Podcasts about Home counties

The Telegraph has revealed that a family of six Palestinians seeking to flee Gaza has been granted the right to live in the UK using a scheme meant for Ukrainian refugees. The Home Office initially rejected their application, but a judge overruled the decision as it breached their rights under the ECHR.It is an immigration tribunal decision which comes hot on the heels of the Albanian criminal whose deportation was halted in part because of his son's distaste for foreign chicken nuggets.Kamal and Camilla ask whether this ruling will open the floodgates for mass migration, and pose the question - who is really in control of our borders, Parliament or the judiciary?They also reflect on Kemi Badenoch's performance at Prime Minister's Questions this lunchtime, as the Tory leader took the chance to grill Keir Starmer on the decision to allow the Gazan family to settle here.Read: Court gives Gazans right to settle in UKThe best (and worst) Home Counties, ranked and ratedProducer: Lilian FawcettSenior Producer: John CadiganPlanning Editor: Venetia RaineyExecutive Producer: Louisa WellsSocial Media Producer: Rachel DuffyVideo Editor: Valerie BrowneEditor: Camilla TomineyOriginal music by Goss Studio Hosted on Acast. See acast.com/privacy for more information.

Roger talks about working with Mal and Richard of Cabaret Voltaire on their 1984 album 'Microphonies'. He also turns the spotlight on Bedford Boys Club, which was a successful alternative / indie music venue in the Home Counties in the early-to-mid-eighties.Intro and outro music by Simon Elliott-Kemp.Artwork by Rionagh.Edited by Nigel Floyd.Sound FX courtesy of Freesound.orgWith particular thanks to:Rock drums - Big Joe Drummer.Kick and bass techno 2 - Frankum.Summer ambience - Klankbeeld.Space blaster - Suonho."Tension" - ERH.Drum loop (120bpm) - Wave Play SFX.Stezzer break-beat (130bpm) - Snapper 4298.Audience cheer - Bee Productive.Reggae bass - Zulu One Drop.Elektro Dub - Geek Horde.808 (120bpm) - Daytripper 13."Mono Creation" - Gis Sweden.Send us a textNever miss an episode.Follow me at: Blue Sky @rogerquail.bsky.socialYouTube https://www.youtube.com/@rogerquailReddit u/TheMoshOfGhostsFacebook https://www.facebook.com/roger.quail.3Instagram https://www.instagram.com/rogerquailRSS feed - https://feeds.buzzsprout.com/289673.rss

The last Yellow Brit Road of 2024! Listeners helped us bid farewell to the year as you told us the songs that signify new beginnings to you. We're keeping the ‘new beginnings' theme going next week, the actual beginning of 2025, so keep your suggestions coming, please write in! The poem read was Alfred Tennyson's In Memoriam 106 (“Ring out, wild bells”). Music this week was by The Coral, Mint, Jetstream Pony, Frank Turner, ALT BLK ERA, Home Counties, Kofi Stone, Half Moon Run, A.R.T., 3 Hwr Doeth, CHERISE, The Mountain Goats, Remi Remi, The Sundays. Find this week's playlist here. Do try and support artists directly! Touch that dial and tune in live! We're on at CFRC 101.9 FM in Kingston, or on cfrc.ca, Sundays 8 to 9:30 PM! Like what we do? CFRC is in the middle of its annual funding drive! Donate to help keep our 102-year old station going! Get in touch with the show for requests, submissions, giving feedback or anything else: email yellowbritroad@gmail.com, Twitter @⁠YellowBritCFRC⁠, IG @⁠yellowbritroad⁠. PS: submissions, cc music@cfrc.ca if you'd like other CFRC DJs to spin your music on their shows as well.

This week we're off to Surrey, one of the Home Counties - and a place that is being gobbled up by London year by year!We start by discussing, much to Martin's chagrin, that the 23rd December is actually a Saints Day for about 30 obscure martyrs, recounting just a fraction of who they were and why they mattered. And after that, we dig into the history and folklore of Surrey.We discuss all sorts, including the tiny house where John Donne and his wife lived and had many, many babies, an extremely tall tower built by an Enlightenment-era loon, the heritage and importance of Surrey's heaths and commons, and plenty else, all before Martin digs through culinary history to uncover some... peculiar delicacies... for this week's County Dish.On the folklore front, interspersed with some excerpts from next Saturday's Local Legends interview with the much-acclaimed folklorist and author Jeremy Harte, we talk about Guildford's unfortunate dragon, Lord Lyttleton's Ghost, Joan Butts The Witch of Ewell, and much more besides.Then it's on to the main event: Martin's rather silly story, which is largely based on the truth, "Captain Salvin and his Flying Pig."We hope you enjoy it, and be sure to check back tomorrow for Eleanor's epic Ghost Story for Christmas Eve!The Three Ravens is an English Myth and Folklore podcast hosted by award-winning writers Martin Vaux and Eleanor Conlon.Released on Mondays, each weekly episode focuses on one of England's 39 historic counties, exploring the history, folklore and traditions of the area, from ghosts and mermaids to mythical monsters, half-forgotten heroes, bloody legends, and much, much more. Then, and most importantly, the pair take turns to tell a new version of an ancient story from that county - all before discussing what that tale might mean, where it might have come from, and the truths it reveals about England's hidden past...Bonus Episodes are released on Thursdays (Magic and Medicines about folk remedies and arcane spells, Three Ravens Bestiary about cryptids and mythical creatures, Dying Arts about endangered heritage crafts, and Something Wicked about folkloric true crime from across history) plus Local Legends episodes on Saturdays - interviews with acclaimed authors, folklorists, podcasters and historians with unique perspectives on that week's county.With a range of exclusive content on Patreon, too, including audio ghost tours, the Three Ravens Newsletter, and monthly Three Ravens Film Club episodes about folk horror films from across the decades, why not join us around the campfire and listen in?Learn more at www.threeravenspodcast.com, join our Patreon at www.patreon.com/threeravenspodcast, and find links to our social media channels here: https://linktr.ee/threeravenspodcast Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Sky News' deputy political editor Sam Coates and Politico's Jack Blanchard share their daily guide to the day ahead in politics in under 20 minutes. Keir Starmer is the latest PM to present a plan to boost the UK's housing supply while Kemi Badenoch shares her views on the state of Britain…to lunch!  Plus, Jack and Sam have an update on Rachel Reeves' spending plans.  You can send a WhatsApp to Jack and Sam on 07511 867 633 or email them: jackandsam@sky.uk    

Angela Rayner promises to deliver 1.5 million new homes within five years. It's setting the battle lines for what the Telegraph is calling the “bulldozing of the Home Counties“. Is Keir Starmer ready to take on the Nimbys even if the Nimbys are now his core 2024 voter? Later, who will be the “Voice of America“ - and what's happening at the FBI?Tickets to The News Agents Live On Stage with HSBC UK are now on sale! You can get your tickets for Birmingham, Manchester and Edinburgh here: https://articles.globalplayer.com/7giHoMavXLgdrd6gaC3GxWG7T8Editor: Tom HughesExecutive Producer: Louis DegenhardtProducer: Natalie Indge Digital Editor: Michaela WaltersSocial Media Editor: Georgia FoxwellVideo Production: Rory Symon, Shane Fennelly & Arvind BadewalDigital Journalists: Michael BaggsYou can watch Lewis's special report on the abortion crisis in Florida here: https://www.youtube.com/watch?v=df5BCL0ocFEDon't forget you can also subscribe to our other News Agents podcasts via the link below: https://linktr.ee/thenewsagents The News Agents USA now have merch! Click here to buy yours now: https://store.global.com/collections/the-news-agents-usaYou can listen to this episode on Alexa - just say "Alexa, ask Global Player to play The News Agents"The News Agents is brought to you by HSBC UK - https://www.hsbc.co.uk/

Where we: Cover lots of ground including the semis of all the European comps and playoffs Sum up the Championship season Ask for your Championship, League 1 and League 2 recommendations if you are travelling to the UK for the first time. Let us have them in the replies Announce more info about Footstock 3… Linktree for all our socials, email & places to access the podcast: linktr.ee/footyfromthefoot Show Notes: This week's music recommendation is an album from Home Counties; “Exactly As It Seems” & Camera Obscura “Look To The East, Look To the West”. Bonus podcasts: “Quickly Kevin” with Danny Baker. Listen to this and our picks from previous weeks on the FFTF Recommends Spotify Playlist… https://open.spotify.com/playlist/1qqhyepVEL3zZYhJscBTIR?si=1f8e002306a44363 Footstock 3: The Temple of Bluefoot Sun May 19th from 8am A day of soccer, music, food & fun. Raffle will raise money for Priscilla's treatment. Please contact the bar, Rod or here at the podcast for any prize donations. Raffle Prizes currently, with more to be announced: Gift cards for Cori, Pete's, Bluefoot, Piero Prizes from Vinyl Junkies, Guinness, Fernet, Mercedes Car Detailling, Aperol, Screwball and Paulaner Relegated, but BCFC sense of humour remains… https://x.com/rockykl/status/1786769403377238450?s=46&t=C0aW-HqLbnfpAcd-0-uzFA California Trotters: calitrotters@gmail.com @calitrotters on IG, Twitter & Facebook

We hear from Brooke Combe, Home Counties and The Lottery Winners from this year's Liverpool Sound City. Thank you LSC, Virgin Music Group and Modern Sky for having us. Become a member of Rough Trade Club New Music, and you'll receive 1/3 off Rough Trade's Album of the Month on exclusive varient. Head to http://roughtrade.com/club and use 'CLUB101POD' as your voucher. DistroKid makes music distribution fun and easy with unlimited uploads and artists keeping the ENTIRETY of their revenue. Get 30% off the first year of their service by signing up at https://distrokid.com/vip/101pod Get £50 off your weekend ticket to 2000 Trees festival: where The Gaslight Anthem, The Chats, Hot Mulligan and TONS of excellent bands are playing. Use 101POD at checkout: 2000trees.co.uk Learn more about your ad choices. Visit megaphone.fm/adchoices

It's gig season!! This week on the Yellow Brit Road, we recapped cool gigs that have happened in the last few weeks, from notable local and student shows in Kingston, to bigger shows by touring British and Irish artists we've been at lately in Toronto. We chat about The Last Dinner Party's sold out Toronto show, and a guest Rose drops in to talk Kneecap, live shows and upcoming releases. Music by: The Stones Roses, Grace Petrie, Home Counties, sounds mint, The Lovely Eggs, Courting, swim school, KNEECAP, Nxdia, Sam Akpro, The Last Dinner Party, girldad, Kings of Queens. Find this week's playlist here. Do try and support artists directly! Touch that dial and tune in live! We're on at CFRC 101.9 FM in the Kingston area, or on cfrc.ca, Sundays 8 to 9 PM! (Full shows are available in the archive for 3 months from release) Get in touch with the show for requests, submissions, giving feedback or anything else: email yellowbritroad@gmail.com, Twitter @⁠YellowBritCFRC⁠, IG @⁠yellowbritroad⁠. PS: submissions, cc music@cfrc.ca if you'd like other CFRC DJs to spin your music on their shows as well. Like what we do? Donate to help keep our 101-year old station going! --- Send in a voice message: https://podcasters.spotify.com/pod/show/yellowbritroad/message

NEW FORMAT - 17 SONGS, an hour of quality music. New Releases from Tom Walker, Samson & Active, Gun, Solomon, Home Counties, Fire From The Gods, jxdn, Megan Traitor & T-Pain, Bru C, Charlotte Haining, Bon Jovi, Elmiene, Hannah Grae, UB40, Thomas Headon and Eats Everything Something for everyone :)

Lloyd completed a BA (hons) in Business Administration at Staffordshire University and an MSc in Marketing Management at Aston University. He then proceeded to work in the advertising industry for several years before embarking on a career change in 2016.Lloyd returned to academia after a thirteen-year break and completed a Postgraduate Diploma (conversion degree) in Psychology at Birkbeck, University of London. After completion of the postgraduate diploma, Lloyd studied for an MSc in Applied Sport Psychology at St Mary's University and graduated in 2021.Lloyd has also held several committee and board member roles at the British Psychological Society (BPS), and he is currently Past Chair for the BPS London & Home Counties branch and an editorial board member for Sport & Exercise Psychology Review (SEPR) which is an international, peer-reviewed publication.Papers discussed-‘Pushing through the pain cave': Lived experiences of pain tolerance in male ultra-marathon runnersPortrayals of Pain in Children's Popular Media: Mothers' and Fathers' Beliefs and AttitudesLLoyd on X: @nathan78Academic profile: https://www.stmarys.ac.uk/staff-directory/lloyd-emeka-staff-profileResearchGate profile: https://www.researchgate.net/profile/Lloyd-EmekaLinkedIn: https://www.linkedin.com/in/lloyd-emeka-msc-gmbpss-1262662https://www.frontiersin.org/articles/10.3389/fpain.2022.898855/fullSUBSCRIBE to Research Essentials for UltrarunningBuy Training Essentials for Ultrarunning on Amazon or Audible.Information on coaching-www.trainright.comKoop's Social MediaTwitter/Instagram- @jasonkoop

On this week's episode of STYLING MATTERS I've got 5 style tips to elevate your winter chic style. I share what I've been buying (or ordering) for my own fashion finds; slightly influenced by Sinead McKeefry the stylist to Claudia Winkleman due to the current outfits on The Traitors!!! I'm loving the show. Links to the tops here. I'm getting excited for two Instagram LIVES this Friday, I'm back with Zanne for the January issue of 3-2-1 and just before that I am meeting Suzy Reading an author and Chartered Psychologist about her book Rest to Reset. I've also launched my GETTING CURIOUS wellness campaign for 2024. This is in response to a subscriber survey I carried out in 2023; my over 40 followers who have perimenopause symptoms have asked for this content, and I am kick starting with a boost to 2024, literally! The first wellness therapy I've been exploring is intravenous vitamin infusion therapy, near my home town in the Home Counties, with IV Boost UK, Berkhamsted. Read the full blogpost here: GETTING CURIOUS: VITAMIN INFUSION THERAPY (A collaboration blogpost with IV Boost UK Berkhamsted) ______ My 2024 Ageless Styling guide is now available, simply head to www.lovedbylizzi.com • Lizzi Richardson | Style Mindset Mentor - Blogger & Podcaster | I'm 48 and a believer in Ageless styling and living. Here for you honey on elevating and building your confidence with styling yourself. Connect if you love city style, office style, fashion trends & sustainable choices.  Always more on www.lovedbylizzi.com   • Instagram @lizzi.richardson 

Nick Cohen gets The Lowdown from Professor Rob Ford of Manchester University on the epic civil war looming in a 2024 general election on the radical right of British politics between the Tories and Nigel Farage's latest vehicle for fantasy politics - Reform.Brexit, Liz Truss, crippling interest rate rises, a flat-lining economy  with booming immigration, and the cost of living crisis are just a few of the disasters visited on the UK by the radical right since the 2016 EU referendum. Rob explains the differences between the far right right and the radical right. Rob, a leading academic and author of Revolt on the Right, explains how the Tories are caught on the horns of a dilemma. Do the Tories continue apeing Faragist politics and continue to alienate traditional middle class Tory voters in the key battlegrounds of the Home Counties? Or do they try to tack to the centre and upset the ageing crackpots in their constituency parties and their Red Wall working class one-time Brexit supporters?  Are they in danger of alienating both groups and everyone else in between?Support the showListen to The Lowdown from Nick Cohen for in-depth analysis of the issues and events that shape our lives and futures. From Ukraine to Brexit, from Trump to the Tories - we hope to keep you informed - and sane! @NickCohen4

My guest this week is Matt Harrington who studied English at Lampeter from 1991-94. There are many great undergraduate reminisces here, beginning with a recollection of the circumstances around our graduation in July 1994. Matt worked in a bookshop post-Lampeter and then as a junior copywriter, and he talks about how this enabled him to write with economy, and how that played out in his student days when it came to submitting essays. Matt reveals how he managed to avoid reading lots of Victorian novels, and why he gelled with his peers because we were all arts and humanities students (there is a fascinating thread about Informatics being an outlier). We reflect on how a city university wouldn't have been right for us and we refer to a contemporary of ours, Alexis Athena De Winter, and the way Lampeter was a very accepting environment. Matt talks about being born in London but made in Lampeter, and we discuss the transgressive nature of Lampeter. We talk about the skills developed from our time in university, with some people having gone into politics, and we reflect on what our children today would make of the world we once inhabited in a town without a railway station or cinema. Matt was born in London and then moved to Kent at the age of three, and we talk about how so many students were from the Home Counties. He also refers to having transported Lampeter to London after he left. We discuss our musical memories and Matt remembers listening to Atlantic 252 back in his student days, and we find out which was the only song he would play on the upstairs Union jukebox where they never changed the discs. Then, at the end of the interview, we remember the 1992 General Election, which took place in the April of our first year, and Matt reveals why he is a chronic nostalgic. 

On this week's episode, Eleanor and Martin are off to Buckinghamshire, one of England's 'Home Counties.'With no particular Saints Days to mark they get cracking quickly and set about unearthing the history and folklore of Buckinghamshire, from the many stately homes owned by the Rothschild family and others, such as Waddesdon Manor, Mentmore Towers, and Bletchley Park, to tales of Little Witches, the Gib Lane Ghost, a rector who trapped the devil in a shoe, and much more besides! Then it's time for the main event: Eleanor's telling of a tale of friendship enduring beyond the grave, "A Promise Kept."The Three Ravens is an English Myth and Folklore podcast hosted by award-winning writers Martin Vaux and Eleanor Conlon.Released on Mondays, each weekly episode focuses on one of England's 39 historic counties, exploring the history, folklore and traditions of the area, from ghosts and mermaids to mythical monsters, half-forgotten heroes, bloody legends, and much, much more. Then, and most importantly, the pair take turns to tell a new version of an ancient story from that county - all before discussing what that tale might mean, where it might have come from, and the truths it reveals about England's hidden past...With Bonus Episodes released on Thursdays (Magic and Medicines about folk remedies and arcane spells, Three Ravens Bestiary about cryptids and mythical creatures, Dying Arts about endangered heritage crafts, and Something Wicked about folkloric true crime from across history) plus a range of exclusive content on Patreon, audio ghost tours, the Three Ravens Newsletter, and monthly Three Ravens Film Club episodes about folk horror films from across the decades, why not join us around the campfire and listen in?Learn more at www.threeravenspodcast.com, join our Patreon at www.patreon.com/threeravenspodcast, and find links to our social media channels here: https://linktr.ee/threeravenspodcast Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In 1984, a serial burglar and rapist was at large in England, his crimes spanning several Home Counties as well as the northeast of the country. He was armed, masked and dangerous, and he had an unusual calling card – in every house he broke into, he built himself a blanket fort in the living room and made himself at home, watching television and drinking cups of tea. His habit of den-building and the way he slunk off into the countryside after his assaults soon led to him being given the nickname ‘The Fox'. People were fearful, and the police had a tough job on their hands as his attacks crossed multiple jurisdictions. They were learning more about him each time he struck, but they needed to catch him fast before his violence escalated. Who was The Fox, and how would they find him?Thanks for listening! Here's how you can get in touch with comments and suggestions:My WebsiteTwitter / XFacebookPatreonEmail prashsmurdermap@gmail.comWant to listen to my audiobook, Murder Casebook Volume 1? Check out the Audible Links below:AUDIBLE UKAUDIBLE US***** I'm an independent podcaster, so I would be extremely grateful for any one-off donations, however small. This will go towards maintaining and upgrading my audio equipment, podcast hosting fees and licencing costs for any music and voices I use in my episodes. If you would like to contribute on an ongoing basis, you can do that through Patreon, so please feel free to check out the link below and see what rewards are on offer in return for your support. Thank you!!Support the show on Patreon: www.patreon.com/prashsmurdermapDonate via Paypal: https://www.paypal.me/prashsmurdermapOr you could buy me a coffee at: https://ko-fi.com/prashsmurdermap ** YOUR SUPPORT IS GREATLY APPRECIATED!**Sources: https://www.watfordobserver.co.uk/news/nostalgia/crimelibrary/malcolmfairley/whowasmalcolmfairley/https://www.bucksherald.co.uk/news/crime/thirty-five-years-on-from-crime-spree-that-shook-tring-1995858https://jerseyeveningpost.com/news/2017/08/03/islander-buys-sketches-by-uks-most-violent-inmate/ https://wearsideonline.com/malcolm-fairley-aka-the-fox/Liverpool Echo, February 1985Daily Mirror, July 1984 and February 1985The Sunderland Echo and Shipping Gazette, December 1938 Evening Chronicle, February 1985 Sunday Mirror, March 1985 Luton/Dunstable on Sunday, November 1999Leighton Buzzard on Sunday, October 1999

Neale James has enjoyed a 35 Years career on the radio from working across Local and National Radio, including a three year stint at BBC Radio 1.In this edition of Radio Greats, Neale sits down with Luke to look back on his career, from working under his real name of James Bartholomew at BBC Radio Cambridgeshire, to working at Chiltern in the Home Counties, before enjoying a three year career on BBC Radio 1, including hosting the first independent Radio show "Rockline". Working for the GWR Group and taking on Breakfast with 210. Going into management with an old Radio 1 colleague, before hanging up his headphones to become a Wedding Photographer.Thanks to Aircheck Downloads, Radio Rewind and Barry Denton for the use of audio.

Off the back of announcing their debut album Exactly As It Seems, I'm joined by Will and Bill from the band Home Counties! They join me to share who and what they'd hate to be stuck with on a desert island. Learn more about your ad choices. Visit podcastchoices.com/adchoices

One of the hottest new bands around select some of their worst times on the podcast for episode 25 – Home Counties! Will & Bill from the band tell Chris about a rowdy gig early in their career, a long & anxious-inducing journey back from a show, their ability to leave their gear at various different music venues and also a misogynistic parrot. Plus, why does Chris love their song Dad Bod so much? Why is the recorder an overlooked instrument? How do Will & Bill feel about defecation on stage? All these questions and more are answered in the course of the podcast! Home Counties have a brand new track out called Bethnal Green. It's a banger and the music video is brilliant so do check it out. They also have some gigs coming up and a new album coming in 2024!

Send us a Text Message.Party on Dudes!A most excellent episode comes to you this week. We dedicate this one to a very special person, who has (unbeknownst to them) requested that we cover the most non heinous Bill & Ted movies. This has worked out well as we forgot to plan any Star Wars content for this week...The chat centres mostly on the first two films, which is definitely not because Hutch went to see Oppenheimer instead of watching Face the Music.The plots are absurd, the fashion daft (and very flammable) and the effects range from the crap, to the downright terrifying, but the Home Counties kids in us can't help but still be excited by American west coast culture.Other highlights include Hutch trying to explain away his dodgy YouTube feed, and an insight into why Steff's main recollection of 80's film contains a disproportionate amount of  naked buff guys doing karate in their living rooms...You can contact us at:aloneinthesouthpassage@gmail.comWe can be found on:Instagram - @aitsp_podcastTwitter - @aitsp_podcastYoutube - https://www.youtube.com/channel/UCTeKX6NB1XOIPXOraGfIfhw

DITZ is an English noise rock/post-punk band that formed in Brighton in 2016. The band is most well known for an erratic live show influenced by the hardcore punk and noise rock of the 80s and 90s, which sets them apart from their peers in the UK post-punk scene. DITZ consists of Cal Francis (vocals), Anton Mocock (Guitar), Sam Evans (Drums), Jack Looker (Guitar) and Caleb Remnant (bass). In this episode, a compilation of the five playlists created by each member of the band during the COVID lockdown, and published with a popular audio streaming provider (that shall remain unnamed), in May 2020. Lineup: Polevaulter, Home Counties, Our Family Dog, Self Defense Family, Modest Mouse, Orville Peck, Johnny Cash, The Wants, Fugazi, Famous, Drive Like Jehu, Thank, Comadre, Red House Painters, Dionne Warwick, Blood, Interpol, DIIV, Porridge Radio, Lime Garden, Silverbacks, Black Kids, Julia Jacklin, Amelia Caesar, Bicep, Grimes, BABii, Tzusing, clipping., The Rita, Elcamino, Benny The Butcher, Kills Birds, LIFE, Death Grips, Metz, Fontaines D.C., The Jesus Lizard, IDLES, Autolux, CLT DRP, ScHoolboy Q, Freddie Gibbs, Madlib, LICE, Heavy Lungs, Gilla Band, Danny Brown, Kendrick Lamar, Ab-Soul, Earl Sweatshirt, Pure Adult, Nina Hagen, Egyptian Blue, HMLTD, Velvet Revolver, Kesha, Sick Joy, Pom Poko, PROJECTOR, Chris Isaak, Polvo, At the Drive-In, Q And Not U, Crack Cloud, Test Icicles, Faraquet, Thundercat, LCD Soundsystem, Die! Die! Die!, Lightning Bolt, Refused, The Blood Brothers, Daughters, Black Eyes, Tyler, The Creator, toe

Aramithius and Raelz discuss what to do with the past-it House that is Great House Tepet. We discuss how to present themes of time moving past the House, where Tepet can find a place in the current Realm, how not to use the Roseblack, and how one of the best archetypes of House Tepet is basically Uncle Iroh from Avatar: The Last Airbender. We also cover a few ideas on games in Lord's Crossing, while basically admitting that it's basically the Home Counties as a prefecture. We finish with a game outline for giving House Tepet a new home and other fun things to do with the folks in Lookshy. Check out more episodes and story seeds on the show's website: https://www.wondrousatlas.wordpress.com. Have questions? Leave us a voice message on Anchor or drop us an email at wondrousatlas@gmail.com Find us in the Exalted fan Discord. Want to support the podcast? Shop at DrivethruRPG through our affiliate link: https://www.drivethrurpg.com/browse.php?affiliate_id=3704311 --- Send in a voice message: https://podcasters.spotify.com/pod/show/wondrous-atlas-of-creations-destiny/message

In episode 3 of Series II, we spoke with rapidly growing, boutique Home Counties land agency Walter Cooper, led by Simon Cox, about taking landowners on your journey, his wild card prediction for land in 2023, and why the housing crisis is really a planning crisis.Joining me as our guest cohost for this episode, is a long-established Real Developer and award-winning Women's Business leader, Siobhan Cook of Archco Developments.Siobhan and Archco have delivered 7 new build schemes since their launch, as well as host of commercial space, and are advancing their own Build to Hold strategy for 2023 in Essex and Greater London.Want to apply to become a Real Developer? Head to RealDeveloper.co.uk  to learn how to become a Real Developer through our quick application process. Discover LandTech's land sourcing and appraisal solution Land Insight hereFollow Simon Cox from Walter Cooper on LinkedIn hereFollow Siobhan Cook from Archco Developments on LinkedIn hereFollow Alex Harrington-Griffin from Real Developer on LinkedIn hereFor Previous Episodes of The Real Developer - click here

Tom's favourite Mixtape tunes of 2022 - Part 2, including Home Counties, Dilettante, Jah Digga, Post Coal Queen, Big Special, Cevanne, The Early Purple, Rachael Jean Harris, Hang Linton, Amelia Coburn, Ben & Dom, B of Briz, Youth Sector, Flo Perlin, Owen Duff and Charlotte Harding.

This Christmas the world is heading towards a cataclysmic end. A Parasitic vegetable monster with the power to affect Thoria Hurd's legs, lays poised to launch its deadly spores over the whole of London. Mrs. Carroon screams her lungs raw, through the miracle of dubbing, and surprisingly Jack Warner plays a Policeman! In the second instalment, oh yes theres more to come……………. A sinister force is driving the development of a new town outside London, called Hemel Hempstead. Mysterious bulbous domes rest side by side each other in a large refinery somewhere in the Home Counties. What could be in those domes? And why is everyone playing ‘Hunt Brian Donlevy's hair piece'. Oh yes, Sid James gets a good drilling at the bar! In the third and final instalment, you mad fools…………. Roge Blake digs up some old bones belonging to a half ape, half green bug-eyed monster of old Martian town, hybrid. James Donald has a lot more to do in this film than in ‘Bridge over the River Kwai' but still manages to replicate the same facial expressions in both films, ‘madness'. And Julian Glover gets too close to the fire whilst toasting his marshmallow! Join Me and Martin Holmes; (Vision on Sound Radio Show/Round the Archives Podcast) as we delve into the first 2 Quatermass films and come to the defence of Brian Donlevy, discus Thoria Hurd's dodgy pins and Quatermass's correct choice of footwear. In the final instalment I go solo into the technicolor world of ‘ta Pit' where more than one wheel has gone out of skew on treadle. And Quatermass goes all Scottish. This Christmas I bring to you; death, disaster, and a heroic scientist as we review the 3 Hammer Quatermass films. I hope you enjoy our Christmas gift to you *Martin appears on the Vision on Sound Radio Show which he hosts every Sunday at 1900 hrs. GMT on FAB Radio International (internet radio)Channel 1.

TRIGGER WARNING: Multiple references of suicide and domestic abuse. This week, we dive into the troubled marriage of Sandra and Garry Weddell, a forty-something couple who lived in Bedfordshire. Sandra and Garry lived a quintessentially middle-class suburban life. To the outside world, it appeared as though they had it all... But behind closed doors, it was a different story. Garry was controlling and domineering, and ruled the house with an iron first. When Sandra sought to regain some control in her life, she would pay the ultimate price... But that's just the beginning of this shocking story... If you would like to support us on Patreon, you can find us here: www.patreon.com/seeingredpodcast If you would like to buy us a coffee, hit the link below: https://www.buymeacoffee.com/seeingredtw Theme music arranged and composed by Holly-Jane Shears - check out her work at www.soundcloud.com/DeadDogInBlackBag

TRIGGER WARNING: Multiple references of suicide and domestic abuse. This week, we dive into the troubled marriage of Sandra and Garry Weddell, a forty-something couple who lived in Bedfordshire. Sandra and Garry lived a quintessentially middle-class suburban life. To the outside world, it appeared as though they had it all... But behind closed doors, it was a different story. Garry was controlling and domineering, and ruled the house with an iron first. When Sandra sought to regain some control in her life, she would pay the ultimate price... But that's just the beginning of this shocking story... If you would like to support us on Patreon, you can find us here: www.patreon.com/seeingredpodcast If you would like to buy us a coffee, hit the link below: https://www.buymeacoffee.com/seeingredtw Theme music arranged and composed by Holly-Jane Shears - check out her work at www.soundcloud.com/DeadDogInBlackBag

In the late 1950s a newspaper ran this small ad: 'Can Catholic people in London or the Home Counties offer a permanent home for an attractive baby girl aged one year who is above average intelligence?' That girl was Teresa Weiler, who was subsequently adopted and raised in a loving family home. Twenty years later she went to read her adoption file. Alone in a room with those documents and totally unprepared, she discovered a terrible secret about her birth parents that would reverberate through her whole life and lead her to make a profound decision. Yet she told no-one about it for decades. Dr Sian Williams hears her story.

The lovely lads from Home Counties join us on the virtual sofa this week!! The lads chat us through their recent tours, the worst live acts they've seen and loads more. We get right into the music industry and chat about the recent Ian Brown and Arctic Monkeys controversy. Their upcoming album sounds so exciting so get stuck in here. Thanks for coming on lads, remember to leave us a rating everyone!! Love you all xxx

Samuel William Ryley and his wife, Ann, expected to earn money from theatrical performances in the Island in 1795. After three months, that had not happened and they were about to leave - but not before a real-life drama unfolded. In our translation into the Manx Gaelic of Bram Stoker's 'Dracula', we infer what is happening from entries in Mina Murray's Journal and from letters sent between lawyers in Whitby and a haulage firm in London and the Home Counties. As y kiaull ain - BERNARD CAINE & CHARLES GUARD - Eisht as nish ALVAN, marish AHEZ - Fulenn SWINGIN' FIDDLES - Da Bousta boy/Harvest home TRIBAN - Y deryn pur BARRULE - Illiam boght JOHN REA - Jackson's: Drum; Mistake; and Coagy MIKE O'CONNOR & CORNISH SONGWRITERS - The Tregarten anthem NEEAR NESAN - Ushtey millish 'sy gharee SOLDAT LOUIS - Fils de Lorient

Dave Gilyeat presents a mixtape of his personal selection of tracks from BBC Introducing, including tracks by Emmeline, Artemas, TV Room, Home Counties and Dream Phone. Emmeline - Stay With Me Pecq - Too Far Gone Artemas - Favourite tv room - Balcony Elmiene - Golden GLYSK - Hedonist Home Counties - Back to the 70s Salvation Bill - Worst Laid Plans Low Island - Life's Work Dream Phone - Strut The Parallels - Sticky Floors Self Help – Bamboo The People Versus - Ocean Family Dogmilk - Deep End Jazmine Flowers - Detached KAWALi - Let It Rip Peaness - How I'm Feeling

The Lionesses' victory in the Euros inspires a generation of girls. Can it transform football… and society? Meanwhile Sunak flails to out-loon Truss. With popular culture pulling in one direction and a regressive Tory gerontocracy pulling in another, is there any space for a unifying national story any more? Historian Alex von Tunzelmann – author of Fallen Idols: Twelve Statues That Changed History – is our special guest. “The Labour Party loves nothing more than hating the Labour Party… A fight between left and right has to happen every new moon.” – Marie le Conte “No wonder Truss and Sunak are promising anything and everything. They are dealing with a membership of Home Counties mad bastards with an average age of ‘ghost'.” – Ahir Shah “If you want to sort the two halves of Britain easily, just ask the question ‘Would you bring back hanging?'” – Alex von Tunzelmann “Anyone who spends 24 hours in France while not being white will know that no, France is not better at decolonising than Britain…” – Marie le Conte https://www.patreon.com/bunkercast Written and presented by Ros Taylor with Marie le Conte and Ahir Shah. Producers: Jacob Archbold and Jelena Sofronijevic . Assistant producer Kasia Tomasiewicz. Music by Kenny Dickinson. Audio production by Alex Rees. Lead producer: Jacob Jarvis. Group Editor: Andrew Harrison. The Bunker is a Podmasters production.  Learn more about your ad choices. Visit megaphone.fm/adchoices

WARNING - THIS EPISODE DISCUSSES THE SUBJECT OF DOMESTIC VIOLENCE, IF YOU NEED HELP WITH ANYTHING RAISED IN THE TALK, PLEASE USE THE LINKS PROVIDED IN THE EPISODE TEXT. Welcome to this episode of The Underdog Vet Podcast! In this episode's Animal Advocate Interview, I spoke with Sarah Petrov, a Regional Manager for The Dog's Trust's Freedom Project. Launched in 2004, The Freedom Project is a free dog fostering service for people leaving domestic violence situations and going into refuges where, sadly, their dogs aren't allowed. The service has recently reached the impressive milestone of helping more than 2,000 dogs. Currently operating in 29 counties across Greater London and the Home Counties, East Anglia, Yorkshire, the North East, the North West, and the whole of Scotland, it aims to one day cover the whole of the UK. Sarah and I talked about why The Freedom Project consider themselves another emergency service, the lengths the team go to to protect the safety of both the dogs and their owners and what you can expect if you join their fostering network. Links: The Freedom Project: http://www.moretodogstrust.org.uk/freedom-project/freedom-project Volunteer with The Freedom Project: http://www.moretodogstrust.org.uk/volunteer/volunteer Freedom Project video: https://youtu.be/S9BUuzBpPAM Endeavour Pet Fostering Project: https://www.endeavourproject.org.uk/services/pet-fostering/ Cats Protection Paws Protect Fostering Program: https://www.cats.org.uk/what-we-do/paws-protect The Links Group: https://thelinksgroup.org.uk/ National Domestic Abuse Helpline Website (Refuge): https://www.nationaldahelpline.org.uk/ Telephone: 0808 2000 247 --- Send in a voice message: https://anchor.fm/the-underdog-podcast/message

Today on Fibonacci, the Red Olive data podcast, we talk to Simon Benham, Head of Data Strategy at Catalyst Housing, one of the UK's leading housing providers in London and the Home Counties. It is now part of the Peabody Group, responsible for 104,000 homes, with around 220,000 residents across London, Kent, Sussex and the Home Counties. Simon's background until he moved to Catalyst was in data governance in the finance sector. But is working in a housing association completely different, or does he face similar issues?  Here are the topics we discuss with their timecodes: The differences and similarities between the financial services and social housing sectors (55s) How data can help deal with the shortage of affordable homes (3m 10s) Getting data into one place and improving the quality of data (3m 30s) Staying focussed and engaged while dealing with the background of a merger (4m 50s) Dealing with the audit and risk committee (7m 30s) Who to involve when planning a data project and ensuring data quality (12m 10s) Biggest challenges and opportunities when using data in the housing space (15m 20s) Understanding customers through data, leading to a better service (17m 37s) Approaching the integration of two companies' systems (19m 18s) How to communicate best during a data project (21m 10s) Challenging those who hide behind the GDPR (25m) Using data to improve sustainability (27m)

Caught up with Mark Prieg from Hilton King & Locke in Home Counties at the Guild Conference in March 2022 to chat about the property market in 2021 from an Estate Agents point of view and where they saw the property market in the location going forward for the rest of 2022.

Maureen Lipman's unique collection of musings, monologues, duologues and amusing anecdotes about her life and popular culture. This second programme includes a frustrating experience at an airport and the return of Hester from the Home Counties. For this second series, recorded in front of an audience at the BBC Radio Theatre, Maureen is joined by Oliver Cotton. Together they give life and opinions to various animals. Written and performed by Maureen Lipman with a special guest performance from Oliver Cotton. Produced and Directed by Tracey Neale

An hour of top tunes from Home Counties, Porij, Chiedu Oraka, Amelia Coburn, Life, Helefonix, Hector Gannet, Charlotte Harding, Robocobra Quartet, Fe Salomon, Youth Sector, Ego Ella May, Michael Head & The Red Elastic Band, Ruth Lyon, Mr Fogg, and Ceitidh Mac handpicked by Tom Robinson from the BBC Introducing Uploader.

In the wake of the Grenfell Disaster the British Government have brought in updated and new legislation aimed at ensuring the social housing sector is more focused on it's customer safety and health. The introduction of the Building Safety Bill and the revision of the Social Housing Legislation has presented a number of challenges for the housing sector that have to be overcome.In this podcast Fran Hoey, Managing Consultant at 4OC, is joined by Catherine Cross, Co-Owner at 4OC, and Andrew Muir, Managing Consultant at 4OC, to talk about the challenges facing the sector and how these challenges can be overcome through partnerships and learning lessons from the commercial sector.Their special guest this week is Sarah Thomas, Chief Executive of Catalyst Housing. Catalyst is a proud member of the G15 group and is one of the UK's leading housing providers in London and the Home Counties, managing over 37,000 homes.Their purpose is to provide homes people love for all their customers regardless of tenure type and to create communities and neighbourhoods that can flourish and grow.

This week on the BBC Introducing in Oxfordshire podcast, Dave catches up with Home Counties to hear about their new single 'Village Spirit', from their upcoming EP 'In a Middle English Town'. Nightshift Music Magazine Editor Ronan Munro recommends an epic track by Mila Todd, plus Kingsley and Rawz from In Spire Sounds tell us about inspiring young musicians in Oxfordshire - including an excellent track from Esskay... and there's all the latest new music from Oxfordshire! Here's this week's tracklist: Slow Drift - Winter Elmiene - Golden Cassels - Beth's Recurring Dream Mila Todd - Chatter Esskay - Coming Up for Air chiika - paint me (i'm a masterpiece) Home Counties - Village Spirit • If you're making music in Oxfordshire, send us your tunes with the BBC Introducing Uploader: https://www.bbc.co.uk/introducing/uploader

Welcome back to Yesterdays Jam! In this episode we are delighted to have Will Harrison and Conor Kearney from Bristol band Home Counties to do their Q+A....and what a beauty it is!!! There is also the usual mix of new and old indie tunes to keep most folk happy...can't please 'em all :)

  This title was released in November 2021. It will be exclusively available to buy from the Big Finish website until 31 January 2022, and on general sale after this date. An ancient artefact, a stone arch anachronistically imbedded with electronic circuitry, is recovered following a rupture in an undersea stretch of the Mull lava group in North West Scotland, a geological feature dating from tens of millions of years ago. UNIT's investigation will unlock a link to another world and bring them face to face with a new and powerful threat... 1.1 The Enemy Beyond by Andrew Smith In a UNIT facility beneath Edinburgh Castle, Kate and Osgood work to unlock the mystery of a stone arch discovered buried in a prehistoric rock formation. When the arch takes one of their number away to a strange, bleak world, it leads to an encounter with a Time Lord. One with multiple personalities. Soon the Eleven is loose on the streets of Edinburgh and plotting to seize the arch from UNIT by any means necessary. 1.2 Fire and Ice by John Dorney When Kate needs Harry Sullivan's help with a threat from the Eleven, she and Osgood travel to Australia to meet him. He's there with Naomi Cross, investigating footage of an apparent UFO crash that turned up on social media. They find themselves caught in the middle of a conflict between Ice Warriors. And one Ice Warrior isn't so icy - in fact, he's red hot. And getting hotter... 1.3 Eleven's Eleven by Lisa McMullin A series of jewel robberies in London and the Home Counties draws the attention of UNIT when it's discovered that some of the stolen gems are alien in origin. The robberies are the work of an organised criminal gang led by East End villain Ava Drake. But Ava has a new, ruthless partner. The Eleven has promised her riches, and for him the gems are a means to defeat UNIT and regain the arch. 1.4 The Curator's Gambit by Andrew Smith The arch is taken to the Under Gallery for safekeeping, under the protection of the Curator. When the Eleven penetrates the Gallery's security, the Curator initiates an emergency plan. He and UNIT play a game of cat and mouse with their pursuers within the Under Gallery's original location, Hampton Court Palace. Deploying November 2021

An hour of Tom's favourite tunes from 2021, with Le Bleak, The Home Counties, Cable Street Collective, Elmz Xix, Wildest, Buffet Lunch, Molly, Wassailer, Deep Tan, Swine Tax, Nel Unlit, Tom Houston, Rhona Stevens, Scott Lavene, Gabrielle Sey, Colour Formation, Swami Baracus, Parish, Dead Anyway, Nwando Ebizie and Flo Perlin handpicked by Tom Robinson from the BBC Introducing Uploader.

An hour of top tunes from Home Counties, Swami Baracus, Lilli Unwin, Swine Tax, Tanamuzicka, Freddie Lewis, Caitlyn Scarlett, James Numbere, Hannah Ashcroft, Imlac, Peaness, Captain Avery & The Cosmic Triceratops Of Intergalactic Peace, Bambie Thug, Alekxandr, The Gravity Drive, Namesbliss & Vagrant Real Estate, Oliver Say And Alex Kozobolis And Retro Kid, handpicked by Tom Robinson from the BBC Introducing Uploader.

Ian Macbeth, ex Prospect Estate Agency Residential Sales MD started the in-famous Avocado Property Estate Agency with business partner Michael Robson a little over 18 months ago. Now, Ian and the

Ian Macbeth, ex Prospect Estate Agency Residential Sales MD started the in-famous Avocado Property Estate Agency with business partner Michael Robson a little over 18 months ago. Now, Ian and the

NOTE: This episode went up before the allegations about Dylan, in a lawsuit filed on Friday, were made public on Monday night. Had I been aware of them, I would at least have commented at the beginning of the episode. Episode one hundred and thirty of A History of Rock Music in Five Hundred Songs looks at “Like a Rolling Stone" by Bob Dylan, and the controversy over Dylan going electric, Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Hold What You've Got" by Joe Tex. 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/ Erratum A couple of times I refer to “CBS”. Dylan's label in the US was Columbia Records, a subsidiary of CBS Inc, but in the rest of the world the label traded as “CBS Records”. I should probably have used “Columbia” throughout... Resources No Mixcloud this week, as there are too many songs by Dylan. Much of the information in this episode comes from Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties by Elijah Wald, which is recommended, as all Wald's books are. I've used these books for all the episodes involving Dylan: Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. The New Yorker article by Nat Hentoff I talk about is here. And for the information about the writing of "Like a Rolling Stone", I relied on yet another book by Heylin, All the Madmen. Dylan's albums up to 1967 can all be found in their original mono mixes on this box set. And Dylan's performances at Newport from 1963 through 1965 are on this DVD. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There's a story that everyone tells about Bob Dylan in 1965, the story that has entered into legend. It's the story that you'll see in most of the biographies of him, and in all those coffee-table histories of rock music put out by glossy music magazines. Bob Dylan, in this story, was part of the square, boring, folk scene until he plugged in an electric guitar and just blew the minds of all those squares, who immediately ostracised him forever for being a Judas and betraying their traditionalist acoustic music, but he was just too cool and too much of a rebel to be bound by their rules, man. Pete Seeger even got an axe and tried to cut his way through the cables of the amplifiers, he was so offended by the desecration of the Newport Folk Festival. And like all these stories, it's an oversimplification but there's an element of truth to it too. So today, we're going to look at what actually happened when Dylan went electric. We're going to look at what led to him going electric, and at the truth behind the legend of Seeger's axe. And we're going to look at the masterpiece at the centre of it all, a record that changed rock songwriting forever. We're going to look at Bob Dylan and "Like a Rolling Stone": [Excerpt: Bob Dylan, "Like a Rolling Stone"] While we've seen Dylan turn up in all sorts of episodes -- most recently the episode on "Mr. Tambourine Man", the last time we looked at him in detail was in the episode on "Blowin' in the Wind", and when we left him there he had just recorded his second album, The Freewheelin' Bob Dylan, but it had not yet been released. As we'll see, Dylan was always an artist who moved on very quickly from what he'd been doing before, and that had started as early as that album. While his first album, produced by John Hammond, had been made up almost entirely of traditional songs and songs he'd learned from Dave van Ronk or Eric von Schmidt, with only two originals, The Freewheelin' Bob Dylan had started out being produced by Hammond, but as Hammond and Dylan's manager Albert Grossman had come to find it difficult to work together, the last few tracks had been produced by Tom Wilson. We've mentioned Wilson briefly a couple of times already, but to reiterate, Wilson was a Black Harvard graduate and political conservative whose background was in jazz and who had no knowledge of or love for folk music. But Wilson saw two things in Dylan -- the undeniable power of his lyrics, and his vocals, which Wilson compared to Ray Charles. Wilson wanted to move Dylan towards working with a backing band, and this was something that Dylan was interested in doing, but his first experiment with that, with John Hammond, hadn't been a particular success. Dylan had recorded a single backed with a band -- "Mixed-Up Confusion", backed with "Corrina, Corrina", a version of an old song that had been recorded by both Bob Wills and Big Joe Turner, but had recently been brought back to the public mind by a version Phil Spector had produced for Ray Peterson. Dylan's version of that song had a country lope and occasional breaks into Jimmie Rodgers style keening that foreshadow his work of the late sixties: [Excerpt: Bob Dylan, "Corrina, Corrina (single version)"] A different take of that track was included on The Freewheelin' Bob Dylan, an album that was made up almost entirely of originals. Those originals fell into roughly two types -- there were songs like "Masters of War", "Blowin' in the Wind", and "A Hard Rain's Gonna Fall" which dealt in some way with the political events of the time -- the fear of nuclear war, the ongoing conflict in Vietnam, the Civil Rights movement and more -- but did so in an elliptical, poetic way; and there were songs about distance in a relationship -- songs like "Don't Think Twice, It's Alright", which do a wonderful job at portraying a young man's conflicted feelings -- the girl has left him, and he wants her back, but he wants to pretend that he doesn't.  While it's always a bad idea to look for a direct autobiographical interpretation of Dylan's lyrics, it seems fairly safe to say that these songs were inspired by Dylan's feelings for his girlfriend, Suze Rotolo, who had gone travelling in Europe and not seen him for eight months, and who he was worried he would never see again, and he does seem to have actually had several conflicting feelings about this, ranging from desperation for her to come back through to anger and resentment. The surprising thing about The Freewheelin' Bob Dylan is that it's a relatively coherent piece of work, despite being recorded with two different producers over a period of more than a year, and that recording being interrupted by Dylan's own travels to the UK, his separation from and reconciliation with Rotolo, and a change of producers. If you listened to it, you would get an impression of exactly who Dylan was -- you'd come away from it thinking that he was an angry, talented, young man who was trying to merge elements of both traditional English folk music and Robert Johnson style Delta blues with poetic lyrics related to what was going on in the young man's life. By the next album, that opinion of Dylan would have to be reworked, and it would have to be reworked with every single album that came out.  But The Freewheelin' Bob Dylan came out at the perfect time for Dylan to step into the role of "spokesman for a generation" -- a role which he didn't want, and to which he wasn't particularly suited. Because it came out in May 1963, right at the point at which folk music was both becoming hugely more mainstream, and becoming more politicised. And nothing showed both those things as well as the Hootenanny boycott: [Excerpt: The Brothers Four, “Hootenanny Saturday Night”] We've talked before about Hootenanny, the folk TV show, but what we haven't mentioned is that there was a quite substantial boycott of that show by some of the top musicians in folk music at the time. The reason for this is that Pete Seeger, the elder statesman of the folk movement, and his old band the Weavers, were both blacklisted from the show because of Seeger's Communist leanings. The Weavers were --- according to some sources -- told that they could go on if they would sign a loyalty oath, but they refused. It's hard for those of us who weren't around at the time to really comprehend both just how subversive folk music was considered, and how seriously subversion was taken in the USA of the early 1960s. To give a relevant example -- Suze Rotolo was pictured on the cover of The Freewheelin' Bob Dylan. Because of this, her cousin's husband, who was in the military, lost his security clearance and didn't get a promotion he was in line for. Again,  someone lost his security clearance because his wife's cousin was pictured on the cover of a Bob Dylan album. So the blacklisting of Seeger and the Weavers was considered a serious matter by the folk music community, and people reacted very strongly. Joan Baez announced that she wouldn't be going on Hootenanny until they asked Seeger on, and Dylan, the Kingston Trio, Dave van Ronk, Ramblin' Jack Elliott, and Peter, Paul, and Mary, among many others, all refused to go on the show as a result. But the odd thing was, whenever anyone *actually asked* Pete Seeger what he thought they should do, he told them they should go on the TV show and use it as an opportunity to promote the music. So while the Kingston Trio and Peter, Paul, and Mary, two of the biggest examples of the commercialisation of folk music that the serious purists sneered at, were refusing to go on the TV in solidarity with a Communist, that Communist's brother, Mike Seeger, happily went on Hootenanny with his band the New Lost City Ramblers, and when the Tarriers were invited on to the show but it clashed with one of their regular bookings, Pete Seeger covered their booking for them so they could appear. Dylan was on the side of the boycotters, though he was not too clear on exactly why. When he spoke about  the boycott on stage, this is what he had to say: [Excerpt: Dylan talks about the boycott. Transcript: "Now a friend of mine, a friend of all yours I'm sure, Pete Seeger's been blacklisted [applause]. He and another group called the Weavers who are around New York [applause] I turned down that television show, but I got no right [applause] but . . . I feel bad turning it down, because the Weavers and Pete Seeger can't be on it. They oughta turn it down. They aren't even asked to be on it because they are blacklisted. Uh—which is, which is a bad thing. I don't know why it's bad, but it's just bad, it's bad all around."] Hootenanny started broadcasting in April 1963, just over a month before The Freewheelin' Bob Dylan came out, and so it would have been a good opportunity for publicity for him -- but turning the show down was also good publicity. Hootenanny wouldn't be the only opportunity to appear on TV that he was offered. It would also not be the only one he turned down. In May, Dylan was given the opportunity to appear on the Ed Sullivan Show, but he agreed on one condition -- that he be allowed to sing "Talking John Birch Paranoid Blues". For those who don't know, the John Birch Society is a far-right conspiratorial organisation which had a huge influence on the development of the American right-wing in the middle of the twentieth century, and is responsible for perpetuating almost every conspiracy theory that has exerted a malign influence on the country and the world since that time. They were a popular punching bag for the left and centre, and for good reason -- we heard the Chad Mitchell Trio mocking them, for example, in the episode on "Mr. Tambourine Man" a couple of weeks ago.  So Dylan insisted that if he was going to go on the Ed Sullivan Show, it would only be to perform his song about them: [Excerpt: Bob Dylan, "Talking John Birch Paranoid Blues"] Now, the Ed Sullivan Show was not interested in having Dylan sing a song that would upset a substantial proportion of its audience, on what was after all meant to be an entertainment show, and so Dylan didn't appear on the show -- and he got a big publicity boost from his principled refusal to make a TV appearance that would have given him a big publicity boost. It's interesting to note in this context that Dylan himself clearly didn't actually think very much of the song -- he never included it on any of his albums, and it remained unreleased for decades. By this point, Dylan had started dating Joan Baez, with whom he would have an on-again off-again relationship for the next couple of years, even though at this point he was also still seeing Suze Rotolo. Baez was one of the big stars of the folk movement, and like Rotolo she was extremely politically motivated. She was also a fan of Dylan's writing, and had started recording versions of his songs on her albums: [Excerpt: Joan Baez, "Don't Think Twice, It's All Right"] The relationship between the two of them became much more public when they appeared together at the Newport Folk Festival in 1963. The Newport Folk Festival had started in 1959, as a spinoff from the successful Newport Jazz Festival, which had been going for a number of years previously. As there was a large overlap between the jazz and folk music fanbases -- both musics appealed at this point to educated, middle-class, liberals who liked to think of themselves as a little bit Bohemian -- the Jazz Festival had first started putting on an afternoon of folk music during its normal jazz programme, and then spun that off into a whole separate festival, initially with the help of Albert Grossman, who advised on which acts should be booked (and of course included several of the acts he managed on the bill). Both Newport festivals had been shut down after rioting at the 1960 Jazz Festival, as three thousand more people had turned up for the show than there was capacity for, and the Marines had had to be called in to clear the streets of angry jazz fans, but the jazz  festival had returned in 1962, and in 1963 the folk festival came back as well. By this time, Albert Grossman was too busy to work for the festival, and so its organisation was taken over by a committee headed by Pete Seeger.  At that 1963 festival, even though Dylan was at this point still a relative unknown compared to some of the acts on the bill, he was made the headliner of the first night, which finished with his set, and then with him bringing Joan Baez, Peter, Paul and Mary, Pete Seeger and the Freedom Singers out to sing with him on "Blowin' in the Wind" and "We Shall Overcome".  To many people, Dylan's appearance in 1963 was what launched him from being "one of the rising stars of the folk movement" to being the most important musician in the movement -- still just one of many, but the first among equals. He was now being talked of in the same terms as Joan Baez or Pete Seeger, and was also starting to behave like someone as important as them -- like he was a star. And that was partly because Baez was promoting Dylan, having him duet with her on stage on his songs -- though few would now argue that the combination of their voices did either artist any favours, Baez's pure, trained, voice, rubbing up against Dylan's more idiosyncratic phrasing in ways that made both sound less impressive: [Excerpt: Joan Baez and Bob Dylan, "With God On Our Side (live at Newport 1963)"] At the end of 1963, Dylan recorded his third album, which came out in early 1964. The Times They Are A-Changin' seems to be Dylan's least personal album to this point, and seems to have been written as a conscious attempt to write the kind of songs that people wanted and expected from him -- there were songs about particular recent news events, like "The Lonesome Death of Hattie Carroll",  the true story of the murder of a Black woman by a white man, and  "Only a Pawn in Their Game", about the murder of the Civil Rights activist Medgar Evers. There were fictional dramatisations of the kind of effects that real-world social problems were having on people, like "North Country Blues", in which the callous way mining towns were treated by capital leads to a woman losing her parents, brother, husband, and children, or "The Ballad of Hollis Brown", about a farmer driven to despair by poverty who ends up killing his whole family and himself. As you can imagine, it's not a very cheery album, but it's one that impressed a lot of people, especially its title track, which was very deliberately written as an anthem for the new social movements that were coming up: [Excerpt: Bob Dylan, "The Times They Are A-Changin'"] But it was a bleak album, with none of the humour that had characterised Dylan's first two albums. Soon after recording the album, Dylan had a final split with Rotolo, went travelling for a while, and took LSD for the first time. He also started to distance himself from Baez at this point, though the two would remain together until mid 1965. He seems to have regarded the political material he was doing as a mistake, as something he was doing for other people, rather than because that was what he wanted to do.  He toured the UK in early 1964, and then returned to the US in time to record his fourth album, Another Side of Bob Dylan. It can be argued that this is the point where Dylan really becomes himself, and starts making music that's the music he wants to make, rather than music that he thinks other people want him to make.  The entire album was recorded in one session, along with a few tracks that didn't make the cut -- like the early version of "Mr. Tambourine Man" with Ramblin' Jack Elliott that we heard in the episode on that song. Elliott was in attendance, as were a number of Dylan's other friends, though the album features only Dylan performing. Also there was the journalist Nat Hentoff, who wrote a full account of the recording session for the New Yorker, which I'll link in the show notes.  Dylan told Hentoff "“There aren't any finger-pointing songs in here, either. Those records I've already made, I'll stand behind them, but some of that was jumping into the scene to be heard and a lot of it was because I didn't see anybody else doing that kind of thing. Now a lot of people are doing finger-pointing songs. You know—pointing to all the things that are wrong. Me, I don't want to write for people anymore. You know—be a spokesman. Like I once wrote about Emmett Till in the first person, pretending I was him. From now on, I want to write from inside me, and to do that I'm going to have to get back to writing like I used to when I was ten—having everything come out naturally." Dylan was right to say that there were no finger-pointing songs. The songs on Another Side of Bob Dylan were entirely personal -- "Ballad in Plain D", in particular, is Dylan's take on the night he split up with Suze Rotolo, laying the blame -- unfairly, as he would later admit -- on her older sister. The songs mostly dealt with love and relationships, and as a result were ripe for cover versions. The opening track, in particular, "All I Really Want to Do", which in Dylan's version was a Jimmie Rodgers style hillbilly tune, became the subject of duelling cover versions. The Byrds' version came out as the follow-up to their version of "Mr. Tambourine Man": [Excerpt: The Byrds, "All I Really Want to Do"] But Cher also released a version -- which the Byrds claimed came about when Cher's husband Sonny Bono secretly taped a Byrds live show where they performed the song before they'd released it, and he then stole their arrangement: [Excerpt: Cher, "All I Really Want to Do"] In America, the Byrds' version only made number forty on the charts, while Cher made number fifteen. In the UK, where both artists were touring at the time to promote the single, Cher made number nine but the Byrds charted higher at number four.  Both those releases came out after the album came out in late 1964, but even before it was released, Dylan was looking for other artists to cover his new songs. He found one at the 1964 Newport Folk Festival, where he met Johnny Cash for the first time. Cash had been a fan of Dylan for some time -- and indeed, he's often credited as being the main reason why CBS persisted with Dylan after his first album was unsuccessful, as Cash had lobbied for him within the company -- and he'd recently started to let that influence show. His most recent hit, "Understand Your Man", owed more than a little to Dylan's "Don't Think Twice, It's All Right", and Cash had also started recording protest songs. At Newport, Cash performed his own version of "Don't Think Twice": [Excerpt: Johnny Cash, "Don't Think Twice, It's All Right"] Cash and Dylan met up, with June Carter and Joan Baez, in Baez's hotel room, and according to later descriptions they were both so excited to meet each other they were bouncing with excitement, jumping up and down on the beds. They played music together all night, and Dylan played some of his new songs for Cash. One of them was "It Ain't Me Babe", a song that seems at least slightly inspired by "She Loves You" -- you can sing the "yeah, yeah, yeah" and "no, no, no" together -- and which was the closing track of Another Side of Bob Dylan. Cash soon released his own version of the song, which became a top five country hit: [Excerpt: Johnny Cash, "It Ain't Me Babe"] But it wasn't long after meeting Cash that Dylan met the group who may have inspired that song -- and his meeting with the Beatles seems to have confirmed in him his decision that he needed to move away from the folk scene and towards making pop records. This was something that Tom Wilson had been pushing for for a while -- Wilson had told Dylan's manager Albert Grossman that if they could get Dylan backed by a good band, they'd have a white Ray Charles on their hands. As an experiment, Wilson took some session musicians into the studio and had them overdub an electric backing on Dylan's acoustic version of "House of the Rising Sun", basing the new backing on the Animals' hit version. The result wasn't good enough to release, but it did show that there was a potential for combining Dylan's music with the sound of electric guitars and drums: [Excerpt: Bob Dylan, “House of the Rising Sun (electric version)”] Dylan was also being influenced by his friend John Hammond Jr, the blues musician son of Dylan's first producer, and a veteran of the Greenwich Village folk scene. Hammond had decided that he wanted to show the British R&B bands what proper American blues sounded like, and so he'd recruited a group of mostly-Canadian musicians to back him on an electric album. His "So Many Roads" album featured three members of a group called Levon and the Hawks -- Levon Helm, Garth Hudson, and Robbie Robertson -- who had recently quit working for the Canadian rockabilly singer Ronnie Hawkins -- plus harmonica player Charlie Musselwhite and Mike Bloomfield, who was normally a guitarist but who is credited on piano for the album: [Excerpt: John Hammond, Jr. "Who Do You Love?"] Dylan was inspired by Hammond's sound, and wanted to get the same sound on his next record, though he didn't consider hiring the same musicians. Instead, for his next album he brought in Bruce Langhorne, the tambourine man himself, on guitar, Bobby Gregg -- a drummer who had been the house drummer for Cameo-Parkway and played on hits by Chubby Checker, Bobby Rydell and others; the session guitarists Al Gorgoni and Kenny Rankin, piano players Frank Owens and Paul Griffin, and two bass players, Joseph Macho and William Lee, the father of the film director Spike Lee. Not all of these played on all the finished tracks -- and there were other tracks recorded during the sessions, where Dylan was accompanied by Hammond and another guitarist, John Sebastian, that weren't used at all -- but that's the lineup that played on Dylan's first electric album, Bringing it All Back Home. The first single, "Subterranean Homesick Blues" actually takes more inspiration than one might imagine from the old-school folk singers Dylan was still associating with. Its opening lines seem to be a riff on "Taking it Easy", a song that had originally been written in the forties by Woody Guthrie for the Almanac Singers, where it had been a song about air-raid sirens: [Excerpt: The Almanac Singers, "Taking it Easy"] But had then been rewritten by Pete Seeger for the Weavers, whose version had included this verse that wasn't in the original: [Excerpt: The Weavers, "Taking it Easy"] Dylan took that verse, and the basic Guthrie-esque talking blues rhythm, and connected it to Chuck Berry's "Too Much Monkey Business" with its rapid-fire joking blues lyrics: [Excerpt: Chuck Berry, "Too Much Monkey Business"] But Dylan's lyrics were a radical departure, a freeform, stream-of-consciousness proto-psychedelic lyric inspired as much by the Beat poets as by any musician -- it's no coincidence that in the promotional film Dylan made for the song, one of the earliest examples of what would become known as the rock video, the Beat poet Allen Ginsberg makes an appearance: [Excerpt: Bob Dylan, "Subterranean Homesick Blues"] "Subterranean Homesick Blues" made the top forty in the US -- it only made number thirty-nine, but it was Dylan's first single to chart at all in the US. And it made the top ten in the UK -- but it's notable that even over here, there was still some trepidation about Dylan's new direction. To promote his UK tour, CBS put out a single of "The Times They Are A-Changin'", and that too made the top ten, and spent longer on the charts than "Subterranean Homesick Blues". Indeed, it seems like everyone was hedging their bets. The opening side of Bringing it All Back Home is all electric, but the B-side is made up entirely of acoustic performances, though sometimes with a little added electric guitar countermelody -- it's very much in the same style as Dylan's earlier albums, and seems to be a way of pulling back after testing the waters, of reassuring people who might have been upset by the change in style on the first side that this was still the same Dylan they knew.  And the old Dylan certainly still had plenty of commercial life in him. Indeed, when Dylan went to the UK for a tour in spring of 1965, he found that British musicians were trying to copy his style -- a young man called Donovan seemed to be doing his best to *be* Dylan, with even the title of his debut hit single seeming to owe something to "Blowing in the Wind": [Excerpt: Donovan, "Catch the Wind (original single version)"] On that UK tour, Dylan performed solo as he always had -- though by this point he had taken to bringing along an entourage. Watching the classic documentary of that tour, Dont Look Back, it's quite painful to see Dylan's cruelty to Joan Baez, who had come along on the expectation that she would be duetting with him occasionally, as he had dueted with her, but who is sidelined, tormented, and ignored. It's even worse to see Bob Neuwirth,  a hanger-on who is very obviously desperate to impress Dylan by copying all his mannerisms and affectations, doing the same. It's unsurprising that this was the end of Dylan and Baez's relationship. Dylan's solo performances on that tour went down well, but some of his fans questioned him about his choice to make an electric record. But he wasn't going to stop recording with electric musicians. Indeed, Tom Wilson also came along on the tour, and while he was in England he made an attempt to record a track with the members of John Mayall's Bluesbreakers -- Mayall, Hughie Flint, Eric Clapton, and John McVie, though it was unsuccessful and only a low-fidelity fragment of it circulates: [Excerpt: Bob Dylan and the Bluesbreakers, "If You Gotta Go, Go Now"] Also attending that session was a young wannabe singer from Germany who Dylan had taken up with, though their dalliance was very brief. During the session Dylan cut a demo of a song he planned to give her, but Nico didn't end up recording "I'll Keep it With Mine" until a couple of years later. But one other thing happened in England. After the UK tour, Dylan travelled over to Europe for a short tour, then returned to the UK to do a show for the BBC -- his first full televised concert. Unfortunately, that show never went ahead -- there was a party the night before, and Dylan was hospitalised after it with what was said to be food poisoning. It might even actually have been food poisoning, but take a listen to the episode I did on Vince Taylor, who was also at that party, and draw your own conclusions. Anyway, Dylan was laid up in bed for a while, and took the opportunity to write what he's variously described as being ten or twenty pages of stream of consciousness vomit, out of which he eventually took four pages of lyrics, a vicious attack on a woman who was originally the protagonist's social superior, but has since fallen. He's never spoken in any detail about what or who the subject of the song was, but given that it was written just days after his breakup with Baez, it's not hard to guess. The first attempt at recording the song was a false start. On June the fifteenth, Dylan and most of the same musicians who'd played on his previous album went into the studio to record it, along with Mike Bloomfield, who had played on that John Hammond album that had inspired Dylan and was now playing in the Paul Butterfield Blues Band. Bloomfield had been surprised when Dylan had told him that he didn't want the kind of string-bending electric blues that Bloomfield usually played, but he managed to come up with something Dylan approved of -- but the song was at this point in waltz time: [Excerpt: Bob Dylan, "Like a Rolling Stone (early version)"] The session ended, but Joe Macho, Al Gorgoni and Bobby Gregg stayed around after the session, when Tom Wilson called in another session guitarist to join them in doing the same trick he'd done on "House of the Rising Sun", overdubbing new instruments on a flop acoustic record he'd produced for a Greenwich Village folk duo who'd already split up. But we'll hear more about "The Sound of Silence" in a few weeks' time. The next day, the same musicians came back, along with one new one. Al Kooper had been invited by Wilson to come along and watch the session, but he was determined that he was going to play on whatever was recorded. He got to the session early, brought his guitar and amp in and got tuned up before Wilson arrived. But then Kooper heard Bloomfield play, realised that he simply couldn't play at anything remotely like the same standard, and decided he'd be best off staying in the control room after all.  But then, before they started recording "Like a Rolling Stone", which by now was in 4/4 time, Frank Owens, who had been playing organ, switched to piano and left his organ on. Kooper saw his chance -- he played a bit of keyboards, too, and the song was in C, which is the easiest key to play in. Kooper asked Wilson if he could go and play, and Wilson didn't exactly say no, so Kooper went into the studio and sat at the organ.  Kooper improvised the organ line that became the song's most notable instrumental part, but you will notice that it's mixed quite low in the track. This is because Wilson was unimpressed with Kooper's playing, which is technically pretty poor -- indeed, for much of the song, Kooper is a beat behind the rest of the band, waiting for them to change chords and then following the change on the next measure. Luckily, Kooper is also a good enough natural musician that he made this work, and it gave the song a distinctive sound: [Excerpt: Bob Dylan, "Like a Rolling Stone"] The finished record came in at around six minutes -- and here I should just mention that most books on the subject say that the single was six minutes and thirteen seconds long. That's the length of the stereo mix of the song on the stereo version of the album. The mono mix on the mono album, which we just heard, is five minutes fifty-eight, as it has a shorter fade. I haven't been able to track down a copy of the single as released in 1965, but usually the single mix would be the same as the mono album mix. Whatever the exact length, it was much, much, longer than the norm for a single -- the Animals' "House of the Rising Sun" had been regarded as ridiculously long at four and a half minutes -- and Columbia originally wanted to split the song over two sides of a single. But eventually it was released as one side, in full: [Excerpt: Bob Dylan, "Like a Rolling Stone"] That's Bruce Langhorne there playing that rather sloppy tambourine part, high in the mix. The record made the top five in the UK, and reached number two in the US, only being held off from the top spot by "Help!" by the Beatles.  It would, however, be the last track that Tom Wilson produced for Dylan. Nobody knows what caused their split after three and a half albums working together -- and everything suggests that on the UK tour in the Spring, the two were very friendly. But they had some sort of disagreement, about which neither of them would ever speak, other than a comment by Wilson in an interview shortly before his death in which he said that Dylan had told him he was going to get Phil Spector to produce his records. In the event, the rest of the album Dylan was working on would be produced by Bob Johnston, who would be Dylan's regular producer until the mid-seventies. So "Like a Rolling Stone" was a major break in Dylan's career, and there was another one shortly after its release, when Dylan played the Newport Folk Festival for the third time, in what has become possibly the single most discussed and analysed performance in folk or rock music. The most important thing to note here is that there was not a backlash among the folk crowd against electric instruments. The Newport Folk Festival had *always* had electric performers -- John Lee Hooker and Johnny Cash and The Staple Singers had all performed with electric guitars and nobody had cared. What there was, was a backlash against pop music. You see, up until the Beatles hit America, the commercial side of folk music had been huge. Acts like the Kingston Trio, Peter, Paul, and Mary, The Chad Mitchell Trio, and so on had been massive. Most of the fans at the Newport Folk Festival actually despised many of these acts as sell-outs, doing watered-down versions of the traditional music they loved. But at the same time, those acts *were* doing watered-down versions of the traditional music they loved, and by doing so they were exposing more people to that traditional music. They were making programmes like Hootenanny possible -- and the folkies didn't like Hootenanny, but Hootenanny existing meant that the New Lost City Ramblers got an audience they would otherwise not have got. There was a recognition, then, that the commercialised folk music that many of them despised was nonetheless important in the development of a thriving scene. And it was those acts, the Kingston Trios and Peter, Paul, and Marys, who were fast losing their commercial relevance because of the renewed popularity of rock music. If Hootenanny gets cancelled and Shindig put on in its place, that's great for fans of the Righteous Brothers and Sam Cooke, but it's not so great if you want to hear "Tom Dooley" or "If I Had a Hammer". And so many of the old guard in the folk movement weren't wary of electric guitars *as instruments*, but they were wary of anything that looked like someone taking sides with the new pop music rather than the old folk music. For Dylan's first performance at the festival in 1965, he played exactly the set that people would expect of him, and there was no problem. The faultlines opened up, not with Dylan's first performance, but with the performance by the Paul Butterfield Blues Band, as part of a history of the blues, presented by Alan Lomax. Lomax had no objection to rock and roll -- indeed, earlier in the festival the Chambers Brothers, a Black electric group from Mississippi, had performed a set of rock and R&B songs, and Lomax had come on stage afterwards and said “I'm very proud tonight that we finally got onto the Newport Folk Festival our modern American folk music: rock 'n' roll!” But Lomax didn't think that the Butterfield band met his criteria of "authenticity". And he had a point. The Paul Butterfield Blues Band were an integrated group -- their rhythm section were Black musicians who had played with Howlin' Wolf -- and they'd gained experience through playing Chicago blues on the South Side of Chicago, but their leader, Butterfield, was a white man, as was Mike Bloomfield, their guitarist, and so they'd quickly moved to playing clubs on the North side, where Black musicians had generally not been able to play. Butterfield and Bloomfield were both excellent musicians, but they were closer to the British blues lovers who were making up groups like the Rolling Stones, Animals, and Manfred Mann. There was a difference -- they were from Chicago, not from the Home Counties -- but they were still scholars coming at the music from the outside, rather than people who'd grown up with the music and had it as part of their culture. The Butterfield Band were being promoted as a sort of American answer to the Stones, and they had been put on Lomax's bill rather against his will -- he wanted to have some Chicago blues to illustrate that part of the music, but why not Muddy Waters or Howlin' Wolf, rather than this new group who had never really done anything? One he'd never even heard -- but who he knew that Albert Grossman was thinking about managing. So his introduction to the Butterfield Blues Band's performance was polite but hardly rapturous. He said "Us white cats always moved in, a little bit late, but tried to catch up...I understand that this present combination has not only caught up but passed the rest. That's what I hear—I'm anxious to find out whether it's true or not." He then introduced the musicians, and they started to play an old Little Walter song: [Excerpt: The Paul Butterfield Blues Band, "Juke"] But after the set, Grossman was furious at Lomax, asking him what kind of introduction that was meant to be. Lomax responded by asking if Grossman wanted a punch in the mouth, Grossman hurled a homophobic slur at Lomax, and the two men started hitting each other and rolling round in the dirt, to the amusement of pretty much everyone around. But Lomax and Grossman were both far from amused. Lomax tried to get the Festival board to kick Grossman out, and almost succeeded, until someone explained that if they did, then that would mean that all Grossman's acts, including huge names like Dylan and Peter, Paul, and Mary, would also be out.  Nobody's entirely sure whose idea it was, but it seems to have been Grossman who thought that since Bloomfield had played on Dylan's recent single, it might be an idea to get the Butterfield Blues Band to back Dylan on stage, as a snub to Lomax. But the idea seems to have cohered properly when Grossman bumped into Al Kooper, who was attending the festival just as an audience member. Grossman gave Kooper a pair of backstage passes, and told him to meet up with Dylan. And so, for Dylan's performance on the Sunday -- scheduled in the middle of the day, rather than as the headliner as most people expected, he appeared with an electric guitar, backed by the Paul Butterfield Blues Band and Al Kooper. He opened with his recent single "Maggie's Farm", and followed it with the new one, "Like a Rolling Stone": [Excerpt: Bob Dylan, "Like a Rolling Stone (live at Newport)"] After those two songs, the group did one more, a song called "Phantom Engineer", which they hadn't rehearsed properly and which was an utter train wreck. And then they left the stage. And there was booing. How much booing, and what the cause was, is hard to say, but everyone agrees there was some. Some people claim that the booing was just because the set had been so short, others say that the audience was mostly happy but there were just a few people booing. And others say that the booing mostly came from the front -- that there were sound problems that meant that while the performance sounded great to people further back, there was a tremendous level of distortion near the front. That's certainly what Pete Seeger said. Seeger was visibly distraught and angry at the sounds coming from the stage. He later said, and I believe him, that it wasn't annoyance at Dylan playing with an electric band, but at the distorted sound. He said he couldn't hear the words, that the guitar was too loud compared to the vocals, and in particular that his father, who was an old man using a hearing aid, was in actual physical pain at the sound. According to Joe Boyd, later a famous record producer but at this time just helping out at the festival, Seeger, the actor Theodore Bikel, and Alan Lomax, all of whom were on the festival board, told Boyd to take a message to Paul Rothchild, who was working the sound, telling him that the festival board ordered him to lower the volume. When Boyd got there, he found Rothchild there with Albert Grossman and Peter Yarrow of Peter, Paul, and Mary, who was also on the board. When Boyd gave his message, Yarrow responded that the board was "adequately represented at the sound controls", that the sound was where the musicians wanted it, and gave Boyd a message to take back to the other board members, consisting of a single raised middle finger. Whatever the cause of the anger, which was far from universal, Dylan was genuinely baffled and upset at the reaction -- while it's been portrayed since, including by Dylan himself at times, as a deliberate act of provocation on Dylan's part, it seems that at the time he was just going on stage with his new friends, to play his new songs in front of some of his old friends and a crowd that had always been supportive of him. Eventually Peter Yarrow, who was MCing, managed to persuade Dylan to go back on stage and do a couple more numbers, alone this time as the band hadn't rehearsed any more songs. He scrounged up an acoustic guitar, went back on, spent a couple of minutes fiddling around with the guitar, got a different guitar because something was wrong with that one, played "It's All Over Now, Baby Blue", spent another couple of minutes tuning up, and then finally played "Mr. Tambourine Man": [Excerpt: Bob Dylan, "Mr. Tambourine Man (live at Newport)"] But that pause while Dylan was off stage scrounging an acoustic guitar from somewhere led to a rumour that has still got currency fifty-six years later. Because Peter Yarrow, trying to keep the crowd calm, said "He's gone to get his axe" -- using musicians' slang for a guitar. But many of the crowd didn't know that slang. But they had seen Pete Seeger furious, and they'd also seen, earlier in the festival, a demonstration of work-songs, sung by people who kept time by chopping wood, and according to some people Seeger had joined in with that demonstration, swinging an axe as he sang. So the audience put two and two together, and soon the rumour was going round the festival -- Pete Seeger had been so annoyed by Dylan going electric he'd tried to chop the cables with an axe, and had had to be held back from doing so. Paul Rothchild even later claimed to have seen Seeger brandishing it. The rumour became so pervasive that in later years, even as he denied doing it, Seeger tried to explain it away by saying that he might have said something like "I wish I had an axe so I could cut those cables". In fact, Seeger wasn't angry at Dylan, as much as he was concerned -- shortly afterwards he wrote a private note to himself trying to sort out his own feelings, which said in part "I like some rock and roll a great deal. Chuck Berry and Muddy Waters. I confess that, like blues and like flamenco music, I can't listen to it for a long time at a stretch. I just don't feel that aggressive, personally. But I have a question. Was the sound at Newport from Bob's aggregation good rock and roll?  I once had a vision of a beast with hollow fangs. I first saw it when my mother-in-law, who I loved very much, died of cancer... Who knows, but I am one of the fangs that has sucked Bob dry. It is in the hope that I can learn that I write these words, asking questions I need help to answer, using language I never intended. Hoping that perhaps I'm wrong—but if I am right, hoping that it won't happen again." Seeger would later make his own electric albums, and he would always continue to be complimentary towards Dylan in public. He even repeatedly said that while he still wished he'd been able to hear the words and that the guitar had been mixed quieter, he knew he'd been on the wrong side, and that if he had the time over he'd have gone on stage and asked the audience to stop booing Dylan. But the end result was the same -- Dylan was now no longer part of the Newport Folk Festival crowd. He'd moved on and was now a pop star, and nothing was going to change that. He'd split with Suze, he'd split with Joan Baez, he'd split with Tom Wilson, and now he'd split with his peer group. From now on Dylan wasn't a spokesman for his generation, or the leader of a movement. He was a young man with a leather jacket and a Stratocaster, and he was going to make rock music. And we'll see the results of that in future episodes.

Wendy has been practicing yoga since 1979. Until then she had had a relatively conventional English middle-class up-bringing – an all-girls' grammar school in the Home Counties followed by a degree in English at Leeds University. Then in 1978 she went slightly off-piste by going overland to India on a tragic bus, which took her through a broken Iran and the last days of an independent Afghanistan. In Pakistan she created her own drama by drinking a glass of dirty water, which led to hepatitis … and everything changed. India was amazing and blew her mind: once the worst of the hepatitis was over she slowly travelled by train around the Indian sub-continent. Whether sitting atop a magnificently-sculpted south Indian temples or at the feet of the white marble statue of Bahubali as a Brahmin priest split coconuts;  looking up at the alluring peaks of the Himalayas in Nepal or eating jack-fruit in Sri Lanka – she was totally enchanted by the power of this vast and diverse land whose voice manifested in the Vedic mantras.  6 months later, back in the UK, things were a little flat by contrast. The lack of energy which characterizes hepatitis was still lingering, and, without the diversion of India, the black cloud of depression descended.Become a supporter of this podcast: https://www.spreaker.com/podcast/success-made-to-last-legends--4302039/support.

In these uncertain times, making smart investment decisions isn't easy. But in this episode of Get Invested, international property buyer, finance and real estate expert Pete Wargent reveals how to weather the storm and grow in all seasons across multiple assets, global locations over multiple decades. Pete started his professional career as a qualified Chartered Accountant in London, and was previously a Director at the ‘Big 4' accounting firm, Deloitte. Together with his wife Heather, Pete bucked the trend of his self professed socialist upbringing and has been a successful long-term shares and real estate investor with a portfolio today including properties in London, Cambridge, the Home Counties, and elsewhere in the UK. Over the long term he has also built a substantial Australian property portfolio, today owning properties in Sydney's eastern suburbs, inner west and at Darling Harbour, as well as investment properties in Melbourne and Brisbane. Pete walks the talk when it comes to investing, and he gratefully parked his career in accountancy, having achieved financial independence from his investing at the age of 33, as detailed in his best-selling first book, Get a Financial Grip: a Simple Plan for Financial Freedom. He is now a five time published finance author and all of his books are must reads for any investor. In 2011, Pete co-founded AllenWargent Property Buyers, an active agency in Australian and UK property markets with offices in Sydney, Brisbane and London helping investors, homebuyers and real estate funds to achieve their goals. Pete is also the founder and Director of Wargent Advisory, an Australian consultancy firm advising hedge funds and institutional investors. He specialises in the analysis, dynamics and impacts of Australian household debt, construction trends, and real estate market cycles. Maintaining a comprehensive database of financial data, analysis and other information, his goal is simple: to find an edge for his clients. Pete is uniquely positioned to comment on housing markets combined with his unparalleled ability to deliver powerful, data-driven market analysis. So, as an active investor, property buyer's agent, strategist and mentor, Pete uses his tried and tested strategies to assist investors in achieving their financial goals through profitable equities and real estate investment. Pete is recognised as one of Australia's brightest financial minds and is regularly featured in all of Australia's mainstream media outlets. Make sure you subscribe to his free daily dose of insights at his blog: petewargent.blogspot.com Pete's book recommendations Awaken the Giant Within by Tony Robbins Get Invested is the podcast dedicated to time poor professionals who want to work less and live more. Join Bushy Martin, one of Australia's top 10 property specialists, as he and his influential guests share know-how on the ways investing in property can unlock the life you always dreamed about and secure your financial future. Remember to subscribe on your favourite podcast player, and if you're enjoying the show please leave us a review. Find out more about Get Invested here https://bushymartin.com.au/get-invested-podcast/  Want to connect with Bushy? Get in touch here https://bushymartin.com.au/contact/  This show is produced by Apiro Media - http://apiropodcasts.com

In this edition of our radio programme we've got a Middle Eastern stormer from Kalbata to open up before great tracks by Solange, Membranes remixed by the Manics, Shirley Collins, Betty Harris, Mutado Pintado, Zsa Zsa Sapien and Admirals Hard interspersed with John and Luke making themselves look preposterously out of touch and old as they chat about their younger years wearing ladies' blouses, how awful the Home Counties were in the 1990s, the joy of Southend, the awful idiocy of #properindieforthelads and Liam Gallagher, Simon Cowell flashing his tiny todger but the far bigger and better ones we've seen in rock PLUS exclusives from Bon Iver and the aforementioned Liam G. AND! Will we play someone a track of their dreams for THE PERSUADER?!

Tom Farrow is a performance coach and rugby combat consultant. He is the owner of Areté Performance (http://www.arete-performance.com/), a sports performance and personal training company based in London. Tom worked for Wasps RFC for the past 3 years as a strength and conditioning coach, both with their senior team and more recently with the academy. Tom has also consulted as a combat coach (applying wrestling techniques to rugby) for Wasps, England Sevens and England Women's rugby, as well as various other clubs and schools in London and the surrounding Home Counties. Tom has recently taken on a position with Speedworks as a Performance Coach, working under renowned sprint specialist Jonas Dodoo. Speedworks oversee the training of some of the country's fastest sprinters as well as World and Olympic champion long jumper Greg Rutherford. Tom has also recently been appointed the UK Director of the International Strength and Conditioning Institute, a newly born, educational association that promotes sensible, evidence based sport training methodology as well as bridges the gap between science and practice.