Podcasts about Longtime

On this week's episode, writer and comedian, Amy Silverberg, is back to chat about her new book (First Time, Long Time), shrimp emojis, airplane confessions, kooky aunts, and so much more.Pre-order Amy's new book, First Time, Long Time!Los Angeles! Go to Amy's book release event in Los Angeles at Skylight Books: Thursday, July 24, 2025!~ NEW JJGo MERCH ~Jordan's new Spider-Man's comic is out now!Order Jordan's new Godzilla comic! Be sure to get our new ‘Ack Tuah' shirt in the Max Fun store.Or, grab an ‘Ack Tuah' mug!The Maximum Fun Bookshop!Follow the podcast on Instagram and send us your dank memes!Check out Jesse's thrifted clothing store, Put This On.Follow brand new producer, Steven Ray Morris, on Instagram.Listen to See Jurassic Right!

Hey Marvelous Mom, Welcome to Episode 1 of the Flourish in Friendship series! In this heartfelt and honest conversation, I am joined by my longtime friend and ministry partner, Marnie Collier. Join two friends as we talk about the ins and outs of what makes friendship last through decades of transition, heartache, healing, and HOPE.  Together, we share how our 20+ year friendship has navigated everything from ministry burnout to seasons of silence—and how Jesus became the glue that held it all together. This episode explores:

Full Camera Gear Info: https://www.premierguitar.com/videos/rig-rundown/camera-gearSubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubePremier Guitar has been producing the Rig Rundown for more than 15 years. After over 700* episodes, the list of video equipment and accessories has been extensive. Longtime host & PG videographer Perry Bean walks through the cameras and audio gear currently being used to bring you in-depth looks at your favorite artist's rigs. You'll see how Chris and Perry have evolved the setup over the years and how a recent chance encounter led to a major upgrade with help and advice from the experts at @sweetwater !If you're looking to start creating your own content, there is no better place to start than Sweetwater.com, or check our article to find detailed links and descriptions for all of the upgrades:https://www.premierguitar.com/videos/rig-rundown/camera-gearFrom the Video:Blackmagic Design Pocket Cinema Camera 6K Pro: https://www.sweetwater.com/store/detail/PocketCam6KP--blackmagic-design-pocket-cinema-camera-6k-pro-body-onlyKondor Blue Blackmagic Pocket 6K Pro Base Rig - Black: http://sweetwater.com/store/detail/PCC6KPBase--kondor-blue-blackmagic-pocket-6k-pro-base-rig-blackSanDisk Professional Pro-Blade 2TB SSD MAG: https://www.sweetwater.com/store/detail/ProBldMag2TB--sandisk-professional-pro-blade-2tb-ssd-magKondor Blue Pro-Blade SSD Handle: https://www.sweetwater.com/store/detail/KBPBSSDBk--kondor-blue-pro-blade-ssd-handleShure ADX5D: https://www.sweetwater.com/store/detail/ADX5DUSA--shure-adx5d-axient-digital-dual-channel-portable-wireless-receiverShure ADX1 Wireless Bodypack Transmitter: https://www.sweetwater.com/store/detail/ADX1--shure-adx1-wireless-bodypack-transmitter-with-ta4-connectorMore Shure Axient Options: https://www.sweetwater.com/shure-axient-digital/seriesPG's Facebook: https://facebook.com/premierguitarPG's Instagram: https://www.instagram.com/premierguitar/PG's Twitter: https://twitter.com/premierguitarPG's Threads: https://threads.net/@premierguitarPG's TikTok: https://www.tiktok.com/@UC5J-hZ4wNf7OlkzIn49LHoQ © Copyright Gearhead Communications LLC, 2025#guitar #rigrundown #guitarist #guitarplayer #guitargear #camera #cameragear

Longtime boaters Nathan and Lindsay had high-octane careers in motorsports before deciding to slow down. The couple have moved on from coastal cruising to a life as liveaboards on their Nordhavn 41, documenting their explorations on YouTube @the71Percent. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hour 2 - Jacob & Tejay shut down Wednesday and it's mid-week drag coefficient with a visit with KU insider Shreyas Laddha.

Thank you for tuning in for another exciting episode! Up next we have a graduate of Kapiʻolani Community Collegeʻs Medical Lab Technician degree, Mr. Garth Weitzel. He is also a LONG TIME childhood friend (of Sheldonʻs). =). He holds a position at the Diagnostic Laboratory Services (DLS) as a Laboratory Information Systems guy but his journey to this stage in his professional life had many twists and turns. Please listen and learn about how his academic pathway was filled with peaks, valleys, failures, reflection, and of course, success. His story is actually quite common therefore his insights and words of advice are amazing.Please enjoy and share widely!

Shoot us a Text.Episode #1078: Today we're talking stormy shareholder meetings at Nissan, the EV factory tours drawing crowds in China, and the Gen Z men getting caught outsourcing their work to AI.Show Notes with links:Nissan's new CEO Ivan Espinosa faced intense scrutiny from investors at his first annual shareholders' meeting as he moves forward with a bold restructuring plan and ends Renault's board influence.Espinosa replaces ousted CEO Makoto Uchida, part of a March leadership overhaul aimed at reviving a struggling Nissan.Longtime partner Renault lost direct influence as its board reps, including Chairman Jean-Dominique Senard, were removed—marking a clear shift toward Nissan independence.Shareholders grilled Espinosa on governance, executive pay, and the automaker's U.S. and Japan strategy.Nissan plans to cut 20,000 jobs, shut 7 factories, and save ¥500B ($3.46B) by March 2028.It projects a ¥200B ($1.38B) Q1 loss, including ¥450B ($3B) in expected U.S. tariff hits.One attendee described the Q&A as “stormy,” saying Espinosa was “smooth and fluent… but equivocated without substance.”EV factory tours have become a cultural sensation in China, with tens of thousands scrambling each month for a glimpse behind the robotic curtain of brands like Xiaomi and Nio.Xiaomi Auto's factory receives over 27,000 applications per night for limited tour slots, offering racetrack test drives and now souvenirs.Nio drew 130,000 visitors last year; several other automakers are jumping on board.What began as three monthly tours at Xiaomi has expanded to weekday and weekend offerings for over 1,100 visitors.Visitors describe vast facilities with “only a handful of workers” as robots handle most of the labor.“It offers a chance to not only see the production line up close, but also experience the human side of the brand,” said analyst Freya Zhang.A new survey reveals that while AI boosts Gen Z productivity, a surprising number—especially men—are bending the rules by passing off AI work as their own.40% of Gen Z men admitted to submitting AI-generated work as their own; only 20% of women did the same.Nearly 1 in 3 Gen Z workers have knowingly broken company policy using AI and 30% say they've created fake work with AI to appear more productive.42% of Gen Z men say they worry AI could replace them at work—compared to just 33% of women.23% of men said they couldn't do their job without AI; only 14% of women felt that way.Eva Chan, career expert at Resume Genius, “The concern is workers start outsourcing not just tasks, but their judgment, confidence, and even their voice.”Join Paul J Daly and Kyle Mountsier every morning for the Automotive State of the Union podcast as they connect the dots across car dealerships, retail trends, emerging tech like AI, and cultural shifts—bringing clarity, speed, and people-first insight to automotive leaders navigating a rapidly changing industry.Get the Daily Push Back email at https://www.asotu.com/ JOIN the conversation on LinkedIn at: https://www.linkedin.com/company/asotu/

Longtime pals David Spade and Dana Carvey take you behind the curtain of showbiz as they hang out and chat with friends (old and new) from all corners of the entertainment world. Be a “Fly on the Wall” every Thursday as the guys and their guests share stories, tell jokes, do impressions, and deep dive into the comedy mind.  On Mondays, join Dana and David to riff on current events, pop culture, trending clips, and answer audience questions. Kick back, relax, and enjoy the comedy, absurdity, and world-class banter from your favorite duo. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

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

In this episode of Perfectly Good Podcast, hosts Jesse and Sylvan dissect John Hiatt's song 'Long Time Coming' from his album 'Terms of My Surrender.' They discuss the lyrics, the song's haunting and ethereal qualities, and its place within the Americana genre. They also explore the song's nostalgic essence and Hiatt's ability to blend bittersweet emotions. Join them for an in-depth analysis and a celebration of Hiatt's musical journey. Don't forget to reach out with your thoughts and join the conversation! 00:00 Opening Lyrics and Introduction 01:15 Welcome to the Perfectly Good Podcast 02:04 Discussing 'Long Time Coming' by John Hyatt 02:42 Album Details and Production Insights 03:27 Analyzing the Lyrics 06:20 Personal Reflections and Interpretations 17:57 Rating the Song 19:25 Closing Remarks and Contact Information Learn more about your ad choices. Visit megaphone.fm/adchoices

If there is a silver lining to the historically terrible 2025 Colorado Rockies season it is that we are seeing more signs of change, none bigger than recent statements from Dick, and Charlie, Monfort.

Longtime manager Alan Niven is celebrating his memoir, 'Sound N' Fury: Rock N' Roll Stories,' and dives into it in this exclusive interview.

In this episode, Dinesh explores the contention of critics that Trump and America is on the verge of making the same mistake with Iran that America under Bush made with Iraq in the early 2000s. Dinesh reviews the Supreme Court’s landmark decision affirming a Tennessee law banning certain transgender procedures. Longtime radio host and now podcaster Michael Savage joins Dinesh to give his characteristically blunt take on issues of the day.See omnystudio.com/listener for privacy information.

Unless you’re a longtime jazz aficionado, you might only know the names and music of a handful of stars and legends. But what about all those who’ve built a life working in this art form? A new fellowship honors them and offers financial support in their final years of music and life. Jeffrey Brown has the story for our arts and culture series, CANVAS. PBS News is supported by - https://www.pbs.org/newshour/about/funders

Michael Calhoun talks with Mark Perkins from Great Rivers Greenway about taking over as CEO.

Tell your smart speaker to "Play One Oh Three One Austin"

Send us a textWe explore the essential yet often overlooked foundation of physician leadership: knowing yourself. Dr. Maha Mohamad and Dr. Sapna Shah-Haque dispel the "I was born ready" myth that permeates medicine, discussing how physicians are expected to lead without formal training.• Leadership must begin with self-knowledge about personality type, communication style, and values• Online assessments like Myers-Briggs can provide valuable insights into how you naturally process information • Medical culture's traditional "do as you're told" hierarchy undermines effective leadership• Creating psychological safety and judgment-free environments leads to richer collaboration• Unlearning ingrained patterns is essential but challenging for physicians• Cultural diversity and exposure to different perspectives expand leadership capabilities• Even 15-20 minutes of self-reflection can significantly improve leadership skills• Leadership expertise extends beyond clinical settings into all aspects of lifeYour income is your greatest asset, protected with Pattern Life. The easy, stress-free way to find the right disability insurance, with unbiased comparisons and no jargon. Pattern helps you choose the best policy for your needs. Secure your future today at Pattern Life. The link is in the show notes.Pattern LifeDiscover unbiased disability insurance with Pattern Life and protect one of your greatest assets.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Though I am a physician, this is not medical advice. This is only a tool that physicians can use to get ideas on how to deal with burnout and/or know they are not alone. If you are in need of medical assistance talk to your physician.Learn more about female physicians' journey through burnout to thriving!https://www.theworthyphysician.com/booksLet's connect for speaking opportunities!https://www.theworthyphysician.com/dr-shahhaque-md-as-a-speakerCheck out the free resources from The Worthy Physician:https://www.theworthyphysician.com/freebie-downloadsBattle of the Boxes21 Day Self Focus Journal

Joey Klein has been involved in mountain bike trail design for more than 30 years, and has worked for the International Mountain Bike Association (IMBA) longer than anyone else. This year he's being inducted into the mountain bike hall of fame in recognition of his contributions to the sport.How did you first get involved in trail design?What it like to be a part of the Subaru-IMBA Trail Care Crew program for three years in the late 90s/early 2000s? Do you think a program like that would be effective today?What was the idea behind launching IMBA Trail Solutions?How has trail design and planning evolved over the past two decades?Is this the golden age of trail building?How will the trails of the future be different from the trails we ride today?Do modern bike designs drive trail designs, or is it the other way around?Why do you think a lot of long-time riders don't like flow trails?Among the many projects you've been involved with over the years, which ones are your favorites?What is the biggest misconception riders have about trail design?What's next for you, and for IMBA Trail Solutions?Get more information about IMBA and IMBA Trail Solutions at imba.com.An automatically generated transcript will be available at Singletracks.com later today.This episode is sponsored by Trailbot. Trailbot is the smarter way for trail managers to communicate updates without relying on social media. Don't let The Algorithm bury your posts—easily share conditions and closures to your web site, social media and the app all at once. Best of all, it's free.Trailbot is used by over 260 trail systems in 17 states and growing fast. Over 50,000 riders have installed the free iOS and Android apps to get official updates with optional push notifications, without having to see what their weird relative posted on social media. Learn more at ⁠trailbot.com⁠.

Longtime writer Peter David passed away. We honor his many contributions to Spider-Man and the Marvel legacy. He was interviewed by Brad several times and we have audio clips from those interviews sprinkled in.  If you would like to see the video of this recording, click here.  https://youtube.com/live/ODJvyLZH1Kk Are you a Crawlspace patreon member? Sign up to support the site and get free stuff!  https://www.patreon.com/crawlspace Be sure to visit our main page at: http://www.spidermancrawlspace.com Be sure to follow us on social media Facebook https://www.facebook.com/officialcrawlspace Twitter https://twitter.com/crawlspace101 Instagram https://www.instagram.com/officialcrawlspace/ Youtube https://www.youtube.com/spidermancrawlspace

With a few matchdays in the books, the crew takes a step back to assess the Richmond IVY's season so far. From standout performances to frustrating moments, we break down each game, highlight the highs and lows, and dig into what's been working — and what hasn't. Plus, we look ahead at what the rest of the season could bring and what the IVY need to do to stay competitive. It's a full-field view of the journey so far.

Three longtime Alaska journalists are saying goodbye to the profession. What have they learned along the way, and how has their work evolved over the decades?

BlackRock says the unthinkable! Confirming what bitcoiners have been saying for a LONG TIME!!

Protests against raids by immigration officers have sparked protests across the US - including days of unrest in Los Angeles, but Donald Trump remains undeterred. He's now ordered federal agencies to increase their enforcement and deliver what he calls “the single largest mass deportation programme in history.” Piers Morgan speaks to the President's son, Eric Trump about his father's next steps and whether he might be tempted to run for office himself one day. Plus they discuss the threats made against the lives of lawmakers in America and the how the Trump family themselves have been often targeted. Then Uncensored welcomes Tricia McLaughlin, assistant secretary of the Department of Homeland Security. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's wrestling news, including...Longtime WWE Stable Is GONE FOR GOOD!Jamie Hayter Not Cleared!WWE Team Win AAA Titles!John Cena & R-Truth Equal Unique WWE Record?!ENJOY!Follow us on Twitter:@AdamWilbourn@MichaelHamflett@WhatCultureWWE Hosted on Acast. See acast.com/privacy for more information.

Longtime fans of contemporary jazz may remember Dr. Dave from his initial success as a recording artist in the mid-90s, when his albums I Like It Like That, Smooth and Cruisin' made big splashes in the early days of the Smooth Jazz format. SoCal based composer/guitarist Dr. Dave mounted a massive comeback in 2018, forming The Housecall Band and stirring up excitement among longtime fans (while creating thousands of new ones) with the 2018 release of Midnight Daydream. The funky, powerhouse, horn-drenched album spawned four hit singles, starting with the sultry, infectiously seductive “Sexy Cindy” – one of Dr. Dave's biggest hits ever, ranking #1 for Smooth Jazz Guitar songs in the U.S. on Radio Guitar One's Top 20. The song was named for Cindy Sanchez Medina, Miss Santander, Colombia 2018, who appeared in the much-viewed YouTube video. Dr. Dave's got another magnificent female muse in mind on his latest single, the cleverly titled “Reserved for Abbie,” a seductive, deeply passionate ballad expressing his enduring affection for a onetime girlfriend who lived several states away.  In addition to the across-the-board success of “Sexy Cindy,” Dr. Dave's return to contemporary jazz with Midnight Daydream led to a prolific flow of radio and streaming hits, including the guitarist's all-time top streamed song “Cecil's Groove,” currently at 3.7M+ streams on Spotify. The title track “Midnight Daydream” earned a multitude of accolades: #1 most added on the Radio Wave Internet Airplay Chart; #5 on the SmoothJazz.com Radar Chart; #9 on the SmoothJazz.com Top 100 Indie Chart and #14 on the SmoothJazz.com Top 100. A third single, “Cabo Time,” reached #19 on the SmoothJazz.com Radar chart.  The album's fourth single was a blues, jazz, funk and rock track developed around the opening “Hey Hey Hey Hey” riff heard nightly since 2014 by the house band (who wrote it) on “The Tonight Show Starring Jimmy Fallon.” Dr. Dave and the Housecall Band followed up in 2021 with Carefree Revisited, a full band revamp of an earlier unreleased solo album.    Want to watch: YouTube Meisterkhan Pod (Please Subscribe)

As the Senate votes to confirm new IRS Commissioner Billy Long, w e welcome two titans of IRS leadership, former Commissioners Danny Werfel and John Koskinen, both Academy fellows. They discuss the challenges and changes at the IRS, including budget cuts, workforce reductions, and the impact on taxpayer services.We get an up close look at the future of tax administration and the importance of maintaining an effective IRS. Support the Podcast Today at:donate@napawash.org or 202-347-3190Episode music: Hope by Mixaund | https://mixaund.bandcamp.comMusic promoted by https://www.free-stock-music.comFollow us on YouTube for clips and more: @NAPAWASH_YT 

Longtime friend of the podcast Duane Nash of The Yard-HBCU joins to discuss new developments in 2025's HBCU Classics slate. Can a Classic survive in Boston? Is Legion Field Back? All this & more!:

Longtime colleague and legendary local Chief Meterologist David Hovde joins CJ to announce his departure from KSBY.    Thanks to all my partners:  California Fresh Markets, Live Well SLO, Avila Bay Athletic Club & Spa,  Michael Moore's Wholesum Kinetic Clinic, and Gymnazo.

A view from behind the dish and the state of umpiring today.

After 41 years with the Postal Service, this federal employee assumed his benefits were set in stone. But during a retirement review with our team, he discovered the WEP/GPO repeal could increase his retirement income by nearly

Longtime friend of the show Phoenix Carnevale reprises her esteemed guest co-host duties in Matt Serra's absence, joining Jim Norton for an episode that features two fighters from this Saturday's UFC Atlanta card: welterweight contender Joaquin Buckley and light heavyweight veteran Paul Craig. The show opens with Jim and Phoenix reacting to UFC 316 — including Sean O'Malley's response to his loss to Merab — before Joaquin calls in mid-track workout to discuss his mindset ahead of his main event clash against Kamaru Usman. Later, Paul Craig reflects on his rocky run at middleweight, what he learned about himself through after going through more demanding weight cuts, and how he's channeling those lessons ahead of his 20th UFC appearance and a return to light heavyweight in Saturday's featured prelim bout against Rodolfo Bellato. While Jim and Phoenix don't make any predictions of their own, the two set the table for UFC Atlanta by previewing some of this Saturday's dynamic matchups.

Longtime colleague and legendary local Chief Meterologist David Hovde joins CJ to announce his departure from KSBY.    Thanks to all my partners:  California Fresh Markets, Live Well SLO, Avila Bay Athletic Club & Spa,  Michael Moore's Wholesum Kinetic Clinic, and Gymnazo. Read More   Read More Read More  

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Longtime listeners have heard Sarah and Matthew talk about ideas like “ecosystem disruption” and “adoption chain risk” and “value architecture,” all of which stem from the works of Ron Adner. Ron is a researcher, strategist, and professor at the Tuck School of Business at Dartmouth University, and the author of two books, The Wide Lens and Winning the Right Game, both of which have been influential at Tenacious. So this week, we're going straight to the source as Matthew sits down with Ron for a wide ranging discussion of how fundamental business strategy has changed in recent decades, and how agtech companies and investors can learn lessons from other sectors to inform their business models, go-to-market strategies, and the very way they understand the spaces where they play. For more information and resources, visit our website. The information in this post is not investment advice or a recommendation to invest. It is general information only and does not take into account your investment objectives, financial situation or needs. Before making an investment decision you should seek financial advice from a professional financial adviser. Whilst we believe the information is correct, we provide no warranty of accuracy, reliability or completeness.

Today I am joined by the amazing Julie Ruby, who I have been a fan of for SUCH a long time!! She sat down with me to discuss life as a Youtuber AND a Makeup Artist who has now branched out successfully into the aesthetics industry. I have been a fan of her Day in the life youtube videos for A LONG TIME so was very excited to talk about her incredible journey from MAC counter to aesthetics, long form vs short form content, and Youtube's resurgence and whether YOU should be hopping on this!LINKS: Join Season 2 of my educator programme ⁠⁠⁠⁠⁠right here. ⁠⁠⁠⁠⁠Join the makeup artist membership - Level Up Club here ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠monthly makeup artist membership!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Use code ANTIMEMBERSHIP to join for £50 for the ENTIRE YEAR!Free Trial Code: LUCTRYMESubscribe to me on YouTube ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠!Subscribe to Julie on YouTube here!Follow me on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠!  Follow Julie on Instagram!Kayleigh's diary of the Business BTS⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ newsletter!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ 

Love Island USA Season 7 Episode 5 recap: FIRST OFFICIAL RECOUPLING/DUMPING. I have theories, a new enemy and concerns! ACCESS AD FREE, EARLY, EXTENDED/BONUS AND VIDEO EPISODES BY BECOMING A PATRON HERE⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow me on Instagram⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠Support the show⁠⁠ ⁠HERE Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode is brought to you by Classic Coco, thank you for making Pre-Loved Podcast possible! https://classiccoco.com/    This is the space where we  talk about all things vintage, secondhand and pre-loved across the fashion space! And for new listeners, or longtime pals, to follow along with all things thrift, vintage, rad, retro, and sustainable, you can find me Emily Stochl, across the internet as @emilymstochl. Come hang out I'd love to chat with you!  On today's show, we're chatting with Monique of LA Retro Girl! You might know her from being a regular vintage dealer at Pickwick Vintage, or from her super fun personality online – she even does Instagram live shows with vintage pieces! She's been selling vintage for many years – she started off selling vintage on eBay right after high school, and now she's a busy mom of four! On today's episode, she shares her perspective on how divine timing and mindset contributes to the success of her business, and how LA Retro Girl has changed and grown over the course of her vintage selling journey. All this, and so much more on this week's show. It's a really fun conversation, so – let's dive right in! DISCUSSED IN THE EPISODE: [4:29] Why it's important to seize opportunities – like when she took a leap of faith selling at her first Manhattan Vintage Show. [5:23] How Monique's dad – a Peruvian restaurant owner – inspired her love of thrifting and business from a young age. [7:33] How she fell into vintage after friends kept wanting to buy her 1960s mod club outfits. [11:00] How perseverance, divine timing and positive mindset contributes to the success of her business. [12:36] Her daily practice of checking in with her energy and intuition to guide business decisions. [16:24]  How she balanced building her business while being a busy mom of four and caring for her father. [19:34] The game-changing business addition of partnering with a seamstress to offer custom alterations. [21:04] Essential advice for vintage market and pop-up season.  [29:15] Amazing thrift finds in unexpected places – including Chanel pieces at Goodwill. [30:39] The latest reworked collection LA Retro Girl is bringing to their pop-ups. EPISODE MENTIONS:  LA Retro Girl @laretrogirl Manhattan Vintage Show Pickwick Vintage BAG Crap on Pre-Loved Podcast Trust Fund Vintage LET'S CONNECT: 

We are taking a deep dive into the world of Twin Peaks today with music editor Lori Eschler - who worked on the original series - and longtime David Lynch collaborator Dean Hurley, who did all kinds of work with him on numerous projects. It's an illuminating chat, shedding bright light on David's process and reminding us all what a seminal show it was and remains. 

In the verse today, by context, boy met girl, they got married, and then, at some point, the husband went away to the forest to hunt, which means he left his wife for some time. Obviously, he wasn't satisfied, so he went away and tried to enjoy separately. Now he's come back to his wife and to his kingdom. And this verse, after he's been away hunting in the forest, describes him feeling hungry and thirsty. So, he eats, he takes a bath, he puts on sandalwood pulp, and now he's feeling relieved. So, Prabhupāda turns this into a metaphor. In his purport, he describes this as analogous to a person becoming refreshed by finding a saintly person. In this verse, we have a very straightforward understanding of how one can improve one's life: that is by attaining the association of saintly persons. Everything we are now is because of our previous association. "Puruṣaḥ prakṛti-stho hi bhuṅkte prakṛti-jān guṇān kāraṇaṁ guṇa-saṅgo 'sya sad-asad-yoni-janmasu." Kṛṣṇa says in Bhagavad Gītā 13.22 that whatever good or bad we have in our life, or whatever kind of body we have now, it has come about because of our association. And the means by which one can come to the perfection of life is by getting the association of the pure devotee. This is a theme throughout The Bhāgavatam, The Śrī Caitanya Caritāmṛta, and The Bhagavad Gītā. Bhāgavatam 5th Canto: 'rahūgaṇaitat tapasā na yāti na cejyayā nirvapaṇād gṛhād vā na cchandasā naiva jalāgni-sūryair vinā mahat-pāda-rajo-'bhiṣekam.' This is a verse that, when Jaḍa Bharata meets Rahūgaṇa, he realizes that he has been transformed by the association of the pure devotee. So he says you cannot achieve perfection by tapasya -'na cchandasā naiva jalāgni-sūryair' means that you may go in the summertime and sit next to hot fire just to detach yourself from the body or same thing with cold water. Or you may perform your duties properly in the grihasta ashrama or the sanyasa ashrama, but none of these things will bring you to the perfection of life... ------------------------------------------------------------ To connect with His Grace Vaiśeṣika Dāsa, please visit https://www.fanthespark.com/next-steps/ask-vaisesika-dasa/ ------------------------------------------------------------ Add to your wisdom literature collection: https://iskconsv.com/book-store/ https://www.bbtacademic.com/books/ https://thefourquestionsbook.com/ ------------------------------------------------------------ Join us live on Facebook: https://www.facebook.com/FanTheSpark/ Podcasts: https://podcasts.apple.com/us/podcast/sound-bhakti/id1132423868 For the latest videos, subscribe https://www.youtube.com/@FanTheSpark For the latest in SoundCloud: https://soundcloud.com/fan-the-spark ------------------------------------------------------------ #spiritualawakening #soul #spiritualexperience #spiritualpurposeoflife #spiritualgrowthlessons #secretsofspirituality #vaisesikaprabhu #vaisesikadasa #vaisesikaprabhulectures #spirituality #bhaktiyoga #krishna #spiritualpurposeoflife #krishnaspirituality #spiritualusachannel #whybhaktiisimportant #whyspiritualityisimportant #vaisesika #spiritualconnection #thepowerofspiritualstudy #selfrealization #spirituallectures #spiritualstudy #spiritualquestions #spiritualquestionsanswered #trendingspiritualtopics #fanthespark #spiritualpowerofmeditation #spiritualteachersonyoutube #spiritualhabits #spiritualclarity #bhagavadgita #srimadbhagavatam #spiritualbeings #kttvg #keepthetranscendentalvibrationgoing #spiritualpurpose

Kenny Wallace discusses the fans staying after the race at Michigan for Denny Hamlin to taunt them.#nascar #racing #kennywallace Brought to you by JEGS! Click here: http://jegs.ork2.net/rQ9Oy5Use Promo Code DEALS To Save Up To 50% OFF Sitewide! ***thumbnail photo by Chris Graythen/Getty Images courtesy of NASCAR MediaShop Doorbusters, Stackable Savings & 1,000's of Deals at JEGS!JEGS has been in business since 1960.Racers selling to racers.Focusing on American Muscle – but also big product line of automotive tools, garage gear & other performance parts.JEGS is well established with racers of all kinds, including the NHRA, bracket racing, circle track & more!Free shipping on orders over $199.Unrivaled expertise from techs.

In Homes for Living: The Fight for Social Housing and a New American Commons (Beacon Press, 2025), urban planner and oral historian Jonathan Tarleton introduces readers to 2 social housing co-ops in Brooklyn and Manhattan. Longtime residents of St. James Towers and Southbridge Towers lock horns over whether to maintain the rules that have kept their homes affordable for decades or to cash out at great personal profit, thereby denying future generations the same opportunity to build thriving communities rooted in mutual care. With a deft hand for mapping personal histories atop the greater housing crisis, Tarleton explores housing as a public good, movements for tenant rights and Indigenous sovereignty, and questions of race and class to lay bare competing visions of what ownership means, what homes are for, and what neighbors owe each other. Jonathan Tarleton is an urban planner, designer, and writer based in Washington, DC. This interview was conducted by Timi Koyejo, a graduate student in urban studies at the University of Vienna. He has worked professionally as a researcher at the University of Chicago and as an urban policy advisor to the City of Chicago. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Homes for Living: The Fight for Social Housing and a New American Commons (Beacon Press, 2025), urban planner and oral historian Jonathan Tarleton introduces readers to 2 social housing co-ops in Brooklyn and Manhattan. Longtime residents of St. James Towers and Southbridge Towers lock horns over whether to maintain the rules that have kept their homes affordable for decades or to cash out at great personal profit, thereby denying future generations the same opportunity to build thriving communities rooted in mutual care. With a deft hand for mapping personal histories atop the greater housing crisis, Tarleton explores housing as a public good, movements for tenant rights and Indigenous sovereignty, and questions of race and class to lay bare competing visions of what ownership means, what homes are for, and what neighbors owe each other. Jonathan Tarleton is an urban planner, designer, and writer based in Washington, DC. This interview was conducted by Timi Koyejo, a graduate student in urban studies at the University of Vienna. He has worked professionally as a researcher at the University of Chicago and as an urban policy advisor to the City of Chicago. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

The premier episode of MARVEL STAR WARS: FROM EMPIRE TO JEDI -- a podcast chronicling the Rebel Alliance's most desperate days, as told in the Marvel Star Wars comics published between The Empire Strikes Back and Return of the Jedi! This episode your host, The Irredeemable Shag, ignites the hyperdrive, unveiling the podcast's mission, his own Star Wars journey, and why he loves these comics and the expanded universe! Strap yourselves in -- the saga begins now! Have a question or comment? Looking for more great content? Leave comments on our website: http://fireandwaterpodcast.com/podcast/swe2j-00/ Email the show at: EmpireToJedi@gmail.com Subscribe to the MARVEL STAR WARS: FROM EMPIRE TO JEDI Podcast: Subscribe on Apple Podcasts: https://podcasts.apple.com/us/podcast/marvel-star-wars-from-empire-to-jedi/id1812325155 Don't use Apple Podcasts? Use this link for your podcast catcher: http://feeds.feedburner.com/empiretojedi Also available on Spotify, Audible, and Amazon Music Follow MARVEL STAR WARS: FROM EMPIRE TO JEDI on social media: Facebook: https://www.facebook.com/EmpireToJedi/ Twitter/X: https://x.com/EmpireToJedi Instagram: https://www.instagram.com/empiretojedi/ Bluesky: https://bsky.app/profile/empiretojedi.bsky.social Threads: https://www.threads.com/@empiretojedi This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK: Visit the Fire & Water WEBSITE: http://fireandwaterpodcast.com Like our Fire & Water Facebook page: https://www.facebook.com/FWPodcastNetwork Follow Fire & Water on Twitter/X: https://x.com/FWPodcasts Follow Fire & Water on Bluesky: https://bsky.app/profile/fwpodcasts.bsky.social Support The Fire & Water Podcast Network on Patreon: https://www.patreon.com/fwpodcasts Thanks for listening! May the Force be with You, Always!

We did a video this time! Watch on YouTube, if you fancy that sort of thing. Longtime friend Jeff is back with a candid conversation about making bold life changes, creative reinvention, and finding fulfillment beyond a job. We dive deep into the journey of leaving a secure government job to pursue a creative career. We talk about challenges, mindset shifts, and practical steps involved in pivoting from cybersecurity and federal service to filmmaking, photography, music production, and entrepreneurship. Key Topics Covered: • The emotional and logistical journey of moving from Greece back to the U.S. and restarting a creative business from scratch. • Balancing creative projects, including producing a nano-budget feature-length film and running a rebranded production business. • The struggle with burnout, loss of passion, and the critical decision to leave a stable government job for personal fulfillment. • Insights on mental health, self-worth, and the value of prioritizing happiness over external accolades. • How local music scenes and community can reignite your creative spark. • Reflections on the rat race, the replaceability of workers, and the importance of doing what truly sustains you. • Inspirational takeaways on self-discovery, resilience, and making tough but rewarding life choices. Whether you're considering a career change, seeking creative motivation, or interested in real stories of transformation, this video offers valuable advice and relatable experiences for anyone wanting to make a change. ----- Timestamps: 00:00- Intro 01:07- Discussing Jeff's last few years/ shooting and editing a feature length film/ small projects, moving back to the states, re-branding his business 04:50 - Work ethic and tenacity, the mental game, the decision to make a change 06:00 – The reality of government work and burnout 08:00 – The moment of decision and mental health journey 10:06 - Mindset, taking care of one's self, choosing yourself, finding fulfillment 16:56 - Steven Pressfield's concept of Resistance 21:25 - Benefits of a craft 25:46 - Making the decision for your (S)elf 31:16 - Choosing to be your own boss 34:38 - perspectives on Creative careers 36:57 - Work routine / time as currency 41:36 - Recent photography / filmography projects 47:49 - Enjoying the work, networking, and "This is the Dream", running with an idea 53:04 - Knowing your strengths and gaps in knowledge, being a good friend 56:10 - Tyler's Substack and Jeff shoutouts 59:24 - Deciding when to rest, damages of hustle culture, having impact on people, 1:03:06 - Action as the antidote to anxiety, high-agency people, being accountable to yourself 1:07:38 - Learning as a key motivator in life, art, business 1:09:09 - Closing Don't forget to like, subscribe, and share your own experiences in the comments! ----- Jeff's Links: Website: https://www.jdamproductionhouse.com/ ------ Tyler's Links: Substack: https://cannondispatch.substack.com This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit cannondispatch.substack.com

Longtime fan favorite guest, actor, book writer Nicholas Hamilton joins Mike and Steve to talk about HIS BOOK that just released, called Sipsy-Doozy, also about rad music libraries, meeting fans, and a BRAND NEW SEGMENT is featured, called "Havin' Fun with The News"!Advertise on Dynamic Banter via gumball.fmJOIN the Patreon: patreon.com/dynamicbanterGET the MERCH: dynamicbanter.clothingSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Carter Buschardt has been an investigator with BFRO for the last 15 years. Originally from Texas and currently lives in Missouri. He has had nearly 100 reports published to the BFRO web site and has interviewed over 500 witnesses and counting. He is an experienced outdoorsman and trained as an investigator for MUFON. He studied herpetology in college. Longtime special interest in Sasquatch long term habituation sites, burial research, infrasound, language and stick structures. He is a true, boots on the ground researcher / investigator and not a desktop warrior. He has met and visited the properties of nearly half of the witnesses whose reports have been published. He monitors and visits several properties with ongoing habituation activity to this day. He is also a contributing writer to Strange Knocks quarterly Magazine.His fifth book, Baptized By Abduction, journals his abduction when he was just 8-9 years old in 1959. He and a friend were taken aboard a craft while riding their bikes in Dallas, Tx. These abduction events were ongoing up to possibly 2021. He has been hypnotically regressed 8 times, the latest was in February 2025. He discovered his abduction by accident in 2004.Become a supporter of this podcast: https://www.spreaker.com/podcast/night-dreams-talk-radio-with-gary-anderson--2788432/support.

President Donald Trump has made it his mission to single-handedly reverse basically every accomplishment of the Biden administration. That's especially true when it comes to the former president's climate agenda. Trump doesn't want to just deemphasize the fight against climate change, his policy proposals would give climate change a helping hand. But states are stepping into the void left by the federal government. Longtime climate reporter Bill McKibben tells us how.And in headlines: Elon Musk came out swinging hard against Republicans' Big Beautiful Bill, Gazans saw another day of violence near an aid distribution site, and Education Secretary Linda McMahon faced a grilling in the Senate.Show Notes:Check out Bill's Substack – https://billmckibben.substack.com/Subscribe to the What A Day Newsletter – https://tinyurl.com/3kk4nyz8What A Day – YouTube – https://www.youtube.com/@whatadaypodcastFollow us on Instagram – https://www.instagram.com/crookedmedia/For a transcript of this episode, please visit crooked.com/whataday

Music Monday Consideration 563 A fresh batch of submissions ⸻ 1. Nowhere Fast (Louisville, KY) “Organized Sound” – submitted by Seth Robinson   2. Early Mourning feat. Depraved Horror & Avian Theory (Nashville) Cover of “She Took Him To The Lake” – submitted by Chad Sheppard   3. XXsmile (Québec, Canada) “Horror Movies” – “Shitty pop punk at its finest” from JF Trepanier   4. Low Standards, High Fives (Italy) “Sink or Swim” – from the upcoming full-length Everything Ends – submitted by Ame Ray   5. The Elephant March (NW Indiana) “On Top” – album drops 4/20/25. Longtime punk roots and Midwest representation   6. Inspection 12 (Jacksonville, FL) “You Can Call Me Al” (Rock Version) – legendary Fat Wreck-era band, now on People of Punk Rock Records – submitted by Tim Grisnik   7. NiTEWAKE (Columbus, OH) “Going It Alone” – solo project by Attack Attack!'s Nick White   8. Dead Churches (Vancouver, Canada) “Royal Blue” – gritty punk rock n' roll – submitted by Eric Kyle   9. Nate Parrish (Bakersfield, CA) “Small” – heartfelt ballad with mountain-sized introspection   10. The Weigh Down “Marilyn” – new punk video from Josh Gibson's band   11. Fear The Lions (San Diego, CA) “Double Minded” – recorded at The Blasting Room – submitted by Chris Miller   12. Lost Planet Airmen (Winnipeg, MB) “Forgotten Son” – new single from Taylor Stephenson   13. Justin Nine (Mesa, AZ) “Crumbling” – acoustic punk storytelling from a Mesa barroom vet   14. A Bogus Journey (Texas) “12 AM” – about mental health struggles – submitted by Santos Lopez   15. AIM TO STRIKE! (San Antonio, TX) “The Corpse” – heavy and melodic punk from Albert Contreras   16. I Like Snaps “I THINK WE HAVE A HIT ON OUR HANDS” – emo-rock ballad about authenticity and anxiety   17. The Lucky Eejits (Oakland, CA) “So Far So Good” – just announced for Punk in the Park SF – submitted by Casey D.P. FitzPatrick   18. First Natural (Phoenix/NC) “The Sheriff” – from their upcoming “Best Of” album – submitted by Philip Trapp   19. The Paradox “Do Me Like That” – rising band, submitted by Joseph Birch MxPx TEXT LIST - Join our Text list by texting MXPX to 844-923-0900 --- http://Linker.ee/mikeherrerapodcast Listen now! Share with a friend. Leave a voicemail- 360-830-6660 --------------------- Check out the new MxPx album 'Find A Way Home' at MxPx.com and streaming everywhere now! Listen or watch "Linoleum" here MXPX - Self Titled Deluxe Edition  I now have an Artist Series Music Man Stingray from Ernie Ball! You can order straight from the shop on the Music Man website.  A portion of proceeds goes to MusicCares! MIKE HERRERA SIGNATURE SERIES BASS If you like the podcast- Subscribe, rate and review on Apple. Support what I do at MXPX.com and also add MXPX and Mike Herrera to your music libraries on whatever streaming platfrom you use. Producing and editing by Bob McKnight. @Producer_Bob

Longtime homeowners on Chicago's West Side trust Mark Diamond to help them access funds and carry out necessary home repairs. However, they are often unaware that they are entering into reverse mortgage agreements. The repairs are never completed, and Diamond disappears with the money, leaving families desperately struggling to save their homes from foreclosure.

Matt Wolf (The Stroll) got unprecedented access to Paul Reubens, generally better known as his alter ego, Pee-wee Herman; Will Hines joins us to talk about what resulted from their 40 hours of interviews. Around The Dial takes us through Big Mouth's eighth and final season; The Comeback: 2004 Boston Red Sox, and Magic & Bird: A Courtship Of Rivals. Sean makes his pitch for the "Long, Long Time" episode of The Last Of Us to be inducted into The Canon. Then, after naming the week's Winner and Loser, it's on to a Game Time that really knows the score. Put on your reddest bow tie and join us! GUESTS