Podcasts about MacColl

In this episode Steven chats with Scott MacColl about his heritage in horticulture and landscaping business. Working smarter, not harder. Buying land with a 5 bed cottage and a fishery. Balancing family life, business and property investing while using a network and community to find deals.We talk about the following:Having a heritage in horticulture Building reputation for good quality work Letting staff go if their resignation doesn't make life hardCreating packages for staff retentionBeing a businessman, father and husbandThe importance of health Using a property network to find dealsBuying land with a 5 bed cottage and a fisheryTeaching children about negotiation working in a family businessHis philosophy on problems and how we perceive them 

Podcast Jarasaseasongi powstał niechcący, przy okazji tworzenia audycji dla Radia Danielka. A Radio Danielka skończyło już 3 lata. Na tę okoliczność pasowałoby więc w Jarasaseasongach o radiu. Już kiedyś opowiadałem o prekursorach nowoczesnego radiowego dziennikarstwa, dziś opowiem więcej o ich rewolucyjnej audycji. Nasze radio – Danielkę robi grupa zapaleńców, profesjonalistów i amatorów choćby takich jak ja. Dzięki rewolucji technologicznej możemy to robić bez potężnego zaplecza technicznego. Ha, albo może właśnie z potężnym zapleczem… zaklętym w miniaturowych, prostych w obsłudze urządzeniach. Może właśnie tak. Ale kształt naszych audycji to nie tylko technologia, to suma naszych pasji i doświadczeń pokoleń radiowców, doświadczeń zebranych, podpatrzonych, no i przede wszystkim podsłuchanych. Nie musieliśmy wyważać drzwi i wymyślać koła, zrobili to za nas inni. Mi szczególnie bliskie są dokonania najbardziej folkowej pary wszech czasów Peggy Seeger i Ewana MacColla. Otóż pod koniec lat 50 ubiegłego wieku Ewan i Peggy, nawiązali współpracę z angielskim producentem radiowym Charlsem Parkerem. Postanowili stworzyć dla BBC cykl audycji poświęconych różnym aspektom życia na wyspach brytyjskich. Na przestrzeni 6 lat powstało osiem audycji o różnorodnej tematyce. Cykl nosił nazwę „Radio Ballad” i zapisał się na stałe na kartach historii dziennikarstwa. Nasi folkowcy wpadli na pomysł, żeby połączyć w jednej audycji cztery fundamentalne elementy dotąd nie wykorzystywane w komplecie. Mianowicie: muzykę instrumentalną, efekty dźwiękowe, piosenki i nagrane wypowiedzi zwyczajnych ludzi. Dziś nie brzmi to zaskakująco ale w latach 50 była to rewolucja. Samo połączenie różnych form nie było może szczególnie zaskakujące, nowością był sposób emitowania wypowiedzi bohaterów. W tamtych czasach w audycjach radiowych wypowiedzi zwyczajnych ludzi były transkrybowane a następnie czytane przez zawodowych lektorów. MacColl, Seeger i Parker, do każdej audycji gromadzili setki taśm z nagranymi rozmowami …spośród nich wybierali najciekawsze i, uwaga w ORYGINALE puszczali w eter. W tamtych latach - szok. Powstały programy autentyczne, zabawne, pouczające i poetyckie, w których poszczególne elementy przenikały się nawzajem. Zatem o Radio Ballad opowiadam w dzisiejszym podcaście. Ale, jako że Jarasaseasongi to przecież rzecz o piosenkach, to posłuchamy piosenek z tego cyklu. Wszakże w Radio Ballad śpiewane były utwory napisane specjalnie do każdej audycji przez Ewana MacColla. Posłuchajcie zatem jak piosenki Ewana z rewolucyjnego cyklu audycji śpiewają inni artyści.   Audycja zawiera utwory: “Song of the Iron Road”, wyk. Luke Kelly i The Dubliners, sł. i muz. Ewan MacColl “Just a Note”, wyk. Karan Casey, sł. i muz. Ewan MacColl “Niech zabrzmi pieśń ”, wyk. Cztery Refy, sł. Ewan MacColl, tłum. Jerzy Rogacki muz. Ewan MacColl “On the North Sea Holes”, “The Big Hewer”, wyk. David Coffin, sł. i muz. Ewan MacColl “Morrissey and the Russian Sailor”, wyk. Seán 'ac Dhonnchadha, sł. i muz. trad. “Moving On Song”, wyk. MacColl Brothers, Chris Wood i Karine Polwart, sł. i muz. Ewan MacColl #music #history #folk #szanty #shanties #shanty #żeglarstwo #muzyka #historia #historie #piosenki

The case of imprisoned seafarer Denys Korotkiy has rekindled a debate over US prosections of oil dumping in international waters by ships at sea. Are these cases overreach? Or are they an essential tool for fighting pollution? We speak to Edward MacColl of Thompson, MacColl & Bass; Gregory Linsin of Blank Rome; George Chalos of Chalos & Co and John Amos of SkyTruth.

So often, we think that growing older means growing weaker – but this just isn't true. Meet Ginny MacColl, Hollywood actress, Broadway dancer, and the oldest person to complete an American Ninja Warrior obstacle course at the age of 71!I had the pleasure of interviewing Ginny and learning about her extraordinary story and what led her to pursue fitness and grow stronger. Inspired by her daughter, Jessie Graff, a renowned figure on American Ninja Warrior, Ginny embraced strength training and achieved her first pull-up at the age of 63. Less than a decade later, at 71, she made history as the oldest person to conquer an obstacle course on American Ninja Warrior, participating in Seasons 9, 10, and 15.Ginny's indomitable spirit is evident as she competes regionally in Ninja competitions and continues to grace the big screen with notable roles, including USS Christmas, Stars Fell on Alabama, and POMS.You don't want to miss out on this interview where we discuss Ginny's narrative of resilience, the importance of protein and strength training, and pursuing one's passion at any age.Subscribe & ReviewSubscribing and leaving a rating and review are important factors in helping the Reshape Your Health Podcast and the YouTube Channel reach more people. If you haven't already subscribed, please do that today.We would also be grateful if you left a rating and review, too. In your listening app, scroll to the “Ratings and Reviews” section, then click “Write a Review” and let us know what you enjoy about our show. We appreciate you taking the time to show your support. Thank you!Resources From This Episode>> Join Zivli>> Freebie: The Ultimate Food Guide>> Ginny MacColl's Instagram 

“This sparky woman has done so much, lived so much, crammed so much in. Most of all, she has informed our appreciation of British and North American folk music, like very, very few people have. Then factor in her multiple roles in illuminating the folk, political song and feminist scenes and how her songs have enriched the folk idiom, and you have somebody worth getting amazed about.” - Ken Hunt / Folk Roots Magazine. PEGGY SEEGER was born on 17 June, 1935 in New York City. She is one of the most important figures in the history of folk music. An American folk singer who also achieved renown in Britain, where she lived for more than 30 years, as the wife of songwriter and activist Ewan MacColl. Seeger's father was Charles Seeger (1886–1979), an important folklorist and musicologist; her mother was Seeger's second wife, Ruth Porter Crawford. Ruth Crawford Seeger, who died in 1953, was a modernist composer and was one of the first women to receive a Guggenheim Fellowship. One of her brothers is Mike Seeger, and the well-known songwriter Pete Seeger is her half-brother. Among Peggy Seeger's first recordings in 1955 was ‘American Folk Songs for Children', considered one of her most enduring, and probably the best-selling, collection of children's songs ever recorded. Together with MacColl, Seeger joined The Critics Group, performing satirical songs in a mixture of theatre, comedy and song. Seeger and MacColl recorded as a duo and as solo artists; MacColl wrote "The First Time Ever I Saw Your Face" in Peggy's honour. Her critically acclaimed classic biography, ‘First Time Ever – A Memoir' was published in 2018. We were delighted to welcome Peggy to The CAT Club for a memorable evening. A splendid time was had by all. CAT Club stalwart IAN CLAYTON was in the interviewer's chair. This event took place on 16 July 2023 in the Pigeon Loft at The Robin Hood, Pontefract, West Yorkshire. To find out more about the CAT Club please visit: www.thecatclub.co.uk Music used in this podcast by kind permission of Peggy Seeger. Happy Trails.

In this episode, I speak with Ginny MacColl who is the oldest person to complete an obstacle on American Ninja Warrior! She is 71 years young and is such inspiration for anyone of any age. We speak about: Her background as a dancer, and Broadway actress Her run with commercials for many products you and I have used or are still using How she got her first pull up in her 60s! Her daughter, Jessie Graff, and how she is Ginny's inspiration for Ninja Warrior Her Ninja Warrior experience including her training regimen And A LOT more! If you aren't already inspired, you will be after listening to Ginny! You can find Ginny on IG :@ginnymaccoll, on FB: Ginny MacColl Youtube: https://www.youtube.com/channel/UCMC3-fNX0qjSFHIPNDABLqQ And if you'd like to join me in the Inner Circle, you can do so here: sfinnercircle.com

Discover the best insights on meditation, mindset, routines, goal-setting, and more, all intricately woven into the fabric of financial success. Unleash the power of debt, overcome limiting beliefs, and unlock smart credit strategies to generate passive income with Jack McColl. Get ready to revolutionize your financial future and embark on a journey towards true fulfillment.

In episode 132 of the Fit Strong Women Over 50, Jill and Chris talk with 71 year old American Ninja Warrior Ginny MacColl. Ginny is an actress, dancer, and competitive athlete in both Ninja and swimming. She began her career in NYC as a dancer in the hit Broadway show, Pippin, in 1973; then transitioned into the commercial world and did over 100 national and regional commercials throughout the 70s and 80s. After a 20-year hiatus to raise her family, Ginny rekindled her acting career recently in Southport, NC in commercials, and film, and began strength training for American Ninja Warrior where she competed Season 9, 10, and most recently Season 15 airing this June (2023). At 63 years old, she did her very first pull up, inspired by her daughter, Jessie Graff, who has gone farther than any female on American Ninja Warrior. At 71 years old, Ginny continues to compete regionally in ninja competitions and local, state and national swim meets. You may have seen Ginny featured in the December 2019 issue of AARP. She also appeared as Evelyn, one of Diane Keaton's 8 cheerleaders in the movie POMS; Dorothy in USS Christmas on Hallmark's Movie and Mysteries channel, Agnes Miller in STARS FELL ON ALABAMA and Beverly in AND JUST LIKE THAT! Links and more info at our website: BecomingElli.com

Neill MacColl is the eldest son of folk pioneers Ewan MacColl and Peggy Seeger and the half brother of Kirsty MacColl. He is also a musician, songwriter and producer in his own right. He has produced albums for many artists including Bombay Bicycle Club, where Neill eldest son Jamie is the guitarist, and toured as a seasoned session guitarist with artists such as David Gary, David Gilmour, Jesse Buckley and Nadine Shah. He has composed for film and TV, films such as Fever Pitch, 24/7, Far From The Madding Crowd and My Cousin Rachel. He also wrote and recorded an amazing album with me called Two, as well as writing songs such as Heart Shaped Stone for the Crown Electric album and the song Me For You on my latest record Night Drives. In this episode he gets quite vehement about cushions, and talks of being in the wilderness as his most at home place. Hosted on Acast. See acast.com/privacy for more information.

Raynaud's syndrome is more common than you may think, which was a surprise t me because I first heard about it when I met Chelsea Lea MacColl around 5 years ago. Raynaud's is a condition where the person feels the cold in an intense manor. As we talked through it in this interview it became clear that there aren't many ways to explain the difference to a person without the condition of "feeling the cold a bit too much" and it making your life oftentimes a misery. The closest we got was hypothermia! In this interview Chelsea talks about the physical, emotional, mental and social effects of Raynaud's syndrome. A condition that permeates every part of her life, even in warmer temperatures. She also shares some of the things that she has found to help manage the symptoms, which for Raynaud's sufferers is currently the best level of medical intervention.

Folk musician Johnny Campbell is recording an album of songs from the summits and industrial hotspots of northern England. Jez Lowe joins him at Kinder Scout in Derbyshire to celebrate ninety years since the ‘Right to Roam' movement began and explore the traditional songs of the Peak District. Jez meets local singer Bella Hardy to hear how her home in Edale has inspired and influenced her work, and writer Roly Smith who can explain the history of Kinder and the 1932 mass trespass. It may be ninety years ago, but for young global folk stars Kate Griffin and Ford Collier of Mishra, the call for a right to roam is still relevant. They have recorded a version of Ewan MacColl's ‘Manchester Rambler', a song inspired by the Kinder trespass. Jez meets Kate, Ford, Johnny and Bella to hear how a new generation of musicians are continuing MacColl's legacy of folk singers fighting for our rights in the countryside. Produced by Helen Lennard

Björn Þór Sigbjörnsson og Bogi Ágústsson ræddu nýja stórn í Færeyjum og heimsókn Volodymyrs Zelenskys forseta Úkraínu til Bandaríkjanna. Þá ræddu þeir bágborið efnahagsástand í Argentínu, þar hafa landsmenn glímt við versnandi lífskjör, vaxandi fátækt og 100 prósent verðbólgu. Argentínumenn vona margir að heimsmeistaratitillinn í knattspyrnu efli þjóðinni dáð. Þá var viðhaldið þeirri venju að leika Fairytale of New York í síðasta þætti fyrir jólahátíðina. Þetta lag ensk-írsku hljómsveitarinnar The Pogues og Kirsty MacColl fjallar um brostnar vonir og ást sem snúist hefur upp í andhverfu sína. MacColl og Shane MacGowan fara á kostum í túlkun sinni í laginu sem seint verður kallað hefðbundið jólalag.

Björn Þór Sigbjörnsson og Bogi Ágústsson ræddu nýja stórn í Færeyjum og heimsókn Volodymyrs Zelenskys forseta Úkraínu til Bandaríkjanna. Þá ræddu þeir bágborið efnahagsástand í Argentínu, þar hafa landsmenn glímt við versnandi lífskjör, vaxandi fátækt og 100 prósent verðbólgu. Argentínumenn vona margir að heimsmeistaratitillinn í knattspyrnu efli þjóðinni dáð. Þá var viðhaldið þeirri venju að leika Fairytale of New York í síðasta þætti fyrir jólahátíðina. Þetta lag ensk-írsku hljómsveitarinnar The Pogues og Kirsty MacColl fjallar um brostnar vonir og ást sem snúist hefur upp í andhverfu sína. MacColl og Shane MacGowan fara á kostum í túlkun sinni í laginu sem seint verður kallað hefðbundið jólalag.

This episode is also available as a blog post: https://darsword.wordpress.com/2022/09/25/review-in-falling-snow-a-novel-by-mary-rose-maccoll/

Welcome! and Thank You for listening!   This episode features Ginny MacColl.  She is a mother, actress, swimmer, and Ninja Warrior at the young age of 70.  No, they are not age specific obstacles, she is doing the same obstacle course as the 20 somethings, and she didn't start training for Ninja until her mid 60s.  Her motto: “Strength is Ageless”. Her attitude is “you can do more than you think you can”. She started acting and dancing in her twenties.  She started pull-up training at 63 after being given a diagnosis of osteopenia.  That was not at the recommendation of her doctor but from her Ninja Warrior Super Star Daughter, Jessie Graff.  I am sure you are going to be motivated and inspired by this energetic, positive, interview with Ginny MacColl.  Her key points: Strength is Ageless Break any Obstacle or Challenge into baby steps Take failure as a motivator You can do more than you think you can Find your motivator and be consistent I can't do that, YET!   Here is how you can find her:   https://linktr.ee/ginnymaccoll Instagram: Ginnymccoll   My website: doctordulaney.com Email with questions to jami@doctordulaney.com  

Dziś o małej radiowej rewolucji, może nawet nie takiej małej. Otóż pod koniec lat 50 ubiegłego wieku dwóch naszych dobrych znajomych, wielkich, zaprzyjaźnionych pieśniarzy folkowych Ewan MacColl i Pete Seeger, nawiązało współpracę z producentem radiowym Charlsem Parkerem (żeby było ciekawiej, Charles też śpiewał i był animatorem ruchu folkowego). Postanowili stworzyć dla BBC cykl audycji poświęconych różnym aspektom życia na wyspach brytyjskich. Na przestrzeni 6 lat powstało osiem audycji o brytyjskich kolejarzach, budowniczych autostrad, rybakach, górnikach, bokserach, nastolatkach, obieżyświatach, majsterkowiczach, a nawet osobach chorych na polio. Cykl nosił nazwę „Radio ballads”. Panowie tworzyli audycje z czterech fundamentalnych elementów: muzyki instrumentlnej, efektów dźwiękowych, piosenek i nagranych wypowiedzi ludzi, których dotyczyła tematyka. Dziś nie brzmi to zaskakująco ale w latach 50 była to rewolucja. Samo połączenie różnych form nie było niczym nowym, nowością był sposób emitowania wypowiedzi bohaterów. W tamtych czasach w audycjach radiowych wypowiedzi zwyczajnych ludzi były transkrybowane a następnie czytane przez zawodowych lektorów. MacColl, Seeger i Parker do każdej audycji gromadzili setki taśm z nagranymi wypowiedziami rozmówców, spośród nich wybierali najciekawsze i, uwaga, w oryginale puszczali w eter. Szok. Powstały programy zabawne, pouczające, poetyckie i zarazem bardzo autentyczne. 62 lata temu, w sierpniu 1960 roku premierę miał trzeci odcinek cyklu „Singing the Fishing” będący hołdem dla rybackich społeczności wschodniej Anglii i północno-wschodniej Szkocji. Odcinek ważny, i to z co najmniej trzech powodów powodów. Pierwszy to ten, że „Singing the Fishing” było pierwszym w cyklu dziełem w pełni zintegrowanym, wykorzystującym dopracowane już innowacyjne techniki wplatania muzyki w dokumentalną treść, dziełem które ustaliło ostateczny standard dla pozostałych oddcinków cyklu i wyznaczyło kierunek rozwoju tzw. „oral history” w radiu. Drugi powód to taki, że „Singing the Fishing” rozsławiło Cykl na całym świecie. Po zdobyciu Prix d'Italia dla radiowego dokumentu w październiku 1960 roku, audycja została wyemitowana w 86 krajach. No a trzecim powodem jest niezwykła piosenka. No właśnie - niezwykła. W „Radio Ballads” śpiewane były piosenki specjalnie na tę okoliczność napisane przez Ewana MacColla. Podczas nagrań do „Singing the Fishing” Ewan MacColl poznał starego rybaka Sama Larnera. Samuel jako 13 latek pod koniec XIX wieku pływał już jako chłopiec okrętowy, po 2 latach zamustrował na rybaki i wypływał na łowiska przez kolejne 39 lat. Na emeryturze jeździł po Anglii i śpiewał poznane w rybackich portach pieśni. Życie Sama zafascynowało Ewana do tego stopnia, że napisał w hołdzie rybakowi piosenkę. Powstała moja ulubiona pieśń rybacka „The Shoals of Herring” - Ławice Śledzi. W Polsce z nieco zmienionym rytmem, pod tytułem „Ławice” śpiewają ją Cztery Refy do słów Andrzeja Mendygrała. Ale prawdziłą perłą jest oryginał, koniecznie z prologiem i epilogiem, których brakuje w polskiej wersji. Liam Clancy, autor mojego ulubionego wykonania, pięknie o „The Shoals of Herring” opowiada, twierdząc, że MacColl przed programem nagrał na taśmach wszystkich starych rybaków ze wschodniego wybrzeża Anglii i w piosence nie użył ani jednego własnego słowa. ... zrymował fragmenty nagranych wypowiedzi rybaków, dorzucił króciutki cytat z Shakespeara, i uczynił z tego piosenkę. Dla mnie arcydzieło. Sail Ho Audycja zawiera utwory: Fragment audycji „Singing the Fishing” z cyklu „Radio ballads”, wyemitowanej 16 sierpnia 1960 roku w BBC Radio, autorzy: Ewan MacColl, Pete Seeger i Charls Parker “Ławice” w wykonaniu zespołu „Cztery Refy”, słowa: Andrzej Mendygrał, muzyka: Ewan MacColl “The Shoals of Herring” w wykonaniu Liama Clancy z zespołem, słowa i muzyka: Ewan MacColl

In this month’s podcast: Religious speech implications of the Supreme Court’s Kennedy decision. Confederate Flag Costs Sergeant Her Job, Cotriss v. City of Roswell, 2022 WL 2345729 (11th Cir. 2022). Garrity Offers No Protection For Dishonesty, Delaware v. MacColl, 2022 WL 2388397 (Del. Super. 2022). No Due Process Right To Promotion From Expired List, Cummings v. City of Bridgeport, 2022 WL 1720335 (D. Conn. 2022). Pre-Disciplinary Hearing Must Precede, Not Follow, Sustaining Of Complaint, Washington v. Shreveport fire & Police Civil Service Board, 2022 WL 1654146 (La. App. 2022). Officer’s Experience With Death And Decaying Bodies Defeats Disability Claim, Mesmer... The post First Thursday, August 2022 appeared first on Labor Relations Information System.

It's makeover time. In this live show, CEO and Co-founder of Directive, Garrett Mehrguth, and a SaaS marketing leader work together to build a strategy for a recognizable SaaS brand - as quickly as possible. The company will be randomly selected by spinning a wheel at the beginning of the show, and together, the two will craft a strategy for SaaS marketing leaders everywhere. Today's guest... Eric MacColl, Head of Demand Generation, Enterprise and Cloud at Atlassian

In 1968 Russell Eyre was a young man from Sheffield learning to play guitar and looking for a musical direction. A chance meeting with well known singer Tony Capstick opened his eyes and ears to folk music. Russell is a born raconteur and with lots of stories about the vibrant music scene in Sheffield and Chesterfield up until the mid 1970s. The cast of characters contains many familiar names, plus some you may have forgotten. Songs in the order of appearance: 1 Tony Capstick - Arthur Mcbride (Live in Southport 1973) 2 Tim Hart & Maddy Prior - The False Knight On The Road 3 Grehan Sisters - Henry Joy 4 Ian Campbell Folk Group - The Curragh Of Kildare 5 Ewan MacColl & Peggy Seeger - Thirty-Foot Trailer 6 John James - 12th Street Rag 7 Finbar & Eddie Furey - Fox Lament 8 The Johnstons - Ye Jacobites by Name For more info please visit https://invisiblefolkclub.com/

69 year old Ginny MacColl's motto is "Strength is Ageless" and she has exemplified this through out her life! Ginny is a prime example of how movement is so beneficial to an active, productive life. As a Broadway dancer, competitive swimmer and actress she was always active and always on the go. Life took a dramatic turn when she stepped into a gym for the first time at 63! She got incredibly strong, mastered the pull-up and became America's oldest female Ninja Warrior! She continues to get stronger, compete and advocates lifting weights and exercising to live a long, healthy life!  

Ewan MacColl sang "The First Time Ever I Saw Your Face" to Peggy Seeger down the phone. When they met, Peggy says, he was in the grip of his midlife crisis. "I'm fond of saying the poor boy didn't stand a chance," she tells Matthew Parris. This programme is her attempt to set the record straight. "I'd like to do a bit of justice to him, because there's an awful lot of myths, an awful lot of bad talk, misunderstandings." Ewan MacColl was born Jimmy Miller in Salford, which he wrote about in 1949 in his song, "Dirty Old Town." He made his name in theatre, was married to Joan Littlewood, and after the Second World War he was a powerful force behind the folk revival. He also with Peggy Seeger and Charles Parker created the famous Radio Ballads. Peggy is joined in discussion by Peter Cox, author of Set Into Song. The programme is heavily illustrated with MacColl's music and his voice. The producer for BBC audio in Bristol is Miles Warde

In this episode, Tim talks with movie star and America Ninja Warrior, Ginny MacColl. At the age when most people retire, Ginny decided to reinvent herself and relaunch her career. So naturally, she decided to start doing pullups and become an America Ninja Warrior. She also resurrected her acting career. Ginny is THE example of "it's never too late and you are never too old." Ginny told me that, "I have never felt stronger in my entire life." And every day, she is stronger still. Listen to her story and embrace her message. It's life-changing. To learn more about Ginny, check her out here: Youtube: https://www.youtube.com/channel/UCMC3-fNX0qjSFHIPNDABLqQ Instagram: https://www.instagram.com/ginnymaccoll/?hl=en IMDB: https://www.imdb.com/name/nm8947258/ --- Support this podcast: https://anchor.fm/original-strength/support

About the Guest Eric MacColl is the Head of Demand Gen at Atlassian, helping create end-to-end customer journeys to support their Enterprise and Cloud products. Eric has over 12 years of marketing experience ranging from building marketing programs at small startups, scaling the B2B business at Lyft, and leading marketing teams at large tech companies.... The post Intent Data and ABM. Ft. Eric MacColl appeared first on Sunny Side Up Podcast.

In this episode, Eric MacColl talks about intent-based customer journeys and how you can use them to effectively market and advertise to customers in your target market. Eric talks about why you should use intent-based customer journeys, the mechanics and pitfalls of intent data, as well as where to start when first using intent data. Contact Eric MacColl | Follow us on LinkedIn

Chris MacColl has been unlocking the secrets of the elusive Red Goshawk in northern Queensland and across the Top End of Australia. The work has involved trapping these fearsome-looking raptors and fitting them with harnesses, fitted with GPS transmitters, and analysing the movements of the birds over an entended period of time. Since Chris and I had our conversation, the team have managed to trap male birds, and have harnesses fitted, so they are closer than ever to unlocking to mystery that has been the movement of both sexes in the non-breeding season. Chris explains the methodology of the study, and what secrets the team hope will be unlocked as a result of the data collected and the lengthy observations made in the field. You can follow Chris on Twitter and check out the latest on the Red Goshawk Project @CMacColl Also, have a look at the other partners in the project;  Australian Wildlife Conservancy - website and Twitter @awconservancy Rio Tinto Weipa QLD Dept of Environment and Science and University of Queensland - Centre for Biodiversity and Conservation Currently trying to get some eyes and subscribers on The Bird Emergency on YouTube, so I can put a bit more effort into the video side of things, so if you would like more visual content, please subscribe, and I will watch with interest if that's what you want! Follow The Bird Emergency on Twitter @birdemergency or Instagram @thebirdemergency     

With Wall Street declaring that they want Covid over and done with by April Alex & Leila examine the states in the US reopening.  They reiterate the case against lockdowns, talk about the gigantic amount of bad science created in the last year and examine the "great reset" theory.   Outro music is "The Ballad of Accounting" - Written by Ewan Maccoll and performed by Maccoll and Peggy Seeger 

Paget MacColl, co-head of the Americas Institutional Client Business within Goldman Sachs Asset Management, shares takeaways from GSAM’s annual healthcare diagnostic, which surveys CIOs of nonprofit healthcare organizations and hospital systems. MacColl is joined by Stefan Strein, chief investment officer for the Cleveland Clinic, who talks about managing a portfolio through a public health crisis and why he’s particularly excited about the investment opportunities in tech and ESG. 

We sat down with Jonathan Maccoll, head coach of the swimming and diving program at Rutgers University. SwimSwam reported last week that Rutgers would be redshirting a significant portion of its team this year, and Maccooll was kind enough to explain the reasoning behind this. In short, because things are ever-changing with the COVID-19 pandemic, Maccoll says every athlete's situation is different and the decision to redshirt this season is extremely fluid for whether it makes sense for that athlete or not. Click here to listen and subscribe on Spotify Click here to listen and subscribe on Apple Podcasts Click here to listen and subscribe on Podbean Click here to listen and subscribe on Google Click here to listen and subscribe on YouTube Click here to listen and subscribe on Listen Notes Click here to listen and subscribe on Stitcher Click here to listen and subscribe on iHeartRadio Click here to listen and subscribe on Amazon Click here to listen and subscribe on Pandora Music: Otis McDonaldwww.otismacmusic.com

Episode one hundred and nine of A History of Rock Music in Five Hundred Songs looks at "Blowin' in the Wind", Peter, Paul and Mary, Bob Dylan, the UK folk scene and the civil rights movement. Those of you who get angry at me whenever I say anything that acknowledges the existence of racism may want to skip this one. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on "Santa Claus is Coming to Town" by the Crystals. Tilt Araiza has assisted invaluably by doing a first-pass edit, 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/ ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.   This compilation contains all Peter, Paul and Mary's hits. I have used *many* books for this episode, most of which I will also be using for future episodes on Dylan: The Mayor of MacDougal Street by Dave Van Ronk and Elijah Wald is the fascinating and funny autobiography of Dylan's mentor in his Greenwich Village period, including his interactions with Albert Grossman. Chronicles Volume 1 by Bob Dylan is a partial, highly inaccurate, but thoroughly readable autobiography. Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. Only one book exists on Peter, Paul, and Mary themselves, and it is a hideously overpriced coffee table book consisting mostly of photos, so I wouldn't bother with it.  Roots, Radicals, and Rockers: How Skiffle Changed the World by Billy Bragg has some great information on the British folk scene of the fifties and sixties. And Singing From the Floor is an oral history of British folk clubs, including a chapter on Dylan's 1962 visit to London.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   Today we're going to look at the first manufactured pop band we will see in this story, but not the last -- a group cynically put together by a manager to try and cash in on a fad, but one who were important enough that in a small way they helped to change history. We're going to look at the March on Washington and the civil rights movement, at Bob Dylan blossoming into a songwriter and the English folk revival, and at "Blowin' in the Wind" by Peter, Paul, and Mary: [Excerpt: Peter, Paul and Mary, "Blowin' in the Wind"] Albert Grossman was an unusual figure in the world of folk music. The folk revival had started out as an idealistic movement, mostly centred on Pete Seeger, and outside a few ultra-commercial acts like the Kingston Trio, most of the people involved were either doing it for the love of the music, or as a means of advancing their political goals. No doubt many of the performers on the burgeoning folk circuit were also quite keen to make money -- there are very few musicians who don't like being able to eat and have a home to live in -- but very few of the people involved were primarily motivated by increasing their income. Grossman was a different matter. He was a businessman, and he was interested in money more than anything else -- and for that he was despised by many of the people in the Greenwich Village folk scene. But he was, nonetheless, someone who was interested in making money *from folk music* specifically. And in the late fifties and early sixties this was less of a strange idea than it might have seemed. We talked back in the episode on "Drugstore Rock and Roll" about how rock and roll music was starting to be seen as the music of the teenager, and how "teenager" was, for the first time, becoming a marketing category into which people could be segmented. But the thing about music that's aimed at a particular age group is that once you're out of that age group you are no longer the target audience for that music. Someone who was sixteen in 1956 was twenty in 1960, and people in their twenties don't necessarily want to be listening to music aimed at teenagers. But at the same time, those people didn't want to listen to the music that their parents were listening to.  There's no switch that gets flipped on your twentieth birthday that means that you suddenly no longer like Little Richard but instead like Rosemary Clooney. So there was a gap in the market, for music that was more adult than rock and roll was perceived as being, but which still set itself apart from the pop music that was listened to by people in their thirties and forties. And in the late fifties and early sixties, that gap seemed to be filled by a commercialised version of the folk revival.  In particular, Harry Belafonte had a huge run of massive hit albums with collections of folk, calypso, and blues songs, presented in a way that was acceptable to an older, more settled audience while still preserving some of the rawness of the originals, like his version of Lead Belly's "Midnight Special", recorded in 1962 with a young Bob Dylan on harmonica: [Excerpt: Harry Belafonte, "Midnight Special"] Meanwhile, the Kingston Trio had been having huge hits with cleaned-up versions of old folk ballads like "Tom Dooley": [Excerpt: The Kingston Trio, "Tom Dooley"] So Grossman believed that there was a real market out there for something that was as clean and bright and friendly as the Kingston Trio, but with just a tiny hint of the bohemian Greenwich Village atmosphere to go with it. Something that wouldn't scare TV people and DJs, but which might seem just the tiniest bit more radical than the Kingston Trio did. Something mass-produced, but which seemed more authentic. So Grossman decided to put together what we would now call a manufactured pop group. It would be a bit like the Kingston Trio, but ever so slightly more political, and rather than being three men, it would be two men and a woman. Grossman had very particular ideas about what he wanted -- he wanted a waifish, beautiful woman at the centre of the group, he wanted a man who brought a sense of folk authenticity, and he wanted someone who could add a comedy element to the performances, to lighten them.  For the woman, he chose Mary Travers, who had been around the folk scene for several years at this point, starting out with a group called the Song Swappers, who had recorded an album of union songs with Pete Seeger back in 1955: [Excerpt: Pete Seeger and the Song Swappers, "Solidarity Forever"] Travers was chosen in part because of her relative shyness -- she had never wanted to be a professional singer, and her introverted nature made her perfect for the image Grossman wanted -- an image that was carefully cultivated, to the point that when the group were rehearsing in Florida, Grossman insisted Travers stay inside so she wouldn't get a tan and spoil her image. As the authentic male folk singer, Grossman chose Peter Yarrow, who was the highest profile of the three, as he had performed as a solo artist for a number of years and had appeared on TV and at the Newport Folk Festival, though he had not yet recorded. And for the comedy element, he chose Noel Stookey, who regularly performed as a comedian around Greenwich Village -- in the group's very slim autobiography, Stookey compares himself to two other comedians on that circuit, Bill Cosby and Woody Allen, comparisons that were a much better look in 2009 when the book was published than they are today. Grossman had originally wanted Dave Van Ronk to be the low harmony singer, rather than Stookey, but Van Ronk turned him down flat, wanting no part of a Greenwich Village Kingston Trio, though he later said he sometimes looked at his bank account rather wistfully. The group's name was, apparently, inspired by a line in the old folk song "I Was Born About 10,000 Years Ago", which was recorded by many people, but most famously by Elvis Presley in the 1970s: [Excerpt: Elvis Presley, "I Was Born About 10,000 Years Ago"] The "Peter, Paul, and Moses" from that song became Peter, Paul and Mary -- Stookey started going by his middle name, Paul, on stage, in order to fit the group name, though he still uses Noel in his daily life. While Peter, Paul, and Mary were the front people of the group, there were several other people who were involved in the creative process -- the group used a regular bass player, Bill Lee, the father of the filmmaker Spike Lee, who played on all their recordings, as well as many other recordings from Greenwich Village folk musicians. They also had, as their musical director, a man named Milt Okun who came up with their arrangements and helped them choose and shape the material. Grossman shaped this team into a formidable commercial force. Almost everyone who talks about Grossman compares him to Colonel Tom Parker, and the comparison is a reasonable one. Grossman was extremely good at making money for his acts, so long as a big chunk of the money came to him. There's a story about him signing Odetta, one of the great folk artists of the period, and telling her "you can stay with your current manager, and make a hundred thousand dollars this year, and he'll take twenty percent, or you can come with me, and make a quarter of a million dollars, but I'll take fifty percent". That was the attitude that Grossman took to everyone. He cut himself in to every contract, salami-slicing his artists' royalties at each stage. But it can't be denied that his commercial instincts were sound. Peter, Paul, and Mary's first album was a huge success. The second single from the album, their version of the old Weavers song "If I Had a Hammer", written by Pete Seeger and Lee Hays, went to number ten on the pop charts: [Excerpt: Peter, Paul and Mary, "If I Had a Hammer"] And the album itself went to number one and eventually went double-platinum -- a remarkable feat for a collection of songs that, however prettily arranged, contained a fairly uncompromising selection of music from the folk scene, with songs by Seeger, Dave van Ronk, and Rev. Gary Davis mixing with traditional songs like "This Train" and originals by Stookey and Yarrow. Their second album was less successful at first, with its first two singles flopping. But the third, a pretty children's song by Yarrow and his friend Leonard Lipton, went to number two on the pop charts and number one on the Adult Contemporary charts: [Excerpt: Peter, Paul, and Mary, "Puff the Magic Dragon"] Incidentally, Leonard Lipton, who wrote that lyric, became independently wealthy from the royalties from the song, and used the leisure that gave him to pursue his passion of inventing 3D projection systems, which eventually made him an even wealthier man -- if you've seen a 3D film in the cinema in the last couple of decades, it's almost certainly been using the systems Lipton invented. So Peter, Paul, and Mary were big stars, and having big hits. And Albert Grossman was constantly on the lookout for more material for them. And eventually he found it, and the song that was to make both him, his group, and its writer, very, very rich, in the pages of Broadside magazine. When we left Bob Dylan, he was still primarily a performer, and not really known for his songwriting, but he had already written a handful of songs, and he was being drawn into the more political side of the folk scene. In large part this was because of his girlfriend, Suze Rotolo, with whom Dylan was very deeply in love, and who was a very political person indeed. Dylan had political views, but wasn't particularly driven by them -- Rotolo very much was, and encouraged him to write songs about politics. For much of early 1962, Dylan was being pulled in two directions at once -- he was writing songs inspired by Robert Johnson, and trying to adapt Johnson's style to fit himself, but at the same time he was writing songs like "The Death of Emmett Till", about the 1955 murder of a Black teenager which had galvanised the civil rights movement, and "The Ballad of Donald White", about a Black man on death row. Dylan would later be very dismissive of these attempts at topicality, saying "I realize now that my reasons and motives behind it were phony, I didn’t have to write it; I was bothered by many other things that I pretended I wasn’t bothered by, in order to write this song about Emmett Till, a person I never even knew". But at the time they got him a great deal of attention in the small US folk-music scene, when they were published in magazines like Broadside and Sing Out, which collected political songs. Most of these early songs are juvenilia, with a couple of exceptions like the rather marvellous anti-bomb song "Let Me Die in My Footsteps", but the song that changed everything for Dylan was a different matter.  "Blowin' in the Wind" was inspired by the melody of the old nineteenth century song "No More Auction Block", a song that is often described as a "spiritual", though in fact it's a purely secular song about slavery: [Excerpt: Odetta, "No More Auction Block"] That song had seen something of a revival in folk circles in the late fifties, especially because part of its melody had been incorporated into another song, "We Shall Overcome", which had become an anthem of the civil rights movement when it was revived and adapted by Pete Seeger: [Excerpt: Pete Seeger, "We Shall Overcome"] Dylan took this melody, with its associations with the fight for the rights of Black people, and came up with new lyrics, starting with the line "How many roads must a man walk down, before you call him a man?" He wrote two verses of the song -- the first and last verses -- in a short burst of inspiration, and a few weeks later came back to it and added another verse, the second, which incorporated allusions to the Biblical prophet Ezekiel, and which is notably less inspired than those earlier verses. In later decades, many people have looked at the lyrics to the song and seen it as the first of what would become a whole subgenre of non-protest protest songs -- they've seen the abstraction of "How many roads must a man walk down before you call him a man?" as being nice-sounding rhetoric that doesn't actually mean anything, in much the same way as something like, say, "Another Day in Paradise" or "Eve of Destruction", songs that make nonspecific complaints about nonspecific bad things. But while "Blowin' in the Wind" is a song that has multiple meanings and can be applied to multiple situations, as most good songs can, that line was, at the time in which it was written, a very concrete question. The civil rights movement was asking for many things -- for the right to vote, for an end to segregation, for an end to police brutality, but also for basic respect and acknowledgment of Black people's shared humanity. We've already heard in a couple of past episodes Big Bill Broonzy singing "When Do I Get to Be Called a Man?": [Excerpt: Big Bill Broonzy, "When Do I Get to Be Called a Man?"] Because at the time, it was normal for white people to refer to Black men as "boy". As Dr. Martin Luther King said in his "Letter From Birmingham Jail", one of the greatest pieces of writing of the twentieth century, a letter in large part about how white moderates were holding Black people back with demands to be "reasonable" and let things take their time: "when you have seen hate-filled policemen curse, kick, brutalize, and even kill your black brothers and sisters with impunity; when you see the vast majority of your twenty million Negro brothers smothering in an airtight cage of poverty in the midst of an affluent society... when your first name becomes“ and here Dr. King uses a racial slur which I, as a white man, will not say, "and your middle name becomes “boy” (however old you are) and your last name becomes “John,” and when your wife and mother are never given the respected title “Mrs.”; when you are harried by day and haunted by night by the fact that you are a Negro, living constantly at tiptoe stance, never knowing what to expect next, and plagued with inner fears and outer resentments; when you are forever fighting a degenerating sense of “nobodyness”—then you will understand why we find it difficult to wait. There comes a time when the cup of endurance runs over and men are no longer willing to be plunged into an abyss of injustice where they experience the bleakness of corroding despair." King's great letter was written in 1963, less than a year after Dylan was writing his song but before it became widely known. In the context of 1962, the demand to call a man a man was a very real political issue, not an aphorism that could go in a Hallmark card. Dylan recorded the song in June 1962, during the sessions for his second album, which at the time was going under the working title "Bob Dylan's Blues": [Excerpt: Bob Dylan, "Blowin' in the Wind"] By the time he recorded it, two major changes had happened to him. The first was that Suze Rotolo had travelled to Spain for several months, leaving him bereft -- for the next few months, his songwriting took a turn towards songs about either longing for the return of a lost love, like "Tomorrow is a Long Time", one of his most romantic songs, or about how the protagonist doesn't even need his girlfriend anyway and she can leave if she likes, see if he cares, like "Don't Think Twice It's Alright". The other change was that Albert Grossman had become his manager, largely on the strength of "Blowin' in the Wind", which Grossman thought had huge potential. Grossman signed Dylan up, taking twenty percent of all his earnings -- including on the contract with Columbia Records Dylan already had -- and got him signed to a new publisher, Witmark Publishing, where the aptly-named Artie Mogull thought that "Blowin' in the Wind" could be marketed. Grossman took his twenty percent of Dylan's share of the songwriting money as his commission from Dylan -- and fifty percent of Witmark's share of the money as his commission from Witmark, meaning that Dylan was getting forty percent of the money for writing the songs, while Grossman was getting thirty-five percent. Grossman immediately got involved in the recording of Dylan's second album, and started having personality clashes with John Hammond. It was apparently Grossman who suggested that Dylan "go electric" for the first time, with the late-1962 single "Mixed-Up Confusion": [Excerpt: Bob Dylan, "Mixed-Up Confusion"] Neither Hammond nor Dylan liked that record, and it seemed clear for the moment that the way forward for Dylan was to continue in an acoustic folk vein. Dylan was also starting to get inspired more by English folk music, and incorporate borrowings from English music into his songwriting. That's most apparent in "A Hard Rain's A-Gonna Fall", written in September 1962. Dylan took the structure of that song from the old English ballad, "Lord Randall": [Excerpt: Ewan MacColl, "Lord Randall"] He reworked that structure into a song of apocalypse, again full of the Biblical imagery he'd tried in the second verse of  "Blowin' in the Wind", but this time more successfully incorporating it: [Excerpt: Bob Dylan, "A Hard Rain's A-Gonna Fall"] His interest in English folk music was to become more important in his songwriting in the following months, as Dylan was about to travel to the UK and encounter the British folk music scene. A TV director called Philip Saville had seen Dylan performing in New York, and had decided he would be perfect for the role of a poet in a TV play he was putting on, Madhouse in Castle Street, and got Dylan flown over to perform in it. Unfortunately, no-one seems to have told Dylan what would be involved in this, and he proved incapable of learning his lines or acting, so the show was rethought -- the role of the poet was given to David Warner, later to become one of Britain's most famous screen actors, and Dylan was cast in a new role as a singer called "Bobby", who had few or no lines but did get to sing a few songs, including "Blowin' in the Wind", which was the first time the song was heard by anyone outside of the New York folk scene. Dylan was in London for about a month, and while he was there he immersed himself in the British folk scene. This scene was in some ways modelled on the American scene, and had some of the same people involved, but it was very different. The initial spark for the British folk revival had come in the late 1940s, when A.L. Lloyd, a member of the Communist Party, had published a book of folk songs he'd collected, along with some Marxist analysis of how folk songs evolved. In the early fifties, Alan Lomax, then in the UK to escape McCarthyism, put Lloyd in touch with Ewan MacColl, a songwriter and performer from Manchester, who we heard earlier singing "Lord Randall". MacColl, like Lloyd, was a Communist, but the two also shared a passion for older folk songs, and they began recording and performing together, recording traditional songs like "The Handsome Cabin Boy": [Excerpt: Ewan MacColl and A.L. Lloyd, "The Handsome Cabin Boy"] MacColl and Lloyd latched on to the skiffle movement, and MacColl started his own club night, Ballads and Blues, which tried to push the skifflers in the direction of performing more music based in English traditional music. This had already been happening to an extent with things like the Vipers performing "Maggie May", a song about a sex worker in Liverpool: [Excerpt: The Vipers Skiffle Group, "Maggie May"] But this started to happen a lot more with MacColl's encouragement. At one point in 1956, there was even a TV show hosted by Lomax and featuring a band that included Lomax, MacColl, Jim Bray, the bass player from Chris Barber's band, Shirley Collins -- a folk singer who was also Lomax's partner -- and Peggy Seeger, who was Pete Seeger's sister and who had also entered into a romantic relationship with MacColl, whose most famous song, "The First Time Ever I Saw Your Face", was written both about and for her: [Excerpt: Peggy Seeger, "The First Time Ever I Saw Your Face"] It was Seeger who instigated what became the most notable feature at the Ballads and Blues club and its successor the Singer's Club. She'd burst out laughing when she saw Long John Baldry sing "Rock Island Line", because he was attempting to sing in an American accent. As someone who had actually known Lead Belly, she found British imitations of his singing ludicrous, and soon there was a policy at the clubs that people would only sing songs that were originally sung with their normal vowel sounds. So Seeger could only sing songs from the East Coast of the US, because she didn't have the Western vowels of a Woody Guthrie, while MacColl could sing English and Scottish songs, but nothing from Wales or Ireland. As the skiffle craze died down, it splintered into several linked scenes. We've already seen how in Liverpool and London it spawned guitar groups like the Shadows and the Beatles, while in London it also led to the electric blues scene. It also led to a folk scene that was very linked to the blues scene at first, but was separate from it, and which was far more political, centred around MacColl. That scene, like the US one, combined topical songs about political events from a far-left viewpoint with performances of traditional songs, but in the case of the British one these were mostly old sea shanties and sailors' songs, and the ancient Child Ballads, rather than Appalachian country music -- though a lot of the songs have similar roots.  And unlike the blues scene, the folk scene spread all over the country. There were clubs in Manchester, in Liverpool (run by the group the Spinners), in Bradford, in Hull (run by the Waterson family) and most other major British cities. The musicians who played these venues were often inspired by MacColl and Lloyd, but the younger generation of musicians often looked askance at what they saw as MacColl's dogmatic approach, preferring to just make good music rather than submit it to what they saw as MacColl's ideological purity test, even as they admired his musicianship and largely agreed with his politics. And one of these younger musicians was a guitarist named Martin Carthy, who was playing a club called the King and Queen on Goodge Street when he saw Bob Dylan walk in. He recognised Dylan from the cover of Sing Out! magazine, and invited him to get up on stage and do a few numbers. For the next few weeks, Carthy showed Dylan round the folk scene -- Dylan went down great at the venues where Carthy normally played, and at the Roundhouse, but flopped around the venues that were dominated by MacColl, as the people there seemed to think of Dylan as a sort of cut-rate Ramblin' Jack Elliot, as Elliot had been such a big part of the skiffle and folk scenes. Carthy also taught Dylan a number of English folk songs, including "Lord Franklin": [Excerpt: Martin Carthy, "Lord Franklin"] and "Scarborough Fair": [Excerpt: Martin Carthy, "Scarborough Fair"] Dylan immediately incorporated the music he'd learned from Carthy into his songwriting, basing "Bob Dylan's Dream" on "Lord Franklin", and even more closely basing "GIrl From the North Country" on "Scarborough Fair": [Excerpt: Bob Dylan, "Girl From The North Country"] After his trip to London, Dylan went over to Europe to see if he could catch up with Suze, but she had already gone back to New York -- their letters to each other crossed in the post. On his return, they reunited at least for a while, and she posed with him for the photo for the cover of what was to be his second album.  Dylan had thought that album completed when he left for England, but he soon discovered that there were problems with the album -- the record label didn't want to release the comedy talking blues "Talking John Birch Society Paranoid Blues", because they thought it might upset the fascists in the John Birch Society. The same thing would later make sure that Dylan never played the Ed Sullivan Show, because when he was booked onto the show he insisted on playing that song, and so they cancelled the booking. In this case, though, it gave him an excuse to remove what he saw as the weaker songs on the album, including "Tomorrow is a Long Time", and replace them with four new songs, three of them inspired by traditional English folk songs -- "Bob Dylan's Dream",  "Girl From the North Country", and "Masters of War" which took its melody from the old folk song "Nottamun Town" popularised on the British folk circuit by an American singer, Jean Ritchie: [Excerpt: Jean Ritchie, "Nottamun Town"] These new recordings weren't produced by John Hammond, as the rest of the album was. Albert Grossman had been trying from the start to get total control over Dylan, and didn't want Hammond, who had been around before Grossman, involved in Dylan's career. Instead, a new producer named Tom Wilson was in charge. Wilson was a remarkable man, but seemed an odd fit for a left-wing folk album. He was one of the few Black producers working for a major label, though he'd started out as an indie producer. He was a Harvard economics graduate, and had been president of the Young Republicans during his time there -- he remained a conservative all his life -- but he was far from conservative in his musical tastes. When he'd left university, he'd borrowed nine hundred dollars and started his own record label, Transition, which had put out some of the best experimental jazz of the fifties, produced by Wilson, including the debut albums by Sun Ra: [Excerpt: Sun Ra, "Brainville"] and Cecil Taylor: [Excerpt: Cecil Taylor, "Bemsha Swing"] Wilson later described his first impressions of Dylan: "I didn’t even particularly like folk music. I’d been recording Sun Ra and Coltrane … I thought folk music was for the dumb guys. This guy played like the dumb guys, but then these words came out. I was flabbergasted." Wilson would soon play a big part in Dylan's career, but for now his job was just to get those last few tracks for the album recorded. In the end, the final recording session for Dylan's second album was more than a year after the first one, and it came out into a very different context from when he'd started recording it. Because while Dylan was putting the finishing touches on his second album, Peter Paul and Mary were working on their third, and they were encouraged by Grossman to record three Bob Dylan songs, since that way Grossman would make more money from them. Their version of "Blowin' in the Wind" came out as a single a few weeks after The Freewheelin' Bob Dylan came out, and sold 300,000 copies in the first week: [Excerpt: Peter, Paul, and Mary, "Blowin' in the Wind"] The record went to number two on the charts, and their followup, "Don't Think Twice it's Alright", another Dylan song, went top ten as well.  "Blowin' in the Wind" became an instant standard, and was especially picked up by Black performers, as it became a civil rights anthem. Mavis Staples of the Staple Singers said later that she was astonished that a white man could write a line like "How many roads must a man walk down before you call him a man?", saying "That's what my father experienced" -- and the Staple Singers recorded it, of course: [Excerpt: The Staple Singers, "Blowin' in the Wind"] as did Sam Cooke: [Excerpt: Sam Cooke, "Blowin' in the Wind"] And Stevie Wonder: [Excerpt: Stevie Wonder, "Blowin' in the Wind"] But the song's most important performance came from Peter, Paul and Mary, performing it on a bill with Dylan, Odetta, Joan Baez, and Mahalia Jackson in August 1963, just as the song had started to descend the charts. Because those artists were the entertainment for the March on Washington, in which more than a quarter of a million people descended on Washington both to support President Kennedy's civil rights bill and to speak out and say that it wasn't going far enough. That was one of the great moments in American political history, full of incendiary speeches like the one by John Lewis: [Excerpt: John Lewis, March on Washington speech] But the most memorable moment at that march  came when Dr. King was giving his speech. Mahalia Jackson shouted out "Tell them about the dream, Martin", and King departed from his prepared words and instead improvised based on themes he'd used in other speeches previously, coming out with some of the most famous words ever spoken: [Excerpt: Martin Luther King, "I Have a Dream"] The civil rights movement was more than one moment, however inspiring, and white people like myself have a tendency to reduce it just to Dr. King, and to reduce Dr. King just to those words -- which is one reason why I quoted from Letter From Birmingham Jail earlier, as that is a much less safe and canonised piece of writing. But it's still true to say that if there is a single most important moment in the history of the post-war struggle for Black rights, it was that moment, and because of "Blowin' in the Wind", both Dylan and Peter, Paul and Mary were minor parts of that event. After 1963, Peter, Paul and Mary quickly became passe with the British Invasion, only having two more top ten hits, one with a novelty song in 1967 and one with "Leaving on a Jet Plane" in 1969. They split up in 1970, and around that time Yarrow was arrested and convicted for a sexual offence involving a fourteen-year-old girl, though he was later pardoned by President Carter. The group reformed in 1978 and toured the nostalgia circuit until Mary's death in 2009. The other two still occasionally perform together, as Peter and Noel Paul. Bob Dylan, of course, went on to bigger things after "Blowin' in the Wind" suddenly made him into the voice of a generation -- a position he didn't ask for and didn't seem to want. We'll be hearing much more from him. And we'll also be hearing more about the struggle for Black civil rights, as that's a story, much like Dylan's, that continues to this day.

My guest this week is Ginny MacColl. Ginny is a 68 year old dancer, actor, swimmer and American Ninja Warrior, who at age 63 got her first pullup. In this episode we explore Ginny’s incredible life story, from her childhood as a dancer to being on Broadway, all the way to getting her first pullup in her sixties and then on to becoming a ninja warrior. Join us this week as Ginny tells her fitness story us what it takes to be in peak condition as we age and how she lives out her life’s motto: strength is ageless! You can connect with Ginny in the following ways: Instagram @ginnymaccoll www.facebook.com/gmaccoll www.twitter.com/ginnymaccoll Ginny mentioned the following resources during the show: Younger Next Year for Women Book by Chris Crowley Younger Next Year Book by Chris Crowley Prescription for Life Book by Richard Furman

Episode one hundred and nine of A History of Rock Music in Five Hundred Songs looks at “Blowin’ in the Wind”, Peter, Paul and Mary, Bob Dylan, the UK folk scene and the civil rights movement. Those of you who get angry at me whenever I say anything that acknowledges the existence of racism may want to skip this one. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “Santa Claus is Coming to Town” by the Crystals. Tilt Araiza has assisted invaluably by doing a first-pass edit, 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/ —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.   This compilation contains all Peter, Paul and Mary’s hits. I have used *many* books for this episode, most of which I will also be using for future episodes on Dylan: The Mayor of MacDougal Street by Dave Van Ronk and Elijah Wald is the fascinating and funny autobiography of Dylan’s mentor in his Greenwich Village period, including his interactions with Albert Grossman. Chronicles Volume 1 by Bob Dylan is a partial, highly inaccurate, but thoroughly readable autobiography. Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I’ve also used Robert Shelton’s No Direction Home, which is less accurate, but which is written by someone who knew Dylan. Only one book exists on Peter, Paul, and Mary themselves, and it is a hideously overpriced coffee table book consisting mostly of photos, so I wouldn’t bother with it.  Roots, Radicals, and Rockers: How Skiffle Changed the World by Billy Bragg has some great information on the British folk scene of the fifties and sixties. And Singing From the Floor is an oral history of British folk clubs, including a chapter on Dylan’s 1962 visit to London.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   Today we’re going to look at the first manufactured pop band we will see in this story, but not the last — a group cynically put together by a manager to try and cash in on a fad, but one who were important enough that in a small way they helped to change history. We’re going to look at the March on Washington and the civil rights movement, at Bob Dylan blossoming into a songwriter and the English folk revival, and at “Blowin’ in the Wind” by Peter, Paul, and Mary: [Excerpt: Peter, Paul and Mary, “Blowin’ in the Wind”] Albert Grossman was an unusual figure in the world of folk music. The folk revival had started out as an idealistic movement, mostly centred on Pete Seeger, and outside a few ultra-commercial acts like the Kingston Trio, most of the people involved were either doing it for the love of the music, or as a means of advancing their political goals. No doubt many of the performers on the burgeoning folk circuit were also quite keen to make money — there are very few musicians who don’t like being able to eat and have a home to live in — but very few of the people involved were primarily motivated by increasing their income. Grossman was a different matter. He was a businessman, and he was interested in money more than anything else — and for that he was despised by many of the people in the Greenwich Village folk scene. But he was, nonetheless, someone who was interested in making money *from folk music* specifically. And in the late fifties and early sixties this was less of a strange idea than it might have seemed. We talked back in the episode on “Drugstore Rock and Roll” about how rock and roll music was starting to be seen as the music of the teenager, and how “teenager” was, for the first time, becoming a marketing category into which people could be segmented. But the thing about music that’s aimed at a particular age group is that once you’re out of that age group you are no longer the target audience for that music. Someone who was sixteen in 1956 was twenty in 1960, and people in their twenties don’t necessarily want to be listening to music aimed at teenagers. But at the same time, those people didn’t want to listen to the music that their parents were listening to.  There’s no switch that gets flipped on your twentieth birthday that means that you suddenly no longer like Little Richard but instead like Rosemary Clooney. So there was a gap in the market, for music that was more adult than rock and roll was perceived as being, but which still set itself apart from the pop music that was listened to by people in their thirties and forties. And in the late fifties and early sixties, that gap seemed to be filled by a commercialised version of the folk revival.  In particular, Harry Belafonte had a huge run of massive hit albums with collections of folk, calypso, and blues songs, presented in a way that was acceptable to an older, more settled audience while still preserving some of the rawness of the originals, like his version of Lead Belly’s “Midnight Special”, recorded in 1962 with a young Bob Dylan on harmonica: [Excerpt: Harry Belafonte, “Midnight Special”] Meanwhile, the Kingston Trio had been having huge hits with cleaned-up versions of old folk ballads like “Tom Dooley”: [Excerpt: The Kingston Trio, “Tom Dooley”] So Grossman believed that there was a real market out there for something that was as clean and bright and friendly as the Kingston Trio, but with just a tiny hint of the bohemian Greenwich Village atmosphere to go with it. Something that wouldn’t scare TV people and DJs, but which might seem just the tiniest bit more radical than the Kingston Trio did. Something mass-produced, but which seemed more authentic. So Grossman decided to put together what we would now call a manufactured pop group. It would be a bit like the Kingston Trio, but ever so slightly more political, and rather than being three men, it would be two men and a woman. Grossman had very particular ideas about what he wanted — he wanted a waifish, beautiful woman at the centre of the group, he wanted a man who brought a sense of folk authenticity, and he wanted someone who could add a comedy element to the performances, to lighten them.  For the woman, he chose Mary Travers, who had been around the folk scene for several years at this point, starting out with a group called the Song Swappers, who had recorded an album of union songs with Pete Seeger back in 1955: [Excerpt: Pete Seeger and the Song Swappers, “Solidarity Forever”] Travers was chosen in part because of her relative shyness — she had never wanted to be a professional singer, and her introverted nature made her perfect for the image Grossman wanted — an image that was carefully cultivated, to the point that when the group were rehearsing in Florida, Grossman insisted Travers stay inside so she wouldn’t get a tan and spoil her image. As the authentic male folk singer, Grossman chose Peter Yarrow, who was the highest profile of the three, as he had performed as a solo artist for a number of years and had appeared on TV and at the Newport Folk Festival, though he had not yet recorded. And for the comedy element, he chose Noel Stookey, who regularly performed as a comedian around Greenwich Village — in the group’s very slim autobiography, Stookey compares himself to two other comedians on that circuit, Bill Cosby and Woody Allen, comparisons that were a much better look in 2009 when the book was published than they are today. Grossman had originally wanted Dave Van Ronk to be the low harmony singer, rather than Stookey, but Van Ronk turned him down flat, wanting no part of a Greenwich Village Kingston Trio, though he later said he sometimes looked at his bank account rather wistfully. The group’s name was, apparently, inspired by a line in the old folk song “I Was Born About 10,000 Years Ago”, which was recorded by many people, but most famously by Elvis Presley in the 1970s: [Excerpt: Elvis Presley, “I Was Born About 10,000 Years Ago”] The “Peter, Paul, and Moses” from that song became Peter, Paul and Mary — Stookey started going by his middle name, Paul, on stage, in order to fit the group name, though he still uses Noel in his daily life. While Peter, Paul, and Mary were the front people of the group, there were several other people who were involved in the creative process — the group used a regular bass player, Bill Lee, the father of the filmmaker Spike Lee, who played on all their recordings, as well as many other recordings from Greenwich Village folk musicians. They also had, as their musical director, a man named Milt Okun who came up with their arrangements and helped them choose and shape the material. Grossman shaped this team into a formidable commercial force. Almost everyone who talks about Grossman compares him to Colonel Tom Parker, and the comparison is a reasonable one. Grossman was extremely good at making money for his acts, so long as a big chunk of the money came to him. There’s a story about him signing Odetta, one of the great folk artists of the period, and telling her “you can stay with your current manager, and make a hundred thousand dollars this year, and he’ll take twenty percent, or you can come with me, and make a quarter of a million dollars, but I’ll take fifty percent”. That was the attitude that Grossman took to everyone. He cut himself in to every contract, salami-slicing his artists’ royalties at each stage. But it can’t be denied that his commercial instincts were sound. Peter, Paul, and Mary’s first album was a huge success. The second single from the album, their version of the old Weavers song “If I Had a Hammer”, written by Pete Seeger and Lee Hays, went to number ten on the pop charts: [Excerpt: Peter, Paul and Mary, “If I Had a Hammer”] And the album itself went to number one and eventually went double-platinum — a remarkable feat for a collection of songs that, however prettily arranged, contained a fairly uncompromising selection of music from the folk scene, with songs by Seeger, Dave van Ronk, and Rev. Gary Davis mixing with traditional songs like “This Train” and originals by Stookey and Yarrow. Their second album was less successful at first, with its first two singles flopping. But the third, a pretty children’s song by Yarrow and his friend Leonard Lipton, went to number two on the pop charts and number one on the Adult Contemporary charts: [Excerpt: Peter, Paul, and Mary, “Puff the Magic Dragon”] Incidentally, Leonard Lipton, who wrote that lyric, became independently wealthy from the royalties from the song, and used the leisure that gave him to pursue his passion of inventing 3D projection systems, which eventually made him an even wealthier man — if you’ve seen a 3D film in the cinema in the last couple of decades, it’s almost certainly been using the systems Lipton invented. So Peter, Paul, and Mary were big stars, and having big hits. And Albert Grossman was constantly on the lookout for more material for them. And eventually he found it, and the song that was to make both him, his group, and its writer, very, very rich, in the pages of Broadside magazine. When we left Bob Dylan, he was still primarily a performer, and not really known for his songwriting, but he had already written a handful of songs, and he was being drawn into the more political side of the folk scene. In large part this was because of his girlfriend, Suze Rotolo, with whom Dylan was very deeply in love, and who was a very political person indeed. Dylan had political views, but wasn’t particularly driven by them — Rotolo very much was, and encouraged him to write songs about politics. For much of early 1962, Dylan was being pulled in two directions at once — he was writing songs inspired by Robert Johnson, and trying to adapt Johnson’s style to fit himself, but at the same time he was writing songs like “The Death of Emmett Till”, about the 1955 murder of a Black teenager which had galvanised the civil rights movement, and “The Ballad of Donald White”, about a Black man on death row. Dylan would later be very dismissive of these attempts at topicality, saying “I realize now that my reasons and motives behind it were phony, I didn’t have to write it; I was bothered by many other things that I pretended I wasn’t bothered by, in order to write this song about Emmett Till, a person I never even knew”. But at the time they got him a great deal of attention in the small US folk-music scene, when they were published in magazines like Broadside and Sing Out, which collected political songs. Most of these early songs are juvenilia, with a couple of exceptions like the rather marvellous anti-bomb song “Let Me Die in My Footsteps”, but the song that changed everything for Dylan was a different matter.  “Blowin’ in the Wind” was inspired by the melody of the old nineteenth century song “No More Auction Block”, a song that is often described as a “spiritual”, though in fact it’s a purely secular song about slavery: [Excerpt: Odetta, “No More Auction Block”] That song had seen something of a revival in folk circles in the late fifties, especially because part of its melody had been incorporated into another song, “We Shall Overcome”, which had become an anthem of the civil rights movement when it was revived and adapted by Pete Seeger: [Excerpt: Pete Seeger, “We Shall Overcome”] Dylan took this melody, with its associations with the fight for the rights of Black people, and came up with new lyrics, starting with the line “How many roads must a man walk down, before you call him a man?” He wrote two verses of the song — the first and last verses — in a short burst of inspiration, and a few weeks later came back to it and added another verse, the second, which incorporated allusions to the Biblical prophet Ezekiel, and which is notably less inspired than those earlier verses. In later decades, many people have looked at the lyrics to the song and seen it as the first of what would become a whole subgenre of non-protest protest songs — they’ve seen the abstraction of “How many roads must a man walk down before you call him a man?” as being nice-sounding rhetoric that doesn’t actually mean anything, in much the same way as something like, say, “Another Day in Paradise” or “Eve of Destruction”, songs that make nonspecific complaints about nonspecific bad things. But while “Blowin’ in the Wind” is a song that has multiple meanings and can be applied to multiple situations, as most good songs can, that line was, at the time in which it was written, a very concrete question. The civil rights movement was asking for many things — for the right to vote, for an end to segregation, for an end to police brutality, but also for basic respect and acknowledgment of Black people’s shared humanity. We’ve already heard in a couple of past episodes Big Bill Broonzy singing “When Do I Get to Be Called a Man?”: [Excerpt: Big Bill Broonzy, “When Do I Get to Be Called a Man?”] Because at the time, it was normal for white people to refer to Black men as “boy”. As Dr. Martin Luther King said in his “Letter From Birmingham Jail”, one of the greatest pieces of writing of the twentieth century, a letter in large part about how white moderates were holding Black people back with demands to be “reasonable” and let things take their time: “when you have seen hate-filled policemen curse, kick, brutalize, and even kill your black brothers and sisters with impunity; when you see the vast majority of your twenty million Negro brothers smothering in an airtight cage of poverty in the midst of an affluent society… when your first name becomes“ and here Dr. King uses a racial slur which I, as a white man, will not say, “and your middle name becomes “boy” (however old you are) and your last name becomes “John,” and when your wife and mother are never given the respected title “Mrs.”; when you are harried by day and haunted by night by the fact that you are a Negro, living constantly at tiptoe stance, never knowing what to expect next, and plagued with inner fears and outer resentments; when you are forever fighting a degenerating sense of “nobodyness”—then you will understand why we find it difficult to wait. There comes a time when the cup of endurance runs over and men are no longer willing to be plunged into an abyss of injustice where they experience the bleakness of corroding despair.” King’s great letter was written in 1963, less than a year after Dylan was writing his song but before it became widely known. In the context of 1962, the demand to call a man a man was a very real political issue, not an aphorism that could go in a Hallmark card. Dylan recorded the song in June 1962, during the sessions for his second album, which at the time was going under the working title “Bob Dylan’s Blues”: [Excerpt: Bob Dylan, “Blowin’ in the Wind”] By the time he recorded it, two major changes had happened to him. The first was that Suze Rotolo had travelled to Spain for several months, leaving him bereft — for the next few months, his songwriting took a turn towards songs about either longing for the return of a lost love, like “Tomorrow is a Long Time”, one of his most romantic songs, or about how the protagonist doesn’t even need his girlfriend anyway and she can leave if she likes, see if he cares, like “Don’t Think Twice It’s Alright”. The other change was that Albert Grossman had become his manager, largely on the strength of “Blowin’ in the Wind”, which Grossman thought had huge potential. Grossman signed Dylan up, taking twenty percent of all his earnings — including on the contract with Columbia Records Dylan already had — and got him signed to a new publisher, Witmark Publishing, where the aptly-named Artie Mogull thought that “Blowin’ in the Wind” could be marketed. Grossman took his twenty percent of Dylan’s share of the songwriting money as his commission from Dylan — and fifty percent of Witmark’s share of the money as his commission from Witmark, meaning that Dylan was getting forty percent of the money for writing the songs, while Grossman was getting thirty-five percent. Grossman immediately got involved in the recording of Dylan’s second album, and started having personality clashes with John Hammond. It was apparently Grossman who suggested that Dylan “go electric” for the first time, with the late-1962 single “Mixed-Up Confusion”: [Excerpt: Bob Dylan, “Mixed-Up Confusion”] Neither Hammond nor Dylan liked that record, and it seemed clear for the moment that the way forward for Dylan was to continue in an acoustic folk vein. Dylan was also starting to get inspired more by English folk music, and incorporate borrowings from English music into his songwriting. That’s most apparent in “A Hard Rain’s A-Gonna Fall”, written in September 1962. Dylan took the structure of that song from the old English ballad, “Lord Randall”: [Excerpt: Ewan MacColl, “Lord Randall”] He reworked that structure into a song of apocalypse, again full of the Biblical imagery he’d tried in the second verse of  “Blowin’ in the Wind”, but this time more successfully incorporating it: [Excerpt: Bob Dylan, “A Hard Rain’s A-Gonna Fall”] His interest in English folk music was to become more important in his songwriting in the following months, as Dylan was about to travel to the UK and encounter the British folk music scene. A TV director called Philip Saville had seen Dylan performing in New York, and had decided he would be perfect for the role of a poet in a TV play he was putting on, Madhouse in Castle Street, and got Dylan flown over to perform in it. Unfortunately, no-one seems to have told Dylan what would be involved in this, and he proved incapable of learning his lines or acting, so the show was rethought — the role of the poet was given to David Warner, later to become one of Britain’s most famous screen actors, and Dylan was cast in a new role as a singer called “Bobby”, who had few or no lines but did get to sing a few songs, including “Blowin’ in the Wind”, which was the first time the song was heard by anyone outside of the New York folk scene. Dylan was in London for about a month, and while he was there he immersed himself in the British folk scene. This scene was in some ways modelled on the American scene, and had some of the same people involved, but it was very different. The initial spark for the British folk revival had come in the late 1940s, when A.L. Lloyd, a member of the Communist Party, had published a book of folk songs he’d collected, along with some Marxist analysis of how folk songs evolved. In the early fifties, Alan Lomax, then in the UK to escape McCarthyism, put Lloyd in touch with Ewan MacColl, a songwriter and performer from Manchester, who we heard earlier singing “Lord Randall”. MacColl, like Lloyd, was a Communist, but the two also shared a passion for older folk songs, and they began recording and performing together, recording traditional songs like “The Handsome Cabin Boy”: [Excerpt: Ewan MacColl and A.L. Lloyd, “The Handsome Cabin Boy”] MacColl and Lloyd latched on to the skiffle movement, and MacColl started his own club night, Ballads and Blues, which tried to push the skifflers in the direction of performing more music based in English traditional music. This had already been happening to an extent with things like the Vipers performing “Maggie May”, a song about a sex worker in Liverpool: [Excerpt: The Vipers Skiffle Group, “Maggie May”] But this started to happen a lot more with MacColl’s encouragement. At one point in 1956, there was even a TV show hosted by Lomax and featuring a band that included Lomax, MacColl, Jim Bray, the bass player from Chris Barber’s band, Shirley Collins — a folk singer who was also Lomax’s partner — and Peggy Seeger, who was Pete Seeger’s sister and who had also entered into a romantic relationship with MacColl, whose most famous song, “The First Time Ever I Saw Your Face”, was written both about and for her: [Excerpt: Peggy Seeger, “The First Time Ever I Saw Your Face”] It was Seeger who instigated what became the most notable feature at the Ballads and Blues club and its successor the Singer’s Club. She’d burst out laughing when she saw Long John Baldry sing “Rock Island Line”, because he was attempting to sing in an American accent. As someone who had actually known Lead Belly, she found British imitations of his singing ludicrous, and soon there was a policy at the clubs that people would only sing songs that were originally sung with their normal vowel sounds. So Seeger could only sing songs from the East Coast of the US, because she didn’t have the Western vowels of a Woody Guthrie, while MacColl could sing English and Scottish songs, but nothing from Wales or Ireland. As the skiffle craze died down, it splintered into several linked scenes. We’ve already seen how in Liverpool and London it spawned guitar groups like the Shadows and the Beatles, while in London it also led to the electric blues scene. It also led to a folk scene that was very linked to the blues scene at first, but was separate from it, and which was far more political, centred around MacColl. That scene, like the US one, combined topical songs about political events from a far-left viewpoint with performances of traditional songs, but in the case of the British one these were mostly old sea shanties and sailors’ songs, and the ancient Child Ballads, rather than Appalachian country music — though a lot of the songs have similar roots.  And unlike the blues scene, the folk scene spread all over the country. There were clubs in Manchester, in Liverpool (run by the group the Spinners), in Bradford, in Hull (run by the Waterson family) and most other major British cities. The musicians who played these venues were often inspired by MacColl and Lloyd, but the younger generation of musicians often looked askance at what they saw as MacColl’s dogmatic approach, preferring to just make good music rather than submit it to what they saw as MacColl’s ideological purity test, even as they admired his musicianship and largely agreed with his politics. And one of these younger musicians was a guitarist named Martin Carthy, who was playing a club called the King and Queen on Goodge Street when he saw Bob Dylan walk in. He recognised Dylan from the cover of Sing Out! magazine, and invited him to get up on stage and do a few numbers. For the next few weeks, Carthy showed Dylan round the folk scene — Dylan went down great at the venues where Carthy normally played, and at the Roundhouse, but flopped around the venues that were dominated by MacColl, as the people there seemed to think of Dylan as a sort of cut-rate Ramblin’ Jack Elliot, as Elliot had been such a big part of the skiffle and folk scenes. Carthy also taught Dylan a number of English folk songs, including “Lord Franklin”: [Excerpt: Martin Carthy, “Lord Franklin”] and “Scarborough Fair”: [Excerpt: Martin Carthy, “Scarborough Fair”] Dylan immediately incorporated the music he’d learned from Carthy into his songwriting, basing “Bob Dylan’s Dream” on “Lord Franklin”, and even more closely basing “GIrl From the North Country” on “Scarborough Fair”: [Excerpt: Bob Dylan, “Girl From The North Country”] After his trip to London, Dylan went over to Europe to see if he could catch up with Suze, but she had already gone back to New York — their letters to each other crossed in the post. On his return, they reunited at least for a while, and she posed with him for the photo for the cover of what was to be his second album.  Dylan had thought that album completed when he left for England, but he soon discovered that there were problems with the album — the record label didn’t want to release the comedy talking blues “Talking John Birch Society Paranoid Blues”, because they thought it might upset the fascists in the John Birch Society. The same thing would later make sure that Dylan never played the Ed Sullivan Show, because when he was booked onto the show he insisted on playing that song, and so they cancelled the booking. In this case, though, it gave him an excuse to remove what he saw as the weaker songs on the album, including “Tomorrow is a Long Time”, and replace them with four new songs, three of them inspired by traditional English folk songs — “Bob Dylan’s Dream”,  “Girl From the North Country”, and “Masters of War” which took its melody from the old folk song “Nottamun Town” popularised on the British folk circuit by an American singer, Jean Ritchie: [Excerpt: Jean Ritchie, “Nottamun Town”] These new recordings weren’t produced by John Hammond, as the rest of the album was. Albert Grossman had been trying from the start to get total control over Dylan, and didn’t want Hammond, who had been around before Grossman, involved in Dylan’s career. Instead, a new producer named Tom Wilson was in charge. Wilson was a remarkable man, but seemed an odd fit for a left-wing folk album. He was one of the few Black producers working for a major label, though he’d started out as an indie producer. He was a Harvard economics graduate, and had been president of the Young Republicans during his time there — he remained a conservative all his life — but he was far from conservative in his musical tastes. When he’d left university, he’d borrowed nine hundred dollars and started his own record label, Transition, which had put out some of the best experimental jazz of the fifties, produced by Wilson, including the debut albums by Sun Ra: [Excerpt: Sun Ra, “Brainville”] and Cecil Taylor: [Excerpt: Cecil Taylor, “Bemsha Swing”] Wilson later described his first impressions of Dylan: “I didn’t even particularly like folk music. I’d been recording Sun Ra and Coltrane … I thought folk music was for the dumb guys. This guy played like the dumb guys, but then these words came out. I was flabbergasted.” Wilson would soon play a big part in Dylan’s career, but for now his job was just to get those last few tracks for the album recorded. In the end, the final recording session for Dylan’s second album was more than a year after the first one, and it came out into a very different context from when he’d started recording it. Because while Dylan was putting the finishing touches on his second album, Peter Paul and Mary were working on their third, and they were encouraged by Grossman to record three Bob Dylan songs, since that way Grossman would make more money from them. Their version of “Blowin’ in the Wind” came out as a single a few weeks after The Freewheelin’ Bob Dylan came out, and sold 300,000 copies in the first week: [Excerpt: Peter, Paul, and Mary, “Blowin’ in the Wind”] The record went to number two on the charts, and their followup, “Don’t Think Twice it’s Alright”, another Dylan song, went top ten as well.  “Blowin’ in the Wind” became an instant standard, and was especially picked up by Black performers, as it became a civil rights anthem. Mavis Staples of the Staple Singers said later that she was astonished that a white man could write a line like “How many roads must a man walk down before you call him a man?”, saying “That’s what my father experienced” — and the Staple Singers recorded it, of course: [Excerpt: The Staple Singers, “Blowin’ in the Wind”] as did Sam Cooke: [Excerpt: Sam Cooke, “Blowin’ in the Wind”] And Stevie Wonder: [Excerpt: Stevie Wonder, “Blowin’ in the Wind”] But the song’s most important performance came from Peter, Paul and Mary, performing it on a bill with Dylan, Odetta, Joan Baez, and Mahalia Jackson in August 1963, just as the song had started to descend the charts. Because those artists were the entertainment for the March on Washington, in which more than a quarter of a million people descended on Washington both to support President Kennedy’s civil rights bill and to speak out and say that it wasn’t going far enough. That was one of the great moments in American political history, full of incendiary speeches like the one by John Lewis: [Excerpt: John Lewis, March on Washington speech] But the most memorable moment at that march  came when Dr. King was giving his speech. Mahalia Jackson shouted out “Tell them about the dream, Martin”, and King departed from his prepared words and instead improvised based on themes he’d used in other speeches previously, coming out with some of the most famous words ever spoken: [Excerpt: Martin Luther King, “I Have a Dream”] The civil rights movement was more than one moment, however inspiring, and white people like myself have a tendency to reduce it just to Dr. King, and to reduce Dr. King just to those words — which is one reason why I quoted from Letter From Birmingham Jail earlier, as that is a much less safe and canonised piece of writing. But it’s still true to say that if there is a single most important moment in the history of the post-war struggle for Black rights, it was that moment, and because of “Blowin’ in the Wind”, both Dylan and Peter, Paul and Mary were minor parts of that event. After 1963, Peter, Paul and Mary quickly became passe with the British Invasion, only having two more top ten hits, one with a novelty song in 1967 and one with “Leaving on a Jet Plane” in 1969. They split up in 1970, and around that time Yarrow was arrested and convicted for a sexual offence involving a fourteen-year-old girl, though he was later pardoned by President Carter. The group reformed in 1978 and toured the nostalgia circuit until Mary’s death in 2009. The other two still occasionally perform together, as Peter and Noel Paul. Bob Dylan, of course, went on to bigger things after “Blowin’ in the Wind” suddenly made him into the voice of a generation — a position he didn’t ask for and didn’t seem to want. We’ll be hearing much more from him. And we’ll also be hearing more about the struggle for Black civil rights, as that’s a story, much like Dylan’s, that continues to this day.

What should a young musician look for when choosing a manager?  What should a good manager do? How can a musician avoid being exploited? How can we compartmentalise our work from family life when the two are entwined? These are just some of the questions we explore with Calum and Kerry from Red Grape Music management in our new episode! Up next will be Miles Copeland III.

In episode 14 I'm speaking with Scottish fiddler Lauren MacColl about her latest album, her creative process and the art of approaching old traditional material, whether it being in written or recorded form. For links, video and additional resources, visit the show website: https://thefolkmusicpodcast.com/episodes/landskein-with-lauren-maccoll

My guest this week is Ginny MacColl. Ginny is a 68 year old dancer, actor, swimmer and American Ninja Warrior, who at age 63 got her first pullup. In this episode we explore Ginny’s incredible life story, from her childhood as a dancer to being on Broadway, all the way to getting her first pullup in her sixties and then on to becoming a ninja warrior. Join us this week as Ginny tells her fitness story us what it takes to be in peak condition as we age and how she lives out her life’s motto: strength is ageless! You can connect with Ginny in the following ways:Instagram @ginnymaccollwww.facebook.com/gmaccollwww.twitter.com/ginnymaccollGinny mentioned the following resources during the show:Younger Next Year for Women Book by Chris CrowleyYounger Next Year Book by Chris CrowleyPrescription for Life Book by Richard Furman

Have you ever wanted to pursue a passion your whole life that’s well outside your comfort zone…but felt like you missed your opportunity and now you’re “too old?” Maybe you always dreamed of running a marathon, or maybe you wanted to earn your black belt in martial arts, but somehow life always seemed to get in the way. If this sounds familiar, today’s guest Ginny MacColl has some sage advice to share with you: “It’s never too late to get stronger.” Ginny is an actress (Poms, Stars Fell On Alabama, Outcast), a former Broadway dancer, and at age 68 has added competing on American Ninja Warrior to her long list of accomplishments. She is also the mother of two, her daughter being Jessie Graff who is the record-breaking female athlete and stunt woman also on American Ninja Warrior who has served as her inspiration. In this interview, you will hear how Ginny went from being at the top of her acting career during the ’80s, working on Broadway and acting in national commercials (all while being a mom) to getting divorced, aging out of the good roles, and having to leave New York City to start all over again as a single mom. Ginny is a MASTER at understanding how to summon the right mindset to overcome any adversity, both on the ninja course and in real life. And in today’s world, knowing how to find opportunity amidst endless challenges is as important as ever. She is also an absolute machine when it comes to being consistent, and she demonstrates that determination and perseverance will take you a lot further than natural ability or talent. If you’re feeling stuck, uninspired, or that you are just frankly “too old” to get back in shape, Ginny will help you break out of the molds you’ve trapped yourself in and encourage you to push beyond what you ever believed was possible. And by the way, the second you’re done listening to this interview, I highly encourage you to jump right into Part 2 where I interview her daughter and American Ninja Warrior legend Jessie Graff. Want to Hear More Episodes Like This One? » Click here to subscribe and never miss another episode Here’s What You’ll Learn: The advice she got from her daughter Jessie when she told her she wanted to get stronger. How it took her a year to get strong enough to do a single pull up. Her best strategy for getting through ANY obstacle. How you can turn nervous energy into an ally in any situation. How blizzards, bats, and cross-country skis taught her valuable life lessons about determination and conquering challenges. The mind trap she won’t fall prey to when it comes to skipping training sessions. How she reversed osteoporosis. What the key to accomplishing your goals in life and in training is. KEY TAKE AWAY: Setting attainable goals plus accountability is what keeps you on track. Her tips for getting started with an exercise program (no matter your age or fitness level). Useful Resources Mentioned: American Ninja Warrior Our Generous Sponsors: Struggling With Real-Time Remote Collaboration? Meet Evercast As work begins to slowly trickle in again, perhaps the most pressing challenge we as creative professionals face in our post-pandemic reality is real-time collaboration. Zoom is great for meetings, but it sure doesn’t work for streaming video. Luckily this problem has now been solved for all of us. If you haven’t heard of Evercast, it’s time to become acquainted. Because Evercast’s real-time remote collaboration technology is CHANGING. THE. GAME. » Click here to be the first to gain early access to the new Evercast P.S. It’s (finally) priced for freelancers and indie creatives like us! This episode is made possible for you by Ergodriven, the makers of the Topo Mat, my #1 recommendation for anyone who stands at their workstation. The Topo is super comfortable, an awesome conversation starter, and it’s also scientifically proven to help you move more throughout the day which helps reduce discomfort and also increase your focus and productivity. Click here to learn more and get your Topo Mat. Guest Bio: Ginny MacColl is an actress, dancer and athlete known for POMS (2019), Stars Fell On Alabama (2020); Outcast (2016) and American Ninja Warrior (2017-2018). Raised in Knoxville, Tennessee, Ginny began her dancing and acting career in NYC appearing in Off-Broadway and Broadway (  1973-76) as well as over 100 national and regional commercials (1976-1991). After a 20 year hiatus from acting to work in radio and raise her children: Jessie and Darren Graff, with husband, Dick Ishler, Ginny rekindled her acting career recently in Southport NC. There she began strength training inspired by her daughter, Jessie Graff, stunt actress, and record breaking female from American Ninja Warrior. With her slogan, Strength is Ageless, Ginny continues to inspire Seniors to get stronger! Ginny is the proud grandmother to Marley Graff (5) and 3 stepchildren, Talon (11), Kyle (21) and Courtney (16). Show Credits: This episode was edited by Curtis Fritsch, and the show notes were prepared by Debby Germino and published by Glen McNiel. The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet).

Your host sings Kirsty MacColl's first single, "They Don't Know", which was a top ten hit for Tracey Ullman in the U.S. and U.K. in the eighties. It has one of my favorite hooks, which MacColl sang herself on Ullman's cover because Ullman couldn't hit the high note. --- Send in a voice message: https://anchor.fm/danny-howell/message

What's going on everyone? Hope you are well! I took a break from the podcast but really happy to bring you this one! Ginny Maccoll Is a American Ninja Warrior who after seeing her daughter, Jessie Graff, crushing it in the ninja world, wanted to be able to do a pull-up at the young age of 65! Ginny has had a very interesting life and it was a pleasure chatting to her about her early years, training and the importance of setting goals no matter what your age is! Hope you enjoy this one :)

Host: Alex CrowGuest: Daniel HendlerRecorded simultaneously in Los Angeles, CA and Vienna, AT via Zoom.New York Times review of Unorthodox -https://www.nytimes.com/2020/03/25/arts/television/unorthodox-review-netflix.htmlThanks to our episode sponsor TeamPeople. For more information, visit - https://www.teampeople.tvFor the latest employment opportunities, visit the TeamPeople Job Board - https://teampeople.secure.force.com/careers/

Join Chris as she talks with Ginny MacColl, a 68 year old woman, who at the age of 64 found her "Ninja" with-in. This segment has something for all ages to listen to and apply! Body in Motion!

Join us today as we here from Ginny MacColl, Ninja Warrior, Broadway performer, actress and all round bad ass. At 68 years old, Ginny is showing ALL women that NOT only is it essential that we strength train, but that STRENGTH is AGELESS! Ginny started strength training at 64 to get her first pull up, then went on to compete on American Ninja Warrior and star in a major motion picture alongside Diane Keaton. HELLO! Ginny is such an inspiration and she is both sharing her story of cultivating dirty strength while raising her kids in the mountains of Pennsylvania AND the health benefits of strength training-how it reverses aging. Don't miss this episode and PLEASE share with all the women in your life! For more from Ginny find her on Instagram or Facebook.  To enroll in my FREE online digital course, Better Than Kegels- Click here. 

On the day after the UK's Tory landslide, Mark & Barney ask the legendary Kris Needs to look back at the legacy of ultimate agit-rockers the Clash on the 40th anniversary of their classic London Calling. Needs reminisces about key music venue Friar's in Aylesbury and his involvement with (and subsequent stewardship of) Pete Frame's seminal ZigZag magazine. His hosts ask about Just a Shot Away, Part 1 of his memoir of the pivotal rock year of 1969, and then discuss his integral involvement with his mates Mick Jones, Joe Strummer and Paul Simonon. Spinning off from the Clash, the trio hear a brief audio clip of tireless politico Billy Bragg talking about the Tories in 1990 – and then discuss free RBP pieces on "revolutionary rock" and "the greening of Planet Pop". Mark introduces the week's new audio interview, a 1989 conversation with the much-missed Kirsty MacColl. After we hear a clip of the singer talking to John Tobler about an unreleased album she made for Polydor, there's an appreciation of MacColl as a songwriter and all-round good egg (and, later, a clip of her talking about her timeless contribution to the Pogues' Yuletide classic 'Fairytale of New York').  Finally, Mark talks us through his highlights among the week's new library articles, including pieces on Chuck Berry playing live in Lewisham in 1965, Sweet playing the Rainbow in 1973, and Donna Summer riding the "dark horse" of disco in 1976…  Many thanks to special guest Kris Needs, whose new book Just a Shot Away: 1969 revisited is out now and published by New Haven.

On the day after the UK's Tory landslide, Mark & Barney ask the legendary Kris Needs to look back at the legacy of ultimate agit-rockers the Clash on the 40th anniversary of their classic London Calling.Needs reminisces about key music venue Friar's in Aylesbury and his involvement with (and subsequent stewardship of) Pete Frame's seminal ZigZag magazine. His hosts ask about Just a Shot Away, Part 1 of his memoir of the pivotal rock year of 1969, and then discuss his integral involvement with his mates Mick Jones, Joe Strummer and Paul Simonon. Spinning off from the Clash, the trio hear a brief audio clip of tireless politico Billy Bragg talking about the Tories in 1990 – and then discuss free RBP pieces on "revolutionary rock" and "the greening of Planet Pop".Mark introduces the week's new audio interview, a 1989 conversation with the much-missed Kirsty MacColl. After we hear a clip of the singer talking to John Tobler about an unreleased album she made for Polydor, there's an appreciation of MacColl as a songwriter and all-round good egg (and, later, a clip of her talking about her timeless contribution to the Pogues' Yuletide classic 'Fairytale of New York'). Finally, Mark talks us through his highlights among the week's new library articles, including pieces on Chuck Berry playing live in Lewisham in 1965, Sweet playing the Rainbow in 1973, and Donna Summer riding the "dark horse" of disco in 1976… Many thanks to special guest Kris Needs, whose new book Just a Shot Away: 1969 revisited is out now and published by New Haven.

On the day after the UK's Tory landslide, Mark & Barney ask the legendary Kris Needs to look back at the legacy of ultimate agit-rockers the Clash on the 40th anniversary of their classic London Calling.Needs reminisces about key music venue Friar's in Aylesbury and his involvement with (and subsequent stewardship of) Pete Frame's seminal ZigZag magazine. His hosts ask about Just a Shot Away, Part 1 of his memoir of the pivotal rock year of 1969, and then discuss his integral involvement with his mates Mick Jones, Joe Strummer and Paul Simonon. Spinning off from the Clash, the trio hear a brief audio clip of tireless politico Billy Bragg talking about the Tories in 1990 – and then discuss free RBP pieces on "revolutionary rock" and "the greening of Planet Pop".Mark introduces the week's new audio interview, a 1989 conversation with the much-missed Kirsty MacColl. After we hear a clip of the singer talking to John Tobler about an unreleased album she made for Polydor, there's an appreciation of MacColl as a songwriter and all-round good egg (and, later, a clip of her talking about her timeless contribution to the Pogues' Yuletide classic 'Fairytale of New York'). Finally, Mark talks us through his highlights among the week's new library articles, including pieces on Chuck Berry playing live in Lewisham in 1965, Sweet playing the Rainbow in 1973, and Donna Summer riding the "dark horse" of disco in 1976… Many thanks to special guest Kris Needs, whose new book Just a Shot Away: 1969 Revisited is out now and published by New Haven.Pieces discussed: The Clash, The Clasher, The Clashest, Political pop, Billy Bragg audio, Eco-pop, Kirsty MacColl audio, Mike Berry, Chuck Berry, Donna Summer, Orchestral Manoeuvres in the Dark, Sheena Easton, Def Leppard and Carl Cox.The RBP podcast is part of the Pantheon Podcasts network.

On the day after the UK's Tory landslide, Mark & Barney ask the legendary Kris Needs to look back at the legacy of ultimate agit-rockers the Clash on the 40th anniversary of their classic London Calling. Needs reminisces about key music venue Friar's in Aylesbury and his involvement with (and subsequent stewardship of) Pete Frame's seminal ZigZag magazine. His hosts ask about Just a Shot Away, Part 1 of his memoir of the pivotal rock year of 1969, and then discuss his integral involvement with his mates Mick Jones, Joe Strummer and Paul Simonon. Spinning off from the Clash, the trio hear a brief audio clip of tireless politico Billy Bragg talking about the Tories in 1990 – and then discuss free RBP pieces on "revolutionary rock" and "the greening of Planet Pop". Mark introduces the week's new audio interview, a 1989 conversation with the much-missed Kirsty MacColl. After we hear a clip of the singer talking to John Tobler about an unreleased album she made for Polydor, there's an appreciation of MacColl as a songwriter and all-round good egg (and, later, a clip of her talking about her timeless contribution to the Pogues' Yuletide classic 'Fairytale of New York').  Finally, Mark talks us through his highlights among the week's new library articles, including pieces on Chuck Berry playing live in Lewisham in 1965, Sweet playing the Rainbow in 1973, and Donna Summer riding the "dark horse" of disco in 1976…  Many thanks to special guest Kris Needs, whose new book Just a Shot Away: 1969 Revisited is out now and published by New Haven. Pieces discussed: The Clash, The Clasher, The Clashest, Political pop, Billy Bragg audio, Eco-pop, Kirsty MacColl audio, Mike Berry, Chuck Berry, Donna Summer, Orchestral Manoeuvres in the Dark, Sheena Easton, Def Leppard and Carl Cox. The RBP podcast is part of the Pantheon Podcasts network.

Possibly one of the most jawdropping insights into the current music industry we've had on The StageLeft Podcast , Fraser from Jungle discusses the challenges of maintaining wellbeing on extensive touring schedules, assesses where the music industry has changed in the past decade. 

At the time of this interview, the 84-year-old folk singer is still songwriting, touring, entertaining, informing, educating and inspiring as part of the great folk tradition that she embodies so well. Born in 1935 to a folklorist and musicologist father and a mother who was an accomplished composer and music scholar, Peggy has lived her life surrounded by music and the great folk tradition. She learned to transcribe music at just 11 years old and the likes of Woody Guthrie and Leadbelly were visitors to her childhood home in Washington DC. Her brother was the world-renowned singer and activist Pete Seeger who was famously attacked under the 1950s era of McCarthyism that fostered the so-called ‘red scare’ by the U.S government of the time. Peggy has been on the road from a young age, hitchhiking around Europe at age 20, and being invited to perform in places like Russia, China and Denmark in her youth. In 1956 London, at the age of 21, she met her future husband, the legendary folk musician Ewan MacColl and they played a leading role in the British folk revival. The classic song The First Time Ever I saw Your Face was written by Ewan for Peggy.The pair remained together for over 30 years, until MacColl’s death in 1989.  In the period that followed, Peggy found love again and formed a civil partnership with Belfast-born New Zealand based singer Irene Pyper Scott and they have been a couple ever since. Peggy plays 5-string banjo, guitar, Appalachian dulcimer, autoharp, English concertina and piano. She has written several hundred songs, covering everything from drugs, to war, hormones, politicians, unions, women, love and ecology.  Perhaps her best-known songs include Gonna Be an Engineer  (which has become one of the anthems of the women's' movement) and The Ballad of Springhill (about the 1958 Springhill, Nova Scotia, mining disaster, a song famously sung here in Ireland by Luke Kelly. 149 of her songs appear in her songbook, The Peggy Seeger Songbook, Warts and All. Overall, Peggy has made 24 solo records and collaborated with Ewan MacColl and others on countless more. She tells her fascinating life story in her award-winning memoir ‘First Time Ever’ published by Faber and Faber. Peggy is a mother of 3 and grandmother of 9. Now 84, she is still living in England, writing songs and performing. She often plays alongside one of her two sons, Neill and Calum MacColl, who have been playing music with her since their teens. Her daughter Kitty, a graphic designer creates the artwork for her albums. Her daughter-in-law, co-founder of Red Grape Music, Kerry Harvey-Piper, is her manager. Her other daughter-in-law is the musician and member of Dream Academy, Kate St. John, with whom she co-wrote a track on her most recent album, ‘Everything Changes’.  

The True Story of Maddie Bright by Mary-Rose MacColl follows a young serving girl on Prince Edward’s 1920 tour of Australia, a journalist hunting a story that could rock the literary world, and a reclusive elderly woman in Brisbane with secrets to keep. Mary-Rose MacColl joins Angus Dalton to talk about celebrity, the royals, why lost infants often show up in her stories, and how a baby crow came to make a cameo in her poignant novel. Listen on Apple Podcasts: apple.co/2NGVDYK Listen on Google Podcasts: bit.ly/2MXSxQ8 The True Story of Maddie Bright: bit.ly/2WdBAVB For a Girl: bit.ly/2IQ1ZpC

The True Story of Maddie Bright by Mary-Rose MacColl follows a young serving girl on Prince Edward's 1920 tour of Australia, a journalist hunting a story that could rock the literary world, and a reclusive elderly woman in Brisbane with secrets to keep.Mary-Rose MacColl joins Angus Dalton to talk about celebrity, the royals, why lost infants often show up in her stories, and how a baby crow came to make a cameo in her poignant novel.Listen on Apple Podcasts: apple.co/2NGVDYKListen on Google Podcasts: bit.ly/2MXSxQ8The True Story of Maddie Bright: bit.ly/2WdBAVBFor a Girl: bit.ly/2IQ1ZpC

Hey, everyone! This episode of Mack & the Movies takes a look at the Gates of Hell trilogy from Horror maestro, Lucio Fulci. There's also a mini-rant on Captain America of the MCU compared to Superman of the DCEU. To round out the episode is a new segment: The Three Teners with guest John Cleveland. Time Codes: Intro: 0:00-4:28 City of the Living Dead: 4:28-12:18 The Beyond: 12:18-20:18 House by the Cemetery: 20:18-27:32 MCU Cap vs DCEU Supes: 27:32-32:04 Three Teners-Top 10 Car Chases: 32:04-56:11 Outro: 56:11-57:28 Paypal: https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=UXZNDGDH4M42W Facebook: https://www.facebook.com/CinemaMack/ Twitter: @CinemaMack Contact: m.j.lambert2283@gmail.com Mack & the Movies logo by masteringsounds https://www.fiverr.com/masteringsounds Intro by androzguitar https://www.fiverr.com/androzguitar Audio Clips Used: The Beyond (dir. Lucio Fulci) "Irrealta Di Suoni" - Fabio Frizzi "Introduzione" - Fabio Frizzi "Mystery's Apotheosis" - Fabio Frizzi "Suono Aperto" - Fabio Frizzi "Oltre La Soglia" - Fabio Frizzi "Blonk Monster" - Alessandro Blonksteiner "I Remember" - Walter Rizzati "Star Spangled Man" - Alan Silvestri "La Donna e Mobile" - The Three Tenors The Blues Brothers (dir. John Landis) *I made a mistake in not realizing Alessandro Blonksteiner contributed to the music score for House by the Cemetery. **I apologize for the change in quality in recording for the Three Teners segment, but the conference mic is the most convenient for recording the conversation.

When folklorist Jean Freedman first met Peggy Seeger in 1979, Freedman was an undergraduate on her junior year abroad in London, while her American compatriot had been living in the UK for two decades. Their encounter took place in the Singers’ Club, a folk music venue that Seeger and her husband Ewan MacColl founded in the early 1960s and to which Freedman returned many times during her London sojourn. After Freedman returned to the States, the pair kept in touch for a while but their contact became increasingly sporadic. However, it began again in earnest when the folklorist emailed Seeger to check some facts for a writing assignment. During their subsequent exchange, Seeger asked if Freedman might know of anyone who would be interested in writing her biography. Immediately, Freedman volunteered herself. Eight years, many interviews, and much text-based research later, Peggy Seeger: A Life of Music, Love, and Politics (University of Illinois Press, 2017) is the result. As the book’s subtitle suggests, Freedman covers multiple aspects of her subject’s rich story, including Seeger’s upbringing within a privileged musical family; her relationship with the aforementioned leftwing folksinger and songwriter, actor and playwright Ewan MacColl; her involvement in the production of the groundbreaking BBC Radio Ballads; her musical endeavors, many of which were collaborative; her involvement in the establishment of various initiatives such as the Critics Group, a key aim of which was to help young singers perform folk material in an appropriate manner; and her political activism. Freedman also writes about Seeger’s return to America in the early 1990s following MacColl’s death, then her subsequent relocation to Britain in 2010 where she continues to live and be astonishingly active. Seeger’s most recent album, Everything Changes, was released in 2014, and when this New Books in Folklore interview with Freedman was recorded in March 2018, she already had another one in the works. Freedman’s Peggy Seeger: A Life of Music, Love, and Politics is the first full length study of an important cultural figure and has been very well received since its publication last year. A recent review in the Journal of Folklore Research described the book as offering a comprehensive overview of Peggy Seeger’s life along with an absorbing history of the folk music revival. It also praises Freedman’s prose for being as approachable and entertaining as Seeger’s lyrics and informal, intimate performance style. Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices

When folklorist Jean Freedman first met Peggy Seeger in 1979, Freedman was an undergraduate on her junior year abroad in London, while her American compatriot had been living in the UK for two decades. Their encounter took place in the Singers’ Club, a folk music venue that Seeger and her husband Ewan MacColl founded in the early 1960s and to which Freedman returned many times during her London sojourn. After Freedman returned to the States, the pair kept in touch for a while but their contact became increasingly sporadic. However, it began again in earnest when the folklorist emailed Seeger to check some facts for a writing assignment. During their subsequent exchange, Seeger asked if Freedman might know of anyone who would be interested in writing her biography. Immediately, Freedman volunteered herself. Eight years, many interviews, and much text-based research later, Peggy Seeger: A Life of Music, Love, and Politics (University of Illinois Press, 2017) is the result. As the book’s subtitle suggests, Freedman covers multiple aspects of her subject’s rich story, including Seeger’s upbringing within a privileged musical family; her relationship with the aforementioned leftwing folksinger and songwriter, actor and playwright Ewan MacColl; her involvement in the production of the groundbreaking BBC Radio Ballads; her musical endeavors, many of which were collaborative; her involvement in the establishment of various initiatives such as the Critics Group, a key aim of which was to help young singers perform folk material in an appropriate manner; and her political activism. Freedman also writes about Seeger’s return to America in the early 1990s following MacColl’s death, then her subsequent relocation to Britain in 2010 where she continues to live and be astonishingly active. Seeger’s most recent album, Everything Changes, was released in 2014, and when this New Books in Folklore interview with Freedman was recorded in March 2018, she already had another one in the works. Freedman’s Peggy Seeger: A Life of Music, Love, and Politics is the first full length study of an important cultural figure and has been very well received since its publication last year. A recent review in the Journal of Folklore Research described the book as offering a comprehensive overview of Peggy Seeger’s life along with an absorbing history of the folk music revival. It also praises Freedman’s prose for being as approachable and entertaining as Seeger’s lyrics and informal, intimate performance style. Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices

When folklorist Jean Freedman first met Peggy Seeger in 1979, Freedman was an undergraduate on her junior year abroad in London, while her American compatriot had been living in the UK for two decades. Their encounter took place in the Singers’ Club, a folk music venue that Seeger and her husband Ewan MacColl founded in the early 1960s and to which Freedman returned many times during her London sojourn. After Freedman returned to the States, the pair kept in touch for a while but their contact became increasingly sporadic. However, it began again in earnest when the folklorist emailed Seeger to check some facts for a writing assignment. During their subsequent exchange, Seeger asked if Freedman might know of anyone who would be interested in writing her biography. Immediately, Freedman volunteered herself. Eight years, many interviews, and much text-based research later, Peggy Seeger: A Life of Music, Love, and Politics (University of Illinois Press, 2017) is the result. As the book’s subtitle suggests, Freedman covers multiple aspects of her subject’s rich story, including Seeger’s upbringing within a privileged musical family; her relationship with the aforementioned leftwing folksinger and songwriter, actor and playwright Ewan MacColl; her involvement in the production of the groundbreaking BBC Radio Ballads; her musical endeavors, many of which were collaborative; her involvement in the establishment of various initiatives such as the Critics Group, a key aim of which was to help young singers perform folk material in an appropriate manner; and her political activism. Freedman also writes about Seeger’s return to America in the early 1990s following MacColl’s death, then her subsequent relocation to Britain in 2010 where she continues to live and be astonishingly active. Seeger’s most recent album, Everything Changes, was released in 2014, and when this New Books in Folklore interview with Freedman was recorded in March 2018, she already had another one in the works. Freedman’s Peggy Seeger: A Life of Music, Love, and Politics is the first full length study of an important cultural figure and has been very well received since its publication last year. A recent review in the Journal of Folklore Research described the book as offering a comprehensive overview of Peggy Seeger’s life along with an absorbing history of the folk music revival. It also praises Freedman’s prose for being as approachable and entertaining as Seeger’s lyrics and informal, intimate performance style. Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices

When folklorist Jean Freedman first met Peggy Seeger in 1979, Freedman was an undergraduate on her junior year abroad in London, while her American compatriot had been living in the UK for two decades. Their encounter took place in the Singers' Club, a folk music venue that Seeger and her husband Ewan MacColl founded in the early 1960s and to which Freedman returned many times during her London sojourn. After Freedman returned to the States, the pair kept in touch for a while but their contact became increasingly sporadic. However, it began again in earnest when the folklorist emailed Seeger to check some facts for a writing assignment. During their subsequent exchange, Seeger asked if Freedman might know of anyone who would be interested in writing her biography. Immediately, Freedman volunteered herself. Eight years, many interviews, and much text-based research later, Peggy Seeger: A Life of Music, Love, and Politics (University of Illinois Press, 2017) is the result. As the book's subtitle suggests, Freedman covers multiple aspects of her subject's rich story, including Seeger's upbringing within a privileged musical family; her relationship with the aforementioned leftwing folksinger and songwriter, actor and playwright Ewan MacColl; her involvement in the production of the groundbreaking BBC Radio Ballads; her musical endeavors, many of which were collaborative; her involvement in the establishment of various initiatives such as the Critics Group, a key aim of which was to help young singers perform folk material in an appropriate manner; and her political activism. Freedman also writes about Seeger's return to America in the early 1990s following MacColl's death, then her subsequent relocation to Britain in 2010 where she continues to live and be astonishingly active. Seeger's most recent album, Everything Changes, was released in 2014, and when this New Books in Folklore interview with Freedman was recorded in March 2018, she already had another one in the works. Freedman's Peggy Seeger: A Life of Music, Love, and Politics is the first full length study of an important cultural figure and has been very well received since its publication last year. A recent review in the Journal of Folklore Research described the book as offering a comprehensive overview of Peggy Seeger's life along with an absorbing history of the folk music revival. It also praises Freedman's prose for being as approachable and entertaining as Seeger's lyrics and informal, intimate performance style. Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices

When folklorist Jean Freedman first met Peggy Seeger in 1979, Freedman was an undergraduate on her junior year abroad in London, while her American compatriot had been living in the UK for two decades. Their encounter took place in the Singers’ Club, a folk music venue that Seeger and her husband Ewan MacColl founded in the early 1960s and to which Freedman returned many times during her London sojourn. After Freedman returned to the States, the pair kept in touch for a while but their contact became increasingly sporadic. However, it began again in earnest when the folklorist emailed Seeger to check some facts for a writing assignment. During their subsequent exchange, Seeger asked if Freedman might know of anyone who would be interested in writing her biography. Immediately, Freedman volunteered herself. Eight years, many interviews, and much text-based research later, Peggy Seeger: A Life of Music, Love, and Politics (University of Illinois Press, 2017) is the result. As the book’s subtitle suggests, Freedman covers multiple aspects of her subject’s rich story, including Seeger’s upbringing within a privileged musical family; her relationship with the aforementioned leftwing folksinger and songwriter, actor and playwright Ewan MacColl; her involvement in the production of the groundbreaking BBC Radio Ballads; her musical endeavors, many of which were collaborative; her involvement in the establishment of various initiatives such as the Critics Group, a key aim of which was to help young singers perform folk material in an appropriate manner; and her political activism. Freedman also writes about Seeger’s return to America in the early 1990s following MacColl’s death, then her subsequent relocation to Britain in 2010 where she continues to live and be astonishingly active. Seeger’s most recent album, Everything Changes, was released in 2014, and when this New Books in Folklore interview with Freedman was recorded in March 2018, she already had another one in the works. Freedman’s Peggy Seeger: A Life of Music, Love, and Politics is the first full length study of an important cultural figure and has been very well received since its publication last year. A recent review in the Journal of Folklore Research described the book as offering a comprehensive overview of Peggy Seeger’s life along with an absorbing history of the folk music revival. It also praises Freedman’s prose for being as approachable and entertaining as Seeger’s lyrics and informal, intimate performance style. Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices

When folklorist Jean Freedman first met Peggy Seeger in 1979, Freedman was an undergraduate on her junior year abroad in London, while her American compatriot had been living in the UK for two decades. Their encounter took place in the Singers’ Club, a folk music venue that Seeger and her husband Ewan MacColl founded in the early 1960s and to which Freedman returned many times during her London sojourn. After Freedman returned to the States, the pair kept in touch for a while but their contact became increasingly sporadic. However, it began again in earnest when the folklorist emailed Seeger to check some facts for a writing assignment. During their subsequent exchange, Seeger asked if Freedman might know of anyone who would be interested in writing her biography. Immediately, Freedman volunteered herself. Eight years, many interviews, and much text-based research later, Peggy Seeger: A Life of Music, Love, and Politics (University of Illinois Press, 2017) is the result. As the book’s subtitle suggests, Freedman covers multiple aspects of her subject’s rich story, including Seeger’s upbringing within a privileged musical family; her relationship with the aforementioned leftwing folksinger and songwriter, actor and playwright Ewan MacColl; her involvement in the production of the groundbreaking BBC Radio Ballads; her musical endeavors, many of which were collaborative; her involvement in the establishment of various initiatives such as the Critics Group, a key aim of which was to help young singers perform folk material in an appropriate manner; and her political activism. Freedman also writes about Seeger’s return to America in the early 1990s following MacColl’s death, then her subsequent relocation to Britain in 2010 where she continues to live and be astonishingly active. Seeger’s most recent album, Everything Changes, was released in 2014, and when this New Books in Folklore interview with Freedman was recorded in March 2018, she already had another one in the works. Freedman’s Peggy Seeger: A Life of Music, Love, and Politics is the first full length study of an important cultural figure and has been very well received since its publication last year. A recent review in the Journal of Folklore Research described the book as offering a comprehensive overview of Peggy Seeger’s life along with an absorbing history of the folk music revival. It also praises Freedman’s prose for being as approachable and entertaining as Seeger’s lyrics and informal, intimate performance style. Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices

When folklorist Jean Freedman first met Peggy Seeger in 1979, Freedman was an undergraduate on her junior year abroad in London, while her American compatriot had been living in the UK for two decades. Their encounter took place in the Singers’ Club, a folk music venue that Seeger and her husband Ewan MacColl founded in the early 1960s and to which Freedman returned many times during her London sojourn. After Freedman returned to the States, the pair kept in touch for a while but their contact became increasingly sporadic. However, it began again in earnest when the folklorist emailed Seeger to check some facts for a writing assignment. During their subsequent exchange, Seeger asked if Freedman might know of anyone who would be interested in writing her biography. Immediately, Freedman volunteered herself. Eight years, many interviews, and much text-based research later, Peggy Seeger: A Life of Music, Love, and Politics (University of Illinois Press, 2017) is the result. As the book’s subtitle suggests, Freedman covers multiple aspects of her subject’s rich story, including Seeger’s upbringing within a privileged musical family; her relationship with the aforementioned leftwing folksinger and songwriter, actor and playwright Ewan MacColl; her involvement in the production of the groundbreaking BBC Radio Ballads; her musical endeavors, many of which were collaborative; her involvement in the establishment of various initiatives such as the Critics Group, a key aim of which was to help young singers perform folk material in an appropriate manner; and her political activism. Freedman also writes about Seeger’s return to America in the early 1990s following MacColl’s death, then her subsequent relocation to Britain in 2010 where she continues to live and be astonishingly active. Seeger’s most recent album, Everything Changes, was released in 2014, and when this New Books in Folklore interview with Freedman was recorded in March 2018, she already had another one in the works. Freedman’s Peggy Seeger: A Life of Music, Love, and Politics is the first full length study of an important cultural figure and has been very well received since its publication last year. A recent review in the Journal of Folklore Research described the book as offering a comprehensive overview of Peggy Seeger’s life along with an absorbing history of the folk music revival. It also praises Freedman’s prose for being as approachable and entertaining as Seeger’s lyrics and informal, intimate performance style. Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ginny MacColl is full of wisdom from her wide range of life experiences. She performed on Broadway and acted in dozens of commercials before moving out to the woods of the Pocono Mountains with her daughter, Jessie Graff, and son Darren.  Ginny explains why women are strong and how important it is to be strong-minded and self-sufficient. Check out some of the products we love:  www.hiyahbars.com code ninjababes 15% off your order www.monstroholds.com code ninjababes 15% off your order

Memories of first love, first borns and loss are stirred by The First Time Ever I Saw Your Face, the timeless love song written by Ewan MacColl for Peggy Seeger, and made famous by Roberta Flack. The activist and folk musician Peggy Seeger tells the story of her first meeting with Ewan MacColl, which would inspire him to write the song, and talks about what the song means to her today. MacColl's biographer Ben Harker explains why this song is so different from much of Ewan's other work. Julie Young talks about singing the song to her son Reagan, who had severe complex needs following a cardiac arrest as a baby, and the writer Louise Janson speaks about what the song came to mean to her as she set out on the path to becoming a mother on her own. Writer and academic Jason King tells the story of how Roberta Flack came to cover this ballad by a Scottish folk musician, and how it catapulted her to fame. And Kandace Springs, a singer and pianist from Nashville, Tennessee, records her version of the song and talks about why the song is one of the greatest love songs of all time. Produced by Mair Bosworth.

Libby Purves meets folk singer Peggy Seeger; cartoonist Stanley McMurtry; composer Milton Mermikides and director Alex Mermikides and auctioneer James Buchanan. Stanley McMurtry MBE, otherwise known as MAC, has been the Daily Mail's cartoonist for the past 46 years. He started out as an animator before becoming a cartoonist, producing daily images for the Daily Sketch and latterly the Mail. Mac views his role as making "dreary news of the daily paper brighter by putting in a laugh". In all of his cartoons, except when making a political statement or when it depicts a tragedy, Mac includes a small portrait of his wife within the picture. MAC's Year 2015 - Cartoons from the Daily Mail is published by Spellbinding Media. Milton Mermikides was diagnosed with leukaemia 11 years ago and his sister Alex became his bone marrow donor. Together they have created Bloodlines, a combination of a dance performance and a medical lecture, which conveys what happens in the body - and in the mind - of someone undergoing last-chance treatment. Bloodlines is part of the 2015 Manchester Science Festival and is at the John Thaw Theatre at the University of Manchester. Peggy Seeger is an American folk singer who, along with her late husband Ewan MacColl, led the folk revival movement of the 1950s and '60s. She is on tour with the album Joy of Living which features new interpretations of MacColl's songs by artists including Martin Carthy, Christy Moore, Steve Earle, Eliza Carthy and Jarvis Cocker. Joy of Living - A Tribute to Ewan MacColl is on Cooking Vinyl. The Ewan MacColl Tribute Tour starts with a concert at the Liverpool Philharmonic Hall. James Buchanan founded Amati, an auction house for string instruments. He started out as a porter at Bonhams auction house and after completing his apprenticeship worked at Christie's and Bromptons before setting up his own house in 2012. He quickly realised he had an eye for distinguishing between the real and the fake and has handled instruments worth millions of pounds from the great Italian makers Stradivari and Guarneri del Gesù. The Amati Exhibition is at the Langham Hotel, London. Producer: Paula McGinley.

One Direction releases a children’s book (say what?), how to use author events to grow your fan base and sell more books, why dads reading to kids is important, things to think about when co-authoring a book, it’s time to begin prepping for NaNoWriMo (eek!), and starting a blog. Our Writer in Residence this week is Mary-Rose MacColl, who has just released her fifth book “Swimming Home”. Also: how Trello can make blogging easier, how to find out if a publication pays before you pitch, and more! Read the show notes.  Connect with Valerie, Allison and listeners in the podcast community on Facebook Visit WritersCentre.com.au | AllisonTait.com | ValerieKhoo.com

A folk song written by an Englishman for a play about his home town, but which has become most popular in the hands of a couple of Irish acts. Yet all the featured versions from the last decade have been by Americans. This underscores the song's timeless, universal appeal, especially at the end of winter as many of us look out the window at our own dirty old towns.

Immediately after the success of the BBC Radio Ballads, Ewan MacColl set about the Herculean task of trying to drag British folk music into mainstream culture. Frustrated by the dreary amateurishness of folk song performance, he decided to establish his own centre of excellence to professionalise the art. He called it "The Critics Group". MacColl tutored select artists "to sing folk songs the way they should be sung" and to think about the origins of what they were singing. He introduced Stanislavski technique and Laban theory into folk performance and explored style, content and delivery. BBC producer Charles Parker recorded these sessions to aid group analysis. 40 years on, the tapes have come to light. For the first time, a clear sound picture can be constructed of this influential group in action. Former group members Peggy Seeger, Sandra Kerr, Frankie Armstrong, Richard Snell, Brian Pearson and Phil Colclough recount six frantic years of rehearsing, performing and criticising each other. They recall the powerful hold that Ewan MacColl exerted which was eventually to lead to the collapse of the group in acrimony and blame. Presenter Martin Carthy MBE, now an elder statesman of the British folk music scene, shared many of McColl's ambitions but didn't join the group himself. He listens to the recordings and assesses the legacy of MacColl's controversial experiment. Producers: Genevieve Tudor and Chris Eldon Lee A Culture Wise Production for BBC Radio 4.

Jen, Lucio, and Baylen discuss men and their hair issues, Lesbians and gays being attracted to the opp sex, same sex marriage in Scotland, tolerance and compassion being ugly words, Coca Cola and Russia, and homophobic words in pop music. Plus an interview with up and coming gay songwriter Andrew M. Pisanu and all the GayStarNews you can shake a stick at.

Songwriter and guitarist Johnny Marr, loved by pop fans worldwide for his work with The Smiths, The The, Electronic, Modest Mouse and The Cribs, joins Simon and Brian for a conversation about the writing processes behind his fantastic new solo album The Messenger. Johnny also talks in detail about his musical influences, growing up in Manchester, his songwriting partnership with Morrissey, and his collaborations with artists like Kirsty MacColl ('Walking Down Madison') and Billy Bragg ('Sexuality').

Dame Margaret Anstee gives the MacColl lecture beginning the symposium 'Remembering JB Trend: the quiet internationalist,' University of Cambridge, 2013. Further details: http://www.crassh.cam.ac.uk/events/2073/

D.N.A. ft. Suzanne Vega - Tom's Diner (1990) SOHO - Hippychick (1990) Soul II Soul - Back To Life (1989) Tara Kemp - Piece of My Heart (1991) SNAP - Oops Up (1990) Seal - Crazy (1990) Kirsty MacColl - Walking Down Madison (1991) EMF - Unbelievable (1991) Jesus Jones - Right Here, Right Now (1991) E16 "1990/1991 Club Rock & Pop" Recorded from vinyl 05.25.10 Time 34:54

Questions, requests and comments please ! canyella@podomatic.com “Taken by the tide way out to sea, past the friends that we used to be” - as Williams and MacColl put it... 1. Come With Me - Kathryn Williams & Neill MacColl(www.williamsmaccoll.com) 2. Bibo No Aozora/Endless Flight/Babel - Ryuichi Sakamoto, Jaques Morelenbaum & Everton Nelson / Gustavo Santaolalla - Babel Original Soundtrack (www.myspace.com/gustavosantaolalla) 3. Growl - Tanya Tagaq (www.tanyatagaq.com) 4. Gobbledigook - Sigur Ros (www.sigurros.com) 5. Maajun (A Taste Of Tangier) - Dav(e)y Graham (www.daveygraham.moonfruit.com) 6. Olilili - Miriam Makeba (www.miriammakeba.co.za) (In the background were more tracks from Santaolalla's Babel Soundtrack)

It’s quite something to employ 345 people and run a £34.5 million business that people think is public property, but that’s exactly what Alastair MacColl is doing at Business & Enterprise North East Ltd!  He and his team are in the business of business development!  Working under contract for the RDA, LSC and a number of Local Authorities, they are currently best known for the delivery of Business Link Services and (in these troubled times) innovating to offset the impact of the downturn. If you want to learn more about Alastair’s private sector mindset, the business importance of clear communications, the seriousness with which he takes his role, the range of services on offer from Business Link (and how they can best be accessed), what Business Link can do for your business, and/or challenges that face Business & Enterprise North East’s own business development …this conversation is a must!

 In this episode, we talk to Ginny Maccoll – dancer, actor, swimmer and American Ninja Warrior. Ginny is the mother of stuntwoman and American Ninja Warrior Jessie Graff. At age 63 she took up strength training and it changed her life. In the last couple years Ginny has become a notable ninja competitor in her own right – appearing on American Ninja Warrior Seasons 9 & 10 and competing in regional ninja meets across the country. Ginny is living proof that it is never too late to get started! SEASONED ATHLETE STATS - GINNY MACCOLL Age: 67 Sport: competitive ninja athlete Quote: “Strength is Ageless!” Contact: Instagram.com/ginnymaccollSupport this podcast at — https://redcircle.com/seasoned-athlete/donations