Podcasts about Kami

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It is the first year of a new reign, so come and let's take a look at how it all begins. For more, check out our blog page at: https://sengokudaimyo.com/podcast/episode-135 Rough Transcript   Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua and this is episode 135: Year One The officials of the Ministry of Kami Affairs bustled to and fro as they prepared the ritual grounds and the temporary buildings.  They were carefully erecting the structures, which would only be used for a single festival, and then torn down, but this would be an important festival.  It was the harvest festival, the Niiname-sai, the festival of the first-fruits.  Rice, from the regions of Tamba and Harima, specifically chosen through divination, would be offered to his majesty along with the kami who had blessed the land.  But this time, there was more. After all, this was the first harvest festival of a new reign, and they had orders to make it special.  The ascension ceremony had been held earlier in the year, but in some ways that was just a prelude.  There had been various rituals and ceremonies throughout the year emphasizing that this year was special—even foreign lands were sending envoys to congratulate him on the event.  But this wasn't for them.  This was the sovereign taking part, for the first time, in one of the most important ceremonies of the year.  After all, the feast of first-fruits was the culmination of all that the kami had done, and it emphasized the sovereign's role as both a descendant of heaven and as the preeminent intercessor with the divine spirits of the land. And so they knew, that everything had to be bigger, with even more pomp and circumstance than normal.  This wouldn't just be about the new rice.  This would be a grand ceremony, one that only happened once in a generation, and yet which would echo through the centuries.  As the annual harvest festival, it was an ancient tradition.  But as something new—as the Daijosai—it was something else all together. And it would have to be perfect!   Last episode we talked about the Kiyomihara palace and a little bit about what it was like in the court of Ohoama, aka Temmu Tennou.  After defeating the Afumi court supporting his nephew, Ohotomo, in 672, Ohoama had taken control of the government.  He moved back to Asuka, and into the refurbished Okamoto palace, building a southern exclave known to us today as the Ebinoko enclosure, which held one large building, which may have been a residence or a ceremonial structure—possibly the first “Daigokuden” or ceremonial hall. Ohoama's court built on the ideas that his brother, Naka no Oe, aka Tenji Tennou, had put forth since the Taika era.  This was a continuation of the form of government known as the Ritsuryo system, or Ritsuryo-sei, literally a government of laws and punishments, and Ohoama had taken the reins.  He seems to have taken a much more direct approach to governance compared to some of his predecessors. For instance, the role of the ministerial families was reduced, with Ohoama or various princes—actual or invented relatives of the throne—taking a much more prominent role.  He also expanded access to the central government to those outside of the the Home Provinces.  After all, it was the traditional ministerial families—the Soga, the Nakatomi, and even the Kose—who had been part of the Afumi government that he had just defeated.  Meanwhile, much of his military support had come from the Eastern provinces, though with prominent indications of support from Kibi and Tsukushi as well. This episode we are going to get back to the events documented in the Chronicles, looking just at the first year of Ohoama's reign.  Well, technically it was the second year, with 672 being the first, but this is the first year in which he formally sat on the throne.  There's plenty going on in this year to fill a whole episode: it was the year of Ohoama's formal ascension, and there were numerous festivals, ceremonies, and other activities that seem to be directly related to a fresh, new start.  We will also look at the custom of handing out posthumous ranks, particularly to those who supported Ohoama during the Jinshin no Ran, and how that relates to the various ranks and titles used in Ohoama's court.  We have envoys from three different countries—Tamna, Silla, and Goguryeo—and their interactions with the Dazaifu in Tsukushi.  Finally, we have the first Daijosai, one of the most important ceremonies in any reign. And so, let's get into it.   The year 673 started with a banquet for various princes and ministers, and on the 27th day of the 2nd month, Ohoama formally assumed the throne at what would come to be known as Kiyomihara Palace.  Uno, his consort, who had traveled with him through the mountains from Yoshino to Ise, was made his queen, and their son, Royal Prince Kusakabe, was named Crown Prince.  Two days later they held a ceremony to convey cap-ranks on those deemed worthy. We are then told that on the 17th day of the following month, word came from the governor of Bingo, the far western side of ancient Kibi, today the eastern part of modern Hiroshima.  They had caught a white pheasant in Kameshi and sent it as tribute.  White or albino animals were seen as particularly auspicious signs, and no doubt it was taken as an omen of good fortune for the reign.  In response, the forced labor from Bingo, which households were required to supply to the State, was remitted.  There was also a general amnesty granted throughout the land. That same month we are also told that scribes were brought in to Kawaradera to copy the Issaiko—aka the Tripitaka, or the entirety of the Buddhist canon.  That would include hundreds of scrolls.  This clearly seems to be an act of Buddhist merit-making:  by copying out the scrolls you make merit, which translates to good karma.  That would be another auspicious start to the reign, and we see frequently that rulers would fund sutra copying—or sutra recitations—as well as temples, statues, bells and all other such things to earn Buddhist merit.  As the ruler, this merit didn't just accrue to you, but to the entire state, presumably bringing good fortune and helping to avert disaster. However, it wasn't just the Law of the Buddha that Ohoama was appealing to.  In the following entry, on the14th day of the 4th month, we are told that Princess Ohoki was preparing herself at the saigu, or abstinence palace, in Hatsuse—known as Hase, today, east of modern Sakurai, along the Yonabari river, on the road to Uda.  Ohoki was the sister of Prince Ohotsu.  Her mother was Ohota, the Queen's elder sister, making her a grandchild of Naka no Ohoye as well as the daughter of Ohoama.  Princess Ohoki's time at the abstinence palace was so that she could purify herself.  This was all to get her ready to head to Ise, to approach none other than the sun goddess, Amaterasu Ohokami. With all of these events, we see the full panoply of ritual and ceremony on display.  The formal, legal ceremonies of ascension and granting of rank.  The declaration of auspicious omens for the reign.   There is the making of Buddhist merit, but also the worship of the kami of the archipelago.  This is not an either-or situation.  We are seeing in the first half of this first year the fusion of all of these different elements into something that may not even be all that sensational to those of us, today.  After all, anyone who goes to Japan is likely well-accustomed to the way that both Buddhist and Shinto institutions can both play a large part in people's lives.  While some people may be more drawn to one than the other, for most they are complimentary. That isn't how it had to be.  For a time, it was possible that Buddhism would displace local kami worship altogether.  This was the core of the backlash that we saw from groups like the Nakatomi, whose role in kami-focused ceremonies was threatened by the new religion.  Indeed, for a while now it seems like mention of the kami has taken a backseat to Buddhist temples and ceremonies in the Chronicles.  Likewise, as a foreign religion, Buddhism could have also fallen out of favor.  It was not fore-ordained that it would come to have a permanent place on the archipelago.  This tension between local kami worship—later called Shinto, the Way of the Kami—and Buddhist teachings would vary throughout Japanese history, with one sometimes seen as more prestigious or more natural than the other, but neither one would fully eclipse the other. One could say that was in part due to the role that Amaterasu and kami worship played in the court ceremonies.  However, even there indigenous practices were not necessarily safe.  The court could have just as easily imported Confucian rituals, and replaced the spiritual connection between the sovereign and the kami with the continental style Mandate of Heaven. And thus, the choices that were being made at this time would have huge implications for the Japanese state for centuries to come. I should note that it is unlikely that this spontaneously arose amongst the upper class and the leadership.  I doubt this was just Ohoama's strategy to give himself multiple levers of power—though I'm not saying he wasn't thinking about that either.  But the only way that these levers existed was through their continued life in the culture and the people of the time.  If the people didn't believe in Buddhist merit, or that the kami influenced their lives, then neither would have given them much sway.  It was the fact that these were a part of the cultural imaginary of the state, and how people imagined themselves and their surroundings, that they were effective tools for Ohoama and his government. And so it seems that Ohoama's first year is off to a smashing success.  By the fifth month he is already issuing edicts—specifically on the structure of the state, which we discussed some last episode. But the high could not be maintained indefinitely.  And on the 29th day of the 5th month we have what we might consider our first negative entry, when Sakamoto no Takara no Omi passed away. You may remember Sakamoto, but I wouldn't blame you if you didn't.  He was the commander in the Nara Basin, under general Wofukei, who took 300 troops to Tatsuta.  From there he advanced to the Hiraishi plain and up to the top of Mt. Takayasu, to confront the Afumi forces that had taken the castle.  They fled, and Takara and his men overnighted at the castle.  The next day they tried to intercept Afumi troops advancing from the Kawachi plain, but they were forced to fall back to a defensive position.   We covered that in Episode 131 with the rest of the campaign in the Nara Basin. Takara's death is the first of many entries—I count roughly 21 through this and the following reign—which, for the most part, are all similarly worded.  Sakamoto no Takara no Omi, of Upper Daikin rank, died.  He was posthumously granted the rank of Shoushi for service in the Year of Mizu-no-e Saru, aka Jinshin.  We are told the individual, their rank at the time of their death, and then a note about a posthumous grant of rank.  Upper Daikin was already about the 7th rank from the top in the system of 664, and Shoushi would be the 6th rank, and one of the “ministerial” ranks.  This is out of 26, total.  “Kin” itself was the fourth of about 7 categories, and the last category that was split into six sub-ranks, with greater and lesser (Daikin and Shokin), each of which was further divided into Upper, Middle, and Lower ranks.  There's a lot to go into, in fact a little too much for this episode, so for more on the ranks in use at the start of the reign, check out our blogpost for this episode.        The giving of posthumous rank is mostly just an honorific.  After all, the individual is now deceased, so it isn't as if they would be drawing more of a stipend, though their new ranks may have influenced their funerary rites and similar things. As I said, on a quick scan of the text, I counted  21 of these entries, though there may be a few more with slightly different phrasing or circumstances.  Some of them were quite notable in the record, while others may have only had a mention here or there.  That they are mentioned, though, likely speaks to the importance of that connection to such a momentous year.  The Nihon Shoki is thought to have been started around the time of Ohoama or his successor, along with the Kojiki, and so it would have been important to people of the time to remind everyone that their ancestors had been the ones who helped with that momentous event.  It really isn't that much different from those who proudly trace their lineage back to heroes of, say, the American Revolution, though it likely held even more sway being closer to the actual events. After the death of Sakamoto no Takara, we get another death announcement.  This is of someone that Aston translates as “Satek Syomyeong” of Baekje, of Lower Daikin rank.  We aren't given much else about him, but we are told that Ohoama was shocked.  He granted Syomyeong the posthumous rank of “Outer Shoushi”, per Aston's translation.  He also posthumously named him as Prime Minister, or Desapyong, of Baekje. There are a few clues about who this might be, but very little to go on.  He is mentioned in 671, during the reign of Naka no Oe, when he received the rank of Upper Daikin along with Minister—or Sapyong—Yo Jasin.  It is also said in the interlinear text that he was the Vice Minister of the Ministry of Judgment—the Houkan no Taifu.  The Ministry of Judgment—the Houkan or perhaps the Nori no Tsukasa—is thought to have been the progenitor of the later Shikibu, the Ministry of Ceremony.  One of the major roles it played was in the selection of candidates for rank, position, and promotion. We are also told that in the year 660, in the reign of Takara Hime, one of the nobles captured in the Tang invasion of Baekje was “Desapyong Satek”, so perhaps this Syomyeong was a descendant or relative of the previous prime minister, who fled to Yamato with other refugees.  We also have another record from 671 of a Satek Sondeung and his companions accompanying the Tang envoy Guo Yacun.  So it would seem that the Sathek family was certainly notable The name “Satek” shows up once more, though Aston then translates it as “Sataku”, like a monk or scholar's name.  “Sataku” would be the Japanese on'yomi pronunciation of the same characters, so perhaps another relative. What we can take away from all of this is that the Baekje refugee community is still a thing in Yamato.  This Satek Seomyeong has court rank—Upper Daikin rank, just like Sakamoto, in the previous entry.  And we know that he had an official position at court—not just in the Baekje court in exile.  We'll see more on this as the community is further integrated into the rest of Society, such that there would no longer be a Baekje community, but families would continue to trace their lineages back to Baekje families, often with pride. The other odd thing here is the character “outer” or “outside” before “Shoushi”.  Aston translates it as part of the rank, and we see it show up a total of four times in some variation of “Outer Lesser X rank”.  Mostly it is as here, Outer Lesser Purple.  Later we would see a distinction of “outer” and “inner” ranks, which this may be a version of.  Depending on one's family lineage would denote whether one received an “outer” or “inner” rank, and so it may be that since Satek Syomyeong was from the Baekje community, it was more appropriate for him to have an “outside” rank. “Outer” rank would also be given to Murakuni no Muraji no Woyori, the general who had led the campaign to Afumi, taking the Seta bridge.  He was also posthumously given the rank of “Outer Shoushi” upon his death in 676.  Murakuni no Woyori is the only person of that surname mentioned around this time, so perhaps he wasn't from one of the “core” families of the Yamato court, despite the service he had rendered.  We also have at least one other noble of Baekje who is likewise granted an ”outer” rank. On the other side there are those like Ohomiwa no Makamuta no Kobito no Kimi, who was posthumously granted the rank of “Inner” Shoushi.  Here I would note that Ohomiwa certainly seems to suggest an origin in the Nara Basin, in the heartland of Yamato. The terms “Inner” and “Outer” are only used on occasion, however, and not consistently in all cases.  This could just be because of the records that the scribes were working off of at the time.  It is hard to say, exactly. All of these entries about posthumous ranks being granted tend to refer to cap ranks, those applying to members of various Uji, the clans that had been created to help organize the pre-Ritsuryo state. The Uji and their members played important roles in the court and the nation, both as ministers and lower functionaries.  But I also want to mention another important component of Ohoama's court, the members of the princely class, many of whom also actively contributed to the functioning of the state.  Among this class are those that Aston refers to as “Princes of the Blood”, or “Shinnou”.  These include the royal princes, sons of Ohoama who were in line for the throne, but also any of his brothers and sisters.  Then there were the “miko”, like Prince Kurikuma, who had been the Viceroy in Tsukushi, denying troops to the Afumi court.  Those princes claimed some lineal descent from a sovereign, but they were not directly related to the reigning sovereign.  In fact, it isn't clear, today, if they were even indirectly related to the reigning sovereign, other than through the fact that the elites of the archipelago had likely been forming marriage alliances with one another for centuries, so who knows.  And maybe they made their claims back to a heavenly descendant, like Nigi Hayahi.  Either way, they were the ones with claims—legitimate or otherwise—to royal blood.  Notably, the Princes did not belong to any of the Uji, , and they didn't have kabane, either—no “Omi”, “Muraji”, “Atahe”, et cetera. They did, at least from this reign forward, have rank.  But it was separate and different from the rank of the Uji members.  Members of the various Uji were referred to with cap rank, but the Princely ranks were just numbered—in the Nihon Shoki we see mention of princes of the 2nd through 5th ranks—though presumably there was also a “first” rank.  It is not entirely clear when this princely rank system was put into place, but it was probably as they were moving all of the land, and thus the taxes, to the state.  Therefore the court would have needed to know what kind of stipend each prince was to receive—a stipend based on their rank.  These ranks, as with later numbered ranks, appear to have been given in ascending order, like medals in a tournament:  first rank, second rank, third rank, etc. with fifth rank being the lowest of the Princely ranks. Many of these Princes also held formal positions in the government.  We saw this in Naka no Oe's reign with Prince Kurikuma taking the Viceroy-ship of Tsukushi, but during Ohoama's reign we see it even more. Beneath the Princes were the various Ministers and Public Functionaries—the Officers of the court, from the lowest page to the highest minister.  They were members of the elite noble families, for the most part, or else they claimed descent from the elite families of the continent.  Either way they were part of what we would no doubt call the Nobility.  Their cap-rank system, mentioned earlier, was separate from that used by the Princes. And, then at the bottom, supporting this structure, were the common people.  Like the princes, they did not necessarily have a surname, and they didn't really figure into the formal rank system.  They certainly weren't considered members of the titled class, and often don't even show up in the record.  And yet we should not forget that they were no doubt the most numerous and diverse group for the majority of Japanese history.  Our sources, however, have a much more narrow focus. There is one more class of people to mention here, and that is the evolving priestly class.  Those who took Buddhist orders and became Buddhist monks were technically placed outside of the social system, though that did not entirely negate their connections to the outside world.  We see, for example, how Ohoama, even in taking orders, still had servants and others to wait on him.  However, they were at least theoretically outside of the social hierarchy, and could achieve standing within the Buddhist community through their studies of Buddhist scripture.  They had their own hierarchy, which was tied in to the State through particular Buddhist officers appointed by the government, but otherwise the various temples seem to have been largely in charge of their own affairs. But anyway, let's get back to the Chronicles. Following closely on the heels of Satek Syomyeong's passing, two days later, we have another entry, this one much more neutral.  We are told that Tamna, aka the kingdom on Jeju island off the southern tip of the Korean peninsula, sent Princes Kumaye, Tora, Uma, and others with tribute. So now we are getting back into the diplomatic swing of things.  There had been one previous embassy—that of Gim Apsil of Silla, who had arrived just towards the end of the Jinshin War, but they were merely entertained in Tsukushi and sent back, probably because Ohoama's court were still cleaning house. Tamna, Silla, and Goguryeo—usually accompanied by Silla escorts—would be the main visitors to Yamato for a time.  At this point, Silla was busy trying to get the Tang forces to leave the peninsula.  This was partly assisted by the various uprisings in the captured territories of Goguryeo and Baekje—primarily up in Goguryeo.  There were various attempts to restore the kingdom.  It isn't clear, but I suspect that the Goguryeo envoys we do eventually see were operating largely as a vassal state under Silla. Tamna, on the other hand, seems to have been outside of the conflict, from what we see in the records, and it likely was out of the way of the majority of any fighting.  They also seem to have had a different relationship with Yamato, based on some of the interactions. It is very curious to me that the names of the people from Tamna seem like they could come from Yamato.  Perhaps that is related in some way to theories that Tamna was one of the last hold-outs of continental proto-Japonic language prior to the ancestor of modern Korean gaining ascendancy.  Or it could just be an accident of how things got copied down in Sinitic characters and then translated back out. The Tamna mission arrived on the 8th day of the 6th intercalary month of 673.  A Silla embassy arrived 7 days later, but rather than tribute, their mission was twofold—two ambassadors to offer congratulations to Ohoama and two to offer condolences on the late sovereign—though whether that means Naka no Oe or Ohotomo is not exactly clear.  All of these arrived and would have been hosted, initially, in Tsukushi, probably at modern Fukuoka.  The Silla envoys were accompanied by Escorts, who were briefly entertained and offered presents by the Dazaifu, the Yamato government extension on Kyushu, and then sent home.  From then on, the envoys would be at the mercy of Yamato and their ships. About a month and a half later, on the 20th day of the 8th month, Goguryeo envoys also showed up with tribute, accompanied by Silla escorts.  Five days later, word arrived back from the court in Asuka.  The Silla envoys who had come to offer congratulations to the sovereign on his ascension were to be sent onwards.  Those who had just come with tribute, however, could leave it with the viceroy in Tsukushi.    They specifically made this point to the Tamna envoys, whom they then suggested should head back soon, as the weather was about to turn, and they wouldn't want to be stuck there when the monsoon season came. The Tamna cohort weren't just kicked out, however.  The court did grant them and their king cap-rank.  The envoys were given Upper Dai-otsu, which Yamato equated to the rank of a minister in Tamna. The Silla envoys—about 27 in total—made their way to Naniwa.  It took them a month, and they arrived in Naniwa on the 28th day of the 9th month.  Their arrival was met with entertainments—musical performances and presents that were given to the envoys.  This was all part of the standard diplomatic song and dance—quite literally, in this case. We aren't given details on everything.  Presumably the envoys offered their congratulations, which likely included some presents from Silla, as well as a congratulatory message.  We aren't given exact details, but a little more than a month later, on the first day of the 11th month, envoy Gim Seungwon took his leave. Meanwhile, the Goguryeo envoys, who, like Tamna, had arrived merely with tribute, were still in Tsukushi.  On the 21st day of the 11th month, just over two months after they arrived, we are told that they were entertained at the Ohogohori in Tsukushi and were given presents based on their rank. The Ohogohori, or “Big District”, appears to mirror a similar area in Naniwa that was likewise known for hosting diplomatic envoys. With the diplomatic niceties over, there was one more thing to do in this first year of the new reign: the thanksgiving ritual always held at the beginning of a new reign, the Daijosai, or oho-namematsuri.  This is a harvest ritual where the newly enthroned sovereign offers new rice to the kami and then eats some himself.  At least in the modern version, he gives thanks and prays to Amaterasu Ohomikami, as well as to the amatsu-kami and kunitsu-kami, the kami of heaven and earth. The Daijosai shares a lot in common with another important annual festival, the Niinamesai, or the Feast of First Fruits.  This is the traditional harvest festival, usually held in November.  The Daijosai follows much the same form as the Niinamesai, and as such, in years where there is a new sovereign, and thus the Daijosai is held, the Niinamesai is not, since it would be duplicative. Many of the rituals of the Daijosai are private affairs and not open to the public. There are various theories about what happens, but only those who are part of the ritual know for sure, and they are sworn to secrecy. The first instance of the Daijosai in the Chronicles is during the reign of Shiraga Takehiko Kunioshi Waka Yamato Neko, aka Seinei Tennou, in the 5th century, but we should take that with a huge grain of salt.  Remember, one of the purposes behind the chronicles was to explain how everything came to be, and saying “we just made it up” wasn't really going to fly. I've seen some sources suggest that the Daijosai can be attributed to the first reign of Ohoama's mother, Takara Hime, aka Kougyoku Tennou.  The term used in her reign, though is Niiname, which seems to refer to the annual Niinamesai, though she is the first in the Chronicles that seems to celebrate it in the first year of her reign, sharing with the Crown Prince and Ministers. It is likely that the ritual is much older in origin.  After all, giving the first fruits of the harvest to the kami to thank them for their assistance seems like the core of harvest festivals around the world.  We see it mentioned as the Niinamesai in much of the rest of the Nihon Shoki, even back to the Age of the Gods, when it played an important part in the stories of Amaterasu and Susanowo.  It is in Ohoama's reign, though, that it seems to first take on its character as a true ritual of the state.  We see that the Nakatomi and the Imbe were involved.  Together these two families oversaw much of the court ritual having to do with kami worship.  We also know that the officials of the Jingikan, the Ministry of Kami Affairs, were also present, as they were all given presents for attending on the sovereign during the festival.  We also see that the district governors of Harima and Tamba, which were both in the area of modern Hyougo Prefecture, as well as various laborers under them, were all recognized with presents as well.  We can assume that this was because they provided the rice and other offerings used in the festival.  In addition to the presents they received, the two governors were each given an extra grade of cap-rank. Another Daijosai would be carried out in the first year of Ohoama's successor, and from there on it seems to have become one of if not *the* major festival of a reign.  It marks, in many ways, the end of the first year of ceremonies for the first year of a reign.  And even in other years, the Niinamesai is often one of the pre-eminent festivals. The Daijosai may have been the climax of the year in many ways, but the year was not quite done yet.  We have two more entries, and both are related to Buddhism.  First, on the 17th day of the 12th month, just twelve days after the Daijosai, Prince Mino and Ki no Omi no Katamaro were appointed Commissioners for the erection of the Great Temple of Takechi—aka the Ohomiya no Ohodera, also known as the Daikandaiji. The Daikandaiji was a massive temple complex.  It is thought that it was originally a relocation of Kudara Ohodera, and we have remains at the foot of Kaguyama—Mt. Kagu, in the Asuka region of modern Kashihara city.  Many of the ruins, however, seem to date to a slightly later period, suggesting that the main temple buildings were rebuilt after Ohoama's reign.  Still, it is quite likely that he had people start the initial work. In setting up the temple, of course it needed a head priest.  And so Ohoama called upon a priest named Fukurin and made him an offer he couldn't refuse… literally.  Fukurin tried to object to being posted as the head priest.  He said that he was too old to be in charge of the temple.  Ohoama wasn't having any of it.  He had made up his mind, and Fukurin was in no position to refuse him. A quick note on the two commissioners here.  First off, I would note that Prince Mino here isn't mentioned as having Princely rank.  Instead, he is mentioned with the ministerial rank of Shoushi.  Ki no Katamaro, on the other hand, is Lower Shoukin, several grades below.  Once again, a bit of confusion in the ranks, as it were. The final entry for the year 673 occurred 10 days after the erection of the great temple, and it was a fairly straightforward entry:  The Buddhist Priest, Gijou, was made Shou-soudzu, or Junior Soudzu.  Junior Soudzu was one of the government appointed positions of priests charged with overseeing the activities of the priests and temples and holding them to account as necessary.  Originally there was the Soujou and the Soudzu, but they were later broken up into several different positions, likely due to the proliferation of Buddhism throughout the archipelago. There doesn't seem to be much on Gijou before this point, but we know that he would go on to live a pretty full life, passing away over thirty years later, in 706 CE. He would outlive Ohoama and his successor.  And with that, we come to the end of the first year.  I am not planning to go year by year through this entire reign—in fact, we have already touched on a lot of the various recurring entries.  But I do think that it is worth it to see how the Chronicles treat this first year for a reign that would have been considered pretty momentous to the people of the time. Next episode we'll continue going through the reign of Ohoama, aka Temmu Tennou.  There is a lot going on, which, as I've said, will influence the nation for centuries—even up until the modern day. Until then, if you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website,  SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  Thank you, also, to Ellen for their work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.  

Zbigniew Ziobro przyznał się do zlecenia zakupu systemu szpiegowskiego Pegasus, który został sfinansowany ze środków funduszu sprawiedliwości. - Modyfikował swoje zeznania, ponieważ zrzucił tę odpowiedzialność na swoich współpracowników, pana Wosia i pana Kamińskiego - powiedziała na antenie Polskiego Radia 24 Karolina Pawliczak (KO).

We were very fortunate to have Kami Kehoe on the podcast to talk about her new EP, "KANDY". Enjoy! Kami Kehoe Socials: Instagram: https://www.instagram.com/kamikehoe/ Facebook: https://www.facebook.com/kamikehoemusic/ TikTok: https://www.tiktok.com/@kamikehoe YouTube: https://www.youtube.com/channel/UCaN1UXiraedmbitGhnND1zQ Apple Music: https://music.apple.com/us/artist/kami-kehoe/1448056597 Spotify: https://open.spotify.com/artist/2inxPY2UyH8riOrUuLklVR Website: https://kuretheworld.com/ Grab some GNP Merch!: https://goodnoisepodcast.creator-spring.com/ Check out the recording gear we use: https://www.amazon.com/shop/goodnoisepodcast Support the show on Patreon: https://www.patreon.com/goodnoisepodcast Good Noise Podcast Socials: Instagram: https://www.instagram.com/goodnoisepodcast/ Facebook: https://www.facebook.com/goodnoisepod TikTok: https://www.tiktok.com/@goodnoisepodcast Discord: https://discord.gg/nDAQKwT YouTube: https://www.youtube.com/channel/UCFHKPdUxxe1MaGNWoFtjoJA Spotify: https://open.spotify.com/show/04IMtdIrCIvbIr7g6ttZHi All other streaming platforms: https://linktr.ee/goodnoisepodcast Bandcamp: https://goodnoiserecords.bandcamp.com/

I recently spoke with Kami Wanous, the creator of the Raising Leaders Roadmap and a homeschool mentor. A credentialed teacher with over seven years in public education and homeschooling since 2008, she draws on her background in English, leadership, and freedom principles to guide families toward meaningful learning. Kami helps homeschool parents create a culture that inspires a lifelong love of learning—equipping them to mentor with confidence and raise passionate leaders who make an impact in the world. She has been featured on CBS News and as a guest writer and speaker for homeschooling conventions, blogs, magazines, podcasts, and YouTube channels. In our conversation, Kami and I discussed: What it means to be a lifelong learner What a lifelong learner looks like Why being a lifelong learner is important for our kids headed to college Whether students can be "successful" in college without being lifelong learners How parents help our kids become lifelong learners And much more… Here are all of the ways you can connect with Kami: Website: TheFreedomScholar.com Facebook Page: https://www.facebook.com/TheFreedomScholar IG: https://www.instagram.com/thefreedomscholar YouTube Channel: https://www.youtube.com/channel/UCtJpXKtndYS9rrP98KcvDEw LinkedIn: www.linkedin.com/in/kami-wanous-14117723a Podcast: Homeschool Success with Kami Wanous Click here to get the Freedom Scholar Love of Learning Launch Pad. Make learning time exciting—for you and your kids! Launch into joyful, lifelong learning! ---------- Families often focus on GPA and test scores when it comes to scholarships—but there's another powerful lever: your student's college major. In this free, live panel event, master career coach Lisa Marker-Robbins and scholarship strategist Dave Peterson will explain how students who make intentional, well-informed major choices can unlock more merit-based and private scholarship opportunities—and how to jump-start the process so you don't leave money on the table. You'll also hear insights from our moderators, Mike Bergin and Amy Seeley, hosts of the Tests and the Rest podcast, as we discuss: ✅How early career exploration improves both college applications and scholarship outcomes ✅What scholarship committees are really looking for—and how your teen can stand out ✅When and how to begin the process before deadlines sneak up ✅Real stories of students who aligned their goals and earned more aid This is a live, interactive session—we'll take your questions during the event and offer expert guidance you can act on right away. Whether your teen is unsure about their major or already has a goal in mind, this session will help you uncover new financial opportunities you may be missing. Click here to register: https://courses.flourishcoachingco.com/scholarships-majors ---------- This Week's Featured Scholarships: $1000 DP Law Encouraging Diversity Scholarship $1000 Karin Riley Porter Good Works Scholarship $2500 Money Metals/Sound Money Defense League Gold-Backed Scholarship $1000 Employment BOOST Scholarship $35,000 VFW Voice of Democracy Contest $5000 Christian Connector Scholarship $1000 Appily No-Essay Scholarship ---------- Start Your Scholarship Journey Today I would love to work with your student on their scholarship entries. The Scholarship Navigator Program provides personalized assistance with your student's scholarship essays. I go through as many rounds of review and feedback as needed. Plus, students get a customized list of scholarships that match their unique profile. These are just some of the benefits of the Scholarship Navigator Program. Go to www.ScholarshipGPS.com/services to learn more.

Scotland Yard, dnes známý jako Metropolitní policejní služba nebo Metropolitní policie, byl založen 29. září 1829 v Londýně. V současnosti je asi nejznámější policejní organizací na světě. A to i díky tomu, že byl mnohokrát zpopularizován autory detektivek i filmaři. Scotland Yard ale rozhodně nebyl prvním policejním sborem. Dříve než v Londýně byl založen například v New Yorku či Paříži.

Kalau Sebelum ini kami ber-podcast di PERPUSTAKAAN NEGERI SABAH Cawangan HQ, kali ini kami terming jauh ke TAWAU!dan podcast kali ini kami bersama 3 guest yang sangat mantap. Pengarah PERPUSTAKAAN NEGERI SABAH, Tn George Yih Ching Yaw, Penulis, pengkarya terminal Sabah, Dr Isa Romti dan Wail Rakyat Wanita DUN Kukusan, Datuk Rina Hj Jainal.dengan Tajuk ; Nota Dari Meja Profesional: Buku Kerjaya dan Kisahku, Kami merungkai buku-buku kegemaran mereka dan bagaimana buku itu memberi impad kapad kehidupan mereka dari dulu hingga kini.Selain tu kami juga sempat berkenalan dengan mereka.Jom kenali mereka di Podcast bersama kami, di night@thelibrary hari ini!out on Spotify and YouTube!Enjoy the episode guys !#maryangelasipaun #jamilinais #georgeyih #podcast #perpustakaannegerisabah #library #nightatthelibrary

In this episode of Talking Smack 415, Jamie the Great and I get real about matchmaking for marriage, dating apps, and what it takes to build meaningful connections in today's world with Matchmaker Kami. Kami is a matchmaker and dating coach who has been trained by the Aleeza Ben Sholom from Netflix Jewish Matchmaker fame.  We explore why matchmaking starts with creating connections at its most basic level, and why your profile picture may be the single most important part of meeting someone new on a app. From tips on taking a great headshot to navigating apps without getting lost in the hookup culture, to getting yourself to the place in which you love yourself ( do that first before contacting Kami)  our guest share insights that can change the way you look at modern dating.We also bring in audience questions that cut straight to the heart of today's dating struggles:“Why are the men so terrible?”“How do I just meet someone to hang out with—like grab a meal, take a walk, or visit a museum—without all the pressure of dating apps?”“What's your take on the rise of polyamory and ethical non-monogamy?”“How do you approach matchmaking for single moms and their unique situations?”Along the way, we talk about:What makes a great first impression (and why your photo matters most)How to craft a dating profile without feeling intimidatedMeeting people IRL by finding spaces you already loveWhy your gut instinct and first impression may be offOvercoming social anxiety and expanding your circleLove languages, theme songs, and the role of music in attractionWhy gratitude—not weight, age, or height—might be the real secret to finding lasting love Connect with Matchmaker Kami:Instagram: @MatchmakerKamiEmail: matchmakerkami@gmail.comAnd you can hear all about Kami's own personal story in a three episode series on the Infamous Podcast From Conned to Cupid Gay Matchmaking Daniel Silber at Little Gay BookWhether you're swiping, searching, or setting up your friends, this episode is packed with raw honesty, practical tips, and plenty of laughs about the realities of modern love.Share this episode with your friends and family who love to laugh. Subscribe to Talking Smack 415 and leave us a rating and review so more peeps can find us for laughter and friendship to feed your soul!

Send us a textApakah Anda penasaran mengapa ada produk yang langsung habis terjual di hari pertama peluncuran, sementara produk lain justru sepi peminat? Kami mengungkap rahasia peluncuran produk yang sukses melalui strategi pre-pre-launch, pre-launch, dan launching yang efektif. Statistik menunjukkan 85% brand yang menggunakan daftar tunggu mengalami peningkatan penjualan hingga 2 kali lipat saat launching.Yang akan Anda Pelajari kali ini : ✅ Anda akan memahami bagaimana menghindari kesalahan umum bisnis yang hanya mengumpulkan data audiens tanpa edukasi dan nurturing.✅ Lewat live session, webinar, atau video Q&A, Anda bisa menjawab keraguan audiens dan bahkan melakukan pre-selling dengan penawaran terbatas—membuat produk Anda semakin diminati bahkan sebelum resmi diluncurkan.✅ Pentingnya membangun momentum dan hype sebelum launching untuk menghindari peluncuran yang hambar✅ Strategi pre-launch dengan waiting list, teaser, dan countdown untuk membangun FOMO ✅ Tips pre-selling dengan penawaran terbatas seperti pre-order dan early bird

CapeTalk’s Sara-Jayne Makwala King (in for Clarence Ford on Views and News) is joined by boundary coach and content creator Kami Orange. Views and News with Clarence Ford is the mid-morning show on CapeTalk. This 3-hour long programme shares and reflects a broad array of perspectives. It is inspirational, passionate and positive. Host Clarence Ford’s gentle curiosity and dapper demeanour leave listeners feeling motivated and empowered. Known for his love of jazz and golf, Clarrie covers a range of themes including relationships, heritage and philosophy. Popular segments include Barbs’ Wire at 9:30am (Mon-Thurs) and The Naked Scientist at 9:30 on Fridays. Thank you for listening to a podcast from Views & News with Clarence Ford Listen live on Primedia+ weekdays between 09:00 and 12:00 (SA Time) to Views and News with Clarence Ford broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/erjiQj2 or find all the catch-up podcasts here https://buff.ly/BdpaXRn Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media: CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567See omnystudio.com/listener for privacy information.

Presiden Prabowo Subianto menuai apresiasi dari para pemimpin dunia usai berpidato di Sidang Majelis Umum PBB. Dalam pidatonya, Prabowo menegaskan komitmen Indonesia pada perdamaian global, menyerukan persatuan antarbangsa, dan kembali menegaskan dukungan penuh terhadap solusi dua negara dalam konflik Palestina–Israel. Pertanyaannya, apakah sikap tegas Indonesia ini akan memberi dorongan baru bagi upaya perdamaian di Gaza? Kami hadirkan wawancara eksklusif bersama Guru Besar Hukum Internasional Universitas Indonesia, sekaligus Rektor Universitas Jenderal Ahmad Yani, Prof. Hikmahanto Juwana

PipemanRadio Interviews Kami Kehoe at Louder Than Life 2025Click Here to Subscribe to The Adventures of Pipeman for PERKS, BONUS Content & FREE GIVEWAYS!Louder Than Life 2025 Wrapped Up 8 Electrifying Days Of Music Performances In Louisville, With America's Loudest Rock & Metal Festival (Sept 18-21) & Bourbon & Beyond A Week Prior (Sept 11-14) Bringing In A Combined, Record-Breaking Attendance Of Over 450,000 Fans  Louder Than Life Returns September 17-20, 2026 First Headliner Revealed: My Chemical Romance Plus Many More Acts To Be Announced Early Bird Tickets Will Go On Sale This Fall At  LouderThanLifeFestival.comLouder Than Life not only continues its reputation as America's Loudest Rock & Metal Festival with the 2025 edition, but the 11th year of the event also marked the biggest festival in the history of DWP, and breaking rock festival records in North America. There were a number of once-in-a-lifetime moments over the course of the four days that added to the specialness of Louder Than Life.In addition to music performances, this year's edition of Louder Than Life featured various partner onsite activations, award-winning beverages and delectable eats from partners including Acathla Clothing, Al Capone, Angel's Envy, Basil Hayden, Beatbox Beverages, Black Shades, Blackcraft Cult, Bud Light, Cutwater Spirits, Demons Behind Me, Dimebag Hardware, Drew Estate, Eargasm, Elijah Craig, Fxck Cancer, Huber's Starlight Distillery, Jack Daniel's, Jim Beam, Knob Creek & Rye, KREWE, Kroger, Maker's Mark, Middle West Spirits, Milagro Tequila, Old Forester, Park Community Credit Union,  Voices for Consumer Choice and Citizens for Tobacco Rights, Parlor Root Beer, Red Bull, Strüng, Take Me Home, The Music Experience, The Taylor Foundation, Tito's Handmade Vodka, To Write Love on Her Arms, U.S. Army, U.S. Marines, Voices for Consumer Choice and Citizens for Tobacco Rights, White Claw, and Willett Distillery.   According to Louisville Tourism, it is estimated that Bourbon & Beyond and Louder Than Life together generated nearly $43 million in local economic impact in 2025. The back-to-back festivals also drove some of the highest hotel demand of the year, with overall occupancy reaching more than 80% citywide. These preliminary estimates highlight the tremendous tourism and economic value of the festivals, which bring hundreds of thousands of visitors to Louisville and fuel spending across hotels, restaurants, bourbon attractions, and local businesses.Louder Than Life is produced by Danny Wimmer Presents, one of the largest independent producers of destination music festivals in America.  To learn more about Louder Than Life, please visit:Website: https://louderthanlifefestival.comFacebook: https://www.facebook.com/louderthanlifefestivalTwitter: https://twitter.com/LTLFestInstagram: https://www.instagram.com/louderthanlifefestTikTok: https://www.tiktok.com/@louderthanlifefestival#LouderThanLifeCheck out our segment Positively Pipeman dedicated to Business, Motivation, Spiritual, and Health & Wellness.  Check out our segment Pipeman in the Pit dedicated to Music, Artistry and Entertainment.   Would you like to be a sponsor of the show?Would you like to have your business, products, services, merch, programs, books, music or any other professional or artistic endeavors promoted on the show?Would you like interviewed as a professional or music guest on The Adventures of Pipeman, Positively Pipeman and/or Pipeman in the Pit?Would you like to host your own Radio Show, Streaming TV Show, or Podcast?Become a supporter of this podcast: https://www.spreaker.com/podcast/the-adventures-of-pipeman--941822/support.Click Here to Subscribe for PERKS, BONUS Content & FREE GIVEWAYS!Follow @pipemanradio on all socials & Pipeman Radio Requests & Info at www.linktr.ee/pipemanradioStream The Adventures of Pipeman daily & live Mondays, Tuesdays, Wednesdays at 1PM ET on W4CY Radio & Talk 4 TV. Download, Rate & Review the Podcast at The Adventures of Pipeman, Pipeman Radio, Talk 4 Media, iHeartRadio, Apple Podcasts, YouTube & All Podcast Apps.

Apa pendapat anda tentang episode ini? https://open.firstory.me/user/cllnqvpto01n101w7acsdamo6/comments Powered by Firstory Hosting

Pernahkah Anda bertanya-tanya mengapa beberapa pertemuan terasa hidup dan menghasilkan terobosan luar biasa, sementara yang lain terasa membosankan dan tidak produktif? Selama beberapa dekade, kita telah memfasilitasi kelompok seolah-olah mereka adalah mesin: masukkan agenda, jalankan proses, dan harapkan output yang terprediksi. Namun, kenyataannya, kelompok bukanlah mesin. Mereka adalah entitas yang hidup, bernapas, dan penuh dengan kompleksitas. Inilah saatnya kita berhenti memperlakukan kelompok sebagai teka-teki linier yang perlu dipecahkan dan mulai memahaminya sebagai ekosistem yang dinamis. Paradigma New Science menawarkan lensa baru yang radikal untuk melihat dinamika kelompok. Alih-alih melihatnya sebagai mekanisme sebab-akibat yang sederhana, kita memahaminya sebagai sistem adaptif kompleks. Dalam sistem ini, interaksi terkecil bisa memicu efek yang sangat besar—mirip dengan efek kupu-kupu yang terkenal. Ini berarti bahwa ide-ide terbaik tidak bisa dipaksakan; mereka harus diizinkan untuk "muncul" secara spontan dari interaksi yang hidup, dari kekacauan yang terorganisir. Jadi, peran fasilitator berubah secara fundamental. Anda tidak lagi menjadi pengontrol yang mengatur setiap langkah, tetapi menjadi pemandu yang menciptakan kondisi ideal agar kecerdasan kolektif bisa berkembang. Anda melepaskan keinginan untuk mengendalikan hasil dan, sebaliknya, berfokus pada kualitas interaksi. Bayangkan diri Anda sebagai seorang ahli ekologi, yang tahu bahwa untuk membuat hutan tumbuh subur, Anda tidak perlu menanam setiap pohon, tetapi memastikan tanahnya subur, airnya mengalir, dan sinar matahari bisa masuk. Pendekatan ini sangat relevan untuk dunia kita yang semakin tidak pasti. Ketika lingkungan kerja dan tantangan bisnis terus berubah, sistem yang kaku akan cepat gagal. Sebaliknya, kelompok yang bisa beradaptasi, tangguh, dan bahkan berkembang dari ketidakpastian adalah mereka yang akan berhasil. Fasilitasi yang berbasis New Science membantu kelompok-kelompok ini menjadi lebih tangguh (resilient) dan lincah (agile), mampu menemukan jalan mereka di tengah ketidakpastian, dan bahkan menjadi lebih kuat karenanya. Jika Anda siap untuk melepaskan metode lama dan merangkul cara kerja yang lebih organik, dinamis, dan memberdayakan, panduan ini akan membawa Anda melampaui teori-teori konvensional. Kami akan mengeksplorasi bagaimana pemahaman tentang sistem kompleks, teori pembelajaran yang dipercepat, dan psikologi positif dapat mengubah cara Anda memfasilitasi kelompok selamanya. Ini bukan hanya tentang mendapatkan hasil yang lebih baik, tetapi juga tentang menciptakan pengalaman yang lebih bermakna dan memuaskan bagi setiap individu di dalam kelompok.

Kami mencoba berbagi pengalaman belajar Islam rahmatan lil 'alamin selama menempuh pendidikan di Pesantren Almunawwir. Seperti kajian Alquran, obrolan santri dan pengalaman hidupnya di pesantren juga khotbah Jum'at di Masjid Jami' Almunawwir.Ikuti akun media sosial AlmunawwirInstagram : ⁠https://www.instagram.com/almunawwir_com/⁠Twitter : ⁠https://twitter.com/almunawwir_com⁠/Facebook : ⁠https://www.facebook.com/a⁠lmunawwirkrapyak/Email : almunawwir.pusat@gmail.comWebsite : ⁠http://www.almunawwir.com/⁠

Michael Sodini and Kevin Berry sit down with Kami Kay Kirschbaum, founder & CEO of CIVILIAN, a bulletproof clothing brand built to blend in. From growing up with active-shooter drills to a literal dream that sparked the idea, Kami walks us through turning a wild concept into light, breathable, and stylish bulletproof apparel.We talk Sweden vs. U.S. safety culture, why most armor looks tactical (and why hers doesn't), the maze of financing and manufacturing, getting into SHOT Show as a newcomer, and landing key partnerships, including a consumer launch with Guns.com. We also hit legality basics, women-specific armor design, and why “don't scare people, make them feel prepared” drives CIVILIAN's brand. Send us a text Walk the Talk America would like to thank our partners who make these conversations possible and want to highlight our top two partner tiers below! Platinum Tier:RugerArmscorGold Tier:NASGWLipsey'sDavidson's

Rencana Pemerintah Provinsi DKI Jakarta mengubah status PAM Jaya dari Perumda menjadi Perseroda sekaligus membuka peluang penawaran saham perdana (IPO), menuai pro dan kontra. Langkah ini disebut penting untuk mendukung pendanaan agar target 100 persen akses air bersih di Jakarta dapat tercapai. Namun, di sisi lain muncul kekhawatiran wacana tersebut akan berujung pada privatisasi dan menjadikan layanan air bersih berorientasi bisnis semata. Bagaimana penjelasan lebih lanjut?Kami hadirkan wawancara eksklusif bersama Pakar Sumber Daya Air Universitas Indonesia sekaligus Pendiri Indonesia Water Institute, yang juga Koordinator Staf Khusus Gubernur DKI Jakarta, Firdaus Ali.

Episode baru setiap Senin | pemuda.stemi.id | Episode 275 (Matius 19:27-30): Tuhan Yesus menjanjikan harta di surga juga kepada murid-murid yang sudah mengikuti Dia. Didahului dengan pertanyaan Petrus, yang mungkin ditanyakan karena Petrus ingin membandingkan antara dia dan para murid dengan anak muda yang kaya itu. Anak muda itu menolak meninggalkan hartanya dan akhirnya pergi meninggalkan Tuhan Yesus. Sedangkan dia dan para murid meninggalkan segala sesuatu untuk mengikut Yesus. Dengan perasaan unggul karena lebih rela mengikut Yesus, dia bertanya apakah yang menjadi upahnya dan para murid lain karena sudah rela mengikut Yesus? Tuhan Yesus menjawab Petrus melampaui apa yang diharapkan.

Kami kembali dengan curhatan warga dalam bentuk PDF. Jangan lupa dukung kami di trakteer supaya bisa rekaman lagi ya! (gak maksa kok)---Podcast KEKOREAAN kini independen!

Matt and Trav discuss the new Anime movie phenomenon Demon Slayer, Infinity Castle. They delve into movie culture, audience behavior during screenings, and the significance of shared experiences in theaters. The conversation transitions into a detailed review of the film, highlighting the animation quality, character backstories, and the emotional weight of key fights, particularly focusing on Shinobu's tragic encounter with Doma. The hosts explore the complexities of the characters, their motivations, and the overall impact of the film on the anime community. In this conversation, the hosts delve into the intricacies of the latest Demon Slayer movie, focusing on character dynamics, fight scenes, and the development of key characters like Akaza and Doma. They explore the significance of the Hashiras, the mystery surrounding the upper ranks, and the anticipation for the final showdown. The discussion highlights the emotional depth of the characters, particularly through Akaza's backstory, and the impressive animation and fight choreography that the series is known for.Follow our socials by clicking through the ALL POWERFUL LINKTREE OF MIGHT: ⁠https://linktr.ee/thebrothaship⁠ Listen to us on Apple Podcasts ⁠here:https://podcasts.apple.com/us/podcast/the-brothaship/id1645000686 ⁠Listen to us on Spotify Here: ⁠https://open.spotify.com/show/0WTmVFsC3z7sdl0UEZiP2X?si=PZJVuRa7QuasiAupkAo3hA&utm_medium=share&utm_source=linktree&nd=1&dlsi=0fb09c5746294757⁠ Check out our Musical contributors AOX by following their linktree:⁠ ⁠https://linktr.ee/aoxmusic⁠

Materiały zmieniające właściwości pod wpływem światła Materiały określane mianem spin‑crossover (SCO) są zdolne do przełączania, pod wpływem światła, konfiguracji elektronów, a wraz z nią cech takich jak kolor, właściwości magnetyczne czy przewodnictwo. O tej niezwykłej technologii, w rozmowie z Kacprem Koźlukiem, opowiada dr Radosław Kamiński.

Kami bersama dua tetamu kita daripada Beelievers Academy untuk dengarkan perkongsian mereka tentang apa yang mereka lakukan sebelum membuka business yang menuju kearah kemanfaatan ukhrawi.Oi geng!

The Mousedebaters talk going to DisneylandGuys, it's official. The Mousedebaters have left the studio and and entered the world of yesterday, tomorrow, and fantasy. For the first time ever, we all hit Disneyland together. Listen in as Britt, Luke, and Kami relive the chaos, the churros, and the questionable life choices that went down in the Happiest Place on Earth. From queue debates that nearly ended friendships, to weird Disneyland traditions old ("Spring Break!") and new ("Now all of China knows you're here!"), to discovering which of us has some deeply unhinged snack priorities (like, who rope drops a corn dog?!) —this episode is basically one long fever dream powered by Dole Whips. You're welcome. As always, we're PG-13 Disney nonsense for grown-up ears only.

Esse resumão da semana do Papo de Novela começa com uma bomba! Isso porque vai estourar uma verdadeira guerra em 'Vale Tudo', mais precisamente na TCA, e entre Odete Roitman e Marco Aurélio. E o Mário Sérgio vai se deliciar com tudo. Em 'Êta Mundo Melhor!', o Samir vai correr perigo nas mãos dos novos pais adotivos. E até a Zulma vai se desesperar quando descobrir a enrascada que o menino se meteu. E em 'Dona de Mim', lá vem ela! Bárbara, papel de Giovana Cordeiro, é deportada dos EUA e volta à trama. E já flagrando Marlon com Kami! Ouça na íntegra!

S7E7 - Le panthéon divin* On en parle toujours sans jamais vraiment en parler : alors cette fois-ci, on l'a fait ! Shintoïsme et Kami au programme de cet épisode. Retrouvez le podcast et les articles associés sur le site du podcast : https://www.lalibrairieyokai.fr/--Contact : lalibrairieyokai@gmail.comPatreon : https://www.patreon.com/lalibrairieyokaiTwitch : twitch.tv/librairieyokaiBluesky : https://bsky.app/profile/librairieyokai.bsky.socialInstagram : https://www.instagram.com/librairieyokai/Discord : https://discord.gg/ugWQcvRMCNPodcast Mensetsu : http://podkyast.com/category/mensetsu/Facebook : https://www.facebook.com/lafrenchyokochoGénérique de fin et montage par David Rampillon (http://www.davidrampillon.com)

Nawrocki w USA - sukces, czy przesadzone zachwyty? Michalski (WP): Brak współpracy z MSZ to dziecinada. Długosz (Newsweek) o tym, co udało się zyskać, wpadkach i kulisach wizyty. Wojna MSZ z Pałacem Prezydenckim po słowach Bielana, że Tusk jest persona non grata w Waszyngtonie. Co z Kamińskim i Hołownią? I czy Sikorski zastąpi Tuska? O tym Biedrzycka rozmawiała z publicystami. Posłuchaj całej dyskusji! Oglądaj Express Biedrzyckiej na żywo w serwisie YouTube. Więcej informacji o programie na stronie Super Expressu.

Kencan Dengan Tuhan - Rabu, 3 September 2025Bacaan: "Hal Isteri, tundukiah kepada suamimu seperti kepada Tuhan. Hai suami, kasihilah isterimu sebagaimana Kristus telah mengasihi jemaat dan telah menyerahkan diri-Nya baginya." (Efesus 5:22. 25)Renungan: Suatu ketika sehabis survey mencari gedung untuk persekutuan doa, dalam perjalanan pulang kami membagi-bagikan kue serabi duren kepada para pengemis dan pemulung di daerah Grogol dan sekitarnya. Ada satu peristiwa yang menyentuh hati saya, ketika kami memberikan satu bungkus serabi kepada seorang bapak pemulung yang sudah cukup tua yang sedang menarik gerobaknya. Saat kami memberikan serabi tersebut bapak itu dengan senyum penuh haru berkata, "Boleh minta satu lagi pak, untuk istri saya". Kami yang di dalam mobil terdiam beberapa saat, kemudian memberikan satu bungkus serabl lagi kepadanya yang kemudian dibalas dengan ucapan terima kasih dan senyum kebahagiaan. Ternyata masih ada Cinta dan perhatian dengan pasangan walau hidup dalam kekurangan. Di lain kesempatan ada seorang ibu yang sharing bahwa selama ini suaminya pelit terhadapnya dan anak-anaknya, padahal gajinya cukup besar. Sang suami tidak mau tahu akan kebutuhan istri dan anak-anaknya sehingga ibu tersebut harus bekerja untuk memenuhi kebutuhan hidupnya dan anak-anaknya. Ternyata Cinta dan perhatian mulai hilang ketika hidup dalam kecukupan. Yesus dalam bacaan hari ini mengingatkan kepada pasangan suami istri untuk saling mengasih satu dengan yang lain sebagaimana Yesus telah mengasihi mereka. Apapun kondisi perekonomian dan kesehatan pasangan saat ini, Yesus meminta untuk tetap setia dan penuh perhatian. Usia pernikahan boleh bertambah, kesehatan boleh berkurang, perekonomian boleh naik atau turun, tapi kesetiaan dan cinta yang mula-mula saat pertama bertemu harus tetap bertahan untuk bertumbuh. Kalau saat ini pasangan hidup kita sudah tidak ada lagi di sisi kita, tetap peliharalah cinta dan perhatian kita, karena anak, cucu, orang tua dan orang-orang di sekitar kita masih membutuhkan cinta dan perhatian kita. Kita boleh kehilangan apapun dalam hidup ini, tapi jangan biarkan Cinta Yesus hilang dalam hidup kita. Tuhan Yesus memberkati. Doa:Tuhan Yesus, saat ini aku haus akan cinta-Mu. Siramilah taman hatiku yang kering ini agar cinta-Mu kembali bersemi di hatiku sehingga aku dapat membuat orang-orang di sekelilingku tersenyum dengan apa yang kulakukan terhadap mereka. Amin. (Dod).

https://www.patreon.com/windahTranskrip: https://www.patreon.com/posts/kami-tidak-baik-137756547?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=postshare_creator&utm_content=join_linkTerjemahan: https://www.patreon.com/posts/eng-kami-tidak-137756365?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=postshare_creator&utm_content=join_linkDi episode ini, aku membagikan keluh kesahku tentang keadaan Indonesia beberapa hari terakhir ini. Terima kasih sudah mendengarkan.Sumber gambar: Opini RakjatTerima kasih banyak atas dukungannya untuk:SAHABAT WINDAHAkiramJayNyong Jago Bob GenericJohn nyMartin JankovskýWilliam ChenDawid GerstelDRamzan BAlex PepinnsSebastianAlexander ScholtesJrobabuja11 RoboNicholai LidowAliteJack William HusbandsAndre ChampouxDemiAlastair JudsonKatherine WalkerLino ArboledaLeon KwekCameron Edinger-ReeveSam BayleyLivvieIsmail OtchiChrisRussell BarlowMary PopeIga Komar帥志 Shuai Chih LinBjornrappangeHossein KhoshtaghazaAldoParis LuckowskiMatthew O'ConnorRussell OgdenYaszalix子强 孙Bart van de KampWC Kon태엽 주Arthur NazaryanDaniel KaposiEmily HuangBenjamin SaySussanKevin McCormickGiomHa Nguyen Jena Stringer TEMAN WINDAHJohn McBride  Kristofer Nivens  P. Clayton D. Causey, CT  Vanessa HackJohn ShumLuis PaezCraig RedriffMariusCharlotteJonny 5Jose LorenzoJeremyLulunMadeleine MillerAngelo CaonRossi von der BorchSicily FiennesEm McDermottMeredith R NormanTom Simamora ThatcherTim DoolingDevin NailAlissa Sjuryadi-TrowbridgeBillEric EmerTarquam James McKennaAmanda BlossStephen MJensBen HarrisonNaota YanagiharaHans WagnerJustin WilsonJayZane RubaiiBenjaminDerynAlexH HMatt WintersAlec MitchellVinceDanielBertiSugiyamaAtsuko MaenoMosaStephen GrahamHannah RowntreeColleen Thornton-WardAilise Sweeney-LoweJimmyYng KenjicnxuFlorian HopfKurt VerschuerenJoakimRyosuke SudaBerberJeroen VellekoopJan NedermeijerMatthewTakeshi YamafujiNatePatrickMiquelFeeJingle YanMathias朗 桑田Benedikt GanderBen PlayfordLauraKenji YanaguRicky ZhangVacanza TropicaleBill Dalton惠羽 蔡Sophie Hoestereyこ ぱるDouglas HerrickTim SomervilleMaxence AKFSF BEddoMarc EberJaime NoriegaJin Kimivy babyJessica BruntonMark ChavezDevlin KuyekDaniel TanDawn TanNeoKimchiSpiritAnders RydbergPaulie MoraPaula Bradley蕾戴Jordan O.ss ssRoman PicardPENDENGAR SETIAColumba TierneyLuciano HespanholHH JorgensenAmina AljehaniJannedCamillelishan fengluanAninda P.A.F

Many of us worry about AI taking our jobs. Instead ofdwelling on that fear, let's explore how we can C-O-N-N-E-C-T with AI!

This episode I have a special guest: JC Conklin. He and his wife Kami are the amazing force behind Bears: The Movement. They want to be the voice for the bears to stop this hunt in Florida! You can find them on Instagram or the links below! bearsthemovement.comshopwalkinthewoods.com/product/stop-the-bear-hunt-2025-fundraiser-tee-military-green/13255

Kencan Dengan Tuhan - Kamis, 21 Agustus 2025Bacaan: "Marilah kepadaku, semua yang letih jesu dan berbeban berat. Aku akan memberi kelegaan kepadamu." (Matius 11:28)Renungan: Suatu ketika saya makan gado-gado di kantin sebuah rumah sakit. Tiba-tiba masuklah 2 ibu muda yang mengemis. Mereka datangi tiap-tiap meja untuk meminta sedekah dari tiap orang yang sedang makan, tapi tak ada satupun yang memberi. Lalu saya panggil mereka, "Ibu, mau gado gado?" Ibu yang satu dengan mantap menjawab, "Mau, Pak." Tetapi ibu yang satu lagi dengan muka sedikit angkuh sambil memalingkan muka ke samping berkata, "Saya ga mau. Saya ga suka. Saya mau uangnya aja." Ternyata tidak semua kebaikan kita dapat diterima dan menyenangkan orang lain. Di dalam kehidupan ini kita terkadang sering kehilangan berkat dari Tuhan karena hati kita yang terlalu keras. Tuhan menawarkan kita untuk mau mengampuni orang lain, tetapi kebencian kita terhadapa orang yang sudah menyakiti kita mengalahkan tawaran Tuhan. Tuhan menawarkan penyertaan-Nya saat kita sakit dan usaha bangkrut, tetapi kita justru mencari pertolongan lain melalui dukun, paranormal dan orang pintar lainnya. Hari ini melalui sabda-Nya, Yesus mengajak kita semua yang saat ini sedang letih dan lesu karena beban berat untuk datang kepada-Nya. Kalau Ia sudah bersabda seperti itu, berarti Yesus sudah punya komitmen pula untuk melaksanakan apa yang sudah dijanjikan-Nya. Karena Firman;Nya adalah Ya dan Amin. Yesus hanya meminta kita untuk membuka hati dan percaya pada-Nya, maka kuasa-Nya akan bekerja secara penuh dalam kehidupan kita. Saat ini tangan-Nya sedang terbuka menanti kita, dan mata-Nya sedang menatap kita dengan penuh kerinduan. Palingkanlah wajah kita pada-Nya dan serahkan semua beban dan pergumulan kita, maka hati-Nya yang penuh belaskasih akan mendatangkan kelegaan dan kelepasan serta kesembuhan bagi kehidupan kita. Kalau orang lain ditolong, pasti kita juga akan ditolong. Yesus hanya butuh iman kita, maka selanjut-Nya Dia sendiri yang akan turun tangan untuk menyelesaikan masalah kita. Tuhan Yesus memberkati.Doa:Tuhan Yesus, banyak kali dalam Inill, Engkau memberikan kata-kata peneguhan dan pengharapan saat orang mengalami ketakutan, kecemasan, sakit penyakit, dan pergumulan hidup. Setiap perkataan-Mu itu mendatangkan kuasa yang luar biasa ketika kami mengimaninya dengan sungguh. Namun seringkali kami tidak mendapatkan apa yang kami harapkan ketika kami datang dan berdoa pada-Mu. Hal itu terjadi karena Kami sering menggunakan logika kami dan meragukan kuasa-Mu, sehingga kami beralih mencari ilah-llah lain dan meminta pertolongan pada mereka. Yesus, hancurkan kekerasan hatiku saat ini dan ajarilah aku untuk percaya hanya pada-Mu saja. Amin. (Dod).

Another exciting episode of Piggles with our very special guest, Kami Thompson! Join us as we discuss national parks, P.E. class, and much more!

In this episode we talk about Chakras, Protection, Sound bath healing, and accessing the Akashic Records.Camille, thank you again. If you wish to reach out to Camille you can find her on instagram:Spirit of Kami - https://www.instagram.com/spiritofkamiAs mentioned here are some older episodes about the Akashic RecordsEp 52 - Binhi ng Tala - https://youtu.be/G6KmurD6rc4Ep 94 - Akashic Reading - https://youtu.be/S9iuEGyxxtYEp 148 - Akashic Records JP - https://youtu.be/UepG9c253LwDeep Dive - Akashic Records - https://youtu.be/MzmI6pbEH8oIf you have experiences with the Akashic Records that you want to share, you can email it to me at paranormalsph@gmail.comIf this is the first episode of the podcast you are listening to, I suggest you start at Episode 1:EPISODE 1 The Unexpected Visitor -https://youtu.be/AHSHtHOsNP0 Or if you prefer to share your stories through chat, you can share it on the Discord Server of Para Normal Podcast, to join just click on the invite link below: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://discord.gg/YWF4BpS4gQ ⁠⁠⁠⁠⁠⁠⁠⁠⁠If you enjoy this kind of conversation, you might want to subscribe :D ⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tiktok⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠- - - - - - - - - - - - - - - - - - Do you want to support the podcast? You can help keep us going by giving us a cup of joe! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ko-fi.com/paranormalpodcast ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠You can also support us on Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/paranormalpodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ We have different tiers for supporters, from the general support to early access, to joining us on the calls way in advance. No pressure, just additional help for us :) The Para Normal Podcast. Engineered and Produced by f90 Productions For brand partnerships, advertisements, or other collaboration opportunities with our podcast, please contact our management team at info@tagm.comRate and Review our show on Spotify, Pocket Casts, and Apple PodcastsEnjoy. 

This week, Tee is excited to sit down with Kami Chartier, a certified Mind-Body Eating and Nutrition Coach and the founder of Wild Core Wellness, a supportive community rooted in body kindness, food freedom, and whole-person healing. After spending decades caught in the cycle of dieting—starting at the age of eight—Kami transformed her relationship with food and her body by working on her gut health and exploring the emotional roots of eating. This journey led her to the Institute for the Psychology of Eating, where she became certified and developed a holistic, shame-free approach to wellness. Today, Kami helps women break free from diet culture and reconnect with their bodies through mindful eating, mindset work, and foundational nutrition. In this episode, Kami shares her transformative journey from years of dieting to discovering true wellness through gut health and a healthier relationship with food.  In addition, Kami and Tee emphasize the importance of personalized health paths, free from diet culture's shame and restriction. Kami discusses the impact of glyphosate on our health and partnership with Purium to offer organic, nutrient-rich supplements for better gut health. Dive in to learn Kami's top five tips for reconnecting with your body and achieving holistic wellness. Connect With Kami: Website LinkedIn Instagram Save $50 or 25% with Purium Use Promo Code TEE25 for 25% off the Wild Core Wellness Reclaim membership   Follow Therese "Tee" Forton-Barnes and The Green Living Gurus: Austin Air Purifiers: For podcast listeners, take 15% off any Austin Air product; please email Tee@thegreenlivinggurus.com and mention that you want to buy a product and would like the discount. See all products here: Austin Air The Green Living Gurus' Website  Instagram YouTube Facebook Healthy Living Group on Facebook Tip the podcaster! Support Tee and the endless information that she provides: Patreon Venmo: @Therese-Forton-Barnes last four digits of her cell are 8868 For further info, contact Tee: Email: Tee@thegreenlivinggurus.com Cell: 716-868-8868 DISCLAIMER: ALL INFORMATION PROVIDED HERE IS GENERAL GUIDANCE AND NOT MEANT TO BE USED FOR INDIVIDUAL TREATMENT. PLEASE CONTACT YOUR PROVIDER OR DOCTOR FOR MEDICAL ADVICE.  Produced By: Social Chameleon

Kencan Dengan Tuhan - Jumat, 15 Agustus 2025Bacaan: "Di manakah Dia, raja orang Yahudi yang baru dilahirkan itu? Kami telah melihat bintangNya di Timur dan kami datang untuk menyembah Dia." (Matius 2:2)Renungan: Komet adalah benda angkasa yang beredar mengelilingi matahari. Ia bercahaya seperti bintang, bagian tengahnya bercahaya terang dan berekor panjang menyerupai kabut. Bila sedang mendekati bumi, komet akan kelihatan berekor dan akan kelihatan bergerak ke arah yang berlawanan dengan ekornya sehingga terlihat menunjuk arah tertentu. Komet bila terlihat di bumi bisa berlangsung selama lebih dari seminggu. Dengan keberadaan seperti itu, banyak ahli memerkirakan kometlah yang dilihat para majus. Segala usaha para ahli untuk mengungkap misteri bintang natal ini patut dihargai dan bisa terus menerus dilakukan, paling tidak sedikit memuaskan rasa haus akan ilmu pengetahuan. Tetapi, ada hal yang tidak boleh dilupakan tentang keberadaan bintang yang masih misterius tersebut, yaitu bahwa bintang tersebut dipakai Tuhan untuk menuntun orang-orang majus menemukan Yesus. Keberadaan orang majus yang adalah orang-orang non Yahudi atau orang-orang yang dianggap kafir menunjukkan bahwa segala bangsa akan datang mencari Yesus. Kalau bintang saja bisa Allah pakai untuk membuat orang mencari dan bertemu dengan Yesus, maka hal yang sama pun bisa Allah kerjakan dalam diri kita. Melalui kehadiran kita, Allah mau supaya semakin banyak orang bertemu dan mengenal Yesus Putera-Nya. Sudahkah kehadiran kita membuat orang terpikat dan haus untuk mencari dan mengenal Yesus? Atau justru sebaliknya kehadiran kita justru menjadi batu sandungan bagi orang lain untuk mengenal Yesus, sehingga nama Yesus dicela? Mari, jangan kalah dengan bintang Timur di Betlehem. Tuhan rindu memakai kita untuk menjadi alat-Nya. Tuhan Yesus memberkatiDoa: Tuhan Yesus, terima kasih atas bintang terang di Betlehem. Melalui bintang itu banyak orang dari berbagai bangsa datang menyembah-Mu. Akupun rindu untuk Kau pakai seperti bintang di Betlehem agar semakin banyak orang mengenal Engkau. Urapilah seluruh keberadaan diriku, agar kehadiranku dapat menjadi tanda kehadiran-Mu sendiri, sehingga melalui kehadiranku nama-Mu semakin dimuliakan dan semakin banyak orang mencari, mengenal dan mengakui Engkau sebagai Tuhan dan Juruselamatnya. Amin. (Dod).

One dark day in the TBC Patreon chat dungeons, our Patron Austin scrawled the following message to us: "...[D]uring the 80s there was a guy literally named Dick Wulf (Not to be confused with law and order producer and writer Dick Wolf) who made a Christian version of D&D called Dragonraid. There's very little documentation online about what the game system was like but it did exist and from what I can gather there was some sort of mechanic involving casting spells by reciting bible verses. Cut to like 2020, some forty years later, some Christian company approaches Dick Wulf to buy the intellectual rights to his fantasy world so they can rebrand as LightRaider the new Christian fantasy RPG sensation! For the low low price of 57.99! And to build hype as they were creating the actual system, they created LightRaider Academy, a trilogy of YA Novels." Based on this information, Chris could have read a LightRaider Academy novel, but, no - he had to spread the suffering around. So, he recruited his friends Phoebe and Kami to support Paris on an adventure into the world of DragonRaid. Our party gets to roll a single die and encounter terrifying dangers such as orcs, wolves, racist charicatures, and fat shaming! Don't even think about eating pie - literally. In addition to being our GM, Chris also did all of the scoring for today's episode. Remember that you can hire him at Oselka Sound for all of your composition, sound design, editing, music teaching, and session work needs. If you enjoyed our guests, you can find Phoebe on Instagram @phoebe.danskin and Kami on Twitch @maniacalpillow In addition to our usual barnyard language, today's episode includes discussion of Christianity, fatphobia, and anti-semitism.

Talked to Kami Kehoe backstage at the Warped Tour 2025 in Long Beach. We talked about her new EP "Kandy", fall tour with Seether, Daughtry and POD, playing drums, RIP Ozzy and more

https://www.patreon.com/windahTranskrip: https://www.patreon.com/posts/berita-makna-one-135608072?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=postshare_creator&utm_content=join_linkTerjemahan: https://www.patreon.com/posts/eng-berita-makna-135608650?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=postshare_creator&utm_content=join_linkMakna Bendera One Piece yang Ramai Dipasang di HUT ke-80 RIBelakangan ini ramai di media sosial adanya fenomena pemasangan bendera serial anime asal Jepang, One Piece, yang berkibar di sejumlah rumah hingga kendaraan menjelang HUT RI ke-80. Aksi ini ditengarai sebagai sikap ekspresi kekecewaan masyarakat terhadap pemerintah.Riki Hidayat, warga Kebayoran, Jakarta Selatan, yang berniat mengibarkan bendera anime One Piece di depan rumahnya di momen HUT ke-80 RI, mengatakan mengibarkan bendera One Piece berarti simbol protes atau bentuk perlawanan dari rakyat yang selama ini tak puas dengan kinerja pemerintah.Bagi Riki, mengibarkan bendera One Piece bukan berarti tak lagi mencintai Indonesia. “Ini bukan soal hilangnya rasa nasionalisme ya,” dia mempertanyakan apa artinya nasionalisme jika negara tak ada upaya untuk melindungi hak warga negaranya sendiri.“Saya cinta Tanah Air di mana saya bisa hidup di sana,” ujarnya. “Tetapi Tanah Air yang saya cintai itu, bukan tanah air tempat saya membayar pajak, namun tidak mendapatkan hak yang sepadan atas pajak yang saya bayar,” ujar dia,Menanggapi fenomena tersebut, Wakil Ketua Dewan Perwakilan Rakyat Sufmi Dasco Ahmad menganggap pemasangan bendera tengkorak bajak laut itu sebagai upaya memecah belah bangsa. Menurut dia, fenomena ini bergerak secara sistematis."Kami mendeteksi dan mendapat masukan dari lembaga-lembaga pengamanan memang ada upaya memecah belah persatuan dan kesatuan," kata dia di kompleks Parlemen Senayan, Jakarta, pada Kamis, 31 Juli 2025.https://www.tempo.co/politik/makna-bendera-one-piece-yang-ramai-dipasang-di-hut-ke-80-ri-2053723#goog_rewardedSumber gambar: IG @dankuurrr_Terima kasih banyak atas dukungannya untuk:SAHABAT WINDAHAkiramJayNyong Jago Bob GenericJohn nyMartin JankovskýWilliam ChenDawid GerstelDRamzan BAlex PepinnsSebastianAlexander ScholtesJrobabuja11 RoboNicholai LidowAliteJack William HusbandsAndre ChampouxDemiAlastair JudsonKatherine WalkerLino ArboledaLeon KwekCameron Edinger-ReeveSam BayleyLivvieIsmail OtchiChrisRussell BarlowMary PopeIga Komar帥志 Shuai Chih LinBjornrappangeHossein KhoshtaghazaAldoParis LuckowskiMatthew O'ConnorRussell OgdenYaszalix子强 孙Bart van de KampWC Kon태엽 주Arthur NazaryanDaniel KaposiEmily HuangBenjamin SaySussanTEMAN WINDAHJohn McBride  Kristofer Nivens  P. Clayton D. Causey, CT  Vanessa HackJohn ShumLuis PaezCraig RedriffMariusCharlotteJonny 5Jose LorenzoJeremyLulunMadeleine MillerAngelo CaonRossi von der BorchSicily FiennesEm McDermottMeredith R NormanTom Simamora ThatcherTim DoolingDevin NailAlissa Sjuryadi-TrowbridgeBillEric EmerTarquam James McKennaAmanda BlossStephen MSusan & Ben SetiawanJensBen HarrisonNaota YanagiharaHans WagnerJustin WilsonJayZane RubaiiBenjaminDerynAlexH HMatt WintersAlec MitchellVinceDanielBertiSugiyamaAtsuko MaenoMosaStephen GrahamHannah RowntreeColleen Thornton-WardAilise Sweeney-LoweJimmyYng KenjicnxuFlorian HopfKurt VerschuerenJoakimRyosuke SudaBerberJeroen VellekoopJan NedermeijerMatthewTakeshi YamafujiNatePatrickMiquelFeeJingle YanMathias朗 桑田Benedikt GanderBen PlayfordLauraKenji YanaguRicky ZhangVacanza TropicaleBill Dalton惠羽 蔡Sophie Hoestereyこ ぱるDouglas HerrickTim SomervilleMaxence AKFSF BEddoMarc EberJaime NoriegaJin Kimivy babyJessica BruntonMark ChavezDevlin KuyekDaniel TanDawn TanNeoKimchiSpiritAnders RydbergPaulie MoraAndrew RogersPaula Bradley蕾戴PENDENGAR SETIAColumba TierneyLuciano HespanholHH JorgensenAmina AljehaniJannedCamillelishan fengluan

Siapa saja, baik pemodal kecil atau pengelola profesional, tidak bakal bisa memperoleh hasil investasi memuaskan kalau mengandalkan strategi kombinasi. Mau menggapai strategi long term, tapi di sisi lain metode short term diaplikasikan juga, maka operasionalnya tidak jelas. Ruwet. Ragu. Alhasil, hasilnya begitu-begitu saja.Halah, yang penting untung. Tidak usah pakai prinsip ideal. Itu tidak penting. Situasi pasar bisa berubah. Zaman bisa berubah. Sentimen politik bisa berubah. Nanti kena crash belagu.Justru itu, Ferguso. Kalau nggak punya prinsip, maka nanti bengong sendiri saat ada crash. Kalau pakai prinsip, diam aja biarpun minus 42%. Kalau punya dasar, seseorang bisa tenang biarpun secara angka sudah minus miliaran atau ratusan juta.Sekian jam setelah video terbit. Kami membaca artikel dari Peter Lynch berjudul "Fear of Crashing", eh ternyata Pak Peter pengelola reksadana tersukses sedunia ini juga membahasnya. Begitulah adanya.Kami juga share kinerja beberapa portofolio di bulan Juli 2025.***Kinerja Bolasalju: https://www.bolasalju.com/kinerja/Riset Bolasalju: https://www.bolasalju.com/riset/

Northern Territory restaurateur couple Sean and Rachel-Ann Johnston derive optimism for their Filipino buffet offerings from a plethora of choices and flavours. - Tiwala na tatangkilikin ng mga tao ang restaurant ng mag-asawang Sean at Rachel Ann Johnston dahil sa iba't-ibang lasa na hain nila sa kanilang negosyong buffet sa Darwin.

Minister energii Miłosz Motyka został zapytany w Porannej rozmowie w RMF FM, czy ceny prądu będą zamrożone do końca roku. "Mamy ustawę na etapie prac parlamentarnych. Myślę, że tuż przed zaprzysiężeniem nowego prezydenta zostanie uchwalona z poprawkami Senatu. Liczymy, że pan prezydent Nawrocki podpisze ustawę, która obniża ceny energii" - powiedział.

Summary  In this conversation with David, LGBTQ+ ally and researcher Kami Hunley-Jackson, who shares her personal journey and research on the coming out process, particularly focusing on the experiences of LGBTQ+ individuals and their families. The former Latter Day Saint is the mother of two LGBTQ+ children and sister to her gay brother. She discusses the challenges faced by families, the impact of religion, and the importance of communication and support systems. Kami emphasizes the need for understanding and acceptance, both for those coming out and their loved ones, and highlights the mental health implications of the coming out journey. The conversation also touches on the evolving nature of religious acceptance and the importance of creating safe spaces for dialogue.   Keywords   coming out, LGBTQ+, acceptance, mental health, family support, religion, communication, research, personal stories, allyship  Takeaways  Kami's personal experiences with her children and brother shaped her understanding of the coming out process.The decision between religious beliefs and family acceptance can be a painful conflict for parents.Supportive communities, like Mama Dragons, provide essential resources for families of LGBTQ+ individuals.The theater community often offers a more accepting environment for LGBTQ+ individuals.Kami's research revealed that non-religious individuals tend to communicate better during the coming out process.Mental health issues, including suicidal ideation, were prevalent among the study participants.Self-acceptance is a crucial step in the coming out journey, often requiring individuals to confront their identity.The coming out process is deeply personal and should be respected as such by family members.Creating a safe space for communication is vital for both the individual coming out and their loved ones.Religious institutions are evolving, with some becoming more inclusive of LGBTQ+ individuals.Sound Bites   "I realized that I needed to search my own heart.""The love of a mother over the situation.""I acted differently this time around."  Audio Chapters  00:00 Understanding the Importance of Coming Out02:36 Personal Journeys: Family and Acceptance 05:25 The Role of Religion in Coming Out08:35 Research Insights: Communication and Relationships11:13 Mental Health and the Coming Out Process14:05 Support Systems and Resources16:48 Advice for Families and Individuals19:51 Looking Ahead: Future Research Directions  Podcast website and resources: https://www.OutLateWithDavid.com  YouTube Edition:   https://youtu.be/jCsPAB9C2aM YouTube Channel:   https://www.youtube.com/channel/UCvsthP9yClKI4o5LxbuQnOg  Certified Professional Life Coach, David Cotton:  https://www.DavidCottonCoaching.com  Contact David:  mailto:david@davidcottoncoaching.comhttps://www.DavidCottonCoaching.comhttps://www.OutLateWithDavid.comhttps://linktr.ee/davidacotton  © 2025 David Cotton Coaching, LLC. All rights reserved. The "Out Late With David" podcast and its content are the property of David Cotton Coaching, LLC. Unauthorized use and/or duplication of this material without express and written permission from David Cotton Coaching, LLC is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to "Out Late With David" and David Cotton Coaching, LLC with appropriate and specific direction to the original content.  

Thank you to Sirenian Bay Resorts and Villas! sirenianbay.comHave you ever dreamed of escaping to a tropical paradise where palm trees sway, crystal waters beckon, and adventure awaits around every corner? Join us as we kick off our summer series exploring Placencia, Belize—a stunning 16-mile peninsula that captivated us from the moment we arrived.This episode serves as your comprehensive guide to planning the perfect Belizean getaway. We break down everything from what to pack (multiple swimsuits are non-negotiable!), to navigating flights with Tropic Air's scenic puddle jumpers that offer breathtaking aerial views of mountains, rainforests, and winding rivers. You'll appreciate our practical tips about currency (the easy 2:1 exchange rate makes math simple), language (English is the official language), and the fascinating cultural mosaic that makes Belize so unique.Discover accommodation options that cater to every preference—from Serenian Bay, Belize's only all-inclusive resort where we stayed, to private islands with personal chefs, to the garden paradise of Cieba Beach Resort. We take you behind the scenes of each property, sharing the distinct atmosphere and amenities you'll find. Transportation is a breeze with golf carts from Captain Jack's for peninsula exploration and boat taxis for island hopping.What makes this episode particularly valuable is our firsthand experience navigating the quirks of Belizean travel—like how to handle those pesky "no-see-ums" (sand fleas), the unexpected flexibility of flight schedules, and local customs you won't find in typical travel guides. We even share the story of a mysterious bird encounter that left even long-time locals puzzled!Whether you're actively planning a trip or simply dreaming of your next escape, this episode will transport you to the sunny shores of Placencia. Subscribe now to join us next week as we dive deeper into our adventures with snorkeling, spice farms, chocolate making, and more unforgettable experiences from our Belizean journey.Destinations by Kami, LLC: destinationsbykami@gmail.com, 419-957-2087Dream Vacations:JoAnne:  jmichaud@dreamvacations.com, 919-452-0227Gecko Vacation Rentals: reservations@geckovacations.com 972-383-4443Prana Maya Island Resort: info@pranamayaresort.com 888-487-2011Thanks for your ongoing support!http://paypal.me/TheROAMiesAlexa and RoryThe ROAMiesPlease subscribe, rate and share our podcast! Follow us at:http://www.TheROAMies.comThe ROAMies: Facebook and Instagram YouTube and X.

In this conversation, Justin Neagle and Will Foret speak with Kami Farahmandpour and Chris Kottra from Building Technology Consultants, Inc. (BTC) about their experiences in the engineering industry, the founding of BTC, and the importance of company culture, leadership transitions, and quality in their work. They discuss the challenges of hiring in a niche market, the significance of training for autonomy, and the role of litigation in honing expertise. The conversation also touches on reflections and advice for future leaders in the industry.

For those who haven't heard the announcement I posted, songs from this point on will sometimes be split among multiple episodes, so this is the second part of a two-episode look at the song “Who Knows Where The Time Goes?” by Fairport Convention, and the intertwining careers of Joe Boyd, Sandy Denny, and Richard Thompson. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-one-minute bonus episode available, on Judy Collins’ version of this song. Tilt Araiza has assisted invaluably by editing, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum For about an hour this was uploaded with the wrong Elton John clip in place of “Saturday Sun”. This has now been fixed. Resources Because of the increasing problems with Mixcloud’s restrictions, I have decided to start sharing streaming playlists of the songs used in episodes instead of Mixcloud ones. This Tunemymusic link will let you listen to the playlist I created on your streaming platform of choice — however please note that not all the songs excerpted are currently available on streaming. The songs missing from the Tidal version are “Shanten Bells” by the Ian Campbell Folk Group, “Tom’s Gone to Hilo” by A.L. Lloyd, two by Paul McNeill and Linda Peters, three by Elton John & Linda Peters, “What Will I Do With Tomorrow” by Sandy Denny and “You Never Know” by Charlie Drake, but the other fifty-nine are there. Other songs may be missing from other services. The main books I used on Fairport Convention as a whole were Patrick Humphries' Meet On The Ledge, Clinton Heylin's What We Did Instead of Holidays, and Kevan Furbank's Fairport Convention on Track. Rob Young's Electric Eden is the most important book on the British folk-rock movement. Information on Richard Thompson comes from Patrick Humphries' Richard Thompson: Strange Affair and Thompson's own autobiography Beeswing.  Information on Sandy Denny comes from Clinton Heylin's No More Sad Refrains and Mick Houghton's I've Always Kept a Unicorn. I also used Joe Boyd's autobiography White Bicycles and Chris Blackwell's The Islander.  And this three-CD set is the best introduction to Fairport's music currently in print. Transcript Before we begin, this episode contains reference to alcohol and cocaine abuse and medical neglect leading to death. It also starts with some discussion of the fatal car accident that ended last episode. There’s also some mention of child neglect and spousal violence. If that’s likely to upset you, you might want to skip this episode or read the transcript. One of the inspirations for this podcast when I started it back in 2018 was a project by Richard Thompson, which appears (like many things in Thompson’s life) to have started out of sheer bloody-mindedness. In 1999 Playboy magazine asked various people to list their “songs of the Millennium”, and most of them, understanding the brief, chose a handful of songs from the latter half of the twentieth century. But Thompson determined that he was going to list his favourite songs *of the millennium*. He didn’t quite manage that, but he did cover seven hundred and forty years, and when Playboy chose not to publish it, he decided to turn it into a touring show, in which he covered all his favourite songs from “Sumer Is Icumen In” from 1260: [Excerpt: Richard Thompson, “Sumer is Icumen In”] Through numerous traditional folk songs, union songs like “Blackleg Miner”, pieces by early-modern composers, Victorian and Edwardian music hall songs, and songs by the Beatles, the Ink Spots, the Kinks, and the Who, all the way to “Oops! I Did It Again”: [Excerpt: Richard Thompson, “Oops! I Did it Again”] And to finish the show, and to show how all this music actually ties together, he would play what he described as a “medieval tune from Brittany”, “Marry, Ageyn Hic Hev Donne Yt”: [Excerpt: Richard Thompson, “Marry, Ageyn Hic Hev Donne Yt”] We have said many times in this podcast that there is no first anything, but there’s a reason that Liege and Lief, Fairport Convention’s third album of 1969, and the album other than Unhalfbricking on which their reputation largely rests, was advertised with the slogan “The first (literally) British folk rock album ever”. Folk-rock, as the term had come to be known, and as it is still usually used today, had very little to do with traditional folk music. Rather, the records of bands like The Byrds or Simon and Garfunkel were essentially taking the sounds of British beat groups of the early sixties, particularly the Searchers, and applying those sounds to material by contemporary singer-songwriters. People like Paul Simon and Bob Dylan had come up through folk clubs, and their songs were called folk music because of that, but they weren’t what folk music had meant up to that point — songs that had been collected after being handed down through the folk process, changed by each individual singer, with no single identifiable author. They were authored songs by very idiosyncratic writers. But over their last few albums, Fairport Convention had done one or two tracks per album that weren’t like that, that were instead recordings of traditional folk songs, but arranged with rock instrumentation. They were not necessarily the first band to try traditional folk music with electric instruments — around the same time that Fairport started experimenting with the idea, so did an Irish band named Sweeney’s Men, who brought in a young electric guitarist named Henry McCullough briefly. But they do seem to have been the first to have fully embraced the idea. They had done so to an extent with “A Sailor’s Life” on Unhalfbricking, but now they were going to go much further: [Excerpt: Fairport Convention, “Matty Groves” (from about 4:30)] There had been some doubt as to whether Fairport Convention would even continue to exist — by the time Unhalfbricking, their second album of the year, was released, they had been through the terrible car accident that had killed Martin Lamble, the band’s drummer, and Jeannie Franklyn, Richard Thompson’s girlfriend. Most of the rest of the band had been seriously injured, and they had made a conscious decision not to discuss the future of the band until they were all out of hospital. Ashley Hutchings was hospitalised the longest, and Simon Nicol, Richard Thompson, and Sandy Denny, the other three surviving members of the band, flew over to LA with their producer and manager, Joe Boyd, to recuperate there and get to know the American music scene. When they came back, the group all met up in the flat belonging to Denny’s boyfriend Trevor Lucas, and decided that they were going to continue the band. They made a few decisions then — they needed a new drummer, and as well as a drummer they wanted to get in Dave Swarbrick. Swarbrick had played violin on several tracks on Unhalfbricking as a session player, and they had all been thrilled to work with him. Swarbrick was one of the most experienced musicians on the British folk circuit. He had started out in the fifties playing guitar with Beryl Marriott’s Ceilidh Band before switching to fiddle, and in 1963, long before Fairport had formed, he had already appeared on TV with the Ian Campbell Folk Group, led by Ian Campbell, the father of Ali and Robin Campbell, later of UB40: [Excerpt: The Ian Campbell Folk Group, “Shanten Bells (medley on Hullaballoo!)”] He’d sung with Ewan MacColl and A.L. Lloyd: [Excerpt: A.L. Lloyd, “Tom’s Gone to Hilo” ] And he’d formed his hugely successful duo with Martin Carthy, releasing records like “Byker Hill” which are often considered among the best British folk music of all time: [Excerpt: Martin Carthy and Dave Swarbrick, “Byker Hill”] By the time Fairport had invited him to play on Unhalfbricking, Swarbrick had already performed on twenty albums as a core band member, plus dozens more EPs, singles, and odd tracks on compilations. They had no reason to think they could actually get him to join their band. But they had three advantages. The first was that Swarbrick was sick of the traditional folk scene at the time, saying later “I didn’t like seven-eighths of the people involved in it, and it was extremely opportune to leave. I was suddenly presented with the possibilities of exploring the dramatic content of the songs to the full.” The second was that he was hugely excited to be playing with Richard Thompson, who was one of the most innovative guitarists of his generation, and Martin Carthy remembers him raving about Thompson after their initial sessions. (Carthy himself was and is no slouch on the guitar of course, and there was even talk of getting him to join the band at this point, though they decided against it — much to the relief of rhythm guitarist Simon Nicol, who is a perfectly fine player himself but didn’t want to be outclassed by *two* of the best guitarists in Britain at the same time). And the third was that Joe Boyd told him that Fairport were doing so well — they had a single just about to hit the charts with “Si Tu Dois Partir” — that he would only have to play a dozen gigs with Fairport in order to retire. As it turned out, Swarbrick would play with the group for a decade, and would never retire — I saw him on his last tour in 2015, only eight months before he died. The drummer the group picked was also a far more experienced musician than any of the rest, though in a very different genre. Dave Mattacks had no knowledge at all of the kind of music they played, having previously been a player in dance bands. When asked by Hutchings if he wanted to join the band, Mattacks’ response was “I don’t know anything about the music. I don’t understand it… I can’t tell one tune from another, they all sound the same… but if you want me to join the group, fine, because I really like it. I’m enjoying myself musically.” Mattacks brought a new level of professionalism to the band, thanks to his different background. Nicol said of him later “He was dilligent, clean, used to taking three white shirts to a gig… The application he could bring to his playing was amazing. With us, you only played well when you were feeling well.” This distinction applied to his playing as well. Nicol would later describe the difference between Mattacks’ drumming and Lamble’s by saying “Martin’s strength was as an imaginative drummer. DM came in with a strongly developed sense of rhythm, through keeping a big band of drunken saxophone players in order. A great time-keeper.” With this new line-up and a new sense of purpose, the group did as many of their contemporaries were doing and “got their heads together in the country”. Joe Boyd rented the group a mansion, Farley House, in Farley Chamberlayne, Hampshire, and they stayed there together for three months. At the start, the group seem to have thought that they were going to make another record like Unhalfbricking, with some originals, some songs by American songwriters, and a few traditional songs. Even after their stay in Farley Chamberlayne, in fact, they recorded a few of the American songs they’d rehearsed at the start of the process, Richard Farina’s “Quiet Joys of Brotherhood” and Bob Dylan and Roger McGuinn’s “Ballad of Easy Rider”: [Excerpt: Fairport Convention, “Ballad of Easy Rider”] Indeed, the whole idea of “getting our heads together in the country” (as the cliche quickly became in the late sixties as half of the bands in Britain went through much the same kind of process as Fairport were doing — but usually for reasons more to do with drug burnout or trend following than recovering from serious life-changing trauma) seems to have been inspired by Bob Dylan and the Band getting together in Big Pink. But very quickly they decided to follow the lead of Ashley Hutchings, who had had something of a Damascene conversion to the cause of traditional English folk music. They were listening mostly to Music From Big Pink by the Band, and to the first album by Sweeney’s Men: [Excerpt: Sweeney’s Men, “The Handsome Cabin Boy”] And they decided that they were going to make something that was as English as those records were North American and Irish (though in the event there were also a few Scottish songs included on the record). Hutchings in particular was becoming something of a scholar of traditional music, regularly visiting Cecil Sharp House and having long conversations with A.L. Lloyd, discovering versions of different traditional songs he’d never encountered before. This was both amusing and bemusing Sandy Denny, who had joined a rock group in part to get away from traditional music; but she was comfortable singing the material, and knew a lot of it and could make a lot of suggestions herself. Swarbrick obviously knew the repertoire intimately, and Nicol was amenable, while Mattacks was utterly clueless about the folk tradition at this point but knew this was the music he wanted to make. Thompson knew very little about traditional music, and of all the band members except Denny he was the one who has shown the least interest in the genre in his subsequent career — but as we heard at the beginning, showing the least interest in the genre is a relative thing, and while Thompson was not hugely familiar with the genre, he *was* able to work with it, and was also more than capable of writing songs that fit in with the genre. Of the eleven songs on the album, which was titled Liege and Lief (which means, roughly, Lord and Loyalty), there were no cover versions of singer-songwriters. Eight were traditional songs, and three were originals, all written in the style of traditional songs. The album opened with “Come All Ye”, an introduction written by Denny and Hutchings (the only time the two would ever write together): [Excerpt: Fairport Convention, “Come All Ye”] The other two originals were songs where Thompson had written new lyrics to traditional melodies. On “Crazy Man Michael”, Swarbrick had said to Thompson that the tune to which he had set his new words was weaker than the lyrics, to which Thompson had replied that if Swarbrick felt that way he should feel free to write a new melody. He did, and it became the first of the small number of Thompson/Swarbrick collaborations: [Excerpt: Fairport Convention, “Crazy Man Michael”] Thompson and Swarbrick would become a brief songwriting team, but as much as anything else it was down to proximity — the two respected each other as musicians, but never got on very well. In 1981 Swarbrick would say “Richard and I never got on in the early days of FC… we thought we did, but we never did. We composed some bloody good songs together, but it was purely on a basis of “you write that and I’ll write this, and we’ll put it together.” But we never sat down and had real good chats.” The third original on the album, and by far the most affecting, is another song where Thompson put lyrics to a traditional tune. In this case he thought he was putting the lyrics to the tune of “Willie O'Winsbury”, but he was basing it on a recording by Sweeney’s Men. The problem was that Sweeney’s Men had accidentally sung the lyrics of “Willie O'Winsbury'” to the tune of a totally different song, “Fause Foodrage”: [Excerpt: Sweeney’s Men, “Willie O’Winsbury”] Thompson took that melody, and set to it lyrics about loss and separation. Thompson has never been one to discuss the meanings of his lyrics in any great detail, and in the case of this one has said “I really don't know what it means. This song came out of a dream, and I pretty much wrote it as I dreamt it (it was the sixties), and didn't spend very long analyzing it. So interpret as you wish – or replace with your own lines.” But in the context of the traffic accident that had killed his tailor girlfriend and a bandmate, and injured most of his other bandmates, the lyrics about lonely travellers, the winding road, bruised and beaten sons, saying goodbye, and never cutting cloth, seem fairly self-explanatory: [Excerpt: Fairport Convention, “Farewell, Farewell”] The rest of the album, though, was taken up by traditional tunes. There was a long medley of four different fiddle reels; a version of “Reynardine” (a song about a seductive man — or is he a fox? Or perhaps both — which had been recorded by Swarbrick and Carthy on their most recent album); a 19th century song about a deserter saved from the firing squad by Prince Albert; and a long take on “Tam Lin”, one of the most famous pieces in the Scottish folk music canon, a song that has been adapted in different ways by everyone from the experimental noise band Current 93 to the dub poet Benjamin Zephaniah to the comics writer Grant Morrison: [Excerpt: Fairport Convention, “Tam Lin”] And “Matty Groves”, a song about a man killing his cheating wife and her lover, which actually has a surprisingly similar story to that of “1921” from another great concept album from that year, the Who’s Tommy. “Matty Groves” became an excuse for long solos and shows of instrumental virtuosity: [Excerpt: Fairport Convention, “Matty Groves”] The album was recorded in September 1969, after their return from their break in the country and a triumphal performance at the Royal Festival Hall, headlining over fellow Witchseason artists John and Beverly Martyn and Nick Drake. It became a classic of the traditional folk genre — arguably *the* classic of the traditional folk genre. In 2007 BBC Radio 2’s Folk Music Awards gave it an award for most influential folk album of all time, and while such things are hard to measure, I doubt there’s anyone with even the most cursory knowledge of British folk and folk-rock music who would not at least consider that a reasonable claim. But once again, by the time the album came out in November, the band had changed lineups yet again. There was a fundamental split in the band – on one side were Sandy Denny and Richard Thompson, whose stance was, roughly, that Liege and Lief was a great experiment and a fun thing to do once, but really the band had two first-rate songwriters in themselves, and that they should be concentrating on their own new material, not doing these old songs, good as they were. They wanted to take the form of the traditional songs and use that form for new material — they wanted to make British folk-rock, but with the emphasis on the rock side of things. Hutchings, on the other hand, was equally sure that he wanted to make traditional music and go further down the rabbit hole of antiquity. With the zeal of the convert he had gone in a couple of years from being the leader of a band who were labelled “the British Jefferson Airplane” to becoming a serious scholar of traditional folk music. Denny was tired of touring, as well — she wanted to spend more time at home with Trevor Lucas, who was sleeping with other women when she was away and making her insecure. When the time came for the group to go on a tour of Denmark, Denny decided she couldn’t make it, and Hutchings was jubilant — he decided he was going to get A.L. Lloyd into the band in her place and become a *real* folk group. Then Denny reconsidered, and Hutchings was crushed. He realised that while he had always been the leader, he wasn’t going to be able to lead the band any further in the traditionalist direction, and quit the group — but not before he was delegated by the other band members to fire Denny. Until the publication of Richard Thompson’s autobiography in 2022, every book on the group or its members said that Denny quit the band again, which was presumably a polite fiction that the band agreed, but according to Thompson “Before we flew home, we decided to fire Sandy. I don't remember who asked her to leave – it was probably Ashley, who usually did the dirty work. She was reportedly shocked that we would take that step. She may have been fragile beneath the confident facade, but she still knew her worth.” Thompson goes on to explain that the reasons for kicking her out were that “I suppose we felt that in her mind she had already left” and that “We were probably suffering from post-traumatic stress disorder, though there wasn't a name for it back then.” They had considered inviting Trevor Lucas to join the band to make Denny more comfortable, but came to the (probably correct) conclusion that while he was someone they got on well with personally, he would be another big ego in a band that already had several, and that being around Denny and Lucas’ volatile relationship would, in Thompson’s phrasing, “have not always given one a feeling of peace and stability.” Hutchings originally decided he was going to join Sweeney’s Men, but that group were falling apart, and their first rehearsal with Hutchings would also be their last as a group, with only Hutchings and guitarist and mandolin player Terry Woods left in the band. They added Woods’ wife Gay, and another couple, Tim Hart and Maddy Prior, and formed a group called Steeleye Span, a name given them by Martin Carthy. That group, like Fairport, went to “get their heads together in the country” for three months and recorded an album of electric versions of traditional songs, Hark the Village Wait, on which Mattacks and another drummer, Gerry Conway, guested as Steeleye Span didn’t at the time have their own drummer: [Excerpt: Steeleye Span, “Blackleg Miner”] Steeleye Span would go on to have a moderately successful chart career in the seventies, but by that time most of the original lineup, including Hutchings, had left — Hutchings stayed with them for a few albums, then went on to form the first of a series of bands, all called the Albion Band or variations on that name, which continue to this day. And this is something that needs to be pointed out at this point — it is impossible to follow every single individual in this narrative as they move between bands. There is enough material in the history of the British folk-rock scene that someone could do a 500 Songs-style podcast just on that, and every time someone left Fairport, or Steeleye Span, or the Albion Band, or Matthews’ Southern Comfort, or any of the other bands we have mentioned or will mention, they would go off and form another band which would then fission, and some of its members would often join one of those other bands. There was a point in the mid-1970s where the Albion Band had two original members of Fairport Convention while Fairport Convention had none. So just in order to keep the narrative anything like wieldy, I’m going to keep the narrative concentrated on the two figures from Fairport — Sandy Denny and Richard Thompson — whose work outside the group has had the most influence on the wider world of rock music more broadly, and only deal with the other members when, as they often did, their careers intersected with those two. That doesn’t mean the other members are not themselves hugely important musicians, just that their importance has been primarily to the folk side of the folk-rock genre, and so somewhat outside the scope of this podcast. While Hutchings decided to form a band that would allow him to go deeper and deeper into traditional folk music, Sandy Denny’s next venture was rather different. For a long time she had been writing far more songs than she had ever played for her bandmates, like “Nothing More”, a song that many have suggested is about Thompson: [Excerpt: Fotheringay, “Nothing More”] When Joe Boyd heard that Denny was leaving Fairport Convention, he was at first elated. Fairport’s records were being distributed by A&M in the US at that point, but Island Records was in the process of opening up a new US subsidiary which would then release all future Fairport product — *but*, as far as A&M were concerned, Sandy Denny *was* Fairport Convention. They were only interested in her. Boyd, on the other hand, loved Denny’s work intensely, but from his point of view *Richard Thompson* was Fairport Convention. If he could get Denny signed directly to A&M as a solo artist before Island started its US operations, Witchseason could get a huge advance on her first solo record, while Fairport could continue making records for Island — he’d have two lucrative acts, on different labels. Boyd went over and spoke to A&M and got an agreement in principle that they would give Denny a forty-thousand-dollar advance on her first solo album — twice what they were paying for Fairport albums. The problem was that Denny didn’t want to be a solo act. She wanted to be the lead singer of a band. She gave many reasons for this — the one she gave to many journalists was that she had seen a Judy Collins show and been impressed, but noticed that Collins’ band were definitely a “backing group”, and as she put it “But that's all they were – a backing group. I suddenly thought, If you're playing together on a stage you might as well be TOGETHER.” Most other people in her life, though, say that the main reason for her wanting to be in a band was her desire to be with her boyfriend, Trevor Lucas. Partly this was due to a genuine desire to spend more time with someone with whom she was very much in love, partly it was a fear that he would cheat on her if she was away from him for long periods of time, and part of it seems to have been Lucas’ dislike of being *too* overshadowed by his talented girlfriend — he didn’t mind acknowledging that she was a major talent, but he wanted to be thought of as at least a minor one. So instead of going solo, Denny formed Fotheringay, named after the song she had written for Fairport. This new band consisted at first of Denny on vocals and occasional piano, Lucas on vocals and rhythm guitar, and Lucas’ old Eclection bandmate Gerry Conway on drums. For a lead guitarist, they asked Richard Thompson who the best guitarist in Britain was, and he told them Albert Lee. Lee in turn brought in bass player Pat Donaldson, but this lineup of the band barely survived a fortnight. Lee *was* arguably the best guitarist in Britain, certainly a reasonable candidate if you could ever have a singular best (as indeed was Thompson himself), but he was the best *country* guitarist in Britain, and his style simply didn’t fit with Fotheringay’s folk-influenced songs. He was replaced by American guitarist Jerry Donahue, who was not anything like as proficient as Lee, but who was still very good, and fit the band’s style much better. The new group rehearsed together for a few weeks, did a quick tour, and then went into the recording studio to record their debut, self-titled, album. Joe Boyd produced the album, but admitted himself that he only paid attention to those songs he considered worthwhile — the album contained one song by Lucas, “The Ballad of Ned Kelly”, and two cover versions of American singer-songwriter material with Lucas singing lead. But everyone knew that the songs that actually *mattered* were Sandy Denny’s, and Boyd was far more interested in them, particularly the songs “The Sea” and “The Pond and the Stream”: [Excerpt: Fotheringay, “The Pond and the Stream”] Fotheringay almost immediately hit financial problems, though. While other Witchseason acts were used to touring on the cheap, all packed together in the back of a Transit van with inexpensive equipment, Trevor Lucas had ambitions of being a rock star and wanted to put together a touring production to match, with expensive transport and equipment, including a speaker system that got nicknamed “Stonehenge” — but at the same time, Denny was unhappy being on the road, and didn’t play many gigs. As well as the band itself, the Fotheringay album also featured backing vocals from a couple of other people, including Denny’s friend Linda Peters. Peters was another singer from the folk clubs, and a good one, though less well-known than Denny — at this point she had only released a couple of singles, and those singles seemed to have been as much as anything else released as a novelty. The first of those, a version of Dylan’s “You Ain’t Goin’ Nowhere” had been released as by “Paul McNeill and Linda Peters”: [Excerpt: Paul McNeill and Linda Peters, “You Ain’t Goin’ Nowhere”] But their second single, a version of John D. Loudermilk’s “You’re Taking My Bag”, was released on the tiny Page One label, owned by Larry Page, and was released under the name “Paul and Linda”, clearly with the intent of confusing particularly gullible members of the record-buying public into thinking this was the McCartneys: [Excerpt: Paul and Linda, “You’re Taking My Bag”] Peters was though more financially successful than almost anyone else in this story, as she was making a great deal of money as a session singer. She actually did another session involving most of Fotheringay around this time. Witchseason had a number of excellent songwriters on its roster, and had had some success getting covers by people like Judy Collins, but Joe Boyd thought that they might possibly do better at getting cover versions if they were performed in less idiosyncratic arrangements. Donahue, Donaldson, and Conway went into the studio to record backing tracks, and vocals were added by Peters and another session singer, who according to some sources also provided piano. They cut songs by Mike Heron of the Incredible String Band: [Excerpt: Linda Peters, “You Get Brighter”] Ed Carter, formerly of The New Nadir but by this time firmly ensconced in the Beach Boys’ touring band where he would remain for the next quarter-century: [Excerpt: Linda Peters, “I Don’t Mind”] John and Beverly Martyn, and Nick Drake: [Excerpt: Elton John, “Saturday Sun”] There are different lineups of musicians credited for those sessions in different sources, but I tend to believe that it’s mostly Fotheringay for the simple reason that Donahue says it was him, Donaldson and Conway who talked Lucas and Denny into the mistake that destroyed Fotheringay because of these sessions. Fotheringay were in financial trouble already, spending far more money than they were bringing in, but their album made the top twenty and they were getting respect both from critics and from the public — in September, Sandy Denny was voted best British female singer by the readers of Melody Maker in their annual poll, which led to shocked headlines in the tabloids about how this “unknown” could have beaten such big names as Dusty Springfield and Cilla Black. Only a couple of weeks after that, they were due to headline at the Albert Hall. It should have been a triumph. But Donahue, Donaldson, and Conway had asked that singing pianist to be their support act. As Donahue said later “That was a terrible miscast. It was our fault. He asked if [he] could do it. Actually Pat, Gerry and I had to talk Sandy and Trevor into [it]… We'd done these demos and the way he was playing – he was a wonderful piano player – he was sensitive enough. We knew very little about his stage-show. We thought he'd be a really good opener for us.” Unfortunately, Elton John was rather *too* good. As Donahue continued “we had no idea what he had in mind, that he was going to do the most incredible rock & roll show ever. He pretty much blew us off the stage before we even got on the stage.” To make matters worse, Fotheringay’s set, which was mostly comprised of new material, was underrehearsed and sloppy, and from that point on no matter what they did people were counting the hours until the band split up. They struggled along for a while though, and started working on a second record, with Boyd again producing, though as Boyd later said “I probably shouldn't have been producing the record. My lack of respect for the group was clear, and couldn't have helped the atmosphere. We'd put out a record that had sold disappointingly, A&M was unhappy. Sandy's tracks on the first record are among the best things she ever did – the rest of it, who cares? And the artwork, Trevor's sister, was terrible. It would have been one thing if I'd been unhappy with it and it sold, and the group was working all the time, making money, but that wasn't the case … I knew what Sandy was capable of, and it was very upsetting to me.” The record would not be released for thirty-eight years: [Excerpt: Fotheringay, “Wild Mountain Thyme”] Witchseason was going badly into debt. Given all the fissioning of bands that we’ve already been talking about, Boyd had been stretched thin — he produced sixteen albums in 1970, and almost all of them lost money for the company. And he was getting more and more disillusioned with the people he was producing. He loved Beverly Martyn’s work, but had little time for her abusive husband John, who was dominating her recording and life more and more and would soon become a solo artist while making her stay at home (and stealing her ideas without giving her songwriting credit). The Incredible String Band were great, but they had recently converted to Scientology, which Boyd found annoying, and while he was working with all sorts of exciting artists like Vashti Bunyan and Nico, he was finding himself less and less important to the artists he mentored. Fairport Convention were a good example of this. After Denny and Hutchings had left the group, they’d decided to carry on as an electric folk group, performing an equal mix of originals by the Swarbrick and Thompson songwriting team and arrangements of traditional songs. The group were now far enough away from the “British Jefferson Airplane” label that they decided they didn’t need a female vocalist — and more realistically, while they’d been able to replace Judy Dyble, nobody was going to replace Sandy Denny. Though it’s rather surprising when one considers Thompson’s subsequent career that nobody seems to have thought of bringing in Denny’s friend Linda Peters, who was dating Joe Boyd at the time (as Denny had been before she met Lucas) as Denny’s replacement. Instead, they decided that Swarbrick and Thompson were going to share the vocals between them. They did, though, need a bass player to replace Hutchings. Swarbrick wanted to bring in Dave Pegg, with whom he had played in the Ian Campbell Folk Group, but the other band members initially thought the idea was a bad one. At the time, while they respected Swarbrick as a musician, they didn’t think he fully understood rock and roll yet, and they thought the idea of getting in a folkie who had played double bass rather than an electric rock bassist ridiculous. But they auditioned him to mollify Swarbrick, and found that he was exactly what they needed. As Joe Boyd later said “All those bass lines were great, Ashley invented them all, but he never could play them that well. He thought of them, but he was technically not a terrific bass player. He was a very inventive, melodic, bass player, but not a very powerful one technically. But having had the part explained to him once, Pegg was playing it better than Ashley had ever played it… In some rock bands, I think, ultimately, the bands that sound great, you can generally trace it to the bass player… it was at that point they became a great band, when they had Pegg.” The new lineup of Fairport decided to move in together, and found a former pub called the Angel, into which all the band members moved, along with their partners and children (Thompson was the only one who was single at this point) and their roadies. The group lived together quite happily, and one gets the impression that this was the period when they were most comfortable with each other, even though by this point they were a disparate group with disparate tastes, in music as in everything else. Several people have said that the only music all the band members could agree they liked at this point was the first two albums by The Band. With the departure of Hutchings from the band, Swarbrick and Thompson, as the strongest personalities and soloists, became in effect the joint leaders of the group, and they became collaborators as songwriters, trying to write new songs that were inspired by traditional music. Thompson described the process as “let’s take one line of this reel and slow it down and move it up a minor third and see what that does to it; let’s take one line of this ballad and make a whole song out of it. Chopping up the tradition to find new things to do… like a collage.” Generally speaking, Swarbrick and Thompson would sit by the fire and Swarbrick would play a melody he’d been working on, the two would work on it for a while, and Thompson would then go away and write the lyrics. This is how the two came up with songs like the nine-minute “Sloth”, a highlight of the next album, Full House, and one that would remain in Fairport’s live set for much of their career: [Excerpt: Fairport Convention, “Sloth”] “Sloth” was titled that way because Thompson and Swarbrick were working on two tunes, a slow one and a fast one, and they jokingly named them “Sloth” and “Fasth”, but the latter got renamed to “Walk Awhile”, while “Sloth” kept its working title. But by this point, Boyd and Thompson were having a lot of conflict in the studio. Boyd was never the most technical of producers — he was one of those producers whose job is to gently guide the artists in the studio and create a space for the music to flourish, rather than the Joe Meek type with an intimate technical knowledge of the studio — and as the artists he was working with gained confidence in their own work they felt they had less and less need of him. During the making of the Full House album, Thompson and Boyd, according to Boyd, clashed on everything — every time Boyd thought Thompson had done a good solo, Thompson would say to erase it and let him have another go, while every time Boyd thought Thompson could do better, Thompson would say that was the take to keep. One of their biggest clashes was over Thompson’s song “Poor Will and the Jolly Hangman”, which was originally intended for release on the album, and is included in current reissues of it: [Excerpt: Fairport Convention, “Poor Will and the Jolly Hangman”] Thompson had written that song inspired by what he thought was the unjust treatment of Alex Bramham, the driver in Fairport’s fatal car crash, by the courts — Bramham had been given a prison sentence of a few months for dangerous driving, while the group members thought he had not been at fault. Boyd thought it was one of the best things recorded for the album, but Thompson wasn’t happy with his vocal — there was one note at the top of the melody that he couldn’t quite hit — and insisted it be kept off the record, even though that meant it would be a shorter album than normal. He did this at such a late stage that early copies of the album actually had the title printed on the sleeve, but then blacked out. He now says in his autobiography “I could have persevered, double-tracked the voice, warmed up for longer – anything. It was a good track, and the record was lacking without it. When the album was re-released, the track was restored with a more confident vocal, and it has stayed there ever since.” During the sessions for Full House the group also recorded one non-album single, Thompson and Swarbrick’s “Now Be Thankful”: [Excerpt, Fairport Convention, “Now Be Thankful”] The B-side to that was a medley of two traditional tunes plus a Swarbrick original, but was given the deliberately ridiculous title “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”: [Excerpt: Fairport Convention, “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”] The B. McKenzie in the title was a reference to the comic-strip character Barry McKenzie, a stereotype drunk Australian created for Private Eye magazine by the comedian Barry Humphries (later to become better known for his Dame Edna Everage character) but the title was chosen for one reason only — to get into the Guinness Book of Records for the song with the longest title. Which they did, though they were later displaced by the industrial band Test Dept, and their song “Long Live British Democracy Which Flourishes and Is Constantly Perfected Under the Immaculate Guidance of the Great, Honourable, Generous and Correct Margaret Hilda Thatcher. She Is the Blue Sky in the Hearts of All Nations. Our People Pay Homage and Bow in Deep Respect and Gratitude to Her. The Milk of Human Kindness”. Full House got excellent reviews in the music press, with Rolling Stone saying “The music shows that England has finally gotten her own equivalent to The Band… By calling Fairport an English equivalent of the Band, I meant that they have soaked up enough of the tradition of their countryfolk that it begins to show all over, while they maintain their roots in rock.” Off the back of this, the group went on their first US tour, culminating in a series of shows at the Troubadour in LA, on the same bill as Rick Nelson, which were recorded and later released as a live album: [Excerpt: Fairport Convention, “Sloth (live)”] The Troubadour was one of the hippest venues at the time, and over their residency there the group got seen by many celebrities, some of whom joined them on stage. The first was Linda Ronstadt, who initially demurred, saying she didn’t know any of their songs. On being told they knew all of hers, she joined in with a rendition of “Silver Threads and Golden Needles”. Thompson was later asked to join Ronstadt’s backing band, who would go on to become the Eagles, but he said later of this offer “I would have hated it. I’d have hated being on the road with four or five miserable Americans — they always seem miserable. And if you see them now, they still look miserable on stage — like they don’t want to be there and they don’t like each other.” The group were also joined on stage at the Troubadour on one memorable night by some former bandmates of Pegg’s. Before joining the Ian Campbell Folk Group, Pegg had played around the Birmingham beat scene, and had been in bands with John Bonham and Robert Plant, who turned up to the Troubadour with their Led Zeppelin bandmate Jimmy Page (reports differ on whether the fourth member of Zeppelin, John Paul Jones, also came along). They all got up on stage together and jammed on songs like “Hey Joe”, “Louie Louie”, and various old Elvis tunes. The show was recorded, and the tapes are apparently still in the possession of Joe Boyd, who has said he refuses to release them in case he is murdered by the ghost of Peter Grant. According to Thompson, that night ended in a three-way drinking contest between Pegg, Bonham, and Janis Joplin, and it’s testament to how strong the drinking culture is around Fairport and the British folk scene in general that Pegg outdrank both of them. According to Thompson, Bonham was found naked by a swimming pool two days later, having missed two gigs. For all their hard rock image, Led Zeppelin were admirers of a lot of the British folk and folk-rock scene, and a few months later Sandy Denny would become the only outside vocalist ever to appear on a Led Zeppelin record when she duetted with Plant on “The Battle of Evermore” on the group’s fourth album: [Excerpt: Led Zeppelin, “The Battle of Evermore”] Denny would never actually get paid for her appearance on one of the best-selling albums of all time. That was, incidentally, not the only session that Denny was involved in around this time — she also sang on the soundtrack to a soft porn film titled Swedish Fly Girls, whose soundtrack was produced by Manfred Mann: [Excerpt: Sandy Denny, “What Will I Do With Tomorrow?”] Shortly after Fairport’s trip to America, Joe Boyd decided he was giving up on Witchseason. The company was now losing money, and he was finding himself having to produce work for more and more acts as the various bands fissioned. The only ones he really cared about were Richard Thompson, who he was finding it more and more difficult to work with, Nick Drake, who wanted to do his next album with just an acoustic guitar anyway, Sandy Denny, who he felt was wasting her talents in Fotheringay, and Mike Heron of the Incredible String Band, who was more distant since his conversion to Scientology. Boyd did make some attempts to keep the company going. On a trip to Sweden, he negotiated an agreement with the manager and publisher of a Swedish band whose songs he’d found intriguing, the Hep Stars. Boyd was going to publish their songs in the UK, and in return that publisher, Stig Anderson, would get the rights to Witchseason’s catalogue in Scandinavia — a straight swap, with no money changing hands. But before Boyd could get round to signing the paperwork, he got a better offer from Mo Ostin of Warners — Ostin wanted Boyd to come over to LA and head up Warners’ new film music department. Boyd sold Witchseason to Island Records and moved to LA with his fiancee Linda Peters, spending the next few years working on music for films like Deliverance and A Clockwork Orange, as well as making his own documentary about Jimi Hendrix, and thus missed out on getting the UK publishing rights for ABBA, and all the income that would have brought him, for no money. And it was that decision that led to the breakup of Fotheringay. Just before Christmas 1970, Fotheringay were having a difficult session, recording the track “John the Gun”: [Excerpt: Fotheringay, “John the Gun”] Boyd got frustrated and kicked everyone out of the session, and went for a meal and several drinks with Denny. He kept insisting that she should dump the band and just go solo, and then something happened that the two of them would always describe differently. She asked him if he would continue to produce her records if she went solo, and he said he would. According to Boyd’s recollection of the events, he meant that he would fly back from California at some point to produce her records. According to Denny, he told her that if she went solo he would stay in Britain and not take the job in LA. This miscommunication was only discovered after Denny told the rest of Fotheringay after the Christmas break that she was splitting the band. Jerry Donahue has described that as the worst moment of his life, and Denny felt very guilty about breaking up a band with some of her closest friends in — and then when Boyd went over to the US anyway she felt a profound betrayal. Two days before Fotheringay’s final concert, in January 1971, Sandy Denny signed a solo deal with Island records, but her first solo album would not end up produced by Joe Boyd. Instead, The North Star Grassman and the Ravens was co-produced by Denny, John Wood — the engineer who had worked with Boyd on pretty much everything he’d produced, and Richard Thompson, who had just quit Fairport Convention, though he continued living with them at the Angel, at least until a truck crashed into the building in February 1971, destroying its entire front wall and forcing them to relocate. The songs chosen for The North Star Grassman and the Ravens reflected the kind of choices Denny would make on her future albums, and her eclectic taste in music. There was, of course, the obligatory Dylan cover, and the traditional folk ballad “Blackwaterside”, but there was also a cover version of Brenda Lee’s “Let’s Jump the Broomstick”: [Excerpt: Sandy Denny, “Let’s Jump the Broomstick”] Most of the album, though, was made up of originals about various people in Denny’s life, like “Next Time Around”, about her ex-boyfriend Jackson C Frank: [Excerpt: Sandy Denny, “Next Time Around”] The album made the top forty in the UK — Denny’s only solo album to do so — and led to her once again winning the “best female singer” award in Melody Maker’s readers’ poll that year — the male singer award was won by Rod Stewart. Both Stewart and Denny appeared the next year on the London Symphony Orchestra’s all-star version of The Who’s Tommy, which had originally been intended as a vehicle for Stewart before Roger Daltrey got involved. Stewart’s role was reduced to a single song, “Pinball Wizard”, while Denny sang on “It’s a Boy”: [Excerpt: Sandy Denny, “It’s a Boy”] While Fotheringay had split up, all the band members play on The North Star Grassman and the Ravens. Guitarists Donahue and Lucas only play on a couple of the tracks, with Richard Thompson playing most of the guitar on the record. But Fotheringay’s rhythm section of Pat Donaldson and Gerry Conway play on almost every track. Another musician on the album, Ian Whiteman, would possibly have a profound effect on the future direction of Richard Thompson’s career and life. Whiteman was the former keyboard player for the mod band The Action, having joined them just before they became the blues-rock band Mighty Baby. But Mighty Baby had split up when all of the band except the lead singer had converted to Islam. Richard Thompson was on his own spiritual journey at this point, and became a Sufi – the same branch of Islam as Whiteman – soon after the session, though Thompson has said that his conversion was independent of Whiteman’s. The two did become very close and work together a lot in the mid-seventies though. Thompson had supposedly left Fairport because he was writing material that wasn’t suited to the band, but he spent more than a year after quitting the group working on sessions rather than doing anything with his own material, and these sessions tended to involve the same core group of musicians. One of the more unusual was a folk-rock supergroup called The Bunch, put together by Trevor Lucas. Richard Branson had recently bought a recording studio, and wanted a band to test it out before opening it up for commercial customers, so with this free studio time Lucas decided to record a set of fifties rock and roll covers. He gathered together Thompson, Denny, Whiteman, Ashley Hutchings, Dave Mattacks, Pat Donaldson, Gerry Conway, pianist Tony Cox, the horn section that would later form the core of the Average White Band, and Linda Peters, who had now split up with Joe Boyd and returned to the UK, and who had started dating Thompson. They recorded an album of covers of songs by Jerry Lee Lewis, the Everly Brothers, Johnny Otis and others: [Excerpt: The Bunch, “Willie and the Hand Jive”] The early seventies was a hugely productive time for this group of musicians, as they all continued playing on each other’s projects. One notable album was No Roses by Shirley Collins, which featured Thompson, Mattacks, Whiteman, Simon Nicol, Lal and Mike Waterson, and Ashley Hutchings, who was at that point married to Collins, as well as some more unusual musicians like the free jazz saxophonist Lol Coxhill: [Excerpt: Shirley Collins and the Albion Country Band, “Claudy Banks”] Collins was at the time the most respected female singer in British traditional music, and already had a substantial career including a series of important records made with her sister Dolly, work with guitarists like Davey Graham, and time spent in the 1950s collecting folk songs in the Southern US with her then partner Alan Lomax – according to Collins she did much of the actual work, but Lomax only mentioned her in a single sentence in his book on this work. Some of the same group of musicians went on to work on an album of traditional Morris dancing tunes, titled Morris On, credited to “Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield”, with Collins singing lead on two tracks: [Excerpt: Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield with Shirley Collins, “The Willow Tree”] Thompson thought that that album was the best of the various side projects he was involved in at the time, comparing it favourably to Rock On, which he thought was rather slight, saying later “Conceptually, Fairport, Ashley and myself and Sandy were developing a more fragile style of music that nobody else was particularly interested in, a British Folk Rock idea that had a logical development to it, although we all presented it our own way. Morris On was rather more true to what we were doing. Rock On was rather a retro step. I'm not sure it was lasting enough as a record but Sandy did sing really well on the Buddy Holly songs.” Hutchings used the musicians on No Roses and Morris On as the basis for his band the Albion Band, which continues to this day. Simon Nicol and Dave Mattacks both quit Fairport to join the Albion Band, though Mattacks soon returned. Nicol would not return to Fairport for several years, though, and for a long period in the mid-seventies Fairport Convention had no original members. Unfortunately, while Collins was involved in the Albion Band early on, she and Hutchings ended up divorcing, and the stress from the divorce led to Collins developing spasmodic dysphonia, a stress-related illness which makes it impossible for the sufferer to sing. She did eventually regain her vocal ability, but between 1978 and 2016 she was unable to perform at all, and lost decades of her career. Richard Thompson occasionally performed with the Albion Band early on, but he was getting stretched a little thin with all these sessions. Linda Peters said later of him “When I came back from America, he was working in Sandy’s band, and doing sessions by the score. Always with Pat Donaldson and Dave Mattacks. Richard would turn up with his guitar, one day he went along to do a session with one of those folkie lady singers — and there were Pat and DM. They all cracked. Richard smashed his amp and said “Right! No more sessions!” In 1972 he got round to releasing his first solo album, Henry the Human Fly, which featured guest appearances by Linda Peters and Sandy Denny among others: [Excerpt: Richard Thompson, “The Angels Took My Racehorse Away”] Unfortunately, while that album has later become regarded as one of the classics of its genre, at the time it was absolutely slated by the music press. The review in Melody Maker, for example, read in part “Some of Richard Thompson’s ideas sound great – which is really the saving grace of this album, because most of the music doesn’t. The tragedy is that Thompson’s “British rock music” is such an unconvincing concoction… Even the songs that do integrate rock and traditional styles of electric guitar rhythms and accordion and fiddle decoration – and also include explicit, meaningful lyrics are marred by bottle-up vocals, uninspiring guitar phrases and a general lack of conviction in performance.” Henry the Human Fly was released in the US by Warners, who had a reciprocal licensing deal with Island (and for whom Joe Boyd was working at the time, which may have had something to do with that) but according to Thompson it became the lowest-selling record that Warners ever put out (though I’ve also seen that claim made about Van Dyke Parks’ Song Cycle, another album that has later been rediscovered). Thompson was hugely depressed by this reaction, and blamed his own singing. Happily, though, by this point he and Linda had become a couple — they would marry in 1972 — and they started playing folk clubs as a duo, or sometimes in a trio with Simon Nicol. Thompson was also playing with Sandy Denny’s backing band at this point, and played on every track on her second solo album, Sandy. This album was meant to be her big commercial breakthrough, with a glamorous cover photo by David Bailey, and with a more American sound, including steel guitar by Sneaky Pete Kleinow of the Flying Burrito Brothers (whose overdubs were supervised in LA by Joe Boyd): [Excerpt: Sandy Denny, “Tomorrow is a Long Time”] The album was given a big marketing push by Island, and “Listen, Listen” was made single of the week on the Radio 1 Breakfast show: [Excerpt: Sandy Denny, “Listen, Listen”] But it did even worse than the previous album, sending her into something of a depression. Linda Thompson (as the former Linda Peters now was) said of this period “After the Sandy album, it got her down that her popularity didn't suddenly increase in leaps and bounds, and that was the start of her really fretting about the way her career was going. Things only escalated after that. People like me or Martin Carthy or Norma Waterson would think, ‘What are you on about? This is folk music.'” After Sandy’s release, Denny realised she could no longer afford to tour with a band, and so went back to performing just acoustically or on piano. The only new music to be released by either of these ex-members of Fairport Convention in 1973 was, oddly, on an album by the band they were no longer members of. After Thompson had left Fairport, the group had managed to release two whole albums with the same lineup — Swarbrick, Nicol, Pegg, and Mattacks. But then Nicol and Mattacks had both quit the band to join the Albion Band with their former bandmate Ashley Hutchings, leading to a situation where the Albion Band had two original members of Fairport plus their longtime drummer while Fairport Convention itself had no original members and was down to just Swarbrick and Pegg. Needing to fulfil their contracts, they then recruited three former members of Fotheringay — Lucas on vocals and rhythm guitar, Donahue on lead guitar, and Conway on drums. Conway was only a session player at the time, and Mattacks soon returned to the band, but Lucas and Donahue became full-time members. This new lineup of Fairport Convention released two albums in 1973, widely regarded as the group’s most inconsistent records, and on the title track of the first, “Rosie”, Richard Thompson guested on guitar, with Sandy Denny and Linda Thompson on backing vocals: [Excerpt: Fairport Convention, “Rosie”] Neither Sandy Denny nor Richard Thompson released a record themselves in 1973, but in neither case was this through the artists’ choice. The record industry was changing in the early 1970s, as we’ll see in later episodes, and was less inclined to throw good money after bad in the pursuit of art. Island Records prided itself on being a home for great artists, but it was still a business, and needed to make money. We’ll talk about the OPEC oil crisis and its effect on the music industry much more when the podcast gets to 1973, but in brief, the production of oil by the US peaked in 1970 and started to decrease, leading to them importing more and more oil from the Middle East. As a result of this, oil prices rose slowly between 1971 and 1973, then very quickly towards the end of 1973 as a result of the Arab-Israeli conflict that year. As vinyl is made of oil, suddenly producing records became much more expensive, and in this period a lot of labels decided not to release already-completed albums, until what they hoped would be a brief period of shortages passed. Both Denny and Thompson recorded albums at this point that got put to one side by Island. In the case of Thompson, it was the first album by Richard and Linda as a duo, I Want to See the Bright Lights Tonight: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Today, I Want to See the Bright Lights Tonight is widely regarded as one of the greatest albums of all time, and as one of the two masterpieces that bookended Richard and Linda’s career as a duo and their marriage. But when they recorded the album, full of Richard’s dark songs, it was the opposite of commercial. Even a song that’s more or less a boy-girl song, like “Has He Got a Friend for Me?” has lyrics like “He wouldn’t notice me passing by/I could be in the gutter, or dangling down from a tree” [Excerpt: Richard and Linda Thompson, “Has He got a Friend For Me?”] While something like “The Calvary Cross” is oblique and haunted, and seems to cast a pall over the entire album: [Excerpt: Richard and Linda Thompson, “The Calvary Cross”] The album itself had been cheap to make — it had been recorded in only a week, with Thompson bringing in musicians he knew well and had worked with a lot previously to cut the tracks as-live in only a handful of takes — but Island didn’t think it was worth releasing. The record stayed on the shelf for nearly a year after recording, until Island got a new head of A&R, Richard Williams. Williams said of the album’s release “Muff Winwood had been doing A&R, but he was more interested in production… I had a conversation with Muff as soon as I got there, and he said there are a few hangovers, some outstanding problems. And one of them was Richard Thompson. He said there’s this album we gave him the money to make — which was I Want to See the Bright Lights Tonight — and nobody’s very interested in it. Henry the Human Fly had been a bit of a commercial disappointment, and although Island was altruistic and independent and known for only recording good stuff, success was important… Either a record had to do well or somebody had to believe in it a lot. And it seemed as if neither of those things were true at that point of Richard.” Williams, though, was hugely impressed when he listened to the album. He compared Richard Thompson’s guitar playing to John Coltrane’s sax, and called Thompson “the folk poet of the rainy streets”, but also said “Linda brightened it, made it more commercial. and I thought that “Bright Lights” itself seemed a really commercial song.” The rest of the management at Island got caught up in Williams’ enthusiasm, and even decided to release the title track as a single: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Neither single nor album charted — indeed it would not be until 1991 that Richard Thompson would make a record that made the top forty in the UK — but the album got enough critical respect that Richard and Linda released two albums the year after. The first of these, Hokey Pokey, is a much more upbeat record than their previous one — Richard Thompson has called it “quite a music-hall influenced record” and cited the influence of George Formby and Harry Lauder. For once, the claim of music hall influence is audible in the music. Usually when a British musician is claimed to have a music ha

In this conversation, Kami Pyvand shares his unique journey from being a restaurant manager to a successful realtor in Atlanta. He discusses the importance of communication, networking, and adaptability in the real estate market, as well as the foundational principles that have guided his success over the years. Kami emphasizes the need for realtors to stay connected with clients and to continuously improve their skills through education and coaching. The conversation also touches on the challenges faced during market fluctuations and the strategies that can help realtors thrive in any environment.   Professional Real Estate Investors - How we can help you: Investor Fuel Mastermind:  Learn more about the Investor Fuel Mastermind, including 100% deal financing, massive discounts from vendors and sponsors you're already using, our world class community of over 150 members, and SO much more here: http://www.investorfuel.com/apply   Investor Machine Marketing Partnership:  Are you looking for consistent, high quality lead generation? Investor Machine is America's #1 lead generation service professional investors. Investor Machine provides true ‘white glove' support to help you build the perfect marketing plan, then we'll execute it for you…talking and working together on an ongoing basis to help you hit YOUR goals! Learn more here: http://www.investormachine.com   Coaching with Mike Hambright:  Interested in 1 on 1 coaching with Mike Hambright? Mike coaches entrepreneurs looking to level up, build coaching or service based businesses (Mike runs multiple 7 and 8 figure a year businesses), building a coaching program and more. Learn more here: https://investorfuel.com/coachingwithmike   Attend a Vacation/Mastermind Retreat with Mike Hambright: Interested in joining a “mini-mastermind” with Mike and his private clients on an upcoming “Retreat”, either at locations like Cabo San Lucas, Napa, Park City ski trip, Yellowstone, or even at Mike's East Texas “Big H Ranch”? Learn more here: http://www.investorfuel.com/retreat   Property Insurance: Join the largest and most investor friendly property insurance provider in 2 minutes. Free to join, and insure all your flips and rentals within minutes! There is NO easier insurance provider on the planet (turn insurance on or off in 1 minute without talking to anyone!), and there's no 15-30% agent mark up through this platform!  Register here: https://myinvestorinsurance.com/   New Real Estate Investors - How we can work together: Investor Fuel Club (Coaching and Deal Partner Community): Looking to kickstart your real estate investing career? Join our one of a kind Coaching Community, Investor Fuel Club, where you'll get trained by some of the best real estate investors in America, and partner with them on deals! You don't need $ for deals…we'll partner with you and hold your hand along the way! Learn More here: http://www.investorfuel.com/club   —--------------------

Jimmy and Producer Joe celebrate their 20th anniversary with a special live recording with guests Michael Emerson, Greg Pak and Cynthia Von Buhler. While a bit last minute due to schedules & other glitches, it all came together nicely! As usual, Jimmy wrote some silly parody songs and sang them along with the CNI Chorus consisting of Sara Garfinkel, Kami Graves and Amy Wolk. Always funnier since we didn't really rehearse it much. We also get a very special news segment with Sara and Kami though make sure you check their sources. Thanks to the friends who came and even brought friends! It was a different set up as well because Producer Joe had to stay in the tech booth for most of the show. But it all turned out to be the usual fun times had by all!  Also, get a hold of us! Thanks for listening!

On today's show, Alex Golden is joined by Pacers Fan, Kami, to discuss his trip to Indiana from Atlanta this week, what he thought of the city, his food review on Culver's and Long's Bakery and what the atmosphere was like in Gainbridge for Games 3 + 4 and the Game 5 Watch Party.Shortly after, Kami and Alex discuss what the Pacers need to do in Game 6 to come out successfully with a win, discuss what players have struggled this series and why, how they can overcome their struggles and impact this series and MORE! The guys conclude the show giving their Game 6 predictions and discussing how to stop New York. 

Meet Kamigirl—a fresh voice from Eastern Europe who's ready to share stories about her music, her roots, and her dislike for me (Cam). From chatting about her latest album Let's Go Tonight to busting some moves in a spontaneous dance-off, this episode is packed with energy and plenty of laughs. Check out Kamigirl's music and follow her journey on Instagram: @kamiindahouse. Follow Sex Talk With My Mom (@sextalkwithmymom), Cam Poter (@camoncam69), and KarenLee Poter (@karenleepoter) on Instagram, YouTube, and TikTok! #SexTalkWithMyMom #KamiGirl #CelebrityPodcast #KamiDimitrova #CamPoter #KarenLeePoter #ComedyPodcast #FunnyPodcast #HollywoodStories Chapters 0:00 - Intro 01:30 - Meet Kami Girl: The Bulgarian Pop Star 05:15 - Discussing the New Album 10:42 - Name That Tune: Bulgarian Edition 17:10 - Dance-Off Shenanigans 26:30 - Wrap-up Please support our show and get discounts on our favorite brands by using our sponsors' links at sneakypod.com! ALLOY – Join the 95% of women who tried Alloy and saw relief from menopausal symptoms in the first 2 weeks. Head to MyAlloy.com/SNEAKY and use code SNEAKY. You'll get $20 off your first order today! FLESHLIGHT – Our sponsor, FLESHLIGHT, can help you reach new heights with your self-pleasure. FLESHLIGHT is the #1 selling male sex toy in the world. Looking for your next pocket pal? Save 10% on your next fleshlight with Promo Code: SNEAKY at fleshlight.com. ❣️You can view many of our full episodes in video form by going to our YouTube channel. Join our sparkling new Sneaky Freak chatroom on Discord! Just visit: https://discord.gg/jJZqkUw3dV. To gain exclusive access to all our Discord channels, join us at Patreon.com/sextalkwithmymom. If you've enjoyed the show, please consider leaving us a review at RateThisPodcast.com/Mom. Also, it would mean the world if you'd support us through Patreon.com/sextalkwithmymom – a platform where you can get exclusive STWMM bonus episodes and Zoom chats with us! Grab some Sex Talk w/ My Mom swag at sextalkwithmymom.com. Get close with us on socials at: Text us - 310-356-3920 Facebook/Instagram - @SexTalkWithMyMom Twitter - @SexTalkWMyMom Website - www.SexTalkWithMyMom.com Our podcast's music was crafted by the wildly talented Freddy Avis! Check out his work at http://www.freddyavismusic.com/ Sex Talk With My Mom is a proud member of Pleasure Podcasts, a podcast collective revolutionizing the conversation around sex. Learn more about your ad choices. Visit megaphone.fm/adchoices

Infamous: From Conned to Cupid tells the story of Kami Verne, a woman who thought she'd married the man of her dreams—an entrepreneur with a big heart and even bigger personality. But when investors start asking questions about his latest business ventures, Kami comes to realize that their life together might be built on lies. A story about love, betrayal, and starting over. Learn more about your ad choices. Visit megaphone.fm/adchoices