Podcasts about Lal

In this episode, I sit down with C. Vivek Lal, MD, FAAP, a physician-scientist and the founder & CEO of Resbiotic, to explore the incredible connection between our gut microbiome and respiratory health.  Dr. Lal shares how his clinical work with premature infants inspired a deeper dive into gut-lung science, ultimately leading to the development of Resbiotic—a science-first wellness brand that's bridging the gap between clinical research and everyday health. What really struck me in this conversation was Vivek's blend of curiosity, care, and credibility. He's not just creating a product—he's on a mission to help people breathe easier, live better, and understand how their gut health plays a role in it all. If you're interested in functional wellness, biotech innovation, or just want to understand your body a bit better, this one is for you. Here are a few highlights from our conversation: * The gut-lung axis: what it is and why it matters * How a NICU doctor became a CPG founder * Why Resbiotic leads with clinical credibility, not marketing fluff * The challenge of translating deep science into consumer products * How education and transparency are building trust in a skeptical market Join me, Ramon Vela, as I listen to the episode and discover how science, storytelling, and heart are driving the next wave of health and wellness innovation. For more on Resbiotic, visit: https://resbiotic.com/ If you enjoyed this episode, please leave The Story of a Brand Show a rating and review.  Plus, don't forget to follow us on Apple and Spotify.  Your support helps us bring you more content like this! * Today's Sponsors: Color More Lines: https://www.colormorelines.com/get-started Color More Lines is a team of ex-Amazonians and e-commerce operators who help brands grow faster on Amazon and Walmart. With a performance-based pricing model and flexible contracts, they've generated triple-digit year-over-year growth for established sellers doing over $5 million per year.   Use code "STORY OF A BRAND” and receive a complimentary market opportunity assessment of your e-commerce brand and marketplace positioning.    1 Commerce: https://1-commerce.com/story-of-a-brand Scaling a DTC brand becomes harder the bigger you grow, especially when you're limited to selling on just one channel.  While you're focused on day-to-day ops, your competitors are unlocking marketplaces like Amazon, Walmart, and even retail shelf space—and capturing customers you're missing. That's where 1-Commerce comes in.  They help high-growth brands expand beyond their sites, handle end-to-end fulfillment, and scale through a revenue-share model that means they only win when you do.  As a Story of a Brand listener, you'll get one month of free storage and a strategy session with their CEO, Eric Kasper.

durée : 00:36:32 - Les Nuits de France Culture - par : Albane Penaranda - Pour les athlètes de haut niveau, l'important est de gagner. Comme il le raconte dans ce numéro de "La Légende du sport" en 2000, c'est avec cet objectif que Guy Drut s'est présenté aux Jeux olympiques de Montréal en 1976. Malgré le doute qui l'assaille, il remporte la médaille d'or en 110m haies. - réalisation : Emily Vallat - invités : Guy Drut Athlète champion olympique, ancien ministre des sports

La tête d’Éric Ducharme roule à la SAAQ. Mais est-ce trop tard? Surtaxe sur le cuivre et sur le Brésil dès le 1er août. Suivi des 4 arrestations pour avoir facilité une activité terroriste : une ZEC comme repère, les parents défendent leurs enfants. Gilbert Rozon considère que sa vie est finie. Attention à une nouvelle vague de textos fraudeurs! Deux Québécois se joignent à la comédie musicale « La Légende de Monte Cristo » en France ! Émission spéciale pour Serge Fiori. Tout savoir en quelques minutes avec Alexandre Dubé, Marianne Bessette et Alexandre Moranville-Ouellet. Regardez aussi cette discussion en vidéo via https://www.qub.ca/videos ou en vous abonnant à QUB télé : https://www.tvaplus.ca/qub ou sur la chaîne YouTube QUB https://www.youtube.com/@qub_radioPour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

En entrevista para MVS Noticias con Ana Francisca Vega, Adrián LeBarón, activista, habló sobre que la Familia LeBarón pide a Estados Unidos añadir más cárteles mexicanos a la lista de terroristas, incluyendo La Línea y el Cártel de Juárez.See omnystudio.com/listener for privacy information.

A 10 años del caso La Línea, el periodista Pavel Vega presenta su libro La Antorcha.En esta entrevista hablamos sobre cómo ha cambiado Guatemala desde entonces, el papel del periodismo y qué busca contar con este libro.El libro será presentado en Filgua.Participa para ganarte el libro en X, tienes que colocar el link de este episodio y mencionar a Pavel, explicando que te quieres ganar el libro.Gracias a nuestro patrocinadorParty Smart.Síguenos en nuestras redes sociales:Whatsapp: https://whatsapp.com/channel/0029VaFG...Spotify: https://open.spotify.com/show/6nwrSBj...Tiktok: / tangentepodcast X: / tangentegt Facebook: / tangentegt Instagram: / tangente_gt

Dans "La Voix et Livre", Nicolas Carreau reçoit Gilles Bornais, qui nous emmène dans les exploits de nageurs légendaires avec "Les Aventuriers de la Nage". Puis, Arnaud de La Grange nous plonge dans "La Légende des Mers", un recueil d'histoires maritimes mêlant faits historiques et mystères.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

En este episodio se analiza la película 'Un Día de Furia', explorando su relevancia ideológica y social. Se discute el contexto del protagonista, su descontento con el sistema capitalista, y cómo su violencia se dirige hacia los más débiles. A través de diversas escenas, se reflexiona sobre la crítica al capitalismo, la familia, y la complejidad de la ideología en la actualidad.#michaeldouglas #violenciaurbana #ideología #capitalismo #autoritarismo Capítulos: 00:00 Introducción a Un Día de Furia02:53 Análisis del Protagonista y su Contexto05:48 El Malestar Social y la Reacción de Foster08:56 La Representación del Extranjero y el Nacionalismo12:04 La Lógica del Consumidor y la Crítica al Sistema14:54 Contradicciones en la Lucha de Clases18:00 Reflexiones sobre la Ideología y el Capitalismo21:17 Reflejos de Desilusión: El Policía y Foster25:12 El Desayuno y la Crítica al Consumismo27:55 Conexiones de Clase: El Manifestante y Foster30:01 La Complejidad del Nazismo y la Derecha32:10 Identidades y Contradicciones en la Derecha34:15 El Miedo a la Otredad y la Propaganda39:16 El Campo de Golf: Espacios Privados y Desigualdad40:25 Contradicciones de Clase y Consumo43:11 La Indignación y la Ideología de Foster46:00 La Violencia Estructural y su Redirección50:14 El Drama Familiar y la Crítica Social54:18 La Búsqueda de Sentido en un Sistema Fracturado

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! La Línea Mannerheim fue una serie de zonas fortificadas en la frontera de Carelia levantada por Finlandia con la finalidad de defenderse de un hipotético ataque de la URSS, En este especial de hoy, Esaú Rodríguez y Sergio Murata nos explican que era, cuando se comienza, que tipo de fortificaciones conformaban este dispositivo y algunos hechos bélicos relacionados con ella. Si quieres contratar publicidad o episodios patrocinados en este podcast 👉 https://advoices.com/niebla-de-guerra-podcast quizás quieras publicitar libros, viajes, recreaciones, vestuario o deporte, entonces este es tu podcast Musica intro: Fallen Soldier,licencia gratuita, de Biz Baz Estudio Licencia Creative Commons Fuentes: Revista HISTOMAG, especial Finlandia Audios y música: Fragmentos de la película Talvisota y música finesa de la época Portada : Sergio Murata Productora: Vega Gónzalez Director /Colaborador: Sergio Murata Espero que os guste y os animo a suscribiros, dar likes, y compartir en redes sociales y a seguirnos por facebook y/o twitter. Recordad que esta disponible la opción de Suscriptor Fan , donde podréis acceder a programas en exclusiva. Podéis opinar a través de ivoox, en twitter @Niebladeguerra1 y ver el material adicional a través de facebook https://www.facebook.com/sergio.murata.77 o por mail a niebladeguerraprograma@hotmail.com Telegram Si quieres acceder a él sigue este enlace https://t.me/niebladeguerra Además tenemos un grupo de conversación, donde otros compañeros, podcaster ,colaboradores y yo, tratamos temas diversos de historia, algún pequeño juego y lo que sea, siempre que sea serio y sin ofensas ni bobadas. Si te interesa entrar , a través del canal de Niebla de Guerra en Telegram, podrás acceder al grupo. También podrás a través de este enlace (O eso creo ) https://t.me/joinchat/Jw1FyBNQPOZtEKjgkh8vXg NUEVO CANAL DE YOUTUBE https://www.youtube.com/channel/UCaUjlWkD8GPoq7HnuQGzxfw/featured?view_as=subscriber BLOGS AMIGOS https://www.davidlopezcabia.es/ con el escritor de novela bélica David López Cabia https://www.eurasia1945.com/ Del escritor e historiador, Rubén Villamor Algunos podcast amigos LA BIBLIOTECA DE LA HISTORIA https://www.ivoox.com/biblioteca-de-la-historia_sq_f1566125_1 https://blog.sandglasspatrol.com/ blog especializado en temas de aviación Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

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

Lal labor de un investigador Paranormal es un constante riesgo y una constante preparación. Por lo general enfrentamos amenazas y peligros que no se pueden ver, que no habitan este plano, pero que se hacen presentes a través de manifestaciones que muchas veces carecen de una explicación lógica. Hoy conoceremos las experiencias de mi amigo Omar de Tijuana Paranormal. Hosted on Acast. See acast.com/privacy for more information.

El Cine, referencia de calidad de las eternas cuestiones.“Los Invasores de los Ladrones de Cuerpos”(1956) la vieja historia de las extraterrestres invasores con una particularidad, esta vez su forma es humana. Carecen de emociones, pero apariencia idéntica, recuerdos similares. Réplicas,sin embargo, IA pura y dura. "La lógica demente controla ya tu mente”, como mi canción (“TV. La Lógica Demente”) señala. Ese juego de apariencias en el que se promete lo que no se cumple, en el que el relato se apropia de la realidad, el humo desplegado ciega las mentes. Esquivel o Billy Idol, Los Tornados o Bowie en la BSO mientras las voces de la falaz, esperpéntica, “actualidad" resuenan en maquiavélico collage. Como la vida misma. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

El Cine, referencia de calidad de las eternas cuestiones.“Los Invasores de los Ladrones de Cuerpos”(1956) la vieja historia de las extraterrestres invasores con una particularidad, esta vez su forma es humana. Carecen de emociones, pero apariencia idéntica, recuerdos similares. Réplicas,sin embargo, IA pura y dura. "La lógica demente controla ya tu mente”, como mi canción (“TV. La Lógica Demente”) señala. Ese juego de apariencias en el que se promete lo que no se cumple, en el que el relato se apropia de la realidad, el humo desplegado ciega las mentes. Esquivel o Billy Idol, Los Tornados o Bowie en la BSO mientras las voces de la falaz, esperpéntica, “actualidad" resuenan en maquiavélico collage. Como la vida misma. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

Aimar Bretos entrevista al alcalde de La Línea de la Concepción tras el acuerdo histórico en Gibraltar. El peñón pasa a formar parte definitivamente del espacio Schengen.

Aimar Bretos entrevista al alcalde de La Línea de la Concepción tras el acuerdo histórico en Gibraltar. El peñón pasa a formar parte definitivamente del espacio Schengen.

Émission du 30 avril 2025 (00:00) - Le générique d'ouverture(01:04) - Le sommaire(03:48) - News Dans cette 31ème émission de l'année : (15:35) - "L'Amour, c'est surcoté" de Mourad Winter(21:08) - "Des jours meilleurs" d'Elsa Bennett et Hippolyte Dard(39:11) - "La Légende d'Ochi" d'Isaiah Saxon(52:57) - "Bop To The Top !" (56:30) - La carte blanche : Hollywood a-t-il réellement besoin d'un sauveur ? (1:09:43) - Quiz "Les alcooliques au cinéma" (1:20:52) - Les Recos de l'équipe (1:24:03) - Le générique de fin Nos recos de la semaine ⤵️Le jeu vidéo "Asphalt Legends" Unite de Gameloft : https://play.google.com/store/apps/de...La bande-dessinée "La Route" de Manu Larcenet : https://www.librairiesindependantes.c...La projection test de "Excito Mortis" de Nino Pieuchon et Theo Jamin : https://www.instagram.com/excitor_mor...La série "The Pitt" de R. Scott Gemmill : https://www.max.com/fr/fr/shows/pitt-...La vidéo "Rhea Ripley : L'Histoire de la Catcheuse qui a CHOQUÉ la WWE" de MrOkkin : • Rhea Ripley : L'Histoire de la Catcheuse q... Retrouvez The Cinema Show sur ⤵️Facebook : / rcmcinemashowInstagram : / thecinemashow_rcmTwitter : / thecinemashow1

Tranquilos, nostros no somos campeones de nada. Nos da mucha pereza intentarlo 😴. Pero este episodio viene cargado de campeones de verdad, de victorias inesperadas, de victorias trabajadas y de gente ilusionada. 🚵Empezamos haciendo un repaso de la Ribeira Sacra MTB Xperience que se ha celebrado hace unos días, de los "posibles preacuerdos" que ha habido allí, del buen rollo y de algo que ha llegado para ocupar un sitio de honor. Fernando la ha vivido en primera persona y nos cuentas su experiencia. [15 '14''] 🎙 Charlamos con Pablo Rodríguez Guede, que nos cuenta cómo ha sido la carrera en la que ha logrado convertirse en 👑 Campeón de España de XCM: las similitudes y diferencias con la carrera de Lalín en 2024, los momentos finales, cómo ha llevado su cuerpo al límite... 🥵 También repasamos con él sus próximos objetivos y hasta nos desvela quien forma su "grupetta" habitual, jerarquía incluida! [34' 54''] 🎙 Llamamos a 🥇Manuel Parada, en principio para felicitarlo por su campeonato de España XCM Máster 30B, pero se nos acumula el trabajo y de paso ya nos habla de su victoria en la Copa de España y en la Ribeira Sacra. Sin duda uno de los corredores más peculiares del panorama autonómico y nacional. ⭐️ [51' 35] 🎙 No os lo váis a creer: 😱 Marco Veiga nos ha cogido el teléfono!!!!! (💸💸lo nuestro nos ha costado, eh!💸💸) Aprendemos mucho sobre DH y Enduro de uno del actual Campeón de España de Enduro y también vencedor de la Copa de España, que además viene de hacer podium en Copa de España de DH. No os perdáis la charla con este rider de personalidad tan peculiar como brillante. 🏆 [1h 22' 27''] 🌍 Cilcismo Internacional: 🇮🇹 Que ha pasao' en el Giro??? Os contamos nuestra inútil a la par que intranscendete opinión de los hechos y cómo vivimos el final de la ronda italiana. Sin duda un día que todos recoradremos. También, como viene siendo habitual, repasamos la actualidad de Carlos Canal y las próximas pruebas interesantes del calendario, con especial atención al 🇫🇷 Criterium de Dauphine. FInlmente también echamos un ojo al MTB y al nuevo Shimano XTR Inalámbrico que se acaba de presentar.🛠 [1h 53' 35''] 📆 Calendario: Novedades, próximas semanas... lo uqe necesitais para planificar vuestras rutas y retos!

La L de LESBIANA por excelencia regresa al programa para hablar de Angélika, su nuevo álbum. Conversamos sobre lesbianismo, lesbianas, bolleras y tortilleras. No, pero hablamos de Pedro Sánchez, macrobingos, flow dedillos, butch/femme y muñecos.

In this concluding episode of our series on revolutionary endotoxin detection, we continue our conversation with Anika Hoffmann about transitioning from theory to practice in the quest for more reliable, sustainable testing methods. Anika is a postdoctoral researcher in analytical chemistry at HES-SO Valais-Wallis, Switzerland.Having established why traditional LAL testing falls short in Part 1, we now explore how Anika's innovative KDO-based chemical analytical approach compares in real-world applications:Greater accuracy you can trust: The new method delivers impressive 5-10% coefficient variation (compared to LAL's 25%), works across broader pH and formulation conditions, but is still working toward the sensitivity targets needed for all pharmaceutical applicationsClear path to regulatory acceptance: Anika outlines how companies can validate alternative methods against established standards like LAL, recombinant Factor C, or monocyte activation tests to gain approval from authoritiesSustainable testing strategy: Health authorities and customers are increasingly demanding sustainable alternatives as horseshoe crab populations decline while testing demand rises—adopt ethical, animal-free methods now before they become an industry requirementMost excitingly, Anika reveals her entrepreneurial journey from accidental discovery to startup founder. Her passion for solving this critical industry challenge exemplifies how scientists can transform technical innovations into practical solutions that benefit both industry and the environment.Whether you're a bioprocess scientist struggling with endotoxin testing, a quality assurance professional seeking more reliable methods, or someone interested in sustainable alternatives to animal-based testing, this episode provides a clear path toward a future where patient safety doesn't rely on horseshoe crab blood.Listen now to discover how you can implement smarter endotoxin testing at your organization – and reach out to Anika via the links in our show notes if you want to be among the first to access this groundbreaking technology.Connect with Anika Hoffmann:LinkedIn: www.linkedin.com/in/anika-hoffmann-652ab0196/Email: anika.hoffmann@hevs.chNext step:Book a free consultation to help you get started on any questions you may have about bioprocessing analytics: https://bruehlmann-consulting.com/callDevelop bioprocessing technologies better, faster, at a fraction of the cost with our 1:1 Strategy Call: The quickest and easiest way to excel biotech technology development. Book your call at www.bruehlmann-consulting.com/call/Support the show

Send us a textIn biopharmaceutical manufacturing, endotoxins represent a silent but deadly threat – bacterial fragments capable of triggering severe immune responses at picogram levels, potentially leading to septic shock, organ failure, or even death in patients.In this eye-opening first episode, we speak with Anika Hoffmann, a postdoctoral researcher in analytical chemistry at HES-SO Valais-Wallis, Switzerland, who's challenging the decades-old status quo of endotoxin testing. For nearly 50 years, the industry has relied on horseshoe crab blood (LAL assay) despite its significant limitations and sustainability concerns.Anika reveals the troubling truth about traditional testing methods:The LAL reliability problem: With acceptable recovery rates ranging from 50-200% and high variability, can we truly trust our current methods?The "low endotoxin recovery" phenomenon: How common pharmaceutical ingredients can mask dangerous endotoxins, creating false negativesThe horseshoe crab sustainability crisis: Rising testing demand threatens declining horseshoe crab populationsMost importantly, Anika introduces her groundbreaking alternative: a chemical analytical method targeting KDO, a unique sugar molecule present in all endotoxins. This approach eliminates reliance on enzymes or animal products while providing more consistent results across different pharmaceutical formulations.With regulatory limits as strict as 0.25 EU/mL for water for injection, reliable detection isn't just a quality issue – it's a patient safety imperative. If you're developing biologics, managing bioprocess quality, or navigating regulatory compliance, this episode reveals why rethinking endotoxin testing could be your most important decision.Listen to Part 1 to discover why smarter endotoxin testing is possible without relying on horseshoe crab blood, and stay tuned for Part 2 where we'll explore the practical implementation of this revolutionary approach.Connect with Anika Hoffmann:LinkedIn: www.linkedin.com/in/anika-hoffmann-652ab0196/Email: anika.hoffmann@hevs.chNext step:Book a free consultation to help you get started on any questions you may have about bioprocessing analytics: https://bruehlmann-consulting.com/callDevelop bioprocessing technologies better, faster, at a fraction of the cost with our 1:1 Strategy Call: The quickest and easiest way to excel biotech technology development. Book your call at www.bruehlmann-consulting.com/call/

En esta entrega de #Cartagrafías Laura Piñero nos cuenta la historia de Mary Wortley Montagu y de sus "Cartas desde Estambul" publicadas en España por la editorial "La Línea del Horizonte". Mary fue una viajera, escritora y pionera médica inglesa del siglo XVIII que relató su viaje al Imperio Otomano. Se integró en su cultura sin prejuicios lo que permitió que pudiera avanzar una cura contra la viruela. Además, sumamos la recomendación del segundo volumen de cartas del escritor James Joyce que acaba de publicar "Páginas de Espuma". 

En esta entrega de #Cartagrafías Laura Piñero nos cuenta la historia de Mary Wortley Montagu y de sus "Cartas desde Estambul" publicadas en España por la editorial "La Línea del Horizonte". Mary fue una viajera, escritora y pionera médica inglesa del siglo XVIII que relató su viaje al Imperio Otomano. Se integró en su cultura sin prejuicios lo que permitió que pudiera avanzar una cura contra la viruela. Además, sumamos la recomendación del segundo volumen de cartas del escritor James Joyce que acaba de publicar "Páginas de Espuma". 

In this batch of this season's post mortems, Andrew and Adam look at teams who are too good to be in the tanking list, too stable to be in the "best interests of the organization," but not good enough to be in the league's elites. Teams covered are:POR, SA, MIL, ORL, DET, LAC, LAL, HOU.

En  la música repasamos 25 años de la carrera y las canciones de uno de los raperos más importantes de nuestro país: El Chojín. Paco nadal nos lleva a un lugar único, Molina de Aragón que estrena parador nuevo. Terminamos con Cartagrafías de Laura Piñero que nos cuenta la historia de Mary Wortley Montagu y de sus "Cartas desde Estambul" publicadas en España por la editorial "La Línea del Horizonte". Mary fue una viajera, escritora y pionera médica inglesa del siglo XVIII que relató su viaje al Imperio Otomano. Se integró en su cultura sin prejuicios lo que permitió que pudiera avanzar una cura contra la viruela. Además, sumamos la recomendación del segundo volumen de cartas del escritor James Joyce que acaba de publicar "Páginas de Espuma".

En  la música repasamos 25 años de la carrera y las canciones de uno de los raperos más importantes de nuestro país: El Chojín. Paco nadal nos lleva a un lugar único, Molina de Aragón que estrena parador nuevo. Terminamos con Cartagrafías de Laura Piñero que nos cuenta la historia de Mary Wortley Montagu y de sus "Cartas desde Estambul" publicadas en España por la editorial "La Línea del Horizonte". Mary fue una viajera, escritora y pionera médica inglesa del siglo XVIII que relató su viaje al Imperio Otomano. Se integró en su cultura sin prejuicios lo que permitió que pudiera avanzar una cura contra la viruela. Además, sumamos la recomendación del segundo volumen de cartas del escritor James Joyce que acaba de publicar "Páginas de Espuma".

Welcome back to another episode of The Green Grind Podcast! This week, Kory and LeRoy sit down with Harlan Jones, the proud owner of Jones Property Maintenance. Harlan shares his inspiring journey into the green industry—starting from humble beginnings in door-to-door sales for Comcast to launching his own lawn care business from the ground up. He's the definition of hustle and perseverance, and his story is packed with real-world lessons and takeaways. Tune in as Harlan talks about the challenges he faced, the strategies that helped him grow, and how he built Jones Property Maintenance into a million-dollar operation. Whether you're just getting started or looking to scale, this episode is full of valuable insights you won't want to miss. Powered by Jobber and Protiv!  Free Trial and 20% off Jobber for 6 months: go.getjobber.com/ballardinc Need a website? Use the code GreenGrind to get your first month for $1.  https://www.greenfrogwebdesign.com/koryballard

Olivier Mas est un ancien agent des services secrets de la DGSE, aujourd'hui auteur de plusieurs récits et créateur de la chaîne YouTube Talk with a Spy. Son dernier roman, Le Walk-In, est disponible partout.https://amzn.to/3SH6OTXhttps://talkswithaspy.com/https://www.instagram.com/talkswithaspyhttps://www.youtube.com/@TalkswithaSpyCHAPITRES0:00 Introduction1:03 La Légende11:41 Recrutement et processus d'infiltration14:20 Détection du mensonge et psychologie humaine24:18 Manipulation et techniques d'influence31:42 Souplesse et gestion du stress37:53 La réalité de la violence41:43 Enjeux de sécurité et danger50:28 Morale et éthique dans l'espionnage53:21 Patriotisme et loyauté des agents59:13 Recrutement et psychologie des agents1:04:25 Préparation à l'interrogatoire et torture1:19:56 La force humaine en temps de crise1:28:49 Les témoignages de torture1:37:02 La solitude de l'agent secret1:53:19 Techniques d'approche en espionnage2:07:55 Écrire un roman d'espionnage2:17:12 Confiance en la DGSELIENS PODCASTS• Spotify : https://open.spotify.com/show/1yqDTNuuLcagrP3Z0jwBzz• Apple Podcasts : https://podcasts.apple.com/fr/podcast/biom%C3%A9canique/id1456142727• Youtube : https://www.youtube.com/@UCQlJ8F6VtTThflbkhdJmXWA LIENS RÉSEAUX SOCIAUX & SITE• Instagram : https://www.instagram.com/biomecaniquepodcast/• Facebook : https://www.facebook.com/BiomecaniquePodcast/• Tiktok : https://www.tiktok.com/@biomecaniquepodcast• Discord : https://discord.gg/EAe8aKRJ9N• Website : https://biomecaniquepodcast.com• Newsletter : https://biomecaniquepodcast.com/Lettre Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Dr. Bhavya Lal was our guest for this Friday Space Show program, mainly to discuss her very important Space Review article dated March 17, 2025 and titled "Is the Moon in America' future?" Note that early in the interview, Dr. Lal called our attention to other similarly important Space Review articles which you can easily find her name. I strongly suggest you review them. Not only did we talk about the Moon and why it should be in the U.S., in fact all humanity's future, we talked about Mars, potential NASA science and related budget cuts and more. Bhavya and I had a great but short discussion on just why space science and exploration is important for everyone as we each related personal stories of just how space science positively impacted our lives. Other topics include nuclear power and energy for space, fusion development, national security needs re the Moon and for space in general, and the importance of sooner than later time lines for Artemis and our return to the Moon. Our guest also stressed the need for strategic thinking in space planning, figuring out what should come next & developing alternate/backup plans. This hour plus interview is packed with important wisdom provided by Dr. Lal. We were most fortunate to have her as a guest. For all who hear this program, including policy folks, government mission think men and women, industry, advocates and the general public, really listen to what Dr. Lal shared with us. Thank you.

Basée sur un célèbre comics créé en 1937 par Harold Foster, La Légende de Prince Valiant est une coproduction franco-américaine entre la société IDDH et Hearst Entertainment. Elle est diffusée en France à partir d'avril 1992 dans C'est Lulo, sur FR3. Créé par le groupe canadien Exchange, sur des paroles françaises de Bernard Rissol, le générique est chanté par Frédéric Fresson...

durée : 00:54:22 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - "Avez-vous lu Victor Hugo ?" En 1985, pour les 100 ans de la mort de Victor Hugo, Antoine Vitez présente six lectures, par des personnalités, de l'oeuvre de Hugo. Dans le cinquième volet, c'est le philosophe Alain Badiou qui lit des extraits des "Misérables" et de "La Légende des Siècles". - réalisation : Virginie Mourthé - invités : Alain Badiou Philosophe, dramaturge, professeur émérite à l'Ecole Normale Supérieure

Mit großem Erfolg macht sich das Theater UIm um die Uraufführung von Opern Bühnenwerken des 1939 verstorbenen Komponisten Charles Tournemire verdient. Die Produktion von „La Légende de Tristan“ wurde von der Zeitschrift Opernwelt 2023 zur „Uraufführung des Jahres“ gekürt. Nun folgt Tournemires letzte Oper über den heiligen Franziskus: „Le petit pauvre d‘Assise“.

durée : 00:29:48 - Les Nuits de France Culture - par : Philippe Garbit - En 1997, l'émission "Poésie sur parole" revenait sur la découverte du long poème La Légende de Novgorode de Cendrars publié en 1907 dont tous les exemplaires avaient disparu... jusqu'en 1995. - réalisation : Virginie Mourthé - invités : Claude Leroy Ecrivain, professeur émérite à Paris X, spécialiste de Blaise Cendrars; Miriam Cendrars Journaliste; André Dussollier Comédien, acteur

Nous sommes le 7 novembre 1945, à Liège, à l'issue des trois semaines de procès de « La Légia », organe de presse collaborateur. Directeurs, journalistes, employés, ouvriers du quotidien ont été inculpés en bloc et traduits devant le Conseil de Guerre. Un reporter du journal « La Meuse » écrit : « C'est fini, le procès de « La Légia » a vécu.(…) Justice est faite. Le compte de chacun a été établi avec la sévérité que réclamaient des trahisons concertées, trahisons d'autant plus graves qu'elles furent commises par le truchement d'une presse vendue à l'ennemi. La mort punira les plus coupables, les travaux forcés et la prison donneront aux autres le temps de méditer sur leurs crimes, de sentir le remord monter en leur cœur. Une fois de plus, il est démontré que le journalisme sous l'occupant constitue le plus grand des attentats contre le moral des populations. Ainsi l'a dit le verdict. Les valets de plume sont jugés par la loi et par l'opinion publique. Le procès de « La légia » a vécu. La presse libre en sort grandie, plus honorée et plus respectée. » Parmi les condamnés figure Pierre Hubermont. Il fut considéré, dans les années 1930, comme « le plus talentueux de nos jeunes romanciers ». Auteur de « Treize hommes dans la mine » un ouvrage que l'on présentait comme un grand moment de la littérature prolétarienne. Engagé très à gauche dans le Parti Ouvrier Belge, il avait dénoncé durement, en 1935, les atrocités du régime nazi. Comment se fait-il que, cinq ans, plus tard, Hubermont dérive vers l'Ordre Nouveau et collabore avec l'ennemi, d'abord comme journaliste puis en animant la Communauté Culturelle Wallonne. Retour sur le parcours d'un homme tristement complexe … Invité : Daniel Charneux, auteur, avec Claude Duray et Léon Fourmanoit, de « Pierre Hubermont, écrivain prolétarien, de l'ascension à la chute » ; éd. M.E.O. Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Esta semana, en Islas de Robinson, clásicos en coordenadas de Folk-Rock británico entre 1971 y 1974. Canciones que hablan por sí solas. Suenan: ALAN HULL - "MONEY GAME" ("PIPEDREAM", 1973) / KEVIN COYNE - "BLAME IT ON THE NIGHT" ("BLAME IT ON THE NIGHT", 1974) / MICHAEL CHAPMAN - "ANOTHER SEASON SONG" ("DEAL GONE DOWN", 1974) / ROY HARPER - "TWELVE HOURS OF SUNSET" ("VALENTINE", 1974) / DUNCAN BROWNE - "MIGNON" (1973) / PETER HAMMILL - "AGAIN" (IN CAMERA", 1974) / JOHN CALE - "EMILY" ("FEAR", 1974) / RICHARD AND LINDA THOMPSON - "THE GREAT VALERIO" ("I WANT TO SEE THE BRIGHT LIGHTS TONIGHT", 1974) / TIR NA NOG - "TEESSIDE" ("STRONG IN THE SUN", 1973) / INCREDIBLE STRING BAND - "DREAMS OF NO RETURN" ("HARD ROPE & SILKEN TWINE", 1974) / C.O.B. - "OH BRIGHT EYED ONE" ("MOYSHE MCSTIFF AND THE TARTAN LANCERS OF THE SACRED HEART", 1972) / STRAWBS - "IN AMONGST THE ROSES" ("FROM THE WITCHWOOD", 1971) / LAL & MIKE WATERSON - "FINE HORSEMAN" ("BRIGHT PHOEBUS", 1972) Escuchar audio

Il a grandi en Centrafrique, traversé les guerres, et choisi de répondre par la créativité. Teddy Kossoko, 30 ans, utilise les jeux vidéo pour raconter l'Afrique autrement. Mais créer ne suffit plus. L'entrepreneur installé à Toulouse poursuit désormais un objectif plus vaste : bâtir un marché du jeu vidéo africain. Pour lui, il faut aussi pouvoir vendre, localement. Portrait d'un entrepreneur engagé. La mission de Teddy Kossoko : reconnecter les Africains à leur histoire et casser les clichés. Une ambition qui le pousse à créer Masseka Game Studio en 2018. « "Masseka" dans ma langue natale, Sango, veut dire "jeune, jeunesse". Pour moi Masseka, c'est un moyen de raconter l'Afrique. D'abord aux Africains, car la plupart des Africains ne connaissent pas le continent africain. Ensuite raconter l'Afrique au reste du monde, pour que les gens puissent connaître l'Afrique au-delà de la colonisation et de l'esclavage. Qui colle aujourd'hui à la peau des Africains, on n'est pas que cela », raconte-t-il.Ses jeux s'inspirent des cultures africaines. Kissoro, par exemple, revisite l'awalé, ce jeu de stratégie traditionnel, pour en faire un outil de paix. « C'est un jeu avec des pions et des cases. À l'époque, je voulais promouvoir la paix entre deux royaumes », se souvient-il. La Centrafrique à l'époque est en guerre, et Teddy Kossoko choisit la créativité comme arme politique. Le succès est au rendez-vous : plus de 50 000 téléchargements. Puis vient La Légende de Mulu, un jeu d'aventure pédagogique, mais un problème persiste. Ses jeux se vendent partout sauf en Afrique.Les grandes plateformes comme Google imposent des cartes bancaires et empêchent les créateurs africains de vendre localement. Pour contourner ces blocages, Teddy Kossoko lance Gara, une boutique en ligne pensée pour l'Afrique. Elle centralise les contenus et utilise le mobile money pour simplifier l'achat. « L'idée, c'est : j'arrive, j'ai 100 francs CFA, je paie avec mon mobile money et j'accède aux contenus. Ça aide les créateurs à générer des revenus », explique-t-il.Mais pour lui, l'enjeu dépasse l'économie. « J'ai vécu deux guerres. La première guerre que j'ai vécue, j'ai vu d'enfants soldats venir chez nous et tout casser. Je me suis posé la question : pourquoi sont-ils devenus des enfants soldats ?, s'interroge-t-il. Quand tu travailles et que tu as un emploi, tu ne vas pas prendre les armes. Il faut qu'on arrive à avoir suffisamment des chaînes de valeur pour que les jeunes eux-mêmes génèrent des revenus et vivent de ça. »Derrière ses jeux, Teddy Kossoko défend un combat : bâtir une industrie capable de créer des emplois. Car stabiliser les sociétés passe aussi par là.À écouter aussiGabino Guerengomba pour «IST» et Teddy Kossoko pour «Masseka Game Studio»

On Wednesday's edition of WagerTalk Today, Ralph Michaels & drops by to give NBA Playoffs & MLB predictions while Sean Alvarez stops in to talk all things Kentucky Derby. Art Dicesare from the West Gate SuperBook joins the show to share the latest info from behind the counter. Andy Lang shares his favorite prop bets and Gianni The Greek gives his daily Steam Report and valuable betting advice – don't miss out!Introduction 00:00Gianni Daily Steam Report - GSW v HOU 2:50MIN v LAL 4:00NHL Sharp Action 5:45MLB Sharp Action 10:00How do you know when you're a sharp bettor 12:17Andy Lang Tuesday Bad Beat 17:15Daily Props 19:20Ralph Michaels on NHL Series Trend 24:40GSW v HOU Game 5 27:20MIN v LAL Game 5 31:25Sean Alvarez Talks Kentucky Derby - On Journalism 37:40On Baeza 39:50Fade Horse 42:00LongShots 45:00

This week on The Green Grind Podcast, Kory sits down with returning guest Brian Fullerton — the powerhouse behind Brian's Lawn Maintenance, YouTube sensation, and host of the Fullerton Unfiltered Podcast. In this episode, they dive into a topic that's all too common for those pushing toward success: hearing "you've changed" or "we miss the old you." Kory and Brian have a candid conversation about the realities of personal development, why growth often makes people uncomfortable, and how critical it is to surround yourself with the right people who challenge and inspire you. Whether you're just starting out or deep into building your dream, this episode is packed with real talk about leveling up in business and life. Tune in and get inspired to keep evolving — even when others don't always understand the journey! Powered by Jobber and Protiv!  Free Trial and 20% off Jobber for 6 months: go.getjobber.com/ballardinc Need a website? Use the code GreenGrind to get your first month for $1.  https://www.greenfrogwebdesign.com/koryballard

In this week's episode of @Notevend2 , it's just the hosts- no guest. We take a deep dive into the NBA playoffs so far: each matchup, surprise performances, and what to look for moving forward. All the storylines and hot takes are covered.This episode is available wherever you listen to podcasts. Make sure to subscribe to the podcasts YouTube channel @Notevend2 for more sports content.Enjoy the episode!Intro, Thoughts on NCAA Rule Change (Pay to Play)- 00:00-03:16JJ Reddick / Lakers- 03:16-07:45#1 OKC vs. #8 MEM- 07:45-11:22#3 NYK vs. #6 DET- 11:22-18:20#1 CLE vs. #8 MIA- 18:20-21:59#3 LAL vs. #6 MIN- 21:59-28:00#4 IND vs. #5 MIL- 28:00-35:10#2 HOU vs. #7 GSW- 35:10-41:58#2 BOS vs. #7 ORL- 41:58-43:15#4 DEN vs. #5 LAC- 43:15-48:06Outro- 48:06-49:27

On today's episode of The Big Number, Tom Haberstroh and Dan Devine dug up the data that proves Luka Doncic is LeBron James' greatest teammate of all-time. Sorry Dwyane Wade, our bad Kyrie Irving, apologies Anthony Davis -- Tom and Dan have the data that shows why #77 on the purple and gold gets this honor. But is Head Coach JJ Redick putting too much on the shoulders of his newcomer? And what does Anthony Edwards need to do offensively to break out in this series as it shifts back to Minnesota?Plus, Jayson Tatum has been Mr. Durability for the Boston Celtics for nearly a decade now, but this latest wrist injury has Tom Haberstroh and Dan Devine concerned.(3:05) The Big Number: Luka's points in playoffs(11:18) Luka's minutes on the bench(15:30) Minnesota wide-open 3-pointers vs. LAL(19:35) Gobert impact on Wolves defensive rating(23:16) Edwards pick-n-roll points per possession(27:30) Jayson Tatum doubtful for Game 2 vs. Magic

Wrong calls in baseballVegas Golden Knights last second goalTWoles win more about the LAL or Minn?NBA Playoff teams that are in the most trouble

This week on Marni On The Move, I'm joined by Dr. Sonali Lal, board-certified Physiatrist, Sports Medicine Doctor, and Founder of Integrative Spine and Sports. In this insightful and empowering conversation, we explore the world of physiatry—what it is, why it matters, and how it fits into modern sports medicine and holistic healthcare. Dr. Lal shares her inspiring journey into medicine and entrepreneurship, along with her expertise on cutting-edge treatments like PRP, stem cell therapy, cortisone injections, and how they play a role in injury recovery and performance. We also dive into hormonal and menopausal health, the rise of GLP-1s and peptides, and the latest thinking on supplements for longevity. Whether you're an athlete, weekend warrior, or simply navigating the aging process, this episode is packed with actionable insights to support your performance, healing, and overall well-being. CONNECT Integrative Spine & Sports on Instagram Dr. Sonali Lal On Instagram Marni On The Move Instagram, TikTok, LinkedIn, or YouTube` Marni Salup on Instagram and Playlist on Spotify SUBSCRIBE TO OUR NEWSLETTER Sign up for our monthly newsletter, Do What Moves You, for Marni on the Move updates, exclusive offers, invites to events, and exciting news! SUPPORT THE PODCAST Leave us a five stars and a review on Apple, it's easy, scroll through the episode list on your podcast app, click on five stars, click on leave a review, and share what you love about the conversations you're listening to. Tell your friends the episodes you are listening to on your social. Share a screen shot of the episode in your stories, tag us, we will tag you back! Subscribe, like and comment on our YouTube Channel, MarniOnTheMovePodcast  

As a member of Radiohead since its inception over 30 years ago, Colin Greenwood’s contributions to the group, both through his bass playing and songwriting, have helped them reach ever-higher levels of artistic and commercial prominence. A soulful, clever, and inventive bass player, his parts are always noticeable due to being highly composed and carefully considered, but never intrude on the song or call attention to themselves unnecessarily. While Radiohead’s been on hiatus, Greenwood has toured with Nick Cave and more recently released a book of behind-the-scenes photos of Radiohead over the past several decades entitled How to Disappear: A Portrait of Radiohead. In this episode, he discusses how works performed by Jonas Nordberg, Lal and Mike Waterson, and Vincent Lhermet influenced his own artistic development.See omnystudio.com/listener for privacy information.

Lal Bikes' Supre Drive offers some compelling upsides over a conventional derailleur drivetrain, but it also needs a frame built around the system. Lal began by partnering with Nicolai on the Nucleon 16, but now they are ready to launch their first bike under the Lal Bikes brand. So we sat down with Cedric Eveleigh, the founder of Lal and inventor of the Supre Drive, to hear all about the new Katana, get the story of its design and development, chat about material selection and ride feel, and a whole lot more.RELATED LINKS:BLISTER+ Get Yourself CoveredLal KatanaCedric Eveleigh of LAL Bikes on Reinventing the Derailleur (Ep.94)Lal Bikes on Making the Supre Drive a Reality (Ep.179)TOPICS & TIMES:The Supre Drive (2:32)Nicolai Nucleon 16 (3:57)The Katana's development (8:56)Initial concepts for the Katana (18:11)Ride feel of steel frames (19:00)Performance goals for the Katana (24:48)Handling & geometry (26:54)Suspension kinematics (31:23)The Supre Drive and parts compatibility (38:37)Pricing & availability (55:05)Final details (58:33)CHECK OUT OUR OTHER PODCASTS:Blister CinematicCRAFTEDGEAR:30Blister PodcastOff The Couch Hosted on Acast. See acast.com/privacy for more information.

Nekias Duncan and Steve Jones Jr. bounce around the NBA with observations, catch up on the latest news, then answer a pair of questions from the Dunker Spot mailbag.If you ever have NBA or WNBA questions, email us at dunkerspot@yahoo.com.If you'd like to join our Dunker Spot Playoff watch parties -- they're free, and easy to sign up for -- you can do so here: https://www.playback.tv/thedunkerspotTIME STAMPS2:05 -- Here come the Magic 21:11 -- Trust/temperature check for six defenses (NYK, DET, IND, LAL, MEM, DEN)1:04:55 -- Potential swings in the DPOY/ROY races1:15:52 -- Fun at the bottom (TOR, UTA, WAS)1:21:05 -- NBA news (Damian Lillard, Brandon Clarke, Celtics sale)1:23:10 -- WNBA news (Marine Johannes, Chicago Sky)1:27:32 -- Mailbag, starting with a Grit n Grind Grizzlies comp1:33:07 -- Best name-branch players1:37:21 -- Free ThrowsSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Professor Prita Lal Bio:Bio: Raised as a child of South Asian immigrants in theAmerican South, Professor Prita Lal became interested in social justice issues at a young age and now teaches at Evergreen State College at the intersectionsof food and environmental justice, social movements, Black studies, solidarity economics, cooperative education, healing justice and community-based learning.Dr Lal completed her BA in French & anthropology at Tulane, her Master's & Doctorates in Sociology at Stony Brook University. Her teaching style focuses on education for transformation and liberation. She also has completedextensive training in yoga and Ayurveda (an ancient system of healing from South Asia), which she integrates through somatic and trauma-informed teaching practices. Her work analyzes the root causes of social problems, not intending to paralyze, but rather inform just alternatives to transform (rather than recreate) systemic injustices. Path AffiliationEnvironmentalStudies , Psychology,Health, and Community , PoliticalEconomy, Global Studies, and Environmental Justice , Foodand AgricultureFields of StudyAfricanAmerican Studies , Sociologyand Anthropology , PoliticalEconomy and Political Science , FoodSystems , FoodStudies , FoodJustice , EthnicStudies , CommunityStudies , Climateand Environmental Justice , AgricultureObjective today: explore the intersection betweenwellness & justice. 1.     Tell us your story- what are you doing & howdid you get here?  2.     What's the problem here? Our perception is thatwellness requires resources that are often the realm of the rich. The problems created by a widening gap between rich & poor. What is the role of power?  3.     The circles that we've been in for wellness& the circles we've been for justice. What are the ways that these overlap or don't overlap or could or should overlap.  4.     Let's shift to talking about how our health hasbeen colonized- what does that mean? How do we define ‘decolonizing our health.' Connecting to inner power.  5.     Now let's talk about Ayurveda- what is it &what is its power & potential to offer us wellness AND justice? What is spiritual by-passing & how is this used go maintain status quo.  6.     What are the steps to address this? a.     Finding our inner powerb.     Connection to self & planetc.     Connection to each other & then socialjustice movements – calling in vs calling out to challenge internalizedcolonialismd.     Embracing mistakes vs being defined by mistakes,perfectionism is an element of white supremacy culture

Flying stones, loose tar and hurtling chips have left dozens of car owners needing new tyres, windscreens and paint jobs in Napier. The damage is all being done from driving through roadworks that are situated in a main thoroughfare in the city. The Tyre Shop Napier has seen some of the damage come through - with owner Arnie Lal saying it's among the worst he's seen. Mr Lal spoke to Lisa Owen.

It's time for The Truth!Today, Sam and Dougie are looking at Alexander Isak, who is hot property right now after another stellar campaign with Newcastle United, which culminated in him firing them to Carabao Cup glory at Wembley on Sunday against Liverpool. Newcastle are absolutely adamant that their Swedish superstar is going nowhere - and so they should be - but that hasn't stopped the rumour mill going into overdrive about clubs interested in prying him away from Tyneside this summer. So we dig into the numbers, take a look at Newcastle's financial position, examine the words of the people in the know about their business model, and try to work out whether this is bluster or something more concrete. We also explore possible destinations for if Newcastle decided that they were going to cash in on their most profitable asset, talking about how Isak would fit at both Liverpool and Arsenal - who are both reported to be very interested - and some alternate options on the continent as well. So, will Alexander Isak continue to spearhead the Geordie renaissance as they work their way up the table? Or will his value, a big offer, and a desire to build out the squad mean that he will be playing football elsewhere next year? Well, The Truth is somewhere in the middle... And remember, if you'd like more from the Rank Squad, including extra podcasts every Monday and Friday (including our weekly Postbox taking a look at the whole weekend of football) and access to our brilliant Discord community, then why not join us here on Patreon?

On today's show, Dane is joined by Wolves beat writer Jace Frederick from the St. Paul Pioneer Press to discuss the best/worst playoff matchups for the Wolves in the Western Conference. Dane and Jace start the episode by ranking playoff matchups before discussing some themes from the Wolves blowout win over the Jazz on sunday night. Specific topics and timestamps below...- Ranking best/worst playoff matchups for the Wolves between OKC, HOU, DEN, MEM. LAL and GSW (2:00)- Ant setting the tone with a big night against a lesser opponent (33:00)- Jaylen Clark earning a role and being the Wolves' latest player development win (38:00)- Conley rests, DDV starts + the minutes the Wolves play without a traditional PG (48:00)  If you'd like to support our partners...-- This episode is brought to you by BetterHelp. Give online therapy a try at https://www.betterhelp.com/DANEMOORE and get on your way to being your best self.-- Try out our new sponsor WtrMln Wtr at Whole Foods or Target: https://drinkwtrmln.com/-- Contact Adrianna Lonick with Coldwell Banker Realty for a free consultation at: https://www.thedancingrealtor.com/ or call/text 715-304-9920-- For more information on Treasure Island Watch Parties, visit https://www.ticasino.com-- Try out Factor Meals at https://factormeals.com/factorpodcast and use code "FACTORPODCAST"-- Try out SKIMS Men's underwear: https://skims.com/collections/menswear-- Get yourself a pair of Duer jeans for 20% by going to: https://www.shopduer.com/danemoore-- Contact Your Home Improvement Company: https://www.yourhomeimprovementco.com/-- Follow Falling Knife on Instagram for weekly schedule updates: https://www.instagram.com/fallingknifebc/ -- Sign up for Prize Picks, promo code "DANE" for a signup bonus: https://www.prizepicks.com/-- Want to advertise on the show? Reach out to DaneMooreProductions@gmail.com-- Support the show by subscribing for $5 a month: https://www.patreon.com/DaneMooreNBA-- #BlueWireVideo

Today, I am delighted to connect with my physician colleague, Dr. Vivek Lal. He is a physician-scientist, a double board-certified physician, an innovator, and an entrepreneur. He is also the Director of Clinical Innovation at the Marnix Heersink Institute of Biomedical Innovation and Professor and Director of the Pulmonary Microbiome Lab at the University of Alabama at Birmingham. In today's conversation, we dive into the lung microbiome, examining the anatomy and physiology of the lungs, gas exchange, and why air is medicine. We discuss the realities of lung function, looking at the lung microbiome, dysbiosis, the concept of leaky lung, and the gut-lung relationship, and explore how lifestyle, exercise, and nutrition impact lung health and how sleep deprivation and stress can lead to lung infections and inflammation. We also get into specific diagnoses related to lung health, the effects of environmental toxins, and the latest cutting-edge research on probiotics that may benefit lung health, and touch on the consequences of long-term steroid use for chronic conditions and how menopause impacts the lung microbiome. I know you will love this invaluable conversation with Dr. Vivek Lal. IN THIS EPISODE YOU WILL LEARN: Dr. Lal explains the anatomy and physiology of the lungs Why Dr. Lal believes air is medicine How the lung microbiome compares with the gut microbiome  How the concept of real lung function can prevent secondary health issues  How lifestyle factors influence lung health How the gut-lung axis affects lung health How ResB Lung Support, the world's first respiratory probiotic, was developed  The benefits of using the ResB Lung Support probiotic  How probiotics can reduce the side effects of long-term steroid use Bio: Dr. Vivek Lal Dr. C. Vivek Lal, MD, is a physician-scientist, innovator, and entrepreneur. He is the Director of Clinical Innovation at the Marnix Heersink Institute of Biomedical Innovation, Professor, and the Director of the Pulmonary Microbiome Lab at the University of Alabama at Birmingham (UAB). Dr. Lal is the founder of Alveolus Bio, Inc., a biotech platform company that does FDA-approved pulmonary drug development. He is also the founder and CEO of ResBiotic Nutrition, Inc., a company that makes science-backed wellness supplements, and Urgent Care for Children, a Southeast US-based urgent care chain headquartered in AL. Connect with Cynthia Thurlow          Follow on Twitter Instagram LinkedIn Check out Cynthia's website Submit your questions to support@cynthiathurlow.com Connect with Dr. Vivek Lal On the ResBiotic website Email Dr. Lal: Vikek@resbiotic.com 

Welcome back to The Green Grind Podcast! Today, Kory and LeRoy sit down with Iowa native Spencer Moeller, the proud owner of Moeller Lawn Care & More in Waterloo, IA. Spencer shares his journey into the green industry, from what first sparked his interest in lawn care to the strategic moves he's made to grow and scale his business. We dive into the challenges of hiring and building a reliable team, the lessons he's learned along the way, and the systems he's put in place to keep operations running smoothly. Whether you're looking to expand your business, improve efficiency, or take your lawn care company to the next level, this episode is packed with valuable insights and real-world advice. Tune in to hear Spencer's story, his perspective on growth, and what's next for Moeller Lawn Care & More! Powered by Jobber and Protiv!  Free Trial and 20% off Jobber for 6 months: go.getjobber.com/ballardinc Need a website? Use the code GreenGrind to get your first month for $1.  https://www.greenfrogwebdesign.com/koryballard

Krispy Krème Baby… Rain in LA / L.A. Fires… Arborist questions how fires started… TV Shows watching / Night Agent S2 / On Call on Prime / The Pitt on MAX... Email: Chewingthefat@theblaze.com WEF brings Bidness Business to Davos... Zyn authorized and not bad… Taco Bell drive thru cam… NFL playoffs / Superbowl... Who Died Today: DJ Unk 43… www.shopblazemedia.com Subscribe to Blaze TV www.blazetv.com/jeffy Extinct bird re-evolves?... Spotted Hyena returns… Salmon recall… Kia recall… Joke of The Day from Granpa Bill… Learn more about your ad choices. Visit megaphone.fm/adchoices