Podcasts about Lomax

Sermon Title: The Model Prayer (COOL Summer) Pastor Wayne Lomax | COOL Church CREATED OUT OF LOVE

Welcome back to another episode of Upside at the EUVC Podcast, where Dan Bowyer, Mads Jensen of SuperSeed and Lomax from Outsized Ventures unpack what's happening in European tech and venture capital.This week: Why Series A in Europe now often means “multi-seed” and what founders should do about it, Germany's €100B industrial policy push and whether it can actually deliver, and the Bank of England's rate cut as a red flare for the economy. Plus: the OECD's warning on corporate underinvestment, why the EU's Chips Act 2.0 risks missing the AI boom, and the latest in the global AI race from GPT-5 rumours to billion-dollar raises. Also: Clay's $100M relationship-intelligence war chest, N8N's unicorn momentum, and a Spanish autonomous tractor that's rewriting farm economics.

Send us a textThis episodes guest is Liza Lomax,  she is a Radical Self-Love & Embodiment Coach, and is here to help deep feelers and extra-achievers reconnect with themselves in a way that feels real, loving, and freeing. Just a space to heal, grow, and be. If you've ever felt disconnected from yourself, struggled with body image, or silenced your own needs to meet everyone else's expectations, Liza is here to help folks break those patterns and step into a life where they feel at home in their body, in their choices, and in who they are. With a blend of intuition, energy work, mind-body healing, and deep transformational coaching, Liza guides them to release old stories, build unshakable self-trust, and fully embody the confidence that's already inside them.Where to find her:Website: www.lizalomax.comFacebook page: https://www.facebook.com/liza.lomaxInstagram page: www.instagram.com/loveyourbodycoachingwithlizaYouTube channel: https://bit.ly/2WAi5bALinkedin https://www.linkedin.com/in/liza-loma...TikTok: https://vm.tiktok.com/ZM8kTuwb1/Support the show

Guest: Liza Lomax, Radical Self-Love + Embodiment Coach What this episode solves: How to stop outsourcing your worth and reclaim confidence during the menopause transition.

Nelson Lomax played at Chemeketa CC and Willamette University in the early 90's. Coming from New Orleans, LA, he made Salem his home and has become a fixture in the Salem basketball community. He shares stories and lessons from his lifetime as a player, coach and parent. 00:19 Growing up in New Orleans, LA and making his way to Salem 06:34 Getting into basketball as a child 07:38 Switching high schools as a sophomore 10:41 Finding his way to Chemeketa Community College 17:12 Playing in the parks during the summers in New Orleans 21:37 Learning from Coach Rob Chavez at Chemeketa as a freshman 30:32 Working at Willamette's basketball camp his first week in Salem 33:55 Moving on to play at Willamette with Coach Gordie James 38:00 Coaching at Willamette alongside his former coaches 46:50 Moving from assisting his former coach to assisting his former player 52:28 Developing life-long relationships through the game 55:16 Reliving the glory days of Willlamette Pro Hoop camp 1:02:50 The evolution of the Salem basketball community since he came here in 1990 1:17:02 The top 5 players he's seen in Salem 1:29:15 The only coach to ever use a clip board as a dinner plate

The Forgotten BeatlesEpisode 10: Lomax and LoweThis episode we turn the spotlight on singer Jackie Lomax and pianist John “Duff” Lowe.*******Links mentioned in this episodeJacke LomaxWikipedia entry - https://en.wikipedia.org/wiki/Jackie_LomaxOfficial website - http://www.jackielomax.comObituary - https://www.theguardian.com/music/2013/sep/17/jackie-lomaxJohn LoweWikipedia entry - https://en.wikipedia.org/wiki/John_Lowe_(musician)Obituary - https://www.theguardian.com/music/article/2024/may/02/john-duff-lowe-obituaryWebsites:Alan J. Porter - YouTube Channel - Forgotten Beatles related videos - https://www.youtube.com/@AlanPorterWriter**************Thanks for listening to this episode of Before They Were Beatles Presents: The Forgotten Beatles. If you would like to leave a rating or review on your favorite podcast platform that would be great and don't forget to subscribe so you don't miss out on future episodes. If you would like to make a comment or ask a question you can find me on most social media platforms @alanjporter or you can email me at alan@beforetheywerebeatles.comYou can also subscribe to the FREE monthly Before They Were Beatles newsletter at https://beforebeatles.substack.com/Don't forget to join us next time when we turn the spotlight on producer George Martin**************Some Other Guy performed by The Savage Young Beatles is used with permission.The Before They Were Beatles podcast series is a production of  Megrin Entertainment, a division of 4Js Group LLC. Let us know what you think!Email the show at contact@longboxcrusade.comThis podcast is a member of the LONGBOX CRUSADE NETWORK:LINKTREE: https://linktr.ee/longboxcrusadeVisit the WEBSITE: http://www.longboxcrusade.com/Follow on TWITTER: https://twitter.com/BeforeBeatleshttps://twitter.com/LongboxCrusadeFollow on INSTAGRAM: https://www.instagram.com/longboxcrusadeLike the FACEBOOK page: https://www.facebook.com/LongboxCrusadeSubscribe to the YouTube Channel: https://goo.gl/4LkhovSubscribe to the main LBC network podcast feed on Apple Podcasts at:https://itunes.apple.com/us/podcast/the-longboxcrusade/id1118783510?mt=2Or the single podcast feed for Before They Were Beatles at:https://podcasts.apple.com/us/podcast/before-they-were-beatles/id1561234606Thank you for listening and we hope you have enjoyed this episode of Before They Were Beatles: The Forgotten Beatles.#TheForgottenBeatles #TheBeatles, #Beatles, #Music

Welcome back to another episode of Upside at the EUVC Podcast, where Dan Bowyer, Mads Jensen of SuperSeed and Lomax from Outsized Ventures unpack what's happening in European tech and venture capital.This week: Why Meta and Microsoft are minting cash from AI, what Figma's IPO signals for SaaS, whether the EU got rolled in its new trade deal with the US, and how Europe's AI scene is finally delivering billion‑dollar exits. Plus: OpenAI's new “Study Mode” and Harry Stebbings' Project Europe—an “anti‑YC” deep‑tech accelerator for founders under 25.

Welcome back to another episode of the EUVC Podcast, your trusted inside track on the people, deals, and dynamics shaping European venture. This week marks a major milestone — Episode 50! To celebrate, Dan Bowyer, Mads Jensen of SuperSeed and Lomax from Outsized Ventures, and Andrew J. Scott return to unpack the headlines and trends shaping the European tech landscape.From the UK government's OpenAI partnership and what it means, to the missed boat on stablecoins, and to AI outperforming the brightest minds in math—this episode cuts deep into the future of tech, sovereignty, and competitiveness in Europe.Whether you're a founder navigating policy shifts, an investor eyeing infrastructure plays, or just an AI-curious policy wonk—this one's for you.Here's what's covered00:00 | Celebrating Episode 50The gang reflects on hitting a podcasting milestone and shares quick updates from Denmark, Paris, and a beachside founder retreat.03:30 | OpenAI x UK Government: A Real Deal?The UK's MOU with OpenAI is meant to boost public sector productivity—but is it too flimsy to matter? The hosts debate if this partnership is toothless signaling or meaningful progress.06:00 | Can AI Actually Transform Public Services?From “Humpfree the Chatbot” to NHS waitlists, the panel weighs in on the real-world use cases, and how opt-in AI diagnostics could solve the NHS backlog.09:30 | The Bigger Picture: AI Sovereignty and StrategyWith the UK relying on US players (OpenAI, Anthropic, Nvidia), are we compromising our digital sovereignty? Andrew drops the big question: Is this the modern equivalent of exporting raw strategic resources?14:00 | US vs UK AI Plans: Build, Baby, Build vs. Think, Baby, ThinkThe team compares the UK's thoughtful “consultancy-style” AI strategy with the US's aggressive, deregulatory action plan—complete with eagles and executive orders.19:00 | Policy Recommendations from the PodFrom national compute backbones and Buy-UK mandates to AI visa fast-tracks and sovereign LLMs — the panel proposes big ideas Europe should act on today.25:00 | Stablecoins: UK's Missed OpportunityWhile Japan, Singapore, and the US regulate stablecoins, the UK is just starting consultations. Why? And what's at stake?30:00 | Dollar Dominance ReinventedMads explains how stablecoins are reinforcing US economic control — and how UK hesitation risks long-term relevance in fintech.34:00 | Ideas for UK Leadership in StablecoinsCould interest-bearing stablecoins become London's new edge? Could we reclaim fintech innovation by embracing DeFi rails?38:00 | AI Wins Gold at the Maths OlympiadGoogle's DeepMind and OpenAI hit gold-level scores at the IMO. The gang discusses the leap in AI's creative reasoning and what it means for R&D, drug discovery, and Europe's scientific leadership.43:00 | Should Europe Build Its Own Sovereign Research Hub?From CERN-for-AI to training sovereign models, the crew asks whether public sector moonshots are the right way to compete.48:00 | Deal of the Week: Eurazeo's €650M Fund for AI ScaleupsIn a capital-constrained landscape, Eurazeo closes a rare growth fund to back Europe's AI champions.50:00 | Wildcard: AI vs. RaccoonsAndrew shares a niche but hilarious use case for computer vision AI: keeping raccoons out of houses. No joke.

Welcome back to another episode of the EUVC Podcast, your trusted inside track on the people, deals, and dynamics shaping European venture.This week, Dan Bowyer and Mads Jensen of SuperSeed and Lomax from Outsized Ventures, gather to unpack the macro forces and micro signals shaping European tech and venture.They dive into the EU's latest corporate structure reforms, the battle with resistant notaries, and the implications for startup formation and cross-border investing. Then it's onto LLM innovation in China, valuation exuberance in AI, and the strategic shifts in capital allocation. The group finishes by zooming out on macro policy, sovereignty debates, and a cautious optimism for European tech.Whether you're an investor, founder, or policymaker trying to navigate Europe's choppy regulatory waters — this one's for you.Here's what's covered02:00 | Startup law, friction, and EU Inc.06:30 | The SAFE envy09:30 | Founders as fund managers — and vice versa12:00 | From Pink Floyd to trillion-parameter models17:30 | Capital efficiency and compute arbitrage21:00 | UK startup ecosystem: a shadow of its former self?25:00 | Fundraising cycles and trapped capital28:00 | D2C health — a comeback?31:00 | Crypto week in Europe?35:00 | Macro clouds and haven-hunting

By Adam Turteltaub Dr. Hemma R. Lomax, Vice President, Deputy General Counsel and Global Head of Ethics and Compliance for DocuSign thinks a lot about leaving a legacy, not just for herself but in general. She'll be addressing the topic Beyond the Rules: The Future of Compliance is Legacy-Driven Leadership at the SCCE 24th Annual Compliance & Ethics Institute, which takes place September 14-17, 2025 in Nashville. She is a strong advocate for thinking beyond quarterly goals and looking to operationalize best intentions to leave something behind that is more enduring. Getting there, she explains, requires first helping leaders understand that they know that a legacy is not out of reach, if they focus on doing the right thing and for the long run. Done correctly, the legacy they create can be an enduring strategic asset. For compliance teams it means recognizing that every human has a survivor and a sage brain. And, while we in compliance need to embrace that survivor brain and embrace bad scenarios, we cannot be prophets of doom, raising already high anxiety levels. Instead, we need to lead with transparency, embed purpose into processes, make ethics a design feature, and create internal accountability. Listen in to learn more and then join her session in Nashville at the SCCE 24th Annual Compliance & Ethics Institute. Listen now The Compliance Perspectives Podcast is sponsored by Athennian, a leading provider of entity management and governance software. Get started at www.athennian.com.

Send us a textDr. Alan Lomax shares valuable insights about wealth-building through alternative investments, revealing how the wealthy invest differently than the average person. He explains the barriers preventing most people from accessing high-yield private investments and offers solutions through his coaching program.• Celebrating 1 million podcast downloads• Introduction to Dr. Alan Lomax, organizational system psychologist and investor• The story behind "Steed Talker" and connection with traumatized horses• How animals respond to human energy and presence• Dr. Lomax's mission to empower professionals to develop wealth while pursuing their passion• The IMPACT framework: Integrity, Meaning, Prosperity, Altruism, Consciousness, Transformation• Why 95% of people limit themselves to stocks and bonds• Three barriers to alternative investments: awareness, education, and access• How the wealthy invest differently (only 18% in public markets vs 65%+ in private placements)• Syndications explained - typically $50,000 minimum investment• Personal transformation stories and finding purpose after hardship• The importance of compassion in business and lifeFind Dr. Alan Lomax on LinkedIn or visit steedtalker.com to learn more about alternative investment opportunities. Thanks again for listening. Don't forget to subscribe, share, and leave a FIVE-STAR review.Head to Dwanderful right now to claim your free real estate investing kit. And follow:http://www.Dwanderful.comhttp://www.facebook.com/Dwanderfulhttp://www.Instagram.com/Dwanderful http://www.youtube.com/DwanderfulRealEstateInvestingChannelMake it a Dwanderful Day!

Welcome back to another episode of the EUVC Podcast, your trusted inside track on the people, deals, and dynamics shaping European venture.This week, Dan Bowyer and Mads Jensen of SuperSeed and Lomax from Outsized Ventures, gather to unpack the macro forces and micro signals shaping European tech and venture.They unpack the defense boom powering Europe's deep tech surge — and ask whether startups should rush in or sit this wave out. They break down OpenAI's next big product moves, the battle for browser dominance, and whether we're already at peak LLM. They ask if working from home quietly kills startup culture (and what actually keeps it alive). And they check in on Trump's tariffs, Europe's big tech fines, and the resilience playbook that's pulling startups deeper into geopolitics.If you're investing, building, or just trying to make sense of where Europe's venture scene goes next — this one's for you.Here's what's covered02:00 | The defense boom: Europe's rearmament momentHow Germany has overtaken the UK in startup funding for the first time — and why defense, dual-use, and resilience are fueling the deep tech wave.04:50 | Moral lines: should you build in defense?Mads, Lomax and Andrew debate whether there's an ethical red line — and if Europe's founders should follow the money or sit this one out.08:40 | Peak LLM? OpenAI launches a browserIs OpenAI eating Google's lunch? Mads explains why a new browser isn't just a gimmick — it's a data moat and a massive ad market play.12:00 | The new search wars & what founders should doLomax breaks down how SEO is dead — GEO (generative engine optimization) is in. Why this shift is reshaping startup distribution playbooks.15:30 | Grok 4, Elon & the next frontierMads explains how Musk's Grok leapfrogged benchmarks — and why the next LLM battle is all about compute, data quality, and Nvidia's $4T edge.18:50 | Does working from home kill culture?Are great companies built on Slack or in person? The crew unpacks why strong culture is more than values on a wall — and why the best teams come together.25:00 | Trump's tariffs: a real threat or priced in?Why markets barely shrug at Trump's latest trade threats — and what selective escalation could mean for European startups this autumn.29:00 | UK startup stats: steady but smallEight billion raised, a handful of unicorns minted — but the US is still 20x bigger. Why the same structural issues keep the UK from scaling like Silicon Valley.33:15 | Big Tech vs Europe: do the fines matter?From DMA penalties to encrypted chat backdoors, the team debates whether Brussels' big fines work — and who really pays the price.38:10 | Deal of the Week: Eutelsat's €1.35B resilience playWhy Europe's sovereign satellite champion matters — and why Lomax wants them to rebrand fast.

Braino, Mattrix and Whisperer cover all of the hot topics as we approach Round 19 of NRL SuperCoach! Find our socials, sponsors, all our shows, join our community and become a subscriber here: https://linktr.ee/InsightFantasySports Hosted on Acast. See acast.com/privacy for more information.

Welcome back to another episode of the EUVC Podcast, your trusted inside track on the people, deals, and dynamics shaping European venture.This week, Dan Bowyer and Mads Jensen of SuperSeed and Lomax from Outsized Ventures, gather to unpack the macro forces and micro signals shaping European tech and venture.They sit down to break down the two sides of the IPO market: the soaring optimism behind Figma's public debut — and the deep freeze that's hit London listings harder than at any time since before the dot-com crash.They also unpack what Figma's $730M paper loss means, how vertical AI is the next generation of SaaS, and what the UK must fix to stand a chance in the global listings race.If you're investing, building, or just trying to make sense of the markets this summer — this one's for you.Here's what's covered02:30 | AI infra's moment & CoreWeave hypeWhy infra plays like CoreWeave and Circle have the market buzzing — but vertical AI is where the next SaaS returns lie.04:50 | Figma's $730M paper loss explainedMad breaks down the headline figure, the failed Adobe deal, the FTC veto, and why this IPO is about fundamentals — not hype.08:20 | Tender offer drama & employee moraleHow Figma's $20B exit fizzled — and the May 2024 tender to keep teams motivated ahead of listing.12:00 | Figma as a bellwether for design & vertical AIWhy product-led SaaS is shifting toward deep vertical AI workflows — and what that means for investors.15:45 | London: the slowest IPO H1 in nearly 30 yearsCounter to the US's $9B+ haul in 12 deals, London managed just $160M across five listings. A brutal gap.18:10 | Worse than dot-com. Worse than ‘08.Dan & Mad put the numbers in perspective: this is the weakest stretch since before many listeners were born.26:15 | Dual-class shares & free float: too little too late?Why tweaking share classes & float minimums is more copy-paste than innovation — and not the real fix.35:20 | The ESG paradox & listing tensionWhere does London's ESG edge help — and where does it push big companies abroad?40:15 | US vs UK capital markets: talent, trust & scaleWhy founders and funds still flock to New York — and the structural advantages London must address.44:30 | Can London fight back?What would it actually take to make London relevant again for growth listings? Dan's realist take.50:00 | Lessons from Figma for foundersWhy strong fundamentals still matter — and how the tender saga shows the cost of employee trust.55:00 | The vertical AI playbook: Europe's edge?Where Europe's sector expertise might win if it can get capital markets working again.

NSW Blues winger Zac Lomax says he and his teammates know if they put in an 80-minute performance they'll be hard to beat in Wednesday's State of Origin decider at Accor Stadium. See omnystudio.com/listener for privacy information.

Welcome to a new episode of the EUVC podcast, where Dan Bowyer and Mads Jensen of SuperSeed and Lomax from Outsized Ventures, gather to unpack the macro forces and micro signals shaping European tech and venture.This week, the trio tackles one of the most geopolitically charged, capital-heavy, and morally complex episodes yet:

THE PHILLY PHENOMS Ten-year-old Lee Lomax is trying to scratch a severe golf itch. Like many kids, Lee idolizes his dad, Sam, a talented golfer who has put his game on hold to focus on his family. But Lee is relentless and vows to spend his summer at Sam's blue-collar country club in the Philly suburbs, hoping it will entice his dad to do the same. Enter the despicable Hal Rustin, who wants nothing more than to see the Lomax family booted from the club. Sam might have no choice but to step in. In The Philly Phenoms, we follow Lee Lomax as he searches for a fix for his golf obsession. He circles a special charity match, held on the first anniversary of 9/11, as both the potential cure and the opportunity of a lifetime for the Lomax family. TOPICS OF CONVERSATION Golf as a Symbol and Passion – Central to the plot and rooted in the author's personal experiences with his father and upbringing. Father-Son Relationship – A deep emotional core of the story, inspired by the author's real bond with his own dad. Themes of Grit and Perseverance – Reflected in Lee's character and motivated by the author's observations as a teacher, especially post-COVID. Blending Humor with Real-World Trauma – Balancing lighthearted moments with heavier subjects like 9/11 and mental health, especially from a child's point of view. Collaborative Creative Process – The book became a group effort, with contributions from friends and colleagues for the cover art, course map, and fictional club logo. What's Next – Upcoming writing and publishing plans ABOUT THE AUTHOR Nate Oxman has been a golf writer in the Philadelphia area for nearly 20 years. After receiving his bachelor's degree in journalism from Penn State University in 2004, Oxman served as an unpaid intern and later sports editor at The Spirit Community Newspapers in Philadelphia, where he covered general news and local youth and high school sports. In 2007, he was hired as the associate sports editor for Montgomery Newspapers, which publishes a group of weekly papers in the Philadelphia suburbs of Montgomery County, and the staff writer for Philadelphia Golfer, a monthly golf magazine published by the newspaper group. While writing for Philadelphia Golfer, Oxman earned a Keystone Media Award from Pennsylvania NewsMedia Association as well as a first-place prize from the Philadelphia Press Association. In 2010, Oxman became the staff writer for Tri-State Golf Magazine, a quarterly publication covering golf news throughout the tri-state area of eastern Pennsylvania, south Jersey, and Delaware. He continues to serve as the staff writer for Tri-State Golf and has contributed freelance work to myriad publications including The Philadelphia Daily News, The Philadelphia Inquirer, South Jersey Magazine, Suburban Life Magazine, Golf Association of Philadelphia Magazine, and Golfer's Tee Times. Oxman has covered dozens of local and national events on every major professional golf tour as well as the USGA including the 2013 U.S. Open at Merion, the 2015 and 2024 U.S. Women's Opens at Lancaster Country Club and the 2026 Truist Championship and Mizuho Americas Open. Oxman is a longtime member of the Golf Writers' Association of America, the International Network of Golf, the Golf Travel Writers' Association of America and the Delco Press Club. Oxman shifted gears and earned his teacher certification from Cabrini University in 2010 and has served as a classroom teacher in the School District of Haverford Township since 2012. He received his Master's degree in Teaching Secondary English from Slippery Rock University in 2023. In addition to his work in education and journalism, Oxman began caddying at Merion Golf Club in Ardmore, Pa. in 1995 and has served as one of the club's assistant caddie managers since 2009. He has caddied in club, local, and national events including the 1998 U.S. Girls' Junior, the 2005 U.S. Amateur, and the 2022 Curtis Cup matches. Oxman's father and uncle both caddied on the PGA Tour. He lives in Havertown, Pa., a suburb of Philadelphia, with his wife, Laura, and three daughters: Anna, 12, Emilia, 9, and Eden, 5. CONNECT WITH NATE OXMAN! WEBSITE: https://thephillyphenoms.com/ INSTAGRAM: @NateOxman X: @NateOxman LINKEDIN: https://www.linkedin.com/in/nate-oxman-b741a520/  

Folklorist John A. Lomax found this song in 1909 when he made his first field trip to the Brazos area of Texas for Harvard University.“I found Dink scrubbing her man's clothes in the shade of their tent across the Brazos River from the A. & M. College,” Lomax wrote when he and his son Alan published the song 25 years later in their seminal 1934 work, American Ballads and Folk Songs.Harvest Professor James C. Nagle had been the supervising engineer of a levee-building company during that first trip, and he invited the senior Lomax to come along and bring his new Edison recording machine.Among the levee workers who had traveled from Mississippi to work on the Brazos, Lomax found one who pointed out Dink, saying she “knows all the songs.”But Dink was uninterested in helping — “'Today ain't my singin' day,” she said — until “I walked a mile to a farm commissary,” Lomax wrote, “and bought her a pint of gin. As she drank the gin, the sounds from her scrubbing board increased in intensity and in volume. She worked as she talked.”“That little boy there ain't got no daddy an' he ain't got no name,” Dink told Lomax. “I comes from Mississippi and I brung along my little boy. My man drives a four-wheel scraper down there where you see the dust risin'. I keeps his tent, cooks his vittles and washes his clothes. Some day I gonna wrap up his wet breeches and shirts, roll 'em up in a knot, put 'em in the middle of the bed and tuck down the covers right nice. Then I'm going on up the river where I belong.”The TuneLomax's original record of “Dink's Song” — which the storyteller eventually sang for him — got broken long ago, but not before John, Alan and others in the Lomax family all learned the words and melody.Poet Carl Sandburg, who included the song in his New American Songbag in 1950, compared Dink's lyrics to the best fragments from the Greek poetess Sappho. “As you might expect,” Lomax commented, “Carl prefers Dink to Sappho.”The elder Lomax lost track of Dink after his 1909 field trip. "When I went to find her in Yazoo, Mississippi, some years later,” he wrote, “her women friends, pointing to a nearby graveyard, told me, ‘Dink's done planted up there.' I could find no trace of her little son.”The first commercial recording of “Dink's Song” came eight years after the Lomaxes published it in their songbook, when Libby Holman waxed it as “Fare Thee Well” in a recording with Josh White for Decca Records.Oh? You say you don't know who Libby Holman was? Oh boy, do we have a story for you!Libby's LifeA Cincinnati-born actress and singer — her career began as a torch singer on Broadway in the 1920s and ‘30s — Libby Holman was a controversial figure, known for her turbulent personal life as well as for her activism, which included unstinting support for civil rights.When she was in her late 20s, Holman was at the center of a highly publicized case surrounding the death of her first husband. Zachary Smith Reynolds, heir to the R.J. Reynolds tobacco fortune, who died of a gunshot wound at their estate in 1932. Initially, Libby was accused of murder, but the charges eventually were dropped. The coroner ruled Smith's death a suicide. For her part, Holman said she couldn't remember exactly what happened, telling a friend, “I was so drunk last night I don't know whether I shot him or not.”RelationshipsHolman was known for her intimate affairs with both men and women, including a significant relationship with DuPont heiress Louisa d'Andelot Carpenter. The tabloids of the day had a ball with Libby's openness about her bisexuality.Folk/blues artist Josh White also has a significant professional and personal connection with Holman. In the 1940s they became the first mixed-race male and female artists to perform together, to record together and to tour throughout the United States.Together they challenged segregationist policies in the entertainment industry, breaking down racial barriers in many previously segregated venues. During World War II, the two tried to organize performances for servicemen, but they were rejected due to the prevailing segregation in the U.S. Armed Forces, despite a recommendation from Eleanor Roosevelt.As “Fare Thee Well,” “Dink's Song” was among a half dozen songs Holman and White recorded for Decca in 1942. Three years later, White recorded the tune again on his first solo album, Songs by Josh White, for Asch Records, a predecessor of Folkways. He recorded it at least once more later in his career, on the 1957 Mercury album called Josh White's Blues.Our Take on the TuneIn the Floodisphere, Randy Hamilton has reinvented this century-old tune into something as fresh and sweet as a summer breeze.And if listening to it has you hankering for more music from Randy, just swing on by the free Radio Floodango music streaming service and tune in the Randy Channel. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

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

It's Monday, June 23rd, A.D. 2025. This is The Worldview in 5 Minutes heard on 140 radio stations and at www.TheWorldview.com.  I'm Adam McManus. (Adam@TheWorldview.com) By Adam McManus Christian persecution pervades Christian-majority nations in Africa & Latin America Many Christians across Africa and Latin America continue to suffer for their faith because of Islamic oppression, dictatorial paranoia, and criminal cartel organizations, reports International Christian Concern. Large populations in Cuba, the Democratic Republic of the Congo, Mexico, Mozambique, Nicaragua, and Nigeria are predominantly Christian. Yet, many Christ followers in these nations are often brutally attacked for following Christ, and their governments are failing to protect them.  In Congo, Christians represent 95% of the nation's population, yet they are being slaughtered at alarming rates. Much of the killing is being done by Islamist groups like ISIS-DRC, also known as the Allied Democratic Forces. Likewise, in Mozambique, 62% of the population is composed of Christians, yet Islamic extremists still target them for their faith. According to Open Doors, these extremists have “target[ed] Christian places of worship, abducted religious leaders, and killed numerous believers.”  And in Cuba, the Catholic Church estimates that 60% of the population practices Catholicism. Cuban churches that publicly oppose the government's human rights abuses are targeted by authorities for harassment and intimidation. British House of Commons passes dangerous bill legalizing assisted suicide Members of the British House of Commons voted Friday to pass a dangerous bill to legalize assisted suicide, reports LifeNews.com. In a vote of 314 to 291, Members of Parliament put their stamp of approval on the bill that will likely result in pressuring disabled and elderly people to kill themselves. Isaiah 59:7 says, “Their feet rush into sin; they are swift to shed innocent blood. They pursue evil schemes; acts of violence mark their ways.” Tim Dieppe, Head of Policy at Christian Concern, was outraged. DIEPPE: “Once you legalize assisted suicide, you will put pressure on vulnerable people. Vulnerable people will feel like they're a burden to others. People will be suggesting assisted suicide. Doctors could suggest it. I mean, that's horrific. You know, my wife died of cancer three years ago. I can't imagine what it would be like if her consultant had suggested suicide.” Labour legislator Diane Abbott said she's concerned that for-profit companies will run assisted dying businesses that take advantage of killing people for money. Members of Parliament had only 10 hours to consider over 130 amendments to the bill, or less than 5 minutes per change. America bombed Iran's nuclear facilities On Saturday, the U.S. military bombed three sites in Iran, directly joining Israel's effort to decapitate the country's nuclear program in a risky gambit to weaken a longtime foe amid Tehran's threat of reprisals that could spark a wider regional conflict, reports the Associated Press. TRUMP: “A short time ago, the US military carried out massive precision strikes on the three key nuclear facilities in the Iranian regime: Fordow, Natanz, and Isfahan. Everybody heard those names for years as they built this horribly destructive enterprise. Our objective was the destruction of Iran's nuclear enrichment capacity and a stop to the nuclear threat posed by the world's number one state sponsor of terror. “Tonight, I can report to the world that the strikes were a spectacular military success. Iran's key nuclear enrichment facilities have been completely and totally obliterated. Iran, the bully of the Middle East, must now make peace. If they do not, future attacks will be far greater and a lot easier. For 40 years, Iran has been saying, ‘Death to America, Death to Israel.'” The decision to directly involve the U.S. in the war comes after more than a week of strikes by Israel on Iran that aimed to systematically eradicate the country's air defenses and offensive missile capabilities, while damaging its nuclear enrichment facilities. TRUMP: “I want to thank and congratulate [Israeli] Prime Minister Bibi Netanyahu. We worked as a team like perhaps no team has ever worked before, and we've gone a long way to erasing this horrible threat to Israel. I want to thank the Israeli military for the wonderful job they've done. And most importantly, I want to congratulate the great American patriots who flew those magnificent machines tonight and all of the United States military on an operation the likes of which the world has not seen in many, many decades.” (Learn more about the timeline that led up to America's bombing of Iran's nuclear facilities.) Iran threatens to block Strait of Hormuz, blocking 20% of oil shipments In response, Iran is reportedly saying it will block the Strait of Hormuz and stop oil shipments for what amounts to 20% of the world's daily oil flow and up to $1 billion, which will send oil prices soaring globally, reports NewsMax. Needless to say, Iran has no legal authority to block traffic through Hormuz, and blockage would mean direct combat with U.S. naval assets, including the U.S. Fifth Fleet warships patrolling the region. Dear Lord, We pray for peace. Amen. The 30,000-pound bunker bomb that made the difference In a post on TruthSocial, Trump said, “There is not another military in the world that could have done this. NOW IS THE TIME FOR PEACE!” Indeed, America's 30,000-pound bunker buster bomb offered the best chance of destroying heavily fortified sites connected to the Iranian nuclear program buried deep underground. Appearing on ABC News, Retired Lt. General Doug Lute explained. LUTE: “The original purpose of building this bomb was actually concern about the North Korean deeply buried nuclear related sites. So, this didn't originally have anything to do with Iran. But most recently, it's the only bomb in our inventory, or frankly, in the global inventory, that promises some prospect of actually penetrating the mountainside in which the crown jewel of the Iranian nuclear program, the Fordow site, is located. So, this is our best technological advantage in terms of trying to get to that site.” 90% of Trump Republicans say “Iran cannot have a nuclear weapon” Appearing on Fox News Channel with Dana Perino, Chris Stirewalt summarized Trump's mindset about Iran. STIREWALT: “I think that Donald Trump has never wavered from the ultimate objective, which is that the Iranian nuclear program has to end. It has to be dismantled. It has to be destroyed. The only question has been whether it's done militarily or whether it's done voluntarily. “He gave them a 60-day deadline. They let the deadline pass, and so Israel began bombing on Day 61 and now he is basically holding out. ‘This is your last chance. The time for negotiation is over. There's not going to be any kind of deal.' “This is a question of whether Iran cries ‘amo,' which is Persian for ‘uncle,' and allows U.S. to come in and blow up Fordow from the inside, or we do it from without, from the skies above, with B2 bombers. But I think there is zero chance that the Fordow nuclear facility survives this encounter.” Stirewalt asserted that the Make America Great Again crowd is supportive of Trump's decision to bomb Iran. STIREWALT: “The idea that there's a schism in the Republican Party, or that the Trump Coalition is breaking up is completely absurd. The Reagan Institute is coming out with a new poll this weekend. 90% of self-described [Make America Great Again] Republicans say Iran cannot have a nuclear weapon. 80% say that Israel's security is vital to our security. 64% support Israel bombing the nuclear facilities. There is absolutely no daylight between Donald Trump and the  [Make America Great Again] movement. The MAGA movement is absolutely behind Donald Trump in getting rid of this nuclear program.” On Truth Social, President Trump posted, “I gave Iran chance after chance to make a deal.” He concluded, “This is an historic moment for the United States of America, Israel, and the world. Iran must now agree to end this war.” Texas answers  “What is a Woman?” in state law Last Friday, Texas Republican Governor Greg Abbott signed into law the “What is a Woman Bill” also known as House Bill 229, reports Texas Values. Now, in Texas, men can no longer pretend to be women. The law accurately defines the terms “man”, “woman”, “boy”, and “girl” by scientific definitions and biological reality. The effect would be that biological  women will have their rights, opportunities, and privacy protected by law. Genesis 1:27 states,  “So God created mankind in His own image, in the image of God He created them; male and female He created them.” While Texas already has laws protecting women's sports, there have been many other threats to women's prisons, sororities, and private spaces like locker rooms.  Hockey player gives glory to God after winning Stanley Cup The Russian-born goaltender of the National Hockey League's Florida Panthers, Sergei Bobrovsky, gave glory to God upon his victory after his team won the famed Stanley Cup, the championship trophy in the NHL, for the second year in a row, reports LifeSiteNews.com. REPORTER: “What makes this one special?” BOBROVSKY: “I mean, it's amazing feeling, and I want to say glory to the father and to the Son and to the Holy Spirit. I want to thank him for everything I have, for my parents, for my family.” Worldview listener in California is grateful the whole family can listen I invited Worldview listeners to share what they enjoy about the newscast in 2-6 sentences by email.  You can share your thoughts — along with your full name, city and state — and send it to adam@TheWorldview.com Carri Andry in Morgan Hill, California wrote, “Hi Adam! My family really appreciates The Worldview in 5 Minutes. We discovered you through Kevin Swanson‘s Generations radio program and have enjoyed listening to what is going on in the world from an informative, Christian point of view. We're grateful for a newscast that the whole family can listen to. Keep up the great work!” 38 Worldview listeners gave $ 14,243.25 to fund our annual budget And finally, toward our $92,625 goal by this past weekend  to fund three-quarters of The Worldview newscast's annual budget for our 6-member team, 38 listeners stepped up to the plate. Our thanks to Felix, age 10, in Sexsmith, Alberta, Canada, who gave $2.25, Michelle in Lexington Park, Maryland who gave $20, Augustine in Auburn, California who gave $25, Cara in Mebane, North Carolina who gave $30, Ben in Eureka, California who gave $35, and Steve in Loveland, Colorado and Nathan in Cobleskill, New York – both of whom gave $50. We appreciate Kevin in North Bend, Oregon, James in Cardiff, Wales, United Kingdom, Josiah in Tigard, Oregon, Trevor in Nikiski, Alaska, and David in Pompton Lakes, New Jersey – each of whom gave $100. We're grateful to God for Josie, age 16, in Sexsmith, Alberta, Canada who gave $146, Ursula in Great Falls, Montana who gave $150, Lorraine in Farmington, Maine and Joel and Heidi in Columbus, Nebraska – both of whom gave $200 as well as Kevin and Rachelle in Columbus, Nebraska who gave  $225 and Wade and Susan in Suffolk, Virginia who pledged $20/month for 12 months for a gift of $240. We appreciate the generosity of Todd in Davenport, Iowa and Joanne in Vasteras, Sweden – both of whom gave $250 as well as Sarah in Madera, California who gave $300, and Cathy in Fate, Texas, James in St Johns, Florida, and Stephen in Plainview, Texas – each of whom pledged $25/month for 12 months for a gift of  $300 each. We were touched by the gifts of Nicki in Carthage, Missouri who pledged $35/month for 12 months for a gift of $420, Zephaniah in Lomax, Illinois and Jennifer in Abingdon, Virginia – both of whom gave $500, Heather in Brenham, Texas, John in DeMotte, Indiana, Tim in Huffman, Texas, Louise in Middletown, Delaware, Charles in Sandpoint, Idaho, and Jennifer in West Milford, New Jersey – each of whom pledged $50/month for 12 months for a gift of $600 each. And we're grateful for the sacrifice of Todd and Kim in Monument, Colorado who gave $650, Mary in  Midlothian, Virginia who gave $1,200, Jill in Hendersonville, Tennessee who pledged $100/month for 12 months for a gift of $1,200 as well, and Scooter in Naples, Florida who will give $2,000. Those 38 Worldview listeners gave a total of $14,243.25 Ready for our new grand total? Drum roll please.  (Drum roll sound effect) $62,573.25 (People clapping and cheering sound effect)  That is the most donors and the largest amount given thus far this entire month. Wow!  We are amazed at God's goodness. Even 10-year-old Felix in Canada gave $2.25 of his own money.  That's awesome! Toward this past weekend's goal of $92,625, we missed it by $30,051.75. Would you be one of 13 people to pledge $100/month for 12 months for a gift of $1,200?  And another 25 people to pledge $50/month for 12 months for a gift of $600? Go to TheWorldview.com and click on Give on the top right.  Click on the recurring tab if you want to make it a monthly pledge. We're on the downhill slide to June 30th at which point we need to have raised $123,500 to fully fund our 6-member Worldview newscast team. What is the Lord asking you to do?  Close And that's The Worldview on this Monday, June 23rd, in the year of our Lord 2025.  Follow us on X or subscribe for free by Spotify, Amazon Music, or by iTunes or email to our unique Christian newscast at www.TheWorldview.com.  Plus, you can get the Generations app through Google Play or The App Store. I'm Adam McManus (Adam@TheWorldview.com). Seize the day for Jesus Christ.

Welcome to a new episode of the EUVC podcast, where Dan Bowyer and Mads Jensen of SuperSeed and Lomax from Outsized Ventures gather to unpack the macro forces and micro signals shaping European tech and venture.This week, the trio tackles one of the most geopolitically charged, capital-heavy, and morally complex episodes yet:The global reshuffling of power: Israel, Iran, Russia, and UkraineWhy defense is back—and what it means for VCsEurope's space ambitions and what the ESA's new satellite project signalsChina's trade plays and Europe's vulnerability in rare earthsAI, IPOs, and why founders might want to stay private longerSurgical robots, ambient AI, and who's building the future of healthcarePlus: Daniel Ek gets flak, SPACs sneak back, and why VCs are now speed-running $15B deals in one week.Here's what's covered:02:00 War & Markets: Iran, Israel, oil prices & Bank of England holds06:00 Defense Budgets: Why Europe is (finally) spending10:00 VC Taboo: Why investing in weapons gets complicated fast15:00 EIF Restrictions: Sex, gambling, and no defense20:00 The Rise of Helsing: Europe's $12B defense unicorn24:00 Strategic Autonomy: Europe's new military satellite constellation30:00 ESA vs. Starlink: Earth observation gets serious34:00 China, Trade Wars & Rare Earths: Why Europe's exposed40:00 EU-US Tariffs & Trump's Pharma Threat42:00 IPO Boom: Chime, Circle, and the SPAC comeback47:00 CMR Surgical: UK's $4B robot exit—is that enough?53:00 Lessons from Intuitive Surgical & deeptech M&A56:00 Deal of the Week: Nabla's AI for clinicians, Helsing, and Scale AI's lightning-fast cash01:02:00 Founders in Government: Alex DePledge & Matt Clifford's impact01:05:00 Meta's AI Transfers: Zuck goes full football transfer window

Welcome to a new episode of the EUVC podcast, where Dan Bowyer and Mads Jensen of SuperSeed and Lomax from Outsized Ventures gather to unpack the macro forces and micro signals shaping European tech and venture.This week, the trio dive into:Why cyber preparedness is a growing boardroom concernThe overlooked fragility of Europe's energy systemsHow automation, AI, and policy are colliding in the UKEurope's capital gap—and the uncomfortable truth behind itPlus: OpenAI margins, startup resilience, and robotaxis in LondonHere's what's covered:02:00 Cybercrime as a Macro Risk: Are We Sleepwalking into Crisis?06:10 Iberian Blackouts & Energy Fragility09:00 Immutable Ledgers, AI & Infrastructure Resilience11:15 UK's £2B AI Action Plan: Where's the Real Bravery?14:20 Nuclear Woes: The True Cost of Delay17:40 Marginal Cost Pricing & the Renewable Conundrum20:30 Tesla's Robotaxi Vision & a $40K Price Tag22:00 Wave x Uber Deal: Level 4 Autonomy Comes to the UK24:00 Brexit's AV Dividend? The UK Races Ahead of the EU26:30 Europe's Capital Gap: Funding or Fundamentals?29:00 OpenAI's Gross Margins & Startup Implications31:30 Incumbents Strike Back: Why Big Tech Moved Faster34:00 Startup Opportunity in the Next Wave of AI35:40 European vs. US Startup DNA: Who's Built to Win?37:30 Final Thoughts & Condolences on Global Tragedies

Welcome to Get Up in the Cool: Old Time Music with Cameron DeWhitt and Friends. This week's friend is Ben Traverse! I recorded them in May at the Wheatland Traditional Arts Weekend in Remus, Michigan. Tunes in this episode: * Raging Canal (Sent My Brown Jug Downtown) (0:50) * Lost on the Lady Elgin (10:08) * Who Feeds Us Beans (23:43) * Beaver Dam Road (40:55) * Shenandoah (47:09) * BONUS TRACK: Birch Grove Visit Ben Traverse's Website (https://bentraversemusic.com/) Follow Ben Traverse on Instagram (https://www.instagram.com/bentraversemusic) Buy Ben's albums from Earthwork Music (https://earthworkmusic.com/collections/all/ben-traverse) Buy tickets to see Tall Poppy String Band and Never Come Down at Mississippi Studios (https://www.etix.com/ticket/p/67800436/never-come-down-tall-poppy-string-band-portland-mississippi-studios) Sign up for the final Earful of Fiddle! (http://earfuloffiddle.com/) Support Get Up in the Cool on Patreon (https://www.patreon.com/getupinthecool) Send Tax Deductible Donations to Get Up in the Cool through Fracture Atlas (https://fundraising.fracturedatlas.org/get-up-in-the-cool) Sign up at Pitchfork Banjo for my clawhammer instructional series! (https://www.pitchforkbanjo.com/) Schedule a banjo lesson with Cameron (https://www.camerondewhitt.com/banjolessons) Visit Tall Poppy String Band's website (https://www.tallpoppystringband.com/) and follow us on Instagram (https://www.instagram.com/tallpoppystringband/)

Catch up on all the Rugby League news from NRL 360, Wednesday 11th of June, with hosts Braith Anasta and Gorden Tallis. The boys are joined by James Hooper and Michael Carayannis on the panel and chat to Zac Lomax ahead of State of Origin Game Two. The boys also discuss the inconsistent form at Manly and what forwards they look to sign in 2026. For more of the show tune in on Fox League CH 502 or stream full episodes on KAYO.See omnystudio.com/listener for privacy information.

Welcome to a new episode of the EUVC podcast, where Dan Bowyer and Mads Jensen of SuperSeed and Lomax from Outsized Ventures gather to unpack the macro forces and micro signals shaping European tech and venture.This week, the trio dive into:Why Europe's fiscal firepower could be its unfair advantageThe growing exodus of IPOs from the UK to the USStrategic defense investment—can the UK move the needle?How AI and capital markets are collidingAnd yes, we close on psychedelics and patient-first biotech breakthroughsHere's what's covered:02:15 Europe's Fiscal Advantage: Why Better Balance Sheets Matter for Innovation07:00 The Return of Low Rates: What It Means for Startups11:20 London vs. New York: The IPO Drain17:00 Why Capital Leaves: Liquidity, Coverage & the Search for Growth21:30 Rebuilding the UK Market: The Case for LP Allocation Reform25:50 Beyond IPOs: The Full-Stack Capital Problem30:40 AI and Lawsuits: Welcome to the New Frontier33:10 Defense Tech Heats Up: Drones, AI & Strategic Capital38:40 Can the UK Compete? Global Arms Races & National Reviews42:30 Liquid Biopsies & Healthcare Breakthroughs46:20 NHS Efficiency Crisis: More Money, Worse Outcomes50:30 Psychedelics on the Edge: Awaiting the Data Drop

One of the people that inspired J. Frank Dobie to devote his career to writing about Texas and preserving the stories and folk ways of the Southwest was John Avery Lomax.  Lomax lived from 1867 to 1948 and during those years he did a considerable amount of work to preserve and record American folk music, especially the folk music of the cowboys.  He was born in Mississippi but came to Texas in 1869 in a covered wagon. His family settled on a farm near Meridian and he spent many of his formative years growing up near the Chisholm Trail and witnessed the trail drives passing by firsthand. Lomax was also instrumental, along with another of Dobie's mentors, Leonidas Warren Payne, in creating the Texas Folklore Society in 1909, and three of Lomax's children also went on to preserving American folk songs. He published several books on folklore, including Cowboy Songs and Other Frontier Ballads in 1910 and Songs of the Cattle Trail and Cow Camp in 1919.  He published his autobiographical Adventures of a Ballad Hunter in 1947, not long before his death in 1948. This episode shares some information from a presentation Lomax gave at a folklore society meeting in San Marcos.  In it he shares some knowledge on the Texas cowboy's speech and mode of living. You might think that you know everything about cowboy culture but I'd bet there's something in it that will surprise you.  I've edited it slightly to make it more readable in print form and a little bit more polite in a couple of places. Visit the Texas History Lessons Substack and help support the show. If you are enjoying Texas History Lessons, consider buying me a cup of coffee by clicking here!⁠ ⁠Help make Texas History Lessons by supporting it on Patreon⁠. And a special thanks to everyone that already does. Website: ⁠texashistorylessons.com⁠ email: ⁠texashistorylessons@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Dan Bowyer, Lomax, and Mads Jensen reunite to talk about the stories behind the headlines - Trump's tariffs, EU's sluggish startup strategy, the Anthropic surge, and why Europe's hardware design hopes might rest on Munich.From missiles interrupting pool time in Tel Aviv to Nvidia's record-breaking quarter, the crew tackles everything from macro trade wars to micro founder incentives—plus a healthy dose of sarcasm, realpolitik, and startup survival.Here's what's covered:04:30 Tariffs, trade wars & what it means for European startups08:15 Harmonization vs. regulation: Why EU/US divergence matters10:55 Tariffs & inflation: Why macro still rules the game13:10 The public/private schism and bond market dismay21:45 The EU startup plan: blue carpets, unicorn labs & old ideas26:00 Talent, tax & the fight for Europe's future founders29:30 Why Munich might be Europe's next deep tech capital31:00 Big tech flexes: Google, Anthropic, and the return of hardware35:00 Vibe coding & SaaS disruption: The new normal?41:00 AI agents, Nvidia blowouts, and the pace of change45:20 Deal of the Week: Brightflag exits for $425M57:00 Why the crew skipped SuperVenture to actually build stuff

Want to share your thoughts about the podcast? Text a Message!Continuing the Riding Instructor Interview Series, with Heather Lomax of Hidden Creek Ranch.Enjoy this interview packed with gorgeous insights and beautiful stories! I had a blast getting to know Heather... I know you will too. For more info, kindly visit her website:https://hcrgaitedhorses.com/Thanks so much for listening!  Please write a review if you're inspired!For Riding Instructors, please visit this support page: https://www.inspiredriding.com/support-for-riding-instructors

State of Origin selections are just around the corner and SuperCoaches are hoping to cash in.In particular, one of Zac Lomax and Brian To'o is on the verge of losing a spot for NSW and SuperCoaches are ready to pounce. Join SuperCoach Editor Tom Sangster and Jett Hatton.All the latest SuperCoach news and articles: linktr.ee/supercoachnrl Hosts: Tom Sangster: @TomSangsterSC /XJett Hatton: @KnowsJett /XProduced by Frank Ienco.Recorded 10am Wednesday May 14, 2025.See omnystudio.com/listener for privacy information.

Welcome to a new episode of the EUVC podcast, where our good friends Dan Bowyer and Mads Jensen from SuperSeed, in discussion with Lomax Ward from Outsized Ventures and Andrew J. Scott, Founding Partner at 7percent Ventures, cover recent news and movements in the European tech landscape.Behind the headlines—wind implosions, deep tech dead ends, exit deserts, secondaries, and AI drama—lie seismic shifts that will define the trajectory of European startups and the capital that fuels them.Here's what's covered:01:30 Europe's Wind Sector in Crisis05:12 Hornsea 4 Fallout & Government Accountability10:24 The Collapse of Deep Tech Momentum in the UK15:36 Public Sector Catastrophes: Fujitsu's £12B Flop20:48 UK-EU Youth Mobility Deal & Trade Strategy26:00 Trump, IP Tariffs & Global Trade Disruption31:12 RIA Funds & the Evolving VC Model41:36 Secondary Markets in Venture46:48 The AI Arms Race: OpenAI vs. Google52:00 European Drone Unicorns & GovTech

Welcome to a new episode of the EUVC podcast, where Dan Bowyer and Mads Jensen of SuperSeed and Lomax from Outsized Ventures dive deep into the macro and micro of European venture, joined this week by special guest Chris Elphick, Head of Venture Capital at the British Private Equity & Venture Capital Association (BVCA).Together, they pull back the curtain on the real stories shaping VC—from pension reform to geopolitical shocks, blackout readiness, and the transatlantic battle for AI and aerospace dominance.Here's what's covered:03:15 What Really Happens at a VC Conference?07:40 Politicians Using AI: Tech Literacy or National Security Risk?12:01 UK Local Elections: Rise of Reform & Political Fragmentation18:20 Trump's Tariffs: Recession Risk & Global Trade Realignments22:33 Heart Aerospace Flies to LA: A Blow to Europe?28:04 UK VC Fundraising Rebounds—but Where's the LP Money?33:42 The Pension Problem: Zero UK Pensions Backing UK VC?48:58 NATO x Deeptech: Europe's First Combat Robots?52:35 Portugal's Great Blackout: A Warning for Renewable Grids1:03:00 Show Me the Money: Can Pension Reform Really Unlock Capital for UK VC?

Send your thoughts, feelings, opinions and suggestions to 0892096423!I was delighted to have the opportunity to sit down and chat with Alison Lomax, MD of Youtube UK and Ireland this week as the platform celebrates its 20th birthday. I'm not going to lie, when I speak to women like Alison, I'm always a little intimidated. As someone outside the corporate world, I always feel like I'm not smart enough or experienced enough or like I don't speak the language or something, but Alison could not have been kinder or warmer. We discussed her career, and I absolutely learned some things I can apply to my own, as well as the role YouTube plays in our lives, for good and for bad.Get tickets to the live show in The Laughter Lounge on May 16th here!To support the podcast and access bonus episodes, join the community on Patreon here. Hosted on Acast. See acast.com/privacy for more information.

Laura Lomax shares her journey bridging cultural gaps through tailored online learning. Revealing how to adapt DEI content for different audiences, she explores practical strategies for fostering inclusion and engagement, offering actionable takeaways for course creators.Laura Lomax is an intercultural practitioner, instructional designer, training and development specialist, and a certified professional coach.In this episode, Ari, Abe, and Laura discuss:Laura's professional background in intercultural competency, program development, and training across multiple industriesThe evolution of diversity, equity, and inclusion (DEI) work and adapting terminology to suit different audiencesStrategies for approaching and customizing courses for organizations, especially impenetrable or conservative institutionsThe importance of tailoring course content and delivery for specific, niche audiencesTechniques for making sensitive or divisive topics more relatable and accessible to all learnersBest practices for effective online course design, including formats, interaction, and engagementChallenges and methods for fostering active participation and deeper engagement in online programsObtaining and utilizing continuing education accreditation as a business strategy and marketing toolLessons learned and practical advice for course creators on course organization, technology use, and content presentationWays to follow up with learners and organizations to ensure training effectiveness and lasting impact“We used the word ‘inclusion' a lot, but unfortunately, diversity, equity, even the word culture, was a little triggering.” — Laura LomaxGuest Bio:Laura Lomax has more than 35 years of leadership experience, including 18 years as CEO of a health care management firm. From assessment, analysis, and program development to delivery and evaluation, Laura focused on designing solutions to underserved communities as well as governmental agencies, including police departments, sheriff's departments, jails, and prison systems in 10 states across the U.S.Since 2015, Laura has focused on developing customized workplace learning solutions to build intercultural awareness and accountability for individuals, teams, and organizations.  She has administered assessments and provided cultural competence workshops to more than 2,000 participants from the following sectors: government, education (K-20), banking, health care, law enforcement, social services, hospitality, and nonprofit agencies.Laura received her BA in Anthropology (1984) and Master of Science in Instructional Design and Technology (2022). She is a certified Intercultural Practitioner and a Qualified Intercultural Development Inventory Administrator. Laura is also a certified facilitator/trainer for competency-building programs, including Cultural Detective, Emotional Intelligence in Diversity, and Pathways to Racial Reconciliation. In 2018 she received the NAACP Pioneer Award for building inclusive communities through leadership.Resources or websites mentioned in this episode:MiraseeRuzukuLaura's website: InterculturalWorks.comLaura's courses: courses.elearnersource.comLaura's email: laura@interculturalworks.comCredits:Hosts: Ari Iny and Abe CrystalProducer and Editor: Michi LantzExecutive Producer: Danny InyMusic Soundscape: Chad Michael SnavelyMaking our hosts sound great: Home Brew AudioTo catch the great episodes that are coming up on Course Lab, please follow us on Mirasee FM's YouTube channel or your favorite podcast player. And if you enjoyed the show, please leave us a comment or a starred review. It's the best way to help us get these ideas to more people.Music credits:Track Title: Bossa BBArtist Name: MarieWriter Name: Chelsea McGoughPublisher Name: A SOUNDSTRIPE PRODUCTIONTrack Title: Coo CoosArtist Name: Dresden, The FlamingoWriter Name: Matthew WigtonPublisher Name: A SOUNDSTRIPE PRODUCTIONTrack Title: GraceArtist Name: ShimmerWriter Name: Matthew WigtonPublisher Name: BOSS SOUNDSTRIPE PRODUCTIONSTrack Title: Carousel LightsArtist Name: Chelsea McGoughWriter Name: Chelsea McGoughWriter Name: Matthew WigtonPublisher Name: A SOUNDSTRIPE PRODUCTIONPublisher Name: BOSS SOUNDSTRIPE PRODUCTIONSSpecial effects credits:24990513_birds-chirping_by_promission used with permission of the author and under license by AudioJungle/Envato Market.Episode transcript: How Smart Course Creators Tackle “Divisive” Topics (Laura Lomax).

Imagine a sea creature so massive it makes a whale look small—that's the giant ichthyosaur! This prehistoric marine reptile, nicknamed "the dino of the deep," lived over 200 million years ago and could grow up to 85 feet long. Scientists discovered its fossilized remains high up in the Alps, proving just how much our planet has changed. It looked like a mix between a dolphin and a lizard, but on a supersized scale. With its long snout and powerful body, it ruled the ancient oceans like an unstoppable predator. This giant proves that nature's imagination has no limits, especially when it comes to creatures of the past! CreditsCredit: CC BY 2.0 https://creativecommons.org/licenses/by/2.0: Expl2276: By IFE, URI-IAO, UW, Lost City Science Party; NOAA/OAR/OER; The Lost City 2005 Expedition - https://flic.kr/p/93orrd, https://commons.wikimedia.org/w/index.php?curid=17936594 Expl8176: By NOAA Photo Library - https://flic.kr/p/fHZpAw, https://commons.wikimedia.org/w/index.php?curid=107183191 CC BY-SA 3.0 https://creativecommons.org/licenses/by-sa/3.0/: Liopleurodon ferox 2: By Ghedoghedo, https://commons.wikimedia.org/w/index.php?curid=6798356 CC BY-SA 4.0 https://creativecommons.org/licenses/by-sa/4.0: Barbed wire siphonophore: By Peter Southwood, https://commons.wikimedia.org/w/index.php?curid=105989420 Magnapinna: By Nikivas, https://commons.wikimedia.org/w/index.php?curid=126356587 CC BY-SA 2.0 https://creativecommons.org/licenses/by-sa/2.0: Siphonophore: By Bernard DUPONT - https://flic.kr/p/dVA1Uq, https://commons.wikimedia.org/w/index.php?curid=40734741 CC BY 4.0 https://creativecommons.org/licenses/by/4.0: Ichthyotitan: By D. R. Lomax, P. de la Salle, M. Perillo, J. Reynolds, R. Reynolds, J. F. Waldron - https://doi.org/10.1371/journal.pone.0300289, https://commons.wikimedia.org/w/index.php?curid=147475414 Eardasaurus mandible lateral: By Ketchum, H.F. and Benson, R.B.J. - https://www.app.pan.pl/archive/published/app67/app008872021.pdf, CC BY 4.0, https://commons.wikimedia.org/w/index.php?curid=118272769 Animation is created by Bright Side. ---------------------------------------------------------------------------------------- Music from TheSoul Sound: https://thesoul-sound.com/ Check our Bright Side podcast on Spotify and leave a positive review! https://open.spotify.com/show/0hUkPxD34jRLrMrJux4VxV Subscribe to Bright Side: https://goo.gl/rQTJZz ---------------------------------------------------------------------------------------- Our Social Media: Facebook: https://www.facebook.com/brightside Instagram: https://www.instagram.com/brightside.official TikTok: https://www.tiktok.com/@brightside.official?lang=en Stock materials (photos, footages and other): https://www.depositphotos.com https://www.shutterstock.com https://www.eastnews.ru ---------------------------------------------------------------------------------------- For more videos and articles visit: http://www.brightside.me ---------------------------------------------------------------------------------------- This video is made for entertainment purposes. We do not make any warranties about the completeness, safety and reliability. Any action you take upon the information in this video is strictly at your own risk, and we will not be liable for any damages or losses. It is the viewer's responsibility to use judgement, care and precaution if you plan to replicate. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's not everyday that the Managing Director of one of the biggest media platforms drops by the studio, but today, Gabby is joined by Alison Lomax - MD of Youtube UK and Ireland. Alison explains how she came to be doing a job that didn't even exist when she was graduating from university, and how she took a massive chance by working in digital advertising - a chance that has really paid off! She also speaks about what it was like climbing the ladder in a male dominated industry and how it took her a long time to find her leadership style, plus how she learned how to juggle her responsibilities as a mother with her career. She speaks openly about taking a sabbatical in midlife in order to recharge and to help her daughters through their exams, and how it enabled her to attack her dream job with new energy and rigour. She also shares what it's been like since discovering she had breast cancer 18 months ago, and how it led to a health reset and even more gratitude for life and all the opportunities it presents. Alison mentions Future Dreams in this episode, and to find out more about the charity's work visit futuredreams.org.uk Hosted on Acast. See acast.com/privacy for more information.

In this episode of the AIA podcast, host Alex Perny welcomes Dr. Allen Lomax, the CEO and founder of Steed Talker Capital, to discuss the lucrative mobile home investment market.Subscribe to our YouTube channel and join our growing community for new videos every week.If you are interested in being a podcast guest speaker or have questions, contact us at ⁠⁠⁠⁠⁠Podcast@AdvantaIRA.com.⁠⁠⁠⁠⁠⁠⁠⁠Learn more about our guest Allen Lomax: https://www.linkedin.com/in/allenlomax/Learn more about Advanta IRA: https://www.AdvantaIRA.com/ The Alternative Investing Advantage is brought to you by Advanta IRA.Advanta IRA does not offer investment, tax, or legal advice, nor do we endorse any products, investments, or companies that provide such advice and/or investments. This includes any investments promoted or discussed during the podcast as neither Advanta IRA nor its employees, have reviewed or vetted any investments, persons, or companies that may discuss their services during this podcast.  All parties are strongly encouraged to perform their own due diligence and consult with the appropriate professional(s) before entering into any type of investment.

Welcome to a new episode of the EUVC podcast, where our good friend Dan Bowyer from SuperSeed meets with Andrew J. Scott, Founding Partner at 7percent Ventures, Lomax Ward, General Partner at Outsized Ventures, and Dilek Dayınlarlı, General Partner at ScaleX Venture,s to cover recent news and movements in the European tech landscape

I CAN DO ALL THINGS | Ft. Ariel Lomax | Dropping Dymes Podcast | Episode #130

Unlocking Financial Freedom - Aligning Wealth with PurposeIn this episode of Spirit Sherpa, host Kelle Sparta explores the critical importance of aligning your mindset, values, and financial strategies even at higher income levels. Joined by Dr. Allen Lomax, a financial wealth manager with a PhD in organizational systems psychology, they discuss navigating financial challenges, especially for those with significant assets.Key Topics Include:Unique stressors and considerations for wealthy individualsBenefits of private placementsThe significance of having a purpose-driven financial strategyThe need for spiritual individuals to steward wealth responsiblyHow freedom through financial planning can enhance one's spiritual journey00:00 Introduction and Housekeeping03:00 Welcoming Dr. Allen Lomax04:10 Dr. Lomax's Journey and Insights13:06 Understanding Private Placements20:45 Aligning Wealth with Purpose22:12 Managing Stress in Investments25:32 Spirituality and Wealth42:50 Conclusion and Final ThoughtsKeywords:spiritual money mindsetaligning wealth with purposeconscious investing strategiesspiritual entrepreneurs and moneyabundance and money energywealth building for lightworkersspiritual approach to financeshow to invest as a spiritual personprivate placements investingaccredited investor mindsetwealth and personal growthpurpose-driven financial planningpassive income for spiritual coacheshow spiritual people build wealthmoney blocks and abundance mindsetinvesting after spiritual awakeningfinancial empowerment through purposemindful money managementsacred money archetypesvalues-aligned wealth strategyIf you would like to learn more please book a Discovery Call here: https://kellesparta.com/discovery-call/Licensing and Credits:“Spirit Sherpa” is the sole property of Kelle Sparta Enterprises and is distributed under a Creative Commons: BY-NC-ND 4.0 license. For more information about this licensing, please go to www.creativecommons.org. Any requests for deviations to this licensing should be sent to kelle@kellesparta.com. To sign up for, or get more information on the programs, offerings, and services referenced in this episode, please go to www.kellesparta.com.

Welcome to a new episode of the EUVC podcast, where our good friends Dan Bowyer from SuperSeed, in discussion with Andrew J. Scott, Founding Partner at 7percent Ventures, and Lomax Ward, General Partner at Outsized Ventures, cover recent news and movements in the European tech landscape

In Episode 122, your "Shedadamus" Corey discusses:   —Crackdown...The NRL gives us a "High Contact" —Gutho vs. Lomax = Must Watch Theatre —Did Samoa just get another Gun?! —Picks & Predictions —"Ask The Sheda" Returns   You can reach Corey at outsidethesheds@gmail.com or on Instagram @outsidethesheds

Jason Demetriou and Kevvie Walters join Ben Dobbin to talk about the Bunnies, Dobbo think Dodd was a bad buy, is Latrell's future position at the club 6, Zac Lomax is out for six weeks with a fractured foot, the NRL wants to buy the Super League and NRL round 6 is here!See omnystudio.com/listener for privacy information.

Welcome to a new episode of the EUVC podcast, where our good friends Dan Bowyer from SuperSeed, in discussion with Andrew J. Scott, Founding Partner at 7percent Ventures, and Lomax Ward, General Partner at Outsized Ventures, cover recent news and movements in the European tech landscape

Matty & Cooper with their big talking points from Round 4- including DCE's statement, Bulldogs' status, Lomax's best position & 2025's break out players.See omnystudio.com/listener for privacy information.

Dr. Allen Lomax, CEO of Steed Talker Capital, is a visionary real estate investor dedicated to helping professionals achieve financial freedom through passive investments. Specializing in raising capital for multifamily ventures, he provides investors with a clear path to wealth-building. Overcoming early financial setbacks, he turned adversity into success, leveraging his background in psychology and decades of experience in education and business. In a discussion with Rod, Dr. Lomax explored global economic trends, including the rise of BRICS, tariff impacts, and market dynamics like Tesla's stock performance, highlighting the broader forces shaping investment opportunities today.   Here's some of the topics we covered:   How Your Biggest Weakness Could Be Your Secret Weapon The Hidden Beliefs Holding You Back & How To Break Free How The 2008/2009 Market Crash Changed Everything Losing Over $1M In The Real Estate Crash Unlock Your Real Estate Superpower and Raise Capital Like a Pro Trump's Vision for America & What It Means For You Tesla Stock and How It Impacts DOGE The Game-Changing Advice You Need Right Now Why Smart Investors Are Ditching Single-Family for Multifamily To find out more about partnering or investing in a multifamily deal: Text Partner to 72345 or email Partner@RodKhleif.com    For more about Rod and his real estate investing journey go to www.rodkhleif.com   Please Review and Subscribe  

Welcome to a new episode of the EUVC podcast, where our good friends Dan Bowyer and Mads Jensen from SuperSeed discuss with Alex Macdonald, Co-Founder & CEO of sequel, and Lomax Ward, General Partner at Outsized Ventures, to cover recent news and movements in the European tech landscape

Welcome to a new episode of the EUVC podcast, where our good friends Dan Bowyer and Mads Jensen from SuperSeed in a discussion with Andrew J. Scott, Founding Partner at 7percent Ventures and Lomax Ward, General Partner at Outsized Ventures, cover recent news and movements in the European tech landscape

Nicky Lomax is a CRM specialist – spending 10 years at marketing and data agency more2, creating both acquisition & retention data strategies for BIG retail brands like Loaf, Charles Tyrwhitt, Book People, Joules, Sweaty Betty, and hush!! She now works brand side most recently running CRM projects at The Perfume Shop, Yoto, This Works and Ted Baker. In this episode, we discuss:

In this episode of Smart Real Estate Coach, we're sitting down with Dr. Allen Lomax, a Ph.D. in Organizational Systems Psychology and real estate investor. Allen shares how he transitioned from academia to real estate, overcame the 2008 market crash, and built a system to turn low-performing investments into high-yield, recession-resistant assets.   Allen highlights the limitations of stocks and bonds, emphasizing private placements, multifamily syndications, and mobile home parks for better returns. He also introduces Streams to Impact, a program that helps investors restructure portfolios in 60 days for 18%+ annual returns with lower tax liabilities. If you're ready to move beyond traditional investments, this episode is packed with insightful strategies to help you take action.   Key Talking Points of the Episode   00:00 Introduction 01:23 Who is Dr. Allen Lomax? 04:06 Lessons from the 2008 market crash 07:44 What is Streams to Impact? 12:31 Who the Streams to Impact program is for 16:09 What high-net-worth individuals are investing in 20:59 Focusing on multifamily investments and other alternative assets 22:20 Streams to Impact podcast 25:48 Learn more about Dr. Allen Lomax and Streams to Impact   Quotables   “Most people think stocks and bonds are safe, but in reality, they're some of the riskiest assets out there.”   “The wealthy don't gamble with stocks—they build wealth through tangible, recession-resistant assets.”   “Private placements give you higher returns, tax advantages, and stability—without the daily market volatility.”   Links   Exclusive High Yield Investment Blueprint https://highyieldblueprint.com   Streams to Impact Podcast https://open.spotify.com/show/299AdjqfOa4TpSslHmmpud?si=576e45a8e3ef4632   Real Estate On Your Terms and Deal Structure Overtime https://wickedsmartbooks.com/podcast   FREE Master's Class http://smartrealestatecoach.com/masterspodcast   FREE Strategy Session with Chris Pre http://smartrealestatecoach.com/actionpodcast   QLS 4.0 https://smartrealestatecoach.com/qlspodcast   Investor Resources https://smartrealestatecoach.com/resources   Apprentice Program https://smartrealestatecoach.com/apprenticepodcast   In the Trenches Bootcamp https://smartrealestatecoach.com/ittbpodcast   3 Paydays Virtual Event https://smartrealestatecoach.com/3paydayspodcast   REI Blackbook https://smartrealestatecoach.com/REIBB-DD   7 Figures Funding https://smartrealestatecoach.com/7figures-pod

In today's episode, I sit down with Dr. Hemma R. Lomax, founder and host of Unless: The Podcast, and a leader in compliance and ethics, to talk about turning good intentions into real impact. We explore the power of scaling generosity, the math behind empowering a billion people, and why happiness comes from consistent, purposeful action. I share how ancient wisdom shaped my approach to abundance, the balance between giving and receiving, and the role of money in creating meaningful change. Hemma challenges us to get out of our own way, rethink our relationship with wealth, and embrace the energy of giving without losing sight of what truly matters.