Podcasts about liege

Nous sommes en 1123, aux confins méridionaux du domaine de Jupille, au lieu-dit « Bellus Fons », Belle-Fontaine. Ce jour-là, Robert, un ermite, et ses compagnons se voient confier, par l'évêque de Verdun, un manse de terre, càd, un petit domaine, et la dîme, l'impôt de celui-ci, afin d'y installer une église et un hospice pour pèlerins et indigents. On prévoit également, pour la gestion du nouvel établissement, l'affectation d'un « père » spirituel qui, quelques décennies plus tard, sera appelé prieur. La communauté de chanoines qui l'entoure est soumise à la règle de Saint Augustin. Les prieurs successifs vont ériger, sur ce plateau au sud de Liège, une église dédiée à Notre-Dame, un donjon, un cloître, une ferme et une brasserie. Placée sous l'autorité de l'évêque de Verdun puis de celle du prince-évêque de Liège, la petite communauté va traverser les soubresauts de l'Histoire. Revenons, aujourd'hui, sur neufs siècles mouvementés, les siècles de l'ancien prieuré de Beaufays. Invité : Julien Maquet, conservateur du Trésor de la cathédrale de Liège, maître de conférences à l'ULiège. 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. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Play NowEpisode 394 of the Seibertron.com Twincast / Podcast kicks off with the cast's impressions after the recent reveal of the next two Primes from the Age of the Primes toy line, Liege Maximo and Nexus Prime. Additional discussion is prompted by both the Hasbro livestream of information about the toys, as well as preorder listings for the recently revealed second wave of figures for 2026. The talk then moves toward the "More than Meets the Eye" Collection's battle damaged Optimus Prime and Megatron. Blokees Wheels continue the reveal train before more listener questions roll in, which cover various topics including toys that the crew changed their mind about as time went on. Finally, a condensed "Bragging Rights" brings this episode to a close.

Nous sommes le 30 octobre 1468. Charles le Téméraire, duc de Bourgogne s'empare de la ville de Liège. Après l'avoir pillée, saccagée, ruinée, ses troupes y boutent le feu, le 3 novembre. La cité médiévale, dit-on, va brûler, durant sept semaines. Une véritable cité … ardente. On parle de 4.000 à 5.000 victimes. La nouvelle du sac va faire le tour des cours et des villes européennes, imposant la crainte du Téméraire. Dès 1469, les religieux sont autorisés à remettre sur pieds quelques quartiers, et, six ans plus tard, les Liégeois obtiennent l'autorisation de reconstruire leur cité, en échange de la levée de 6 000 archers au service des armées bourguignonnes. Pourquoi une telle sauvagerie ? Comment la principauté va-t-elle se remettre de cette sombre séquence ? Quelles sont les origines de la principauté épiscopale de Liège ? Quelles sont les grandes étapes de son histoire ? Avec Benoît Beyer de Ryke, historien et philosophe, collaborateur scientifique à l'ULB. sujets traités : principauté, Liège, étapes, Charles le Téméraire, duc de Bourgogne 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. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Helge Heynold liest: Ich liege im Bett - von Hasune El-Choly

Als Jesus wieder nach Kafárnaum hineinging, wurde bekannt, dass er im Hause war. Und es versammelten sich so viele Menschen, dass nicht einmal mehr vor der Tür Platz war; und er verkündete ihnen das Wort. Da brachte man einen Gelähmten zu ihm, von vier Männern getragen. Weil sie ihn aber wegen der vielen Leute nicht bis zu Jesus bringen konnten, deckten sie dort, wo Jesus war, das Dach ab, schlugen die Decke durch und ließen den Gelähmten auf seiner Liege durch die Öffnung hinab. Als Jesus ihren Glauben sah, sagte er zu dem Gelähmten: Mein Sohn, deine Sünden sind dir vergeben! Einige Schriftgelehrte aber, die dort saßen, dachten in ihrem Herzen: Wie kann dieser Mensch so reden? Er lästert Gott. Wer kann Sünden vergeben außer dem einen Gott? Jesus erkannte sogleich in seinem Geist, dass sie so bei sich dachten, und sagte zu ihnen: Was für Gedanken habt ihr in euren Herzen? Was ist leichter, zu dem Gelähmten zu sagen: Deine Sünden sind dir vergeben! oder zu sagen: Steh auf, nimm deine Liege und geh umher? Damit ihr aber erkennt, dass der Menschensohn die Vollmacht hat, auf der Erde Sünden zu vergeben – sagte er zu dem Gelähmten: Ich sage dir: Steh auf, nimm deine Liege und geh nach Hause! Er stand sofort auf, nahm seine Liege und ging vor aller Augen weg. Da gerieten alle in Staunen; sie priesen Gott und sagten: So etwas haben wir noch nie gesehen. (©Ständige Kommission für die Herausgabe der gemeinsamen liturgischen Bücher im deutschen Sprachgebiet)

Ein schwerer Vorwurf steht im Raum: Sabotage. Was ist geschehen, und was ist wirklich dran an dem Eklat bei der Rallye Dakar? Das lüftet der neue Podcast der Zeitschrift PITWALK. Dazu berichtet Norbert Ockenga, warum Nani Roma im Biwak der Autowertung in Tränen ausgebrochen ist, wie Mattias Ekström sich zum neuen Ausnahmekönner des Marathonrallyesports gemausert hat – und wie Nasser Al-Attiyah auf Siegkurs steuert. Auch ins Biwak der designierten Gewinner der seriennahen Autos schaltet dieser PITCAST wieder: Bei Defender steht die heutige Etappenschnellste Sara Price Rede und Antwort. Die Motorradwertung ist deutlich spannender als die Autoklassen. Ockenga schildert, wie am morgigen letzten Tag wirklich die Entscheidung fallen kann und was passieren muss, damit der eine oder andere Duellant den Goldenen Beduinen mitnimmt. Schließlich befragt Annett Quandt, die Sportphyiotherapeutin und Marathonrallyefahrerin von X-Raid, während ihrer abendlichen Massage auf der orangenen Liege den Belgier Guillaume de Mévius: Kann eigentlich jeder die Dakar fahren? Was muss man dafür können? Und warum sind Dünen nicht gleich Dünen? Mehr zum Merchandising-Shop von X-Raid mit den offizieller Kollektion der Rallye Dakar findet Ihr hier: https://dakarshop.de/ Und das gerade neu als Sonderangebot aufgelegte Bundle mit drei Ausgaben der Zeitschrift PITWALK, in denen die jeweils zu den Ereignissen der vergangenen Tage passenden Hintergrundgeschichten stehen, könnt Ihr hier bestellen: https://shop.pitwalk.de/magazin/103/dakar-special?c=6 Nachdem Ockenga das Special Offer gestern in der neuen Folge vom Streamingdienst PITWALK TV auf YouTube angekündigt hat, setzte ein wahrer Run auf dieses Paket von drei Heften mit Dakar-Themen ein. Also: Klickt schnell rein und sichert Euch noch Euer exklusives Dakar-Bundle zum Vorzugspreis!

Die Sensation hallt noch nach. Auch im neuen Podcast der PITWALK-Collection. Denn da befragt Norbert Ockenga, der Eurosport-Kultkommentator und Chefredakteur der Zeitschrift PITWALK, in einem ausführlichen Gespräch den Teamchef der gestern siegreichen Century-Mannschaft: Julien Hardy. Hardy liefert dabei fesselnde Einblicke hinter die Kulissen der südafrikanischen Marke – und die Siegfahrt von Mathieu Serradori in einem Century gestern. Dazu gibt es zum Einstand eine Schalte ins Lager der Defender aus der seriennahen Klasse, wo erzählt wird, was anderswo verborgen bleibt: dass Stéphane Peterhansel gestern gleich zwei Mal die steckengebliebene Sara Price befreien musste und dabei selbst zum Opfer wurde. Annett Quandt befragt auf ihrer orangenen Liege die X-Raid-Fahrerin Maria Gomeiro über den emotionalen Umgang mit Rückschlägen und Strapazen bei der härtesten Rallye der Welt. Danach folgt die Analyse des langen Donnerstags. An dem scheint bei den Autos die Vorentscheidung gefallen zu sein. Weil es wieder ein technisches Problem an einem der Spitzenautos gibt. Nasser Al-Attiyah, Nani Roma, Beifahrer Brett Cummings und Toby Price erklären, wie ihre jeweiligen Tage warum gelaufen sind, und Ockenga begründet, warum man sich im Endspurt der Dakar nun wohl besser auf die Motorrad-Taktikschlacht konzentrieren solle. Als Rausschmeißer in dem fast eine Stunde langen Exklusivkonvolut mit der besten Dakar-Berichterstattung Deutschlands blickt Dacia-Beifahrer Dennis Zenz voraus auf die letzte lange Etappe – die es noch Mal in sich hat.

Selbst der Beste stößt an seine Grenzen. Nasser Al-Attiyah taumelt im Ziel aus seinem Dacia, muss umgehend in Behandlung – so strapaziös ist der Mittwoch bei der Rallye Dakar. Und es ist ein Tag, in dem erneut das Undenkbare geschieht. In den weißen Dünen bei Bischa zerschellen Sieghoffnungen, es gibt einen neuen Spitzenreiter, und viele Privatfahrer werden eine Nacht draußen in der Wüste verbringen müssen. Denn die weißen Dünen entpuppen sich als die Hölle von Bischa. So schwer war noch keine Etappe, seit die Dakar in Saudi-Arabien ausgetragen wird. Und so turbulent wohl auch kaum eine. Jeder einzelne Fahrer der Spitzengruppe wird von Problemen heimgesucht: Technik, Plattfüße, Navigationsfehler – es gibt sogar die Fehlermeldung: kein Sprit mehr. So gewinnt am Abend erneut ein Fahrer, den keiner auf der Rechnung hatte – in einem Auto, das kaum einer in Deutschland kennt. Und die Rallye hat wieder einen neuen Spitzenreiter. Aber einen, der mit seinen Kräften am Ende und den Nerven zu Fuß ist. In diesem Podcast erfahrt Ihr alles zum turbulenten Tag in den Dünen. PITWALK-Chef und Eurosport-Moderator Norbert Ockenga fasst das Geschehen zusammen. Als Gäste hat er alle Hauptdarsteller und Sieganwärter vorm Mikrofon: Nasser Al-Attiyah, Carlos Sainz, Mattias Ekström, Nani Roma und Henk Lategan. In einer Live-Schalte ins Biwak der Defender erzählen zudem Stéphane Peterhansel, Sara Price und Rokas Basciuska, wie Defender die Taktik für die Marathonetappe und die zweite Rallyehalbzeit umgestellt hat. Und auf der orangenen Liege von Annett Quandt, der Sportphysiotherapeutin und Rallyefahrerin von X-Raid, erzählt Maria Gomeiro, wie es sich anfühlt, wenn man merkt, dass man sich auf einer Düne festfährt – und nicht mehr aus der misslichen Lage rauskommt. Mehr Informationen zum Onlineshop von X-Raid, wo Ihr die orginal Dakar-Merchandisekollektion, aber auch Originalteile und einen Veredlungsbausatz mit Wüsten-Flair für Eure Serienautos kaufen könnt, findet Ihr unter dakarshop.de

Es geht immer noch verrückter. Und selbst den Teamchefs fehlen die Worte zu einem absoluten Chaostag bei der Rallye Dakar 2026. Zuerst streikt die Servopumpe, dann birst die Windschutzscheibe, sie muss sogar aus dem Rahmen getreten werden – und Henk Lategan fährt 200 Kilometer im dichten Sandsturm ohne Scheibe. Statt paniert zu werden, hält der Südafrikaner sich dennoch im Rennen – weil auch die Konkurrenz patzt. Ein Auto kriegt die Ölpest, an einem platzen drei Reifen, zwei Besatzungen verfransen sich für mehr als 20 Minuten irgendwo im Gelände – und so hält der anfangs so gebeutelte Lategan doch noch Anschluss und seine Siegchance am Leben. Vor allem aber wächst der Kreis der Sieganwärter um einen weiteren Fahrer auf deren fünf an. Und die Dakar hat auch noch einen neuen Gesamtführenden, der dieses Jahr noch nie auf Rang 1 der Gesamtwertung aufgetaucht ist. Im neuen Podcast mit Norbert Ockenga rekapitulieren die beiden Teamchefs Matthew Wilson von Ford und Jean-Marc Fortin von Toyota nicht nur den Chaostag – sondern machen sich auch schon mit sorgenvoller Miene Gedanken über das, was morgen am zweiten Tag der Marathonetappe wohl wieder alles schiefgehen und passieren kann. Auf der orangenen Liege von Annett Quandt, der Sportphysiotherapeutin und Marathonrallyefahrerin von X-Raid, nimmt Guillaume de Mévius genau diesen Ball auf – und schildert, warum im Marathonrallyesport ein so ganz und gar anderer Kameradschaftsgeist und viel mehr Hilfsbereitschaft herrschen als in jeder anderen Motorsportdisziplin.

Die Montagsetappe endet in einer handfesten Sensation: In Saood Variawa gewinnt ein absoluter Außenseiter. Hinter dem Erfolg des bubihaften Südafrikaners steckt eine Vorgeschichte mit gleich mehreren Handlungssträngen. Und in dieser Ausgabe von PITCAST, dem Podcast Eurer Lieblingszeitschrift PITWALK, wird sie ausführlich erzählt. Variawa selbst schildert, wie er sich tags zuvor unfreiwillig und von einem Problem geplagt in jene Ausgangslage brachte, die ihm heute erst den Tagessieg ermöglichte. Landsmann Henk Lategan räumt eine zweifach schiefgelaufene Taktik und einen Denkfehler ein, Nani Roma erläutert, wie er sich in ein unnützes Duell locken ließ – und Mattias Ekström analysiert, wie er es geschafft hat, in dieselbe Jojo-Richtung zu kommen wie alle anderen Sieganwärter. Dazu erklärt Beifahrer Dennis Zenz, was den neuralgischen Punkt bei der Navigation am Montag so besonders machte, und Spitzenreiter Nasser Al-Attiyah gibt seine Taktik Preis. Auf der orangenen Liege von Annett Quandt, der Sportphysiologin und Rallyefahrerin von X-Raid, gewährt Beifahrerin Rosa Romero interessante und pikante Einblicke: Was ist eigentlich, wenn man mal muss? Wie bereitet man eine Marathonetappe vor? Und wie schläft es sich im Zeltlager des externen und isolierten Marathonbiwaks unter lauter schnarchenden Männern? Schließlich gesteht Sara Price bei der täglichen Schalte ins Biwak der Defender, dass und warum ihre Dakar gestern beinahe an einem Maschendrahtzaun ihr jähes Ende gefunden hätte.

Es ist mehr als nur Abenteuer. Es sind Lektionen fürs Leben. So fasst Lionel Baud, ein französischer Unternehmer und Privatfahrer, es zusammen, warum es ihn Jahr für Jahr wieder zur Rallye Dakar ziehe. Im intensiven Gespräch auf der orangenen Liege von Annett Quandt, der Sportphysiotherapeutin und Marathonrallyefahrerin von X-Raid, gewährt Baud erstaunliche Einblicke in die Gründe, warum er die Dakar fährt – und was die Rallye ihm für seinen Alltag als Unternehmer und Familienvater mitgegeben habe. Dazu gibt es eine ausgiebige Analyse dessen, was die Autos der seriennahen Klasse in den Dünen aushalten müssen – mit Aussagen von Stéphane Peterhansel, Sara Price und Rokas Bakiuska. Und Jürgen Schröder schildert, es sich anfühlt, eine Nacht in den Dünen verbringen zu müssen.

Selten war ein Wutanfall so effektiv wie der von Henk Lategan vor Teil 1 der Marathonetappe bei der Rallye Dakar. Der Südafrikaner hatte von seinem Abo auf Reifenschäden und auch sonst dermaßen die Nase voll, dass er am Mittwoch alle Vorsicht über Bord warf – und sämtliche Gegner ungespitzt in den Boden rammte. Warum es ihm den Korken rausgehauen hat und wie er seinen Husarenritt hingezaubert hat, erzählt der neue Führende der härtesten Rallye der Welt in diesem PITCAST. Daneben hat Podcaster und PITWALK-Chefredakteur auch Stéphane Peterhansel, Ford-Teamchef Matthew Wilson, Dennis Zenz und Dacia-Teamchefin Tiphanie Isnard vor dem Mikrofon. Und Timo Gottschalk erklärt in eigenen Worten, warum er mit seinem Fahrer Yazeed Al-Rajhi heute freiwillig aufgegeben hat. Neu im PITCAST der Daily Dakar-Reihe: die Rubrik „Auf der orangenen Liege“ oder auch „Talk on the Table“. Annett Quandt behandelt als Physiotherapeutin des deutschen Vorzeigeteams X-Raid nicht nur deren Fahrer und die vielen Fahrer- und Beifahrerinnen; sie verwickelt sie dabei auch noch elegant in ein Gespräch über den Tag und den Sport ganz allgemein, wenn die Aktiven auf der Massagebank mit dem orangefarbenen Bezug liegen. In der heutigen Episode vom Talk on the Table“ erzählt Lucie Baud, die als Beifahrerin von ihrem Vater Lionel einen der Diesel-Mini von X-Raid fährt, eine schier unglaubliche und auch reichlich verworrene Geschichte über Reifenschäden und -rochaden – die tief blicken lässt auf den Geist der Dakar und die gegenseitige Hilfsbereitschaft, die es so in keinem anderen Motorsport gibt. Schließlich gibt es auch noch einen Blick in die Motorradwertung, wo nach knapp 17 Stunden Fahrtzeit die ersten Beiden bis auf die Sekunde zeitgleich an der Spitze gleichauf liegen.

Werden Sie JETZT Abonnent unserer Digitalzeitung Weltwoche Deutschland. Nur EUR 5.- im ersten Monat. https://weltwoche.de/abonnemente/Aktuelle Ausgabe von Weltwoche Deutschland: https://weltwoche.de/aktuelle-ausgabe/KOSTENLOS: Täglicher Newsletter https://weltwoche.de/newsletter/App Weltwoche Deutschland http://tosto.re/weltwochedeutschlandDie Weltwoche: Das ist die andere Sicht! Unabhängig, kritisch, gut gelaunt. «Wenn ich dem Mainstream widerspreche, liege ich meistens richtig»: Roger Köppel im Gespräch mit Marc FriedrichDieses Gespräch erschien zuerst auf dem Youtube-Kanal von Marc Friedrich: https://www.youtube.com/watch?v=gQdzrTwrlx4Die Weltwoche auf Social Media:Instagram: https://www.instagram.com/weltwoche/ Twitter: https://twitter.com/Weltwoche TikTok: https://www.tiktok.com/@weltwoche Telegram: https://t.me/Die_Weltwoche Facebook: https://www.facebook.com/weltwoche Hosted on Acast. See acast.com/privacy for more information.

Manuela wusste immer: Berührung ist ihre Sprache der Liebe. Doch erst durch Jin Shin Jyutsu fand sie den Weg, diese Gabe auch im Außen zu leben. In diesem persönlichen Gespräch erfährst Du, wie sie über eine WhatsApp-Gruppe zur Methode fand, warum ihr Bauchgefühl sie direkt in die Ausbildung führte – und wie sie heute andere Menschen auf der Liege begleitet. Du bekommst einen tiefen Einblick in den Weg vom inneren Ruf zur gelebten Praxis und spürst vielleicht selbst: Auch in Dir steckt diese Kraft.Wenn Du mehr erfahren möchtest, abonniere den Podcast und schau Dich direkt flott auf unserer Website um: https://jsj-zentrum.online/.Hier bekommst Du eine Übersicht über die Lage der Sicherheitsenergieschlösser: https://jsj-zentrum.online/downloadFacebook-Gruppe: https://www.facebook.com/groups/1122367684887547Instagram: https://www.instagram.com/jinshinjyutsuzentrum/Telefongespräch mit unserem Team: https://calendly.com/jsj-zentrum/dein-gesprach-mit-katja Disclaimer:Bettina Roschewitz ist in ihrem Podcast nicht als Heilpraktikerin tätig. Sie führt keine Behandlungen oder Beratungen von Patienten oder Teilnehmern durch. Sie veröffentlicht in ihrem Podcast ausschließlich ihre eigene Meinung und Erfahrung über die Heilkunst Jin Shin Jyutsu. Die in den Beiträgen enthaltenen Informationen können keine Beratung beim Arzt ersetzen und sind keine medizinischen Anweisungen. Die Informationen dienen der Vermittlung von Wissen. Die Umsetzung von Therapie- und Behandlungsplänen sollte mit einem qualifizierten Therapeuten erfolgen.

Nous sommes en 1198, au cœur de la vallée mosane. Renier de Saint-Jacques, chroniqueur soucieux de rendre compte de la vie quotidienne de ses contemporains, mentionne une forte sécheresse à Liège qui provoque un quasi tarissement de la Meuse. Il y en aura six autres tout aussi catastrophiques, jusqu'en 1615. Mais c'est aussi le gel du fleuve qui est source d'embarras : il empêche tout trafic par bateau. Quand ce ne sont pas les fortes crues, ou la rapide fonte des glaces provoquant des débâcles, qui occasionnent des ravages : ainsi en 1409, la rivière renverse un pont et une partie des remparts à Namur. Dès le début du Moyen Âge, le trafic s'est développé sur le cours d'eau. Aux Xie et XIIe siècles, les marchands des riches agglomérations ont participé à un commerce de longue distance, leurs itinéraires empruntant la voie fluviale. La Meuse est au cœur de notre histoire. Invité : Marc Suttor, professeur d'histoire médiévale à l'université d'Artois à Arras, auteur de « La Meuse, au cœur de notre histoire » ; IPW (Institut du Patrimoine wallon). 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. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

https://www.youtube.com/watch?v=TnyS0vpTh_k Podcast audio: In this episode of the Ayn Rand Institute podcast, Ben Bayer, Tristan de Liege, and Mike Mazza discuss Jeremy Sherman's book, Neither Ghost Nor Machine: The Emergence and Nature of Selves. Topics include: Science and Philosophy; Deacon's Autogen Theory; Other Theories of the Origin and Nature of Life; Implications for Understanding Free Will; Implications for Moral Philosophy. Resources:  Harry Binswanger, The Biological Basis of Teleological Concepts This episode was recorded on October 10, 2025, and posted on November 11, 2025. Listen and subscribe wherever you get your podcasts. Watch archived podcasts here.

This week on the Bolcast, a member of the Commander Format Panel, Commander at Home and Elder Dragon Hijinks host, and all-around renaissance woman and tour de force Olivia Gobert-Hicks joins Mike on the Bolcast to talk Teysa, the Liege cycle, hybrid mana, and not taking Olivia's stuff!Don't forget to get your stories in the mailbag and we'll read them on the Bolcast. Submit them to amithebolas@gmail.com.As always, we are sponsored by Cardsphere.com!Card Sphere, Get your cards here! Check out the referral link below!We are also sponsored by BoneBox Games! Use promo code BOLCAST for a cheeky discount on your deckboxes and accessories over at boneboxgames.com!Timecodes and Highlights00:00:11 - Skip intro button, get to the sponsor talk and plugs!00:03:02- A chat with Olivia Gobert-HicksCardSphere referral link: https://www.cardsphere.com/?referrer=bolcastEdited by Ken PeddleHere is our Linktr.ee (linktr.ee/amithebolas)Check us out on YouTube:https://www.youtube.com/@AmITheBolcastCheck out www.edhrec.com where Morgan edits and Carrozza writes.Music by Mike CarrozzaFind us on Bluesky - We're moving away from Twitter. Slowly, but it's happening.Podcast - @amithebolcastCarrozza - @mikecarrozzaMorgan - @indigogentlemanCelani - gamesfreaksa.infoThanks for listening!Send us feedback! Message me at amithebolas@gmail.com and tell me what you think!

Nous sommes le 10 novembre 1836. A la rubrique nécrologique du journal L'Espoir, on peut lire ceci : « Le convoi de M. Schmerling a eu lieu hier ; un grand nombre de professeurs de l'université, de médecins, de députés de toutes nos sociétés savantes, du corps de génie militaire, et enfin beaucoup d'étudiants ont rendu un dernier hommage à sa mémoire. M. Morren a prononcé le discours funèbre suivant (…) : « La mort d'un homme de bien est toujours, pour la cité, une perte déplorable ; mais, quant aux vertus du bon citoyen, il joint une haute instruction, une intelligence rare, un nom distingué, sa perte rejaillit sur le pays tout entier, sur la société, sur l'humanité même ». Alors qu'au début du dix-neuvième siècle, l'idée même de l'existence d'hommes fossiles semble inconcevable à la plupart des personnes cultivées y compris dans les milieux scientifiques, quelques individus vont se démarquer et lancer les bases de la paléoanthropologie et de la préhistoire. Le liégeois Philippe-Charles Schmerling est l'un d'entre eux... Invité : le paléoanthropologue et préhistorien belge Michel Toussaint, auteur de l'ouvrage « Philippe-Charles Schmerling, à l'aube de la paléoanthropologie et de la préhistoire en Wallonie », édité par le Préhistomuseum de Flémalle. 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. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Nicht alle Fahrräder haben zwei Räder und eine "normale" Sitzposition Wir dröseln die Geschichte der Liegeräder auf, reden über aktuelle Techniktrends und werfen einen Blick auf Spezialräder. Zu Gast ist Gerald von Hofrad. Früher hat er seine eigenen Liegeräder geschweißt, heute ist er unser Experte, wenn es um dieses Spezialthema geht. Schnallt euch am besten an, denn Liegeräder sind ein bisschen schneller als das normale Velo. Du hast Fragen, Anregungen oder einfach was zu sagen? Dann schreib uns eine Mail an mail@bikersparadisepodcast.de BIKERS PARADISE wird moderiert von Martin Gertz und Alex Hüfner. ...Dieser Podcast wird vermarktet von der Podcastbude.www.podcastbu.de - Full-Service-Podcast-Agentur - Konzeption, Produktion, Vermarktung, Distribution und Hosting.Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen?Dann schaue auf www.kostenlos-hosten.de und informiere dich.Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude.

Wir dröseln die Geschichte der Liegeräder auf, reden über aktuelle Techniktrends und werfen einen Blick auf Spezialräder. Zu Gast ist Gerald von Hofrad. Früher hat er seine eigenen Liegeräder geschweißt, heute ist er unser Experte, wenn es um dieses Spezialthema geht. Schnallt euch am besten an, denn Liegeräder sind ein bisschen schneller als das "normale" Velo. Du hast Fragen, Anregungen oder einfach was zu sagen? Dann schreib uns eine Mail an mail@bikersparadisepodcast.de BIKERS PARADISE wird moderiert von Martin Gertz und Alex Hüfner.

Nous sommes le 20 juin 1918, à Liège. Georges Simenon, qui n'a pas 16 ans, quitte le collège Saint-Servais sans passer ses examens de fin d'année. Quelques temps plus tard, il se présente à La Gazette de Liège où il obtient un poste de petit reporter, chargé de la rubrique des « chiens écrasés ». Un boulot qui est un sésame. Celui qui va lui ouvrir les portes de la vie nocturne et interlope de la cité ardente. Le jeune homme observe tout, il côtoie les filles publiques, les bagarreurs, les poivrots, les petits trafiquants, les truands plus ou moins dangereux. Et quotidiennement, il assiste au rapport des commissaires. Le futur auteur de Maigret enregistre dans sa mémoire les innombrables scènes de violence et de détresse. Il assiste aux conférences sur la police scientifique, il rôde autour du Palais de Justice : il « cherche, dira-t-il plus tard, à comprendre la mécanique judiciaire et à récolter de l'humain ». Cet apprentissage, qui dura près de trois ans, va lui permettre de saisir que « la réalité des faits divers dépasse souvent la fiction du plus imaginatif des auteurs ». En 1922, Simenon prend le départ pour Paris où il va prolonger son enseignement à Pigalle, cœur du crime. Partons aux racines de l'inspiration criminelle de Georges Simenon… ______________________________________________________________ Avec nous : Michel Carly, écrivain, biographe de Simenon. « Simenon au cœur du crime », Weyrich, Noir Corbeau. Sujets traités : Georges Simenon, Liège, reporter, Maigret , Police, faits divers, crimes, inspiration, criminelle 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. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Né à Liège au 18e siècle, le théâtre wallon a témoigné d'une grande vivacité de langue et de formes. Vaudeville, tragédie, revue, comédies, adaptations de classiques en langue de Molière, la scène wallonne s'est déployée de la Cité ardente au Hainaut, de la Province de Namur au roman païs du Brabant, déployant tout la richesse des différents dialectes : wallon, picard ou gaumais. Thématiques, auteurs, théâtres, diffusions radio et télé : le théâtre wallon est une pierre angulaire de notre patrimoine et de l'Histoire de notre spectacle vivant. Retour sur son Histoire avec Baptiste Frankinet, Responsable du fond dialectal Wallon auprès de Société de langue et de littérature wallonnes. 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. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Atze ist urlaubsreif und das nach drei Wochen Urlaub!Ist es nicht schön, wenn die ganze Familie in Südfrankreich zusammen kommt und dann noch die Kinder mit am Start sind? Gut, dass Onkel Atze so kinderlieb ist und immer für jedes Ferienprogramm den Stiffmaster gibt. Aber auch er kommt an seine Grenzen und denkt darüber nach, die kleinen Monster zur Adoption freizugeben. Das Leben muss unterdessen weitergehen und wenn man jeden Tag sieht, was die Promis auf dem Oktoberfest so treiben, dann kann's nur einen Gedanken geben: Handtuch raus und ne Liege auf dem Kotzhügel reservieren.Instagram:https://www.instagram.com/atzeschroeder_offiziell/?hl=de Hosted on Acast. See acast.com/privacy for more information.

Gemütlich frühstücken oder zum Pool sprinten, um eine Liege zu reservieren? Dieses Problem beschäftigte schon frühere Generationen. Von Friedemann Weise.

Wieviel kostet die Flasche? Wieviel kostet die Liege? Und wieviel darf man annehmen? Echt jetzt!

Sie erinnern sich an Matthew McConaughy (Schreibweise gegoogelt), wie er in „Interstellar“ im schwarzen Loch gefangen ist und verzweifelt durch ein Bücherregal (sic!) versucht, sein eigenes Ich vor Fehlern zu bewahren? Genau so fühlt sich Schmitt nach seiner Rückkehr aus dem Urlaub. Ein Mojito, ein Wimpernschlag und schon sitzt er wieder in Pfeifes schwarzem Loch (Physik!). Sein müder Geist liegt noch am Strand von Griechenland, während sich sein Körper vergeblich dagegen wehrt, wieder in den Arbeitsalltag gezogen zu werden. Der Ort, an dem sich die Zeit verlangsamt und der Trübsinn schneller expandiert als das gottverdammte Universum. Willkommen zurück aus dem Urlaub, Schmitt - was haben sie uns mitgebracht? Soso, StartUp-Ideen, ja? Einstieg in das Poolnudel-Business? Gerne würden ihre Podcastkollegen sie vor diesem Schwachsinn bewahren, aber Signore Lundt ist zu beschäftigt und muss seinen strammen Urlaubs-Zeitplan wegarbeiten. Champagner-Frühstück um 9:00, Golfcartabholung, 9:05 Uhr, Ankunft Beachclub, 9:20 Uhr. Liegen & Saufen bis 12:30, Lunch bis 13:30, zurück auf die Liege bis…und das war erst der Montag. Also da ist nix zu erwarten. Klaas, wie siehts bei Ihnen aus? Achso, sie fahren mit einem Zwei-Wochen-Vorrat Alkohol in einem klapprigen Mietwagen durch Süditalien, sind auf der Flucht und schreien immer „Die Bienen! Die Bienen!“. Totalausfall, der Mann. „Ja aber, aber…hat diese Folge Baywatch Berlin denn irgendwas Sinnvolles zu bieten?“ höre ich sie stammeln, die verzweifelten HörerInnen dieser Audio-Tourifalle. Naja, kehren wir mal die inhaltlichen Krümel zusammen: Lundt beschwert sich über verbotene Gerüche in der Businessclass, ein ergoogeltes Bettwanzendilemma wird zur genredefinierenden Checkerfrage hochgejazzt und Klaas Chat GPT verboomert. That‘s it folks. Wenn McConaughey, (oder wie der heißt) dieses Elend durch seine interstellare Bücherwand hören könnte, würde er ganz schön Theater machen. Aber im All - und beim Hören von Baywatch Berlin - hört dich niemand schreien. Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/BaywatchBerlin

It's our sesquicentennial episode! Jim Johnson was born about the same time Apollo XII landed on the moon (and has always been kinda spacey) and shares a birthday with the Kindle. He is the author of the Pistols and Pyramids weird western series and the Potomac Shadows urban fantasy series. He's also written a bunch of other stuff in and around the SFF genres and pen and paper RPGs. He's currently the project manager and line editor for Modiphius's Star Trek Adventures RPG. Please check out these relevant links: Website Facebook Twitter YouTube Books on Amazon Welcome to Dice in Mind, a podcast hosted by Bradley Browne and Jason Kaufman to explore the intersection of life, games, science, music, philosophy, and creativity through interviews with leading creatives. All are welcome in this space. Royalty-free music "Night Jazz Beats" courtesy of flybirdaudio.

What are the contents of Out of Body Experiences? How closely do they map the actual physical world? Is it possible to induce them purposefully? How do modern practices compare to indigenous shamanic ones?In this Episode we look at the scientific, religious, cultural and historical contexts of Out of Body Experiences, also known as astral projection - so the experience in which an individual appears to leave their body and be able to travel around the world and into other dimensions, often meeting other worldly entities, similarly to DMT psychedelic experiences, (see Episode #73, “DMT Entity Experiences”). So, we get into the phenomenology- the various things people experience; potential neurobiological explanations; and the possibility of inducing the experiences on purpose and of exploring alternate realities; we get into indigenous traditions of ‘Shamanic flight' and which people might be predisposed to these alternate states of consciousness; and we end up talking about a potential connection between OBE, sleep paralysis and ludic dreaming.To discuss this slippery topic, we have a researcher who is also a lifelong experiencer, who has devoted her career to trying to understand these phenomena, the medical anthropologist and author Samantha Lee Treasure; she has an MA in Medical Anthropology from SOAS university in London, has been a brain science research assistant at the University of Liege, and has just released her first book on the topic, “Out of Body experiences”, the release of which this episode is timed to coincide with.What we discuss:00:00 Intro.11:30 What is medical anthropology?16:00 OBE entity research.22:15 Samantha's New Book - getting beyond preconceptions.25:50 OBE vs Astral projection - bypassing the taboo.30:00 Common reported OBE experiences.33:00 Mental body schemas and projected models of the world.37:00 Do OBE's map the real world accurately?45:00 Olaf Blanke - the Temporoparietal junction discovery.48:45 No sense of smell during OBE nor processed by the TPJ.49:40 Techniques to induce OBE's intentionally.53:45 Bob Monroe's perspective switching technique.55:30 Shamanic flight practices in Tuva, Siberia.59:35 The sonezen - the perceiving mind self.01:01:00 This is not for everyone, it can be scary.01:05:00 The predisposition for some to have these experiences.01:10:45 Crossovers between NHI Contact and OBE entity experiences.01:14:20 Genealogical predispositions.01:18:25 “Reality Shifting” and the role of intention in OBE.References: Samantha Lee Treasure, “Out-of-Body Experiences: Explorations and encounters with the astral plane”.Stephen Le Berge, “Pre-sleep treatment with Galantamine stimulates lucid dreaming” paperOlaf Blanke, “Linking out-of-body experience and self processing to mental own-body imagery at the temporo-parietal junction” paper. Charles T Tart - 6 Studies of OBE.Graham Nicholls, “Navigating out of body Eperiences”.Yurgan Zeiwe - “Multi-Dimensional Man”.RosalieYoga, Monroe Sound science guided meditations,You tube channel. “Out-of-body experience in vestibular disorders – A prospective study of 210 patients with dizziness” paper.Celia Green & Charles Mc Reery, “Lucid Dreaming: The Paradox of Consciousness during Sleep”.Anthony Peake, “Near Death Experiences”.

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

Nous sommes en 1670. Année faste pour le peintre liégeois Bertholet Flémal qui se voit reçu à l'Académie royale de peinture et de sculpture, à Paris. Lors de la séance au cours de laquelle il est désigné, Charles Le Brun, premier peintre du roi Louis XIV, directeur de la prestigieuse institution souligne que l'Académie connaît les mérites de Monsieur Bertholet et qu'il sera reçu « sans s'arrêter aux formalités ordinaires. » Fait exceptionnel, l'artiste liégeois ne doit pas présenter de morceau de réception et est donc intégré à l'académie sur la base de sa seule réputation, une dispense lui a été accordée en tant qu'artiste de talent ayant déjà bénéficié de la faveur royale. Alors qui est Bertholet Flémal qui a porté haut les couleurs de la Principauté de Liège ? En quoi est-il l'un des plus grands, et peut-être le plus fameux, représentants de ce que l'on appelle l'Ecole liégeoise de peinture ? Comment décrire cette école ? De quelle côté regarde-t-elle, à une époque où Anvers reste un phare : Rome, Florence ou bien encore Paris ? Quel rôle diplomatique la Principauté fait-elle jouer aux artistes ? Que reste-t-il d'une œuvre non signée, non datée ? Partons sur les traces de Bertholet Flémal ? Avec nous : Pierre-Yves Kairis, chef de travaux principal honoraire de l'Institut royal du Patrimoine artistique, président de l'Institut archéologique liégeois. le Trésor de la cathédrale de Liège a mis sur pied l'exposition intitulée « Bertholet Flémal (1614-1675). Sujets traités : Bertholet Flémal , Liège, peinture, sculpture, Charles Le Brun, Louis XIV, couleurs, Principauté, 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.

In the first weeks of the outbreak of the First World War, the outdated Schlieffen Plan required the German Army to rapidly cross Belgium to attack northern France. Instead of the anticipated 6-8,000 troops, the Belgians fielded 32,000 men and defended the fortress town of Liege vigorously. German atrocities in Liege afterwards were the product of an imagined belief in guerrilla fighters amongst the civilian population.*****STOP PRESS*****I only ever talk about history on this podcast but I also have another life, yes, that of aspirant fantasy author and if that's your thing you can get a copy of my debut novel The Blood of Tharta, right here:Help the podcast to continue bringing you history each weekIf you enjoy the Explaining History podcast and its many years of content and would like to help the show continue, please consider supporting it in the following ways:If you want to go ad-free, you can take out a membership hereOrYou can support the podcast via Patreon hereOr you can just say some nice things about it here Become a member at https://plus.acast.com/s/explaininghistory. Hosted on Acast. See acast.com/privacy for more information.

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.

Matson har fundet Genève lufthavns bedste toilet til at optage denne udgave af Gruppettoen på Forhjulslir i anledningen af afslutningen på Romandiet Rundt søndag. Hør blandt andet om de mange højdemeter, historier fra gruppettoen, danskerne og Matsons Roubaix og Liege samt vores take på en succesfuld dansk cykeluge.  Medvirkende: Anders Mielke & Mathias Sunekær Norsgaard  Gruppettoen på Forhjulslir er sponsoreret af Aioss. Ved at købe Aioss støtter du ikke bare os – men vigtigst af alt dig selv, med mere fysisk og mentalt overskud i hverdagen. Brug koden "gruppettoen" og få 100 kr. rabat de første 3 måneder. Læs mere på: https://aioss.dk/pages/grupettoen  

Today's episode title says it all. We've got Sam 'Skippy' Watson winning the Romandie prologue 24 hours after being told to get a flight; a rundown on INEOS' kitchen sink-esque Liege-Bastogne-Liege tactics; and Pogi unsettling G by having a quiet convo with him at 420 watts. That's plenty to be going on with, but don't worry. There's lots more than that too. A classic Watts Occurring if ever we've heard one. See you next week. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Forhjulslir præsenteres i samarbejde med Continental Dæk Danmark. Med Continental får du maksimal ydeevne og kontrol – uanset om du cruiser på landevejen eller flyver ned ad bjergene. Gør som Pogačar – og kør med dæk, der er klar til sommerens eventyr. Sikkerhed starter med dækket. Din podcast om cykling – og kun cykling – er tilbage! Vi dykker ned i Tadej Pogačars suveræne forår og søndagens Liege-Bastogne-Liege. Bausager er hjemvendt fra en studietur i Liege og giver førstehåndsberetninger fra Ardennerne, Vinjebo er frisk ude af kommentatorboksen, og Mielke er tilbage fra et kort pitstop i Genève, hvor han fik stillet Remco Evenepoel et interessant spørgsmål og en statistik, vi tidligere har vendt her i podcasten. Til sidst ser vi frem mod Giro d'Italia, hvor klassementskampen spidser til – og hvor vi har store forventninger til både Mads P og Wout van Aert. Medvirkende: Per Bausager, Emil Mielke Vinjebo & Anders Mielke Danish Endurance er partner på Forhjulslirs Giro-dækning. Tjek deres nye cykelkollektion – skabt til ryttere, der vil kombinere stil, komfort og performance. Brug koden Forhjulslir10 og få 10 % rabat. Find dem på Instagram @danish.endurance eller ved at trykke her.  Dette afsnit er præsenteret i samarbejde med PILLAR Performance. Ved brug af rabatkoden "Forhjulslir" får du en eksklusiv rabat på 15%, når du handler for første gang på https://pillarperformance.eu/

This week we talk Liege world champion and "world champion" wins, Spencer watches a video of a Klein Quantum and Tim buys a yellow bike. Plus, 7-11 and some great emails.  This podcast is also supported by the generous and amazing donors to the Wide Angle Podium Network, and buy Hammerhead cycling! Visit hammerhead.io to check out the Karoo cycling computer, and use code SLOWRIDE at checkout to get a Heart Rate strap for free! Find us, and other fantastic cycling podcasts on the Wide Angle Podium Network, at wideanglepodium.com! Check out the brand new WAP app available in the Apple and Android app stores! You can email us at theslowridepodcast@gmail.com

Head to Escapecollective.com/member to sign up today.The best indicator for Fleche Wallonne victory seems to be whether or not you drink a podium beer at Amstel. Caley, Dane, Ronan, and Intern Nick break down the mid-week Classic, look ahead to Liege, discuss Uno-X's excellent new 7-11 kits, and wonder aloud where all the olds have gone. 

We've got a treat for you all this week: Ambassador De Pluski's back on the pod. He joined Luke, who was fresh home from the Amstel Gold Race, where... well, where he got lost. Long story. In one of the most dramatic Classics of the season, Pog didn't win. Remco didn't win. But Matthias Skjelmose did. Chapeau, Sir. Next up for both Luke (in the car) and De Pluski (on the bike) is Liege-Bastogne-Liege this Sunday. Will it be Pogi vs Remco again? Or will De Pluski pull off a wild long-range attack of his own? Who knows. Maybe if he fuels with the Luke Rowe sandwich, he'll be fine. (You'll have to listen for that one to make sense.) G will be back next week. See you then. Want to try NordVPN? Head to https://nordvpn.com/gtcc for a special sign up deal. We're also hosting a retirement party for G at the Millenium Centre in Cardiff on Sunday 16th November! Tickets are available here: https://www.livenation.co.uk/geraint-thomas-tickets-adp1206752 Learn more about your ad choices. Visit podcastchoices.com/adchoices

Louis Langree is a celebrated French Conductor. He's been the Musical DIrector of the Orchestre de Picardie, the Opera National de Lyon, the Orchestre Philharmonique de Liege, the Camerata Salzburg and the Theatre National de L'Opera-Comique. In the U.S. he's been the Conductor of the Mostly Mozart Festival and the Cincinnati Symphony. And he was made a Knight of the French Order of Arts and Letters.My featured song is “This Time” from the album Bobby M and the Paisley Parade. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.—----------------------------------------ROBERT'S RECENT SINGLES:“ROUGH RIDER” is Robert's latest single. It's got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Nous sommes le dimanche 24 septembre 1944, à Liège. L'espoir de la Libération se concrétise. Ce jour-là, place du Théâtre, Alexis Curvers, écrivain, aperçoit un autre homme de lettres : Marcel Thiry. Le premier rapporte : « Je me disais après ma rencontre avec Thiry : comment un pays peut-il être si médiocre, quand on y trouve des individualités d'une telle valeur ? Lorsque je l'ai abordé (…) il regardait un convoi américain arrêté dans le square Grétry, d'un œil si arrondi par l'attention, si brillant et si fixe, si dur et si sensible à la fois qu'en le saluant je me suis tout d'abord excusé de l'interrompre.» Mais qui est Marcel Thiry, profondément lié à la ville de Liège, ayant combattu aux côtés des cosaques de l'armée du Tsar Nicolas II, pendant la Première Guerre mondiale, poète et romancier engagé contre le fascisme lors de la Seconde, ardent défenseur d'un renouveau wallon et de la langue française, avocat, marchand de bois, sénateur. Le passage du temps, sa réversibilité, la mémoire gage d'immortalité, l'identité belge et francophone seront les fils conducteurs de son activité littéraire et militante. Une œuvre qui, si elle lui vaudra une certaine notoriété, ne lui a pas assuré une place importante dans le panthéon des figures illustres de son pays. Revenons sur son parcours. Avec nous : Laurent Béghin. Enseigne la langue et la culture italiennes à l'Université catholique de Louvain. « Marcel Thiry – Essai de biographie » ; Académie royale de langue et de littérature française. Sujets traités : Marcel Thiry, Wallonie, Liège, Alexis Curvers, romancier, poète, avocat, marchand de bois, sénateur. 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.

It began with the recording of a Great Album. But some things that should not have been forgotten were lost. History became legend. Legend became myth. And for most of the 80s, the Album passed out of all knowledge. Until, when chance came, it ensnared a new bearer. The Album came to the creature, Ed, who took it deep into the tunnels of the Misty Mountains. And there it consumed him. And in the gloom of Ed's cave, it waited. Darkness crept back into the forests of the world. And the Album perceived its time had now come. It abandoned Ed. But something happened then the Album did not intend. It was picked up by the most unlikely creatures imaginable. Two Momes, Omegrine and Nikwise of the Shire.     On  a very special episode, we reckoned we'd welcome back the Feckless Momes, hosts of the epic Talk Tull to Me podcast, to discuss Fairport Convention's perfect album, 1969's Liege and Lief The only thing we didn't reckon on is that it would take 4 hours It was worth all of it @progfrogpod helloprogfrog@gmail.com

We talk about the music, the myths and the talents behind Fairport Convention's 1969 Album Liege and Lief @fecklessmomes @progfrogpod helloprogfrog@gmail.com

Join us with Marcia Bjornerud for a brilliant conversation on a life dedicated to the physical Earth. This conversation is the third episode for our new Earthly Reads series. Together, Ayana and Marcia discuss Marcia's new book, Turning to Stone: Discovering the Subtle Wisdom of Rocks, and contemplate a life lived in conversation with the very Earth that holds us. Marcia offers us her grounding presence and her awareness of geologic time cycles that churn beyond human perception.Earthly Reads is a podcast series and online book study featuring conversations with some of our favorite authors including adrienne maree brown, Marcia Bjornerud, Alexis Pauline Gumbs, Prentis Hemphill, Tricia Hersey, and Céline Semaan. This episode is just a small glimpse into some of the incredible live conversations that will take place throughout the book study. For more details about the series and to purchase access to the full study, visit forthewild.world/bookstudy.  Marcia Bjornerud is a Professor of Geosciences and Environmental Studies at Lawrence University in Wisconsin. Her research focuses on the physics of earthquakes and mountain building, and she combines field-based studies of bedrock geology with quantitative models of rock mechanics. She has done research in high arctic Norway and Canada as well as mainland Norway, Italy, New Zealand, and the Lake Superior region. A contributing writer to The New Yorker, Wired, the Wall Street Journal and the Los Angeles Times, she is also the author of several books for popular audiences: Reading the Rocks, Timefulness, Geopedia and the recently published Turning to Stone: Discovering the Subtle Wisdom of Rocks. The music featured in this series is from the compilation Staying: Leaving Records Aid to Artists Impacted by the Los Angeles Wildfires courtesy of our partner Leaving Records. The songs are by Xyla, Mizu, Marine Eyes, and David Moses x Tristan de Liege. Support the show

Ishuri Umuco ryigisha ururimi n'umuco nyarwanda i Liege mu Bubiligi

HI Bakers, This is a great hand waffle.  If you want a regular waffle this isn't it…These gluten-free Pumpkin Liege waffles are made from a yeast dough studded with lots of pearl sugar bits which makes them sweet enough to eat plain. There is pumpkin in the dough too but honestly you can't really taste it. Expect a sweet yeasty waffle that's a perfect grab and go treat. They make the perfect brunch buffet dish because they're easy to make ahead and delicious at room temperature. I hope you try these fun and tasty waffles that keep you reaching for just one more! Enjoy! ~Carolyn Gluten-Free Pumpkin Liege Waffles  Modified from Bountiful Kitchen's recipe Yeast solution 3/4 cup warm milk 1 packet instant yeast Wet 1 teaspoon psyllium husk powder soaked in 1/4 cup water to form a gel 2 large eggs 1/3 cup + 2 tablespoons pumpkin puree 2 teaspoons vanilla extract 10 tablespoons melted butter (plus more to grease waffle iron) Dry 3 cups Cup4Cup gluten-free Multipurpose Flour 1/2 cup blanched almond flour 2 tablespoons light brown sugar 3/4 teaspoon salt 1/4 teaspoon baking powder 6 ounces Belgian pearl sugar** Combine the yeast and warm milk by whisking together. Set aside and let it get foamy. In a very small bowl, stir psyllium husk powder and water together and let this sit until a gel forms. Whisk together dry ingredient making sure the sugar is well distributed. In a medium bowl, stir together wet ingredients (including psyllium get) and yeast. Add the combined dry ingredients and stir well. Make sure the gel mixes in completely. Stir in the pearl sugar and form into 12 patties. Let rise on a warm greased cookie sheet or parchment until doubled in size. Heat up the waffle iron. Grease the iron liberally with butter and put one of the patties in the center. Cook according to the waffle iron directions. Let cool on a wire rack and continue cooking the rest of the dough. Serve with a powdered sugar dusting and some fresh fruit or your favorite. Store in the fridge for up to 3 days and reheat before eating. ** I ordered mine online

With the landscape of top Tour Competitors being riddled with injury, does this make a clear path for Pogačar to win the Tour? Should this become his focus? Manscaped: In addition to providing the right tools and solutions for comfortable & easy grooming, MANSCAPEDⓇ  is committed to raising awareness and giving support for fighters, survivors, and families impacted by testicular cancer. That is why they will be donating $50,000 to the Testicular Cancer Society! Help save lives (and balls!) by going over to Manscaped.com/TCS and sharing their funny, educational “Check Yo' Self” video. And while you're at it, grab 20% OFF + Free Shipping with code WEDU LMNT: Listeners can get a free LMNT Sample Pack with any order when you order at drinklmnt.com/themove AG1: Try AG1 and get a FREE 1-year supply of Vitamin D3+K2 AND 5 free AG1 Travel Packs with your first purchase using code THEMOVE exclusively at drinkAG1.com/themove Caldera Lab: Get 20% OFF with our code WEDU at calderalab.com and make unforgettable first impressions that lead to the charming words, “you look younger!” Ketone-IQ: Save 30% off your first subscription order of Ketone-IQ at hvmn.com/THEMOVE   Ventum: Enter to win a Ventum NS1 road bike at ventumracing.com/the-move This campaign will run until 5/26, the end of the Giro next month.