit megaphone.fm/adchoices

Abie brings us a message about the Transfiguration of Christ. Scripture: Luke 9: 28 - 36 Streamed live at St Paul's Shadwell on Sunday, 6 Aug 2023. Join us as we gather to worship together every Sunday from 10am. Discover more at sps.church/sundays We hope you're encouraged by this sermon. For all the latest updates follow us on Social Media or check out sps.church #spschurch #towerhamlets #eastlondon Media Channels sps.church/instagram sps.church/facebook sps.church/twitter sps.church/itunes sps.church/spotify sps.church/youtube

Rachel is the CMO at Notion where she leads a team that combines the best of B2B and B2C marketing.  Previously she led a variety of teams at Slack and LinkedIn, including growth marketing, product marketing and platform marketing. She was the founding marketer at Climate Corp., which sold to Monsanto in 2012 for over $1 billion.  We cover:   The dynamic of marketing for a B2C2B model. Reaching consumers while ensuring relevance for B2B companies  Fueling word of mouth by understanding the underlying drivers  Global approaches and expanding communities with local market relevance Conversion and expansion capabilities  Using lifecycle marketing to drive engagement and as a feedback loop to the growth product roadmap --- Where to find Rachel Rachel's LinkedIn Profile ---- Notion's Template Gallery Patrick references:  Word of Mouth Coefficient --- Where to find Patrick Patrick's LinkedIn Profile --- (2:43) Defining the B2C2B model at Notion and how Rachel's team approaches it  (6:27) Prioritizing channels by stage and channel across consumers and businesses  (8:27) Balancing messaging and relevance to both audiences  (9:09) The challenges with calculating LTV for the business given the land and expand type nature of the company  (10:45) Signals to use to determine customer value and the limitations of performance marketing for PLG companies  (12:10) The underlying causes of word of mouth and supercharging it through community, influencers, partners, SEO, paid media, and affiliates  (18:42) Keeping a close eye on word of mouth and its effects to the business  (19:51) Most of the customer base is outside of the US. The natural fit to APAC markets and ensuring that local context is communicated through marketing   (23:53) Pipeline management and optimization through PQAs and PQLs (26:11) Consumers are one significant way to drive customers, but not the only way. Some of the challenges with the focus on consumers and the tradeoffs with B2B capability needs  (28:28) Going deeper with the messaging dynamic and other acquisition tactics between consumers and businesses  (29:55) What most people are surprised by with Notion's success  (32:00) Land and expand opportunities between understanding usage patterns and shrinking the time between value realization  (34:11) Investing in lifecycle for onboarding, education, engagement, and expansion  (37:53) Empowering the community for experts and advocates. Inspiring Notion influencers (39:50) The structure for the lifecycle marketing team globally  (40:43) Where to find Rachel!        

It's a wild and wet July night of wind and rain. So why not step aboard for a while as we meander down some fox trails and contemplate the pleasure of sunshine and dark skies.Journal entry:11th July, Tuesday“A quarter to midnight. Lying in bed and listening To the drum of rain On the cabin roof.All day I have watched the dark Clouds boil in the cauldron Of the west. Storm heads tower In castle greys.Maggie and I stood On the hill with no name Watching the ragged veils Of cloud-tear Sweep towards usIt falls like brush strokes Played on a snare drum.”Episode Information:In this episode I read a very short extract from the Ladybird Book What to look for in Summer by E.L. Grant Watson (1960) published by Wills and Hepworth. I also read the following Sabbath Poems XXII and XXIII by Wendell Berry (2013) published by Catapult.With special thanks to our lock-wheelersfor supporting this podcast.Sean James Cameron Laurie and Liz Phil Pickin Orange Cookie Donna Kelly Mary Keane. Tony Rutherford. Arabella Holzapfel. Rory with MJ and Kayla. Narrowboat Precious Jet. Linda Reynolds Burkins. Richard Noble. Carol Ferguson. Tracie Thomas Mike and Tricia Stowe Madeleine SmithGeneral DetailsIn the intro and the outro, Saint-Saen's The Swan is performed by Karr and Bernstein (1961) and available on CC at archive.org. Two-stroke narrowboat engine recorded by 'James2nd' on the River Weaver, Cheshire. Uploaded to Freesound.org on 23rd June 2018. Creative Commons Licence. Piano and keyboard interludes composed and performed by Helen Ingram.All other audio recorded on site. For more information about Nighttime on Still WatersYou can find more information and photographs about the podcasts and life aboard the Erica on our website at noswpod.com. It will also allow you to become more a part of the podcast and you can leave comments, offer suggestions, and reviews. You can even, if you want, leave me a voice mail by clicking on the microphone icon. Support the showBecome a 'Lock-Wheeler'Would you like to support this podcast by becoming a 'lock-wheeler' for Nighttime on Still Waters? Find out more: 'Lock-wheeling' for Nighttime on Still Waters.ContactFor pictures of Erica and images related to the podcasts or to contact me, follow me on: Facebook at https://www.facebook.com/noswpod Instagram: https://www.instagram.com/nighttimeonstillwaters/ Twitter: https://twitter.com/NoswPod Mastodon: https://mastodon.world/@nosw I would love to hear from you. You can email me at nighttimeonstillwaters@gmail.com or drop me a line by going to the nowspod website and using either the contact form or, if you prefer, record your message using the voicemail facility by clicking on the microphone icon.

PLG companies are in the spotlight again, being examined by media and analysts for their staying power in a recession. So, we're pulling an episode off the top shelf this week which tackles PLG. Rachel Hepworth is now Head of Marketing at Notion, a PLG brand, but when this episode first aired, she was their Co-Marketing Lead. When Rachel started her role at Notion, a PLG company, the brand had been primarily (and successfully) built through community and content, existing without a growth-marketing function. As Notion was moving into more enterprise and complex sales, Rachel was tasked with starting from the ground floor, including scaling up a tech stack and data team. Listen in as Rachel walks through how to develop a growth engine inside a PLG company and how brand and demand can work seamlessly together. Connect with Rachel: https://www.linkedin.com/in/rachelhepworth/ Connect with Lindsey: https://www.linkedin.com/in/lindseygroepper/ Learn more about BLASTmedia: https://www.blastmedia.com/ 

The Story of a Modern Woman by Ella Hepworth Dixon audiobook. 'This touching short novel tells the story of Mary Earl, a woman who has to fend for herself in London at the end of the 19th century. She becomes a writer. But she cannot write whatever she wants. There is a format in which her novels should be written- a format she does not like or understand. To make matters worse, she falls in love with a married man. This novel is considered one of the best, and most touching, new woman novels, as it highlights many of the difficulties a single woman faced at the end of the 19th century. The writing is vivid. You can just sit back and let it get into your heart.' Learn more about your ad choices. Visit megaphone.fm/adchoices

Abie brings us this week's talk. Scripture: Matthew 10: 24-39 Streamed live at St Paul's Shadwell on Sunday, 25 June 2023. Join us as we gather to worship together every Sunday from 10am. Discover more at sps.church/sundays We hope you're encouraged by this sermon. For all the latest updates follow us on Social Media or check out sps.church #spschurch #towerhamlets #eastlondon Media Channels sps.church/instagram sps.church/facebook sps.church/twitter sps.church/itunes sps.church/spotify sps.church/youtube

Curator Isabella Maidment steps into Hurvin Anderson's studio and barbershop, a point of cultural connection between Birmingham and the Caribbean, reconstructed at the Hepworth Wakefield. Contemporary artist Hurvin Anderson first painted a barbershop in Birmingham in 2006. For more than 15 years, he has returned to and reworked this space, an important social setting, especially for men, in Black British communities. As a second-generation migrant, whose parents migrated from Jamaica, Anderson practiced in the post-Windrush diaspora in 1980s Britain, creating works which connect cultures in Britain and the Caribbean - and Life Between Islands. As Salon Paintings, the first complete exhibition of the Barbershop series, opens at The Hepworth Wakefield, curator Isabella Maidment talks about Anderson's surreal use of mirrors and layers, why he thinks of the barbershop like an impressionist cafe, and how this particularly regional setting can travel and translate across the country and Europe. Hurvin Anderson: Barbershop and Hurvin Anderson Curates run at the Hepworth Wakefield in West Yorkshire until 5 November 2023, then at the Hastings Contemporary in East Sussex, and the Kistefos Museum, Norway, into 2024. For more, you can read my review. Part of EMPIRE LINES' Windrush Season, marking the 75 year anniversary of the HMT Empire Windrush's arrival in the UK from the West Indies. Listen to the other episode from Indo + Caribbean: The creation of a culture at the Museum of London Docklands: https://pod.link/1533637675/episode/c475cec4c78ad87b9cf73326b823cb8c WITH: Isabella Maidment, Senior Curator at The Hepworth Wakefield. She is a co-curator of Hurvin Anderson: Salon Paintings. ART: ‘Is it OK to Be Black?, Hurvin Anderson (2015)'. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Twitter: twitter.com/jelsofron/status/1306563558063271936 And Instagram: instagram.com/empirelinespodcast Support EMPIRE LINES on Patreon: patreon.com/empirelines

The brewing industry has become a testing ground for the energy transition. Many drinkers want to drink responsibly: not just to protect their own health, but the health of the planet. Brewers large and small are taking innovative approaches to their energy use. In Samlesbury, AB InBev has started working with Protium, who will fund, build, and operate a green hydrogen facility that will provide renewable energy, heat for brewing operations, and fuel for their distribution vehicles. Hepworth & Co, a much smaller brewery, based in Horsham, has been taking an incremental approach, using solar panel, and careful recovery of heat from its systems, to cut its use of fuel oil. And the company is now looking to use methane, produced on site in a containerised anaerobic digestor, to replace some of its fuel use. The next step for the brewery will be to store heat produced over the weekend, and use it in its small batch brewing through the week. One day, brewing consultant Tim O'Rourke says, brewers may be able to source agricultural raw materials from farmers who use techniques that actually remove carbon dioxide from the atmosphere, meaning that every pint drinkers enjoy, will help heal the planet. Guests Tim O'Rourke – The Brilliant Beer Company Andy Hepworth – Hepworth & Co Chris Jackson – Protium

Abie brings us the second message in our new series '1 Peter' Scripture: 1 Peter Streamed live at St Paul's Shadwell on Sunday, 7 May 2023. Join us as we gather to worship together every Sunday from 10am. Discover more at sps.church/sundays We hope you're encouraged by this sermon. For all the latest updates follow us on Social Media or check out sps.church #spschurch #towerhamlets #eastlondon Media Channels sps.church/instagram sps.church/facebook sps.church/twitter sps.church/itunes sps.church/spotify sps.church/youtube

Neurodiversity describes the idea that people experience and interact with the world around them in many different ways; there is no one "right" way of thinking, learning and behaving and differences are not viewed as deficits. In this episode, I have the pleasure of chatting with Dr Claire Hepworth, an HCPC Accredited and Chartered Clinical Psychologist. She additionally holds an MSc in Health psychology, a PhD in Psychology and is Co-Lead for CPD on the Division of Coaching Psychology committee BPS.Claire has twenty years of experience in psychology research and clinical practice in the UK, working in NHS services, private practice and the Education sector. She provides consultation, assessment and psychological therapy, to individuals, families and professionals. Claire provides strategic consultation, coaching, supervision and training to schools and education professionals, with a particular focus on whole school wellbeing through inclusion and trauma informed practice.Claire and I discuss: The different types or neurodivergenceThe biggest challenges neurodivergent students are facing at schoolHow schools are supporting neurodivergent students and what needs to be done to create more supportive environments The future of neurodivergenceAnd much more!Thank you for coming on this journey to create a better future for our life long learners!Listen here:Apple - https://apple.co/3OAl10CSpotify - https://spoti.fi/3PyuxmgAmazon Music - https://amzn.to/3z9fmcbConnect with Claire:LinkedIn: Dr Claire Hepworth Website: https://www.dowhatworks.co.uk/ and https://www.drclairehepworth.com/Email: admin@dowhatworks.co.uk

Summary: Happy National Autism Awareness Month! Today, Holly and Devin discuss books with neurodivergent protagonists. They agree that all kinds of diversity in books are not only important but provide a helpful and enjoyable window into the lives of folkx with whom you haven't interacted (yet). Holly shared some key things to look out for in neurodivergent writing - avoiding stereotypes, ensuring there's diversity of gender, sexuality and race, avoiding infantilizing neurodivergent characters, and being especially cautious in sci-fi with aliens who are just caricatures of people on the autism spectrum. (Credit to a BookRiot article by Susie Rodarme and a Medium article by Cassie Josephs) Topics Discussed: The Heart (3:49): Devin discussed The Kiss Quotient by Helen Hoang, a steamy gender-bent play on tropes found in Pretty Woman. Stella Lane is a rock star data scientist with a career she loves. On the autism spectrum, she has always thought of kissing as “a shark getting its teeth cleaned by a pilot fish,” but she is looking for love and marriage. Her solution? Hire an escort to teach her everything she needs to know for her future husband. Devin's key takeaways were: Helen Hoang self-diagnosed being on the autism spectrum through research and working with a therapist in 2016. While Stella is also on the spectrum and it is a big driver of the premise, Hoang ensures that Stella isn't mocked, belittled, etc. at any point because of her autism, nor is it used as a reason for conflict in the book.  Michael Phan, the escort that Stella hires, has his own motivations for agreeing to work with Stella longer term; his mother is battling cancer and the bills are piling up. While Stella sees Michael as the powerful one in their dynamic for already being great at sex, Michael respects Stella's career, her stability and her attitude toward life's challenges and ultimately no one character is seeking the upper hand - a refreshing, balanced take on classic tropes Because Stella is hypersensitive and often struggles to be touched, the book focuses a lot around consent. Michael respects her boundaries and waits until she's ready for every single step they take physically, but he's also verbally describing his intent and what he's going to do nonstop. This beautiful show of consistent requesting of consent adds an extra spicy layer of dirty talk that readers will love.  The Dagger (17:11): Holly discussed The Good Sister by Sally Hepworth, a mystery-thriller published in 2020 by the Australian author. The book follows fraternal twins Fern and Rose who are very close but very, very different. Fern hasn't been formally diagnosed but has sensory issues and a very literal interpretation of the world around her. Rose is an interior designer who has been trying to get pregnant to no avail. Rose takes care of Fern in many ways, but how close are they really? Holly's key takeaways were: Through her research, Holly found that the representation of someone on the autism spectrum is quite great. Hepworth has shared that she has neurodiversity in her family including autism, ADHD, and sensory processing disorder. The diversity of symptoms and experiences is key in the novel and deftly handled.  All of the characters, especially Fern, are incredibly real-feeling and round. It doesn't take long to get deeply invested as we learn that Rose and Fern's mother was very narcissistic and they suffered from homelessness and some abuse; this culminates in a traumatic event the sisters experienced at age 12 that impacted the rest of their lives.  This book explores the power and danger of vulnerability and kindness. Fern's literal interpretation of the world sets her on a path to get pregnant herself; since Rose is struggling and they are twins, she figures she can just get pregnant on her own and hand the baby off to Rose as a gift. What ensues demonstrations Hepworth's ability to balance tense and unsettling relationships with the beauty and power of deep bonds.  Hot On the Shelf (32:23): Devin: Loathe to Love You by Ali Hazelwood Holly:  A Day of Fallen Night by Samantha Shannon What's Making Our Hearts Race (36:50): Devin: Detroiters on Paramount+ Holly: Derry Girls on Netflix   Instagram: @heartsanddaggerspod Website: www.heartsanddaggerspod.com   If you like what you hear, please tell your friends and rate and review us on Apple Podcasts and Spotify so that we can find our perfect audience.

Our guest today is Rachel Hepworth, Head of Marketing at Notion.  Rachel currently runs growth marketing at Notion, and sees her job as bringing process and control to all of Notion's different marketing channels. Before joining Notion, Rachel launched the first growth marketing team at Slack, laying down the tracks for a well-oiled go-to-market strategy that could be measured easily.  Much like Slack, Notion has made a name for itself largely through customer love and a powerful word-of-mouth recommendation engine. As a metrics-focused marketer, Rachel opens up her playbook on how she lassos that kind of word-of-mouth growth and the analytical approach she has toward acquiring and retaining customers.  In our conversation today, we focus on the nuts and bolts of what growth marketing looks like inside an organization that's driven by product-led growth. Rachel shares tactical advice on: Why high-speed feedback cycles are so important  Early indicators of which sign-ups are most likely to convert to paid customers Her process for adjusting which top-of-funnel metrics to track over time  How marketing, product and sales all work together at Notion to own a different part of the customer funnel You can follow Rachel on Twitter at @rachelhepworth. You can email us questions directly at review@firstround.com or follow us on Twitter @firstround and @brettberson. 

Sally Hepworth knows how to write about dysfunctional families. Her books have sold over a million copies worldwide, and Sally's latest title, THE SOULMATE, is a recent favorite of Julie's. Sally joins Julie in this episode to share her path to becoming a writer (though Julie contends she has many other areas of expertise), “Hepworth workarounds,” Sally's fun and funny presence on Instagram, and her unexpected turn as a wig-fluencer. Sally also weighs in on the burning question: do soulmates exist? Hosted on Acast. See acast.com/privacy for more information.

We had a teeensy technical difficulty for the first minute or so. Abie brings us the second message in our new series 'Tell' Scripture: Mark 1, 1 - 8 Streamed live at St Paul's Shadwell on Sunday, 19 February 2023. Join us as we gather to worship together every Sunday from 10am. Discover more at https://sps.church/sundays We hope you're encouraged by this sermon. For all the latest updates follow us on Social Media or check out https://sps.church #spschurch #towerhamlets #eastlondon Media Channels https://sps.church/instagram https://sps.church/facebook https://sps.church/twitter https://sps.church/itunes https://sps.church/spotify https://sps.church/youtube

 In this episode, Toria chats to Sarah Hepworth about developing curious learners in creative ways. As an experienced English Leader of over 10 years, Sarah feels passionately about developing learners who are given the opportunity to develop their imagination, ask questions and be curious. Sarah uses her knowledge of the EEF through her role with Derby Research School to also talk about the ShREC model, which is part of the EYFS guidance to effective adult and pupil interaction. By being creative with how we develop those small and natural moments of curiosity, we can engage in conversations with our pupils and, importantly, spark, watch, listen and inspire. Who doesn't love a good question? Time is precious in the classroom but we can creatively use a picture, role play, a cube, a suitcase, anything to hook our learners in and, with a culture where curiosity is allowed to flourish, enable learners to grow, be independent and be curious. Sarah is currently a Year 4 leader in a 3 form primary, where she is part of the Senior Management Team. She is part of the Teaching & Learning leadership team and an English leader. Alongside this, she works with Derby Research School and the Open University in her roles as an Evidence Lead in Education and a Teacher Reader Group Leader.  Support the showIf you enjoyed this episode please share it with others and I would love it if you would leave a review on Apple, Spotify or anywhere else.The Tiny Voices Talk book is out now . To get 30% off go to www.crownhouse.co.uk or www.independentthinkingpress.com and use the code TINY30.

PSA: This episode was recorded 2 weeks ago, due to illness and short - notice graduate job interviews I was unable to find the time to schedule it. I am getting more settled now into university so my uploading schedule should now resume as normalI hope your all well! I have had quite a break, I have had a lot on with my health recently, and I have been trying to rest and recover, but I am excited to be posting more consistently now!Barbara Hepworth: Art & Life at Tate St Ives!!!You can book tickets for the show here!The exhibition guide that I used as a script for this episode can be seen here!Another show which had Hepworth's work in I did a review of (New Art Gallery Walsall), you can hear that review here:Socials:Instagram - @scarlettart18Website - scarlettford.co.uk - YOU CAN LISTEN TO THE POD FROM MY WEBSITE!!Mailing List - https://www.scarlettford.co.uk/contact-9Linkedin - https://uk.linkedin.com/in/scarlett-ford-485795208Email - scarlettart18@gmail.comEdited on LumafusionMusic from Epidemic SoundsMic: Samson Q2UThanks for listening, this was a long edit and tedious edit hahaScarlett

Special guest Michelle Morris joins us as we discuss new book releases for 2023. The Bookmark is your place to find your next great book. Each week, join regular readers Miranda Ericsson, Chris Blocker and Autumn Friedli along with other librarians as they discuss all the books you'll want to add to your reading list.

A new exhibition at The Hepworth Wakefield celebrates the relationship that two of the UK's greatest sculptors, Barbara Hepworth and Henry Moore, had with the Yorkshire landscape they grew up in. Eleanor Clayton, the curator of the exhibition, Magic in this Country, joins the landscape photographer Kate Kirkwood - who has just published a new book, Cowspines, that blends the landscape of the Lake District with the backs of the cows that graze upon it – to discuss the power of landscape to draw an artist's eye. John McCusker discusses and performs live from his new ‘Best of ‘Album, which celebrates his 30-year career as one of Scotland's most acclaimed fiddle players and musical collaborators. Writer of fiction and poetry Victoria MacKenzie tells Shahidha Bari about her first novel, For Thy Great Pain Have Mercy On My Little Pain, which is based on the lives of two extraordinary, trail-blazing fourteenth-century Christian mystics, Julian of Norwich and Margery Kempe. Presenter: Shahidha Bari Producer: Eliane Glaser Main image from Cowspines by Kate Kirkwood

It's scary, traveling with kids. If you've done it, you know what I'm talking about!But it can also be so worth it. In my last episode, I talked about my own personal tips and tricks for traveling with a toddler.This week, we're joined by special guest Brianne Hepworth, a mom to four kids and the founder of Mini Voyager, a company that curates travel kits for kids of all ages to help families feel more confident about traveling with their little ones.I came across Mini Voyager through somebody else's Instagram account, and I thought, finally, somebody's done this. It's about time I found it! What I love about these kits is they're streamlined and compact. Children can even carry them themselves.In today's episode, Brianne and I talk about these life-changing kits; how sometimes there is no “balance” between work and parenting; and why traveling with your kids can be so worth it.Resources & LinksFollow Brianne on Instagram and visit the Mini Voyager website to check out the travel kits, with different packages available for young babies to kids eight and older.Need a place to start with planning your trip with your toddler? Check out my packing list freebie for all of my must-haves! Learn more about Project: Mom and follow us on Instagram at @projectmompodcast.Do you want to share your motherhood journey on the podcast? Email me at projectmompod@gmail.com. 

While I'm still on hiatus, I invited questions from listeners. This is an hour-long podcast answering some of them. (Another hour-long Q&A for Patreon backers only will go up next week). Tilt Araiza has assisted invaluably by doing a first-pass edit, 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/ There is a Mixcloud of the music excerpted here which can be found at https://www.mixcloud.com/AndrewHickey/500-songs-supplemental-qa-edition/ Click below for a transcript: Hello and welcome to the Q&A  episode I'm doing while I'm working on creating a backlog. I'm making good progress on that, and still hoping and expecting to have episode 151 up some time in early August, though I don't have an exact date yet. I was quite surprised by the response to my request for questions, both at the amount of it and at where it came from. I initially expected to get a fair few comments on the main podcast, and a handful on the Patreon, and then I could do a reasonable-length Q&A podcast from the former and a shorter one from the latter. Instead, I only got a couple of questions on the main episode, but so many on the Patreon that I had to stop people asking only a day or so after posting the request for questions. So instead of doing one reasonable length podcast and one shorter one, I'm actually doing two longer ones. What I'm going to do is do all the questions asked publicly, plus all the questions that have been asked multiple times, in this one, then next week I'm going to put up the more niche questions just for Patreon backers. However, I'm not going to answer *all* of the questions. I got so many questions so quickly that there's not space to answer them all, and several of them were along the lines of "is artist X going to get an episode?" which is a question I generally don't answer -- though I will answer a couple of those if there's something interesting to say about them. But also, there are some I've not answered for another reason. As you may have noticed, I have a somewhat odd worldview, and look at the world from a different angle from most people sometimes. Now there were several questions where someone asked something that seems like a perfectly reasonable question, but contains a whole lot of hidden assumptions that that person hadn't even considered -- about music history, or about the process of writing and researching, or something else. Now, to answer that kind of question at all often means unpacking those hidden assumptions, which can sometimes make for an interesting answer -- after all, a lot of the podcast so far has been me telling people that what they thought they knew about music history was wrong -- but when it's a question being asked by an individual and you answer that way, it can sometimes, frankly, make you look like a horribly unpleasant person, or even a bully. "Don't you even know the most basic things about historical research? I do! You fool! Hey everyone else listening, this person thinks you do research in *this* way, but everyone knows you do it *that* way!" Now, that is never how I would intend such answers to come across -- nobody can be blamed for not knowing what they don't know -- but there are some questions where no matter how I phrased the answer, it came across sounding like that. I'll try to hold those over for future Q&A episodes if I can think of ways of unpicking the answers in such a way that I'm not being unconscionably rude to people who were asking perfectly reasonable questions. Some of the answers that follow might still sound a bit like that to be honest, but if you asked a question and my answer sounds like that to you, please know that it wasn't meant to. There's a lot to get through, so let's begin: Steve from Canada asks: “Which influential artist or group has been the most challenging to get information on in the last 50 podcasts? We know there has been a lot written about the Beatles, Beach Boys, Motown as an entity, the Monkees and the Rolling Stones, but you mentioned in a tweet that there's very little about some bands like the Turtles, who are an interesting story. I had never heard of Dino Valenti before this broadcast – but he appeared a lot in the last batch – so it got me curious. [Excerpt: The Move, “Useless Information”] In the last fifty episodes there's not been a single one that's made it to the podcast where it was at all difficult to get information. The problem with many of them is that there's *too much* information out there, rather than there not being enough. No matter how many books one reads on the Beatles, one can never read more than a fraction of them, and there's huge amounts of writing on the Rolling Stones, on Hendrix, on the Doors, on the Byrds... and when you're writing about those people, you *know* that you're going to miss out something or get something wrong, because there's one more book out there you haven't read which proves that one of the stories you're telling is false. This is one of the reasons the episodes have got so much longer, and taken so much more time. That wasn't the case in the first hundred episodes -- there were a lot of artists I covered there, like Gene and Eunice, or the Chords, or Jesse Belvin, or Vince Taylor who there's very little information about. And there are some coming up who there's far less information about than people in the last fifty episodes. But every episode since the Beatles has had a surfeit of information. There is one exception -- I wanted to do a full episode on "Rescue Me" by Fontella Bass, because it would be an interesting lens through which to look at how Chess coped with the change in Black musical styles in the sixties. But there was so little information available about her I ended up relegating it to a Patreon bonus episode, because she makes those earlier artists look well-documented. Which leads nicely into the next question. Nora Tillman asks "Forgive this question if you've answered it before: is there literally a list somewhere with 500 songs you've chosen? Has the list changed since you first composed it? Also, when did you first conceive of this list?" [Excerpt: John Reed and the D'Oyly Carte Opera Company, "As Someday it May Happen"] Many people have asked this question, or variations upon it. The answer is yes and no. I made a list when I started that had roughly two hundred songs I knew needed to be on there, plus about the same number again of artists who needed to be covered but whose precise songs I hadn't decided on. To make the initial list I pulled a list out of my own head, and then I also checked a couple of other five-hundred-song lists -- the ones put out by Rolling Stone magazine and the Rock and Roll Hall of Fame -- not because I wanted to use their lists; I have very little time for rock critical orthodoxy, as most of my listeners will likely have realised by now, but because I wanted to double-check that I hadn't missed anything obvious out, and that if I was missing something off their lists, I knew *why* I was missing it. To take a ludicrous example, I wouldn't want to get to the end of the 1960s and have someone say "Wait a minute, what about the Beatles?" and think "I *knew* I'd forgotten something!" Then, at the start of each fifty-episode season, I put together a more rigorous list of the fifty songs coming up, in order. Those lists *can* still change with the research -- for example, very early on in the research for the podcast, I discovered that even though I was completely unfamiliar with "Ko Ko Mo" by Gene and Eunice, it was a hugely important and influential record at the time, and so I swapped that in for another song. Or more recently, I initially intended to have the Doors only have one episode, but when I realised how much I was having to include in that episode I decided to give them a second one. And sometimes things happen the other way -- I planned to do full episodes on Jackie Shane and Fontella Bass, but for both of them I couldn't find enough information to get a decent episode done, so they ended up being moved to Patreon episodes. But generally speaking that fifty-song list for a year's episodes is going to remain largely unchanged. I know where I'm going, I know what most of the major beats of the story are, but I'm giving myself enough flexibility to deviate if I find something I need to include. Connected with this, Rob Johnson asks how I can be confident I'll get back to some stories in later episodes. Well, like I say, I have a pretty much absolute idea of what I'm going to do in the next year, and there are a lot of individual episodes where I know the structure of the episode long before we get to it. As an example here... I don't want to give too much away, and I'm generally not going to be answering questions about "will artist X be appearing?", but Rob also asked about one artist. I can tell you that that artist is one who will not be getting a full episode -- and I already said in the Patreon episode about that artist that they won't -- but as I also said in that episode they *will* get a significant amount of time in another episode, which I now know is going to be 180, which will also deal with another artist from the same state with the same forename, even though it's actually about two English bands. I've had the structure of that episode planned out since literally before I started writing episode one. On the other hand, episode 190 is a song that wasn't originally going to be included at all. I was going to do a 1967 song by the same artist, but then found out that a fact I'd been going to use was disputed, which meant that track didn't need to be covered, but the artist still did, to finish off a story I'd started in a previous episode. Patrick asks:"I am currently in the middle of reading 1971: Never a Dull Moment by David Hepworth and I'm aware that Apple TV have produced a documentary on how music changed that year as well and I was wondering what your opinion on that subject matter? I imagine you will be going into some detail on future podcasts, but until recently I never knew people considered 1971 as a year that brought about those changes." [Excerpt: Rod Stewart, "Angel"] I've not yet read Hepworth's book, but that it's named after an album which came out in 1972 (which is the album that track we just heard came from) says something about how the idea that any one year can in itself be a turning point for music is a little overstated -- and the Apple documentary is based on Hepworth's book, so it's not really multiple people making that argument. Now, as it happens, 1971 is one of the break points for the podcast -- episodes 200 and 201 are both records from July 1971, and both records that one could argue were in their own way signifiers of turning points in rock music history. And as with 1967 it's going to have more than its fair share of records, as it bridges the gap of two seasons. But I think one could make similar arguments for many, many years, and 1971 is  not one of the most compelling cases. I can't say more before I read Hepworth's book, which won't be for a few months yet. I'm instinctively dubious of these "this year was the big year that changed everything" narratives, but Hepworth's a knowledgeable enough writer that I wouldn't want to dismiss his thesis without even reading the book. Roger Pannell asks I'm a fairly recent joiner-in too so you may have answered this before. What is the theme tune to the podcast please. [Excerpt: The Boswell Sisters, “Rock and Roll”] The theme song to the podcast is "Rock and Roll" by the Boswell Sisters. The version I use is not actually the version that was released as a single, but a very similar performance that was used in the film Transatlantic Merry-Go-Round in 1931. I chose it in part because it may well be the first ever record to contain the phrase "rock and roll" (though as I've said many times there's no first anything, and there are certainly many records which talk about rocking and/or rolling -- just none I know of with that phrase) so it evokes rock and roll history, partly because the recording is out of copyright, and partly just because I like the Boswell Sisters. Several people asked questions along the lines of this one from Christopher Burnett "Just curious if there's any future episodes planned on any non-UK or non-North American songs? The bonus episodes on the Mops and Kyu Sakamoto were fascinating." [Excerpt: Kyu Sakamoto, "Sukiyaki"] Sadly, there won't be as many episodes on musicians from outside the UK and North America as I'd like. The focus of the podcast is going to be firmly on British, American, Irish, and Canadian musicians, with a handful from other Anglophone countries like Australia and Jamaica. There *are* going to be a small number of episodes on non-Anglophone musicians, but very few. Sadly, any work of history which engages with injustices still replicates some of those injustices, and one of the big injustices in rock history is that most rock musicians have been very insular, and there has been very little influence from outside the Anglophone world, which means that I can't talk much about influential records made by musicians from elsewhere.  Also, in a lot of cases most of the writing about them is in other languages, and I'm shamefully monolingual (I have enough schoolboy French not to embarrass myself, but not enough to read a biography without a dictionary to hand, and that's it). There *will* be quite a few bonus episodes on musicians from non-Anglophone countries though, because this *is* something that I'm very aware of as a flaw, and if I can find ways of bringing the wider story into the podcast I will definitely do so, even if it means changing my plans somewhat, but I'm afraid they'll largely be confined to Patreon bonuses rather than mainline episodes. Ed Cunard asks "Is there a particular set of songs you're not looking forward to because you don't care for them, but intend to dive into due to their importance?" [Excerpt: Jackie Shane, "Don't Play That Song"] There are several, and there already have been some, but I'm not going to say what they are as part of anything to do with the podcast (sometimes I might talk about how much I hate a particular record on my personal Twitter account or something, but I try not to on the podcast's account, and I'm certainly not going to in an episode of the podcast itself). One of the things I try to do with the podcast is to put the case forward as to why records were important, why people liked them at the time, what they got out of them. I can't do that if I make it about my own personal tastes. I know for a fact that there are people who have come away from episodes on records I utterly despise saying "Wow! I never liked that record before, but I do now!" and that to me shows that I have succeeded -- I've widened people's appreciation for music they couldn't appreciate before. Of course, it's impossible to keep my own tastes from showing through totally, but even there people tend to notice much more my like or dislike for certain people rather than for their music, and I don't feel anything like as bad for showing that. So I have a policy generally of just never saying which records in the list I actually like and which I hate. You'll often be able to tell from things I talk about elsewhere, but I don't want anyone to listen to an episode and be prejudiced not only against the artist but against the episode  by knowing going in that I dislike them, and I also don't want anyone to feel like their favourite band is being given short shrift. There are several records coming up that I dislike myself but where I know people are excited about hearing the episode, and the last thing I want to do is have those people who are currently excited go in disappointed before they even hear it. Matt Murch asks: "Do you anticipate tackling the shift in rock toward harder, more seriously conceptual moves in 1969 into 1970, with acts like Led Zeppelin, The Who (again), Bowie, etc. or lighter soul/pop artists such as Donna Summer, Carly Simon or the Carpenters? Also, without giving too much away, is there anything surprising you've found in your research that you're excited to cover? [Excerpt: Robert Plant, "If I Were a Carpenter"] OK, for the first question... I don't want to say exactly who will and won't be covered in future episodes, because when I say "yes, X will be covered" or "no, Y will not be covered", it invites a lot of follow-up discussion along the lines of "why is X in there and not Y?" and I end up having to explain my working, when the episodes themselves are basically me explaining my working. What I will say is this... the attitude I'm taking towards who gets included and who gets excluded is, at least in part, influenced by an idea in cognitive linguistics called prototype theory. According to this theory, categories aren't strictly bounded like in Aristotelian thought -- things don't have strict essences that mean they definitely are or aren't members of categories. But rather, categories have fuzzy boundaries, and there are things at the centre that are the most typical examples of the category, and things at the border that are less typical. For example, a robin is a very "birdy" bird -- it's very near the centre of the category of bird, it has a lot of birdness -- while an ostrich is still a bird, but much less birdy, it's sort of in the fuzzy boundary area. When you ask people to name a bird, they're more likely to name a robin than an ostrich, and if you ask them “is an ostrich a bird?” they take longer to answer than they do when asked about robins. In the same way, a sofa is nearer the centre of the category of "furniture" than a wardrobe is. Now, I am using an exceptionally wide definition of what counts as rock music, but at the same time, in order for it to be a history of rock music, I do have to spend more time in the centre of the concept than around the periphery. My definition would encompass all the artists you name, but I'm pretty sure that everyone would agree that the first three artists you name are much closer to the centre of the concept of "rock music" than the last three. That's not to say anyone on either list is definitely getting covered or is definitely *not* getting covered -- while I have to spend more time in the centre than the periphery, I do have to spend some time on the periphery, and my hope is to cover as many subgenres and styles as I can -- but that should give an idea of how I'm approaching this. As for the second question -- there's relatively little that's surprising that I've uncovered in my research so far, but that's to be expected. The period from about 1965 through about 1975 is the most over-covered period of rock music history, and so the basic facts for almost every act are very, very well known to people with even a casual interest. For the stuff I'm doing in the next year or so, like the songs I've covered for the last year, it's unlikely that anything exciting will come up until very late in the research process, the times when I'm pulling everything together and notice one little detail that's out of place and pull on that thread and find the whole story unravelling. Which may well mean, of course, that there *are* no such surprising things. That's always a possibility in periods where we're looking at things that have been dealt with a million times before, and this next year may largely be me telling stories that have already been told. Which is still of value, because I'm putting them into a larger context of the already-released episodes, but we'll see if anything truly surprising happens. I certainly hope it does. James Kosmicki asks "Google Podcasts doesn't seem to have any of the first 100 episodes - are they listed under a different name perhaps?" [Excerpt: REM, "Disappear"] I get a number of questions like this, about various podcast apps and sites, and I'm afraid my answer is always the same -- there's nothing I can do about this, and it's something you'd have to take up with the site in question. Google Podcasts picks up episodes from the RSS feed I provide, the same as every other site or app. It's using the right feed, that feed has every episode in it, and other sites and apps are working OK with it. In general, I suggest that rather than streaming sites like Google Podcasts or Stitcher or Spotify, where the site acts as a middleman and they serve the podcast to you from their servers, people should use a dedicated podcast app like RadioPublic or Pocketcasts or gPodder, where rather than going from a library of podcast episodes that some third party has stored, you're downloading the files direct from the original server, but I understand that sometimes those apps are more difficult to use, especially for less tech-savvy people. But generally, if an episode is in some way faulty or missing on the 500songs.com webpage, that's something I can do something about. If it's showing up wrong on Spotify or Google Podcasts or Stitcher or whatever, that's a problem at their end. Sorry. Darren Johnson asks "were there any songs that surprised you? Which one made the biggest change between what you thought you knew and what you learned researching it?" [Excerpt: The Turtles, "Goodbye Surprise"] Well, there have been a few, in different ways. The most surprising thing for me actually was in the most recent episode when I discovered the true story behind the "bigger than Jesus" controversy during my reading. That was a story I'd known one way for my entire life -- literally I think I first read about that story when I was six or seven -- and it turned out that not one thing I'd read on the subject had explained what had really happened. But then there are other things like the story of "Ko Ko Mo", which was a record I wasn't even planning on covering at first, but which turned out to be one of the most important records of the fifties. But I actually get surprised relatively little by big-picture things. I'll often discover fun details or new connections between things I hadn't noticed before, but the basic outlines of the story never change that much -- I've been reading about music history literally since I learned how to read, and while I do a deep dive for each episode, it's very rare that I discover anything that totally changes my perspective. There is always a process of reevaluation going on, and a change in the emphases in my thought, so for example when I started the project I knew Johnny Otis would come up a fair bit in the early years, and knew he was a major figure, but was still not giving him the full credit he deserved in my head. The same goes for Jesse Belvin, and as far as background figures go Lester Sill and Milt Gabler. But all of these were people I already knew were important, i just hadn't connected all the dots in my head. I've also come to appreciate some musicians more than I did previously. But there are very few really major surprises, which is probably to be expected -- I got into this already knowing a *LOT*, because otherwise I wouldn't have thought this was a project I could take on. Tracey Germa -- and I'm sorry, I don't know if that's pronounced with a hard or soft G, so my apologies if I mispronounced it -- asks: "Hi Andrew. We love everything about the podcast, but are especially impressed with the way you couch your trigger warnings and how you embed social commentary into your analysis of the music. You have such a kind approach to understanding human experiences and at the same time you don't balk at saying the hard things some folks don't want to hear about their music heroes. So, the question is - where does your social justice/equity/inclusion/suffer no fools side come from? Your family? Your own experiences? School/training?” [Excerpt: Elvis Costello and the Attractions, "Little Triggers"] Well, firstly, I have to say that people do say  this kind of thing to me quite a lot, and I'm grateful when they say it, but I never really feel comfortable with it, because frankly I think I do very close to the absolute minimum, and I get by because of the horribly low expectations our society has for allocishet white men, which means that making even the tiniest effort possible to be a decent human being looks far more impressive by comparison than it actually is. I genuinely think I don't do a very good job of this at all, although I do try, and that's not false modesty there. But to accept the premise of the question for a moment, there are a couple of answers. My parents are both fairly progressive both politically and culturally,  for the time and place where they raised me. They both had strong political convictions, and while they didn't have access to much culture other than what was on TV or in charting records or what have you -- there was no bookshop or record shop in our town, and obviously no Internet back then -- they liked the stuff out of that mix that was forward-thinking, and so was anti-racist, accepting of queerness, and so on. From a very early age, I was listening to things like "Glad to be Gay" by the Tom Robinson Band. So from before I really even understood what those concepts were, I knew that the people I admired thought that homophobia and racism were bad things. I was also bullied a lot at school, because I was autistic and fat and wore glasses and a bunch of other reasons. So I hated bullying and never wanted to be a bully. I get very, very, *very* angry at cruelty and at abuses of power -- as almost all autistic people do, actually. And then, in my twenties and thirties, for a variety of reasons I ended up having a social circle that was predominantly queer and/or disabled and/or people with mental health difficulties. And when you're around people like that, and you don't want to be a bully, you learn to at least try to take their feelings into consideration, though I slipped up a great deal for a long time, and still don't get everything right. So that's the "social justice" side of things. The other side, the "understanding human experiences" side... well, everyone has done awful things at times, and I would hope that none of us would be judged by our worst behaviours. "Use every man to his desert and who should 'scape whipping?" and all that. But that doesn't mean those worst behaviours aren't bad, and that they don't hurt people, and denying that only compounds the injustice. People are complicated, societies are complicated, and everyone is capable of great good and great evil. In general I tend to avoid a lot of the worst things the musicians I talk about did, because the podcast *is* about the music, but when their behaviour affects the music, or when I would otherwise be in danger of giving a truly inaccurate picture of someone, I have to talk about those things. You can't talk about Jerry Lee Lewis without talking about how his third marriage derailed his career, you can't talk about Sam Cooke without talking about his death, and to treat those subjects honestly you have to talk about the reprehensible sides of their character. Of course, in the case of someone like Lewis, there seems to be little *but* a reprehensible side, while someone like Cooke could be a horrible, horrible person, but even the people he hurt the most also loved him dearly because of his admirable qualities. You *have* to cover both aspects of someone like him if you want to be honest, and if you're not going to be honest why bother trying to do history at all? Lester Dragstedt says (and I apologise if I mispronounced that): "I absolutely love this podcast and the perspective you bring. My only niggle is that the sound samples are mixed so low. When listening to your commentary about a song at voice level my fingers are always at the volume knob to turn up when the song comes in." [Excerpt: Bjork, "It's Oh So Quiet"] This is something that gets raised a lot, but it's not something that's ever going to change. When I started the podcast, I had the music levels higher, and got complaints about that, so I started mixing them lower. I then got complaints about *that*, so I did a poll of my Patreon backers to see what they thought, and by about a sixty-forty margin they wanted the levels to be lower, as they are now, rather than higher as they were earlier. Basically, there seem to be two groups of listeners. One group mostly listens with headphones, and doesn't like it when the music gets louder, because it hurts their ears. The other group mostly listens in their cars, and the music gets lost in the engine noise. That's a gross oversimplification, and there are headphone listeners who want the music louder and car listeners who want the music quieter, but the listenership does seem to split roughly that way, and there are slightly more headphone listeners. Now, it's literally *impossible* for me to please everyone, so I've given up trying with this, and it's *not* going to change. Partly because the majority of my backers voted one way, partly because it's just easier to leave things the way they are rather than mess with them given that no matter what I do someone will be unhappy, and partly because both Tilt when he edits the podcast and I when I listen back and tweak his edit are using headphones, and *we* don't want to hurt our ears either. Eric Peterson asks "if we are basically in 1967 that is when we start seeing Country artists like Johnny Cash and Waylon Jennings - the Man who Survived the Day the Music Died - start to bring more rock songs into their recordings and start to set the ground work in many ways for Country Rock ... how do you envision bringing the role they play in the History of Rock and Roll into the podcast?" [Excerpt: The Del McCoury Band, "Nashville Cats"] I will of course be dealing with country rock as one of the subgenres I discuss -- though there's only one real country-rock track coming up in the next fifty, but there'll be more as I get into the seventies, and there are several artists coming up with at least some country influence. But I won't be looking at straight country musicians like Jennings or Cash except through the lens of rock musicians they inspired -- things like me talking about Johnny Cash briefly in the intro to the "Hey Joe" episode. I think Cocaine and Rhinestones is already doing a better job of covering country music than I ever could, and so those people will only touch the story tangentially. Nili Marcia says: "If one asks a person what's in that room it would not occur to one in 100 to mention the air that fills it. Something so ubiquitous as riff--I don't know what a riff actually is! Will you please define riff, preferably with examples." Now this is something I actually thought I'd explained way back in episode one, and I have a distinct memory of doing so, but I must have cut that part out -- maybe I recorded it so badly that part couldn't be salvaged, which happened sometimes in the early days -- because I just checked and there's no explanation there. I would have come back to this at some point if I hadn't been thinking all along that I'd covered it right at the start, because you're right, it is a term that needs definition. A riff is, simply, a repeated, prominent, instrumental figure. The term started out in jazz, and there it was a term for a phrase that would be passed back and forth between different instruments -- a trumpet might play a phrase, then a saxophone copy it, then back to the trumpet, then back to the saxophone. But quickly it became a term for a repeated figure that becomes the main accompaniment part of a song, over which an instrumentalist might solo or a singer might sing, but which you remember in its own right. A few examples of well-known riffs might include "Smoke on the Water" by Deep Purple: [Excerpt: Deep Purple, "Smoke on the Water"] "I Feel Fine" by the Beatles: [Excerpt: The Beatles, "I Feel Fine"] "Last Train to Clarksville" by the Monkees: [Excerpt: The Monkees, "Last Train to Clarksville"] The bass part in “Under Pressure” by Queen and David Bowie: [Excerpt: Queen and David Bowie, “Under Pressure”] Or the Kingsmen's version of "Louie Louie": [Excerpt: The Kingsmen, "Louie Louie"] Basically, if you can think of a very short, prominent, instrumental idea that gets repeated over and over, that's a riff. Erik Pedersen says "I love the long episodes and I suspect you do too -- thoroughness. of this kind is something few get the opportunity to do -- but have you ever, after having written a long one, decided to cut them significantly? Are there audio outtakes you might string together one day?" [Excerpt: Bing Crosby and Les Paul, "It's Been a Long, Long Time"] I do like *having* done the long episodes, and sometimes I enjoy doing them, but other times I find it frustrating that an episode takes so long, because there are other stories I want to move on to. I'm trying for more of a balance over the next year, and we'll see how that works out. I want to tell the story in the depth it deserves, and the longer episodes allow me to do that, and to experiment with narrative styles and so on, but I also want to get the podcast finished before I die of old age. Almost every episode has stuff that gets cut, but it's usually in the writing or recording stage -- I'll realise a bit of the episode is boring and just skip it while I'm recording, or I'll cut out an anecdote or something because it looks like it's going to be a flabby episode and I want to tighten it up, or sometimes I'll realise that because of my mild speech impediments a sentence is literally unspeakable, and I'll rework it. It's very, very rare that I'll cut anything once it's been recorded, and if I do it's generally because when I listen back after it's been edited I'll realise I'm repeating myself or I made a mistake and need to cut a sentence because I said the wrong name, that sort of thing. I delete all the audio outtakes, but even if I didn't there would be nothing worth releasing. A few odd, out of context sentences, the occasional paragraph just repeating something I'd already said, a handful of actual incorrect facts, and a lot of me burping, or trying to say a difficult name three times in a row, or swearing when the phone rings in the middle of a long section. Lucy Hewitt says "Something that interests me, and that I'm sure you will cover is how listeners consume music and if that has an impact. In my lifetime we've moved from a record player which is fixed in one room to having a music collection with you wherever you go, and from hoping that the song you want to hear might be played on the radio to calling it up whenever you want. Add in the rise of music videos, and MTV, and the way in which people access music has changed a lot over the decades. But has that affected the music itself?" [Excerpt: Bow Wow Wow "C30 C60 C90 Go!"] It absolutely has affected the music itself in all sorts of ways, some of which I've touched on already and some of which I will deal with as we go through the story, though the story I'm telling will end around the time of Napster and so won't involve streaming services and so forth. But every technology change leads to a change in the sound of music in both obvious and non-obvious ways. When AM radio was the most dominant form of broadcasting, there was no point releasing singles in stereo, because at that time there were no stereo AM stations. The records also had to be very compressed, so the sound would cut through the noise and interference. Those records would often be very bass-heavy and have a very full, packed, sound. In the seventies, with the rise of eight-track players, you'd often end up with soft-rock and what would later get termed yacht rock having huge success. That music, which is very ethereal and full of high frequencies, is affected less negatively by some of the problems that came with eight-track players, like the tape stretching slightly. Then post-1974 and the OPEC oil crisis, vinyl became more expensive, which meant that records started being made much thinner, which meant you couldn't cut grooves as deeply, which meant you lost bass response, which again changed the sound of records – and also explains why when CDs came out, people started thinking they sounded better than records, because they *did* sound better than the stuff that was being pressed in the late seventies and early eighties, which was so thin it was almost transparent, even though they sounded nowhere near as good as the heavy vinyl pressings of the fifties and sixties. And then the amount of music one could pack into a CD encouraged longer tracks... A lot of eighties Hi-NRG and dance-pop music, like the records made by Stock, Aitken, and Waterman, has almost no bass but lots of skittering high-end percussion sounds -- tons of synthesised sleighbells and hi-hats and so on -- because a lot of disco equipment had frequency-activated lights, and the more high-end stuff was going on, the more the disco lights flashed... We'll look at a lot of these changes as we go along, but every single new format, every new way of playing an old format, every change in music technology, changes what music gets made quite dramatically. Lucas Hubert asks: “Black Sabbath being around the corner, how do you plan on dealing with Heavy Metal? I feel like for now, what is popular and what has had a big impact in Rock history coincide. But that kind of change with metal, no? (Plus, prog and metal are more based on albums than singles, I think.)” [Excerpt: Black Sabbath, “Sabbath Bloody Sabbath”] I plan on dealing with metal the same way I've been dealing with every other subgenre. We are, yes, getting into a period where influence and commercial success don't correlate quite as firmly as they did in the early years -- though really we've already been there for quite some time. I've done two episodes so far on the Byrds, a group who only had three top-twenty singles in the US and two in the UK, but only did a bonus episode on Herman's Hermits, who had fourteen in the US and seventeen in the UK. I covered Little Richard but didn't cover Pat Boone, even though Boone had the bigger hits with Richard's songs. In every subgenre there are going to be massive influences who had no hits, and people who had lots of hits but didn't really make much of a wider impact on music, and I'll be dealing with the former more than the latter. But also, I'll be dealing most with people who were influential *and* had lots of hits -- if nothing else because while influence and chart success aren't a one-to-one correlation, they're still somewhat correlated. So it's unlikely you'll see me cover your favourite Scandinavian Black Metal band who only released one album of which every copy was burned in a mysterious fire two days after release, but you can expect most of the huge names in metal to be covered. Though even there, simply because of the number of subgenres I'm going to cover, I'm going to miss some big ones. Related to the question about albums, Svennie asks “This might be a bit of a long winded question so just stick with me here. As the music you cover becomes more elaborate, and the albums become bigger in scale, how do you choose a song which you build the story around while also telling the story of that album? I ask this specifically with the White Album in mind, where you've essentially got four albums in one. To that end, what song would you feel defines the White Album?” [Excerpt: The Beatles, “Revolution #9”] Well, you'll see how I cover the White Album in episode one hundred and seventy-two -- we're actually going to have quite a long stretch with no Beatles songs covered because I'm going to backfill a lot of 1967 and then we're getting to the Beatles again towards the end of 1968, but it'll be another big one when we get there. But in the general case... the majority of albums to come still had singles released off them, and a lot of what I'm going to be looking at in the next year or two is still hit singles, even if the singles are by people known as album bands. Other times, a song wasn't a single, but maybe it was covered by someone else -- if I know I'm going to cover a rock band and I also know that one of the soul artists who would do rock covers as album tracks did a version of one of their songs, and I'm going to cover that soul artist, say, then if I do the song that artist covered I can mention it in the episode on the soul singer and tie the two episodes together a bit. In other cases there's a story behind a particular track that's more interesting than other tracks, or the track is itself a cover version of someone else's record, which lets me cover both artists in a single episode, or it's the title track of the album. A lot of people have asked me this question about how I'd deal with albums as we get to the late sixties and early seventies, but looking at the list of the next fifty episodes, there's actually only two where I had to think seriously about which song I chose from an album -- in one case, I chose the title track, in the other case I just chose the first song on the album (though in that case I may end up choosing another song from the same album if I end up finding a way to make that a more interesting episode). The other forty-eight were all very, very obvious choices. Gary Lucy asks “Do you keep up with contemporary music at all? If so, what have you been enjoying in 2022 so far…and if not, what was the most recent “new” album you really got into?” [Excerpt: Stew and the Negro Problem, "On the Stage of a Blank White Page"] I'm afraid I don't. Since I started doing the podcast, pretty much all of my listening time has been spent on going back to much older music, and even before that, when I was listening to then-new music it was generally stuff that was very much inspired by older music, bands like the Lemon Twigs, who probably count as the last new band I really got into with their album Do Hollywood, which came out in 2016 but which I think I heard in 2018. I'm also now of that age where 2018 seems like basically yesterday, and when I keep thinking "what relatively recent albums have I liked?" I think of things like The Reluctant Graveyard by Jeremy Messersmith, which is from 2010, or Ys by Joanna Newsom, which came out in 2006. Not because I haven't bought records released since then, but because my sense of time is so skewed that summer 1994 and summer 1995 feel like epochs apart, hugely different times in every way, but every time from about 2005 to 2020 is just "er... a couple of years ago? Maybe?" So without going through every record I've bought in the last twenty years and looking at the release date I couldn't tell you what still counts as contemporary and what's old enough to vote. I have recently listened a couple of times to an album by a band called Wet Leg, who are fairly new, but other than that I can't say. But probably the most recent albums to become part of my regular listening rotation are two albums which came out simultaneously in 2018 by Stew and the Negro Problem, Notes of a Native Song, which is a song cycle about James Baldwin and race in America, and The Total Bent, which is actually the soundtrack to a stage musical, and which I think many listeners to the podcast might find interesting, and which is what that last song excerpt was taken from. It's basically a riff on the idea of The Jazz Singer, but set in the Civil Rights era, and about a young politically-radical Black Gospel songwriter who writes songs for his conservative preacher father to sing, but who gets persuaded to become a rock and roll performer by a white British record producer who fetishises Black music. It has a *lot* to say about religion, race, and politics in America -- a couple of the song titles, to give you some idea, are "Jesus Ain't Sitting in the Back of the Bus" and "That's Why He's Jesus and You're Not, Whitey". It's a remarkable album, and it deals with enough of the same subjects I've covered here that I think any listeners will find it interesting. Unfortunately, it was released through the CDBaby store, which closed down a few months later, and unlike most albums released through there it doesn't seem to have made its way onto any of the streaming platforms or digital stores other than Apple Music, which rather limits its availability. I hope it comes out again soon. Alec Dann says “I haven't made it to the Sixties yet so pardon if you have covered this: what was the relationship between Sun and Stax in their heyday? Did musicians work in both studios?” [Excerpt: Booker T. and the MGs, "Green Onions"] I've covered this briefly in a couple of the episodes on Stax, but the short version is that Sun was declining just as Stax was picking up. Jim Stewart, who founded Stax, was inspired in part by Sam Phillips, and there was a certain amount of cross-fertilisation, but not that much. Obviously Rufus Thomas recorded for both labels, and there were a few other connections -- Billy Lee Riley, for example, who I did an episode on for his Sun work, also recorded at the Stax studio before going on to be a studio musician in LA, and it was actually at a Billy Lee Riley session that went badly that Booker T and the MGs recorded "Green Onions". Also, Sun had a disc-cutting machine and Stax didn't, so when they wanted to get an acetate cut to play for DJs they'd take it to Sun -- it was actually Scotty Moore, who was working for Sun as a general engineer and producer as well as playing RCA Elvis sessions by 1962, who cut the first acetate copy of "Green Onions". But in general the musicians playing at Stax were largely the next generation of musicians -- people who'd grown up listening to the records Sam Phillips had put out in the very early fifties by Black musicians, and with very little overlap. Roger Stevenson asks "This project is going to take the best part of 7 years to complete. Do you have contingency plans in case of major problems? And please look after yourself - this project is gong to be your legacy." [Excerpt: Bonzo Dog Doodah Band, "Button Up Your Overcoat"] I'm afraid there's not much I can do if major problems come up -- by major problems I'm talking about things that prevent me from making the podcast altogether, like being unable to think or write or talk. By its nature, the podcast is my writing and my research and my voice, and if I can't do those things... well, I can't do them. I *am* trying to build in some slack again -- that's why this month off has happened -- so I can deal with delays and short-term illnesses and other disruptions, but if it becomes impossible to do it becomes impossible to do, and there's nothing more I can do about it. Mark Lipson asks "I'd like to know which episodes you've released have been the most & least popular? And going forward, which episodes do you expect to be the most popular? Just curious to know what music most of your listeners listen to and are interested in." [Excerpt: Sly and the Family Stone, "Somebody's Watching You"] I'm afraid I honestly don't know. Most podcasters have extensive statistical tools available to them, which tell them which episodes are most popular, what demographics are listening to the podcast, where they are in the world, and all that kind of thing. They use that information to sell advertising spots, which is how they make most of their money. You can say "my podcast is mostly listened to by seventy-five year-olds who google for back pain relief -- the perfect demographic for your orthopedic mattresses" or "seven thousand people who downloaded my latest episode also fell for at least one email claiming to be from the wallet inspector last year, so my podcast is listened to by the ideal demographic for cryptocurrency investment". Now, I'm lucky enough to be making enough money from my Patreon supporters' generosity that I don't have to sell advertising, and I hope I never do have to. I said at the very start of the process that I would if it became necessary, but that I hoped to keep it ad-free, and people have frankly been so astonishingly generous I should never have to do ads -- though I do still reserve the right to change my mind if the support drops off. Now, my old podcast host gave me access to that data as standard. But when I had to quickly change providers, I decided that I wasn't going to install any stats packages to keep track of people. I can see a small amount of information about who actually visits the website, because wordpress.com gives you that information – not your identities but just how many people come from which countries, and what sites linked them. But if you're downloading the podcast through a podcast app, or listening through Spotify or Stitcher or wherever, I've deliberately chosen not to access that data. I don't need to know who my audience is, or which episodes they like the most -- and if I did, I have a horrible feeling I'd start trying to tailor the podcast to be more like what the existing listeners like, and by doing so lose the very things that make it unique. Once or twice a month I'll look at the major podcast charts, I check the Patreon every so often to see if there's been a massive change in subscriber numbers, but other than that I decided I'm just not going to spy on my listeners (though pretty much every other link in the chain does, I'm afraid, because these days the entire Internet is based on spying on people). So the only information I have is the auto-generated "most popular episodes" thing that comes up on the front page, which everyone can see, and which shows the episodes people who actually visit the site are listening to most in the last few days, but which doesn't count anything from more than a few days ago, and which doesn't count listens from any other source, and which I put there basically so new listeners can see which ones are popular. At the moment that's showing that the most listened episodes recently are the two most recent full episodes -- "Respect" and "All You Need is Love" -- the most recent of the Pledge Week episodes, episodes one and two, so people are starting at the beginning, and right now there's also the episodes on "Ooby Dooby", "Needles and Pins", "God Only Knows", "She Loves You" and "Hey Joe". But in a couple of days' time those last five will be totally different. And again, that's just the information from people actually visiting the podcast website. I've deliberately chosen not to know what people listening in any other way are doing -- so if you've decided to just stream that bit of the Four Tops episode where I do a bad Bob Dylan impression five thousand times in a row, you can rest assured I have no idea you're doing it and your secret is totally safe. Anyway, that's all I have time for in this episode. In a week or so I'll post a similar-length episode for Patreon backers only, and then a week or two after that the regular podcast will resume, with a story involving folk singers, jazz harmony, angelic visitations and the ghost of James Dean. See you then.

Student Reporter Nina Shakin asks Natalia Hepworth about her career and experience in pageantry.

Jem Hepworth, 2020 Britcar champion, Praga driver and W Series tester joins us on Sim Sundays to talk about how she uses Sim Racing to prepare for races; her ambitions to get going with some iRacing; and she answers Danny Giusa's question from last week - "what are your pre-race quirks?" ... turns out there's a lot! To watch the races subscribe to Grid Finder on YouTube: https://www.youtube.com/gridfindertv/live To get involved in the next race, join our discord: https://www.gridfinder.com/discord To find a sim racing league, livery designer or race broadcaster, go to https://www.gridfinder.com Join our F1 Fantasy league at https://www.gridfinder.com/gridrival Want to keep up to date with Grid Finder and Sim Sundays? Follow Grid Finder on Facebook, Twitter & Instagram! #simracing #motorsport #cars #gaming #esports #simulation

Wormwood - the basis of absinthe - has been valued medicinally since ancient times. However, the development of absinthe several hundred years ago created a drink which turbocharged the creativity of geniuses as diverse as Toulouse Lautrec, Oscar Wilde, Ernest Hemingway and Pablo Picasso. This episode details that story.   Sources: Adams, Jennifer, et al. Philip Collier's Mixing New Orleans: Cocktails and Legends. Philbeau, 2007.   Baker, Phil. The Book of Absinthe. Grove Press. 2001.  Conrad, Barnaby. Absinthe: History in a Bottle. Chronicle Books, 1997.   Crowley, Aleister. Absinthe, the Green Goddess. Contra/Thought, 1995.   Hemingway, Ernest. For Whom the Bell Tolls. Scribner, 2020.   Hepworth, David. Uncommon People: The Rise and Fall of the Rock Stars. Black Swann, 2018.   Mann, J. Turn on and Tune in: Psychedelics, Narcotics and Euphoriants. Royal Society of Chemistry, 2019.   Wittels, Betina J., and T. A. Breaux. Absinthe: The Exquisite Elixir. Fulcrum Publishing, 2017.   Wondrich, David, and Noah Rothbaum. The Oxford Companion to Spirits and Cocktails. Oxford University Press, 2022.  

The partially-clothed body of 20-year-old Veronica Hepworth was discovered in the early hours of February 25, 1982, along a driveway in Loudoun County—50 miles from where she was last seen alive. Decades later, Veronica's case puzzles both law enforcement and the public with numerous questions which none have been answered.

https://www.coremedicalgrp.com/nick/ Travis Hepworth was born and raised in the working-class town of Hackettstown, New Jersey. At 22 years old, he joined the US Army as an 18X-Ray and was medically separated after 4 years of service. Travis is now a patient coordinator at Core Medical Group and strives to continue helping others by improving their quality of life through Core's specialized approach to health and wellness. Follow Austen Alexander: https://www.instagram.com/travishepworth/ Always Forward Mentorship: https://www.nickkoumalatsos.com/alwaysforwardmentorship Follow Nick Koumalatsos on Instagram: https://www.instagram.com/nickkoumalatsos/ Follow Nick's YouTube: Youtube https://www.youtube.com/c/nickkoumalatsos82 Follow Always Forward Podcast on Instagram: https://www.instagram.com/theharborsitepodcast/ SPONSORS AND DISCOUNTS Johnny Slicks https://johnnyslicks.com/ Core Medical Group (Hormone Replacement Therapy) https://coremedicalgrp.com/nick/ Bare Performance Nutrition CODE- RAIDER for discount https://www.bareperformancenutrition.com/discount/raider Gatorz Eyewear: https://www.gatorz.com/ Raider Project discount use CODE- WITHYOU] for discount https://www.raiderproject.org/ Agoge Personal Coaching https://agogetraining.com The Agoge Training Plans https://www.theagoge.com Agoge Challenge: https://www.agogechallenge.fit/join-now My Book Excommunicated Warrior: https://www.nickkoumalatsos.com/excommunicated-warrior/ --- Support this podcast: https://anchor.fm/nick-koumalatsos/support

A wedding ceremony is pierced by a scream, that sets the scene for Sally Hepworth's latest suspenseful thriller, THE YOUNGER WIFE, told by alternating narrators. Full of the twists and unreliable family memories and histories Hepworth is famous for, her new novel focuses on two sisters, Tully and Rachel, and how their lives change when they meet their seemingly perfect father's new fiancée, Heather. Sally returns to the podcast to discuss the book, post-pandemic life, and the challenges (and joys) of reading books, in addition to writing them.  In A Moment With Margaret, Margaret and Olivia discusses the Australian narrators of THE YOUNGER WIFE audiobook, true crime stories like Paul Holes' UNMASKED: MY LIFE SOLVING AMERICA'S COLD CASES, Erika Krouse's TELL ME EVERYTHING, and themes that are touched on similarly to TALKING TO STRANGERS by Malcolm Gladwell. Recommending two works of fiction for those who like to read true crime: Liz Moore's LONG BRIGHT RIVER and Paula McLain's WHEN THE STARS GO DARK. THE YOUNGER WIFE is released by St. Martin's Press on April 5, 2022. THE GOOD SISTER is now available in paperback.

Today I chat with a good friend, mentor, and an all-around great person - Isaac Hepworth. Isaac is the person you should go to if you want to learn more about what it means to be achieving excellence in the product management space. We chat about the role of a problem solver, what it means to be a PM across different companies and titles, and what one can do to better prepare for an industry that changes by the day.