Podcasts about mancunians

"We always look out for each other in Manchester, no matter what."Five years ago Lisa Morton launched the ‘We Built This City' podcast in an aim to connect with born, bred and adopted Mancunians who have helped to shape this city region, not just with bricks and mortar but with their impact too. It's impossible to reflect back on that time without acknowledging the toll of the COVID-19 pandemic on Greater Manchester and the world, so in this episode, you'll hear Lisa reconnect with early guests to explore the lasting effects on the community, business and hospitality sector. From innovative adaptations in the restaurant industry to the resilience of local businesses, how did Mancunians support each other at the time, and how has the city region recovered, grown and adapted? This episode captures the spirit of Manchester and its people during challenging times. Join Lisa as she celebrates five years of the podcast and shares the stories and values that emerged from adversity.------Your host, Lisa Morton, started PR company Roland Dransfield in 1996, one month after the fateful IRA bomb that tore apart the city centre. From that point, the business, and its team members, have been involved in helping to support the creation of Modern Manchester – across regeneration, business, charity, leisure and hospitality, sport and culture.To celebrate the 28 years that Roland Dransfield has spent creating these bonds, Lisa is gathering together some of her Greater Mancunian ‘family' and will be exploring how they have created their own purposeful relationships with the best place in the world.Connect with Lisa and Roland Dransfield: Via our websiteOn InstagramOn X FKA Twitter

The CAT Club presents a classic vinyl album:LIVE AT THE WITCH TRIALS – THE FALLwith special guestsMARK HOYLE & PAUL HANLEYAn incendiary debut album, Live At The Witch Trials introduces The Fall as 'northern white crap that talks back'. And so it was for the next four decades: abrasive, non-conformist, literate, witty, rhythmic.It was a sound and attitude obsessed over by two teenage Mancunians, Paul Hanley and Mark Hoyle. Mark took great inspiration from the album when fronting his own band, Dub Sex, and Paul would later join The Fall himself on drums. Both will talk about the music scene in Manchester around the time, and the impact this record and The Fall had on it.This event took place on 30th January 2025 in the Pigeon Loft at The Robin Hood, Pontefract, West Yorkshire.Special thanks to our good friends at Route publishing for all their help with making this gathering a special one for so many people.To find out more about the CAT Club please visit: www.thecatclub.co.ukThis podcast has been edited for content and for copyright reasons.Happy Trails.

Billi (@SGPSoccer) looks back at United's horrible performance at Tottenham before moving on to preview tomorrow's difficult looking trip to Goodison Park. Everton's late win at Selhurst Park last weekend saw them leapfrog Manchester United in the Premier League table and David Moyes' dream return to Goodison Park could continue when they face one of his former clubs on Saturday. The Red Devils' downfall began with Moyes' appointment in 2013, and there seems to be little sign of things turning around for the Mancunians following their defeat at Spurs last Sunday. Exclusive SGPN Bonuses And Linkshttp://linktr.ee/sportsgamblingpodcastFollow The Sports Gambling Podcast X/Twitter - https://x.com/GamblingPodcastInstagram - https://www.instagram.com/sportsgamblingpodcastTikTok - https://www.tiktok.com/@gamblingpodcastFacebook - http://www.facebook.com/sportsgamblingpodcastFollow The Sports Gambling Podcast HostsSean Green - http://www.twitter.com/seantgreenRyan Kramer - http://www.twitter.com/kramercentricGambling problem? Call 1-800-GAMBLER CO, DC, IL, IN, LA, MD, MS, NJ, OH, PA, TN, VA, WV, WY Call 877-8-HOPENY or text HOPENY (467369) (NY) Call 1-800-327-5050 (MA)21+ to wager. Please Gamble Responsibly. Call 1-800-NEXT-STEP (AZ), 1-800-522-4700 (KS, NV), 1-800 BETS-OFF (IA), 1-800-270-7117 for confidential help (MI)

Billi (@SGPSoccer) looks back at United's horrible performance at Tottenham before moving on to preview tomorrow's difficult looking trip to Goodison Park. Everton's late win at Selhurst Park last weekend saw them leapfrog Manchester United in the Premier League table and David Moyes' dream return to Goodison Park could continue when they face one of his former clubs on Saturday. The Red Devils' downfall began with Moyes' appointment in 2013, and there seems to be little sign of things turning around for the Mancunians following their defeat at Spurs last Sunday. JOIN the SGPN community #DegensOnlyExclusive Merch, Contests and Bonus Episodes ONLY on Patreon - https://sg.pn/patreonDiscuss with fellow degens on Discord - https://sg.pn/discordDownload The Free SGPN App - https://sgpn.appCheck out the Sports Gambling Podcast on YouTube - https://sg.pn/YouTubeCheck out our website - http://sportsgamblingpodcast.com SUPPORT us by supporting our partnersUnderdog Fantasy code SGPN - Up to $1000 in BONUS CASH - https://play.underdogfantasy.com/p-sgpnRithmm - Player Props and Picks - Free 7 day trial! http://sportsgamblingpodcast.com/rithmmRebet - Social sportsbook - 100% deposit match promo code SGPN in your app store! ADVERTISE with SGPNInterested in advertising? Contact sales@sgpn.io WATCH the Sports Gambling PodcastYouTube - https://sg.pn/YouTubeTwitch - https://sg.pn/Twitch FOLLOW The Sports Gambling Podcast On Social MediaTwitter - http://www.twitter.com/gamblingpodcastInstagram - http://www.instagram.com/sportsgamblingpodcastTikTok - https://www.tiktok.com/@gamblingpodcastFacebook - http://www.facebook.com/sportsgamblingpodcast Gambling problem? Call 1-800-GAMBLER CO, DC, IL, IN, LA, MD, MS, NJ, OH, PA, TN, VA, WV, WY Call 877-8-HOPENY or text HOPENY (467369) (NY) Call 1-800-327-5050 (MA)21+ to wager. Please Gamble Responsibly. Call 1-800-NEXT-STEP (AZ), 1-800-522-4700 (KS, NV), 1-800 BETS-OFF (IA), 1-800-270-7117 for confidential help (MI)

In today's episode, we dive into why Mancunians are suddenly considered Germans instead of their usual "bin dipper" label. Meanwhile, Chapo manages to get himself arrested (again), and Bomb discovers that referees can throw around all sorts of insults, including calling players C$%ts, without anyone batting an eye. Over in Hampshire, Southampton defenders are busy racking up red cards, which feels fitting since, let's be real, Southampton is a shithole. And what's the latest drama with Northern DT? Chapo morphs into a full-on tech guru, messing up the podcast by stripping out the music, then scrambling to put it back in, all while turning his mum's basement into a makeshift concert hall (we still don't know how that's even possible).Tune in for all this chaos and more on the Football Ranter Podcast! Hosted on Acast. See acast.com/privacy for more information.

West Ham - Man. United werd vorige week al aangekondigd als ‘El Sackico' en de wedstrijd heeft aan alle verwachtingen voldaan, want Erik ten Hag is niet langer de coach van de Mancunians. Het is uiteindelijk een last-minute goal van Jarrod Bowen die de Nederlander de kop kost. Aan de kop van het klassement delen Arsenal en Liverpool dan weer de punten na een leuke topper in Londen en in diezelfde stad is Crystal Palace dankzij sterspeler Eze on fire tegen een ondermaats Spurs. Ook Nottingham Forest blijft het goed doen dankzij een stuk hout dat in vuur en vlam staat dit seizoen. Komen verder aan bod: de Gouden Bal, de internationale dag van de Premier League-handschoen en een Wieffer'ke.00:00 Intro3:22 Arsenal - Liverpool20:07 El Sackiko23:53 Penaltyfases & VAR36:26 Crystal Palace - Spurs43:42 Breaking news50:33 Brighton - Wolves54:12 Leicester - Nottingham Forest56:41 Brentford - Ipswich59:21 FPL & Naftpomp1:02:43 Chelsea1:06:28 Uitsmijters1:09:09 Outro

Britpop, as a term landed in the spring of 1993 but it was a full year later, that everything changed over the course of just twenty days. In Episode 2 of The Rise and Fall of Britpop, Steve Lamacq and Jo Whiley revisit the key moments on the road to Britpop's explosion. Including on air resignations at Radio 1, a band of rowdy Mancunians and a tragic death, which caused shockwaves around the world. 30 years later Steve and Jo are taking advantage of their contacts, going through old note books, photo albums, DATs, Mini Discs and the BBC archives, to chart the Rise and Fall of one of the biggest musical movements ever to hit the UK… Britpop. Warning: this episode contains strong language, adult themes and descriptions of self-harm and suicide, which some listeners may find distressing. Details of help and support are available at bbc.co.uk/actionlineListen only on BBC Sounds.Presented by Jo Whiley and Steve Lamacq Written by Steve Lamacq and Paul Sheehan Produced by Paul Sheehan with additional production by Phil Smith Technical Production by Tim Heffer Editor for BBC Audio Helen Hobday Commissioning Producer Jonathan O'Sullivan Commissioner for BBC Music Will Wilkin A BBC Audio Production

Op 26 mei 2024 is het 25 jaar geleden dat Manchester United 'The Treble' won. Na het winnen van de Premier League en de FA Cup wonnen de 'Mancunians' in Barcelona de Champions League door in een memorabele wedstrijd te winnen van Bayern München. In deze aflevering blikt Jeroen Heijink samen met supporter Erik van den Polder en ex-speler van Manchester United Raimond van der Gouw terug op het historische seizoen van 1998/99. Erik vertelt hoe het was om eindelijk Europees succes te hebben met zijn club en Raimond neemt de luisteraar mee naar zijn eerste ontmoeting met Sir Alex Ferguson en hoe het was om deel uit te maken van de selectie van 'The Red Devils'. Vragen, tips of suggesties over onze podcasts zijn altijd welkom: ⁠⁠podcast@staantribune.nl⁠⁠.

We have a 10 sport bonanza for you this week, as well as the return of our football correspondent to give us his thoughts ahead of the final furlong of the football season. We start with a fantastic first ever F1 win for McLaren's Lando Norris, after he beat Max Verstappen in Miami. A great win for a popular racer. It was the European Cup semi-finals in Rugby. Leinster held on for a 20-17 win over Northampton Saints in front of a record 82,500 crowd at Croke Park, whilst Harlequins went down 38-25 to five times champions Toulouse. In Netball, it was a top of the table clash between Manchester Thunder and Loughborough Lightning, with the Mancunians winning 61-57 to stretch their lead at the top of the table to 3 points. As the Madrid Tennis open come to a conclusion, World number 1 Iga Swiatekt beat World number 2 Anya Sabalenka in the women's final, whilst Andrey Rublev won out over Canadian Felix Auger-Aliassime in the men's. We have an amusing update on contacts, before giving RFU CEO Bill Sweeney the Get a Grip treatment for putting greed over growth when talking ticket prices for Red Roses matches at Twickenham. With the Champions League at semi-final stage and the Premier League with just 12-days to go, we bring back football correspondent Billy Carr to give us his thoughts on how these final games could pan out and who he sees as the potential winners and losers at the end of the season.

(Apologies for starting with lag/bad quality) I bumped into Mel & Steve at a few Pignorant protests in the Midlands and spoke briefly but it was good to finally hear their story and how they got into street activism. In just 13 months they have gained thousands of followers and hit 1.3 Million views on Youtube. These are two people who are willing to put it all on the line to combat evil so massive respect to them. Cheers Mel & Steve, big voices for the vegan movement.Instagram - @PLANTGEEZERPODCAST / @PLANTGEEZER. Email - PlantGeezer@gmail.com

Celebrate the 50th anniversary of Greater Manchester with Lisa Morton as she explores the enduring values that make Mancunians remarkable. This episode of 'We Built This City' brings together stories from past guests like Sharon Latham, Siobhan Johnston and Anna Jameson and others who embody the city's spirit of connectivity, generosity, and resilience.You'll hear stories of unexpected friendships and connections, career pivots and discover the power of connections, the magic of loyalty, and the spirit that has shaped Manchester's legacy this is an episode that's not just about a city, but about the people who make it great.------Your host, Lisa Morton, started PR company Roland Dransfield in 1996, one month after the fateful IRA bomb that tore apart the city centre. From that point, the business, and its team members, have been involved in helping to support the creation of Modern Manchester – across regeneration, business, charity, leisure and hospitality, sport and culture.To celebrate the 26 years that Roland Dransfield has spent creating these bonds, Lisa is gathering together some of her Greater Mancunian ‘family' and will be exploring how they have created their own purposeful relationships with the best place in the world.Connect with Lisa and Roland Dransfield: Via our websiteOn InstagramOn X FKA Twitter

In 2016, Caroline Dyer and Colette Burroughs-Rose shared frustrations with how the world was becoming more divided. They believed the political developments of the time — the election of Donald Trump and Brexit — had caused more friction in the world and there was a need for more nuanced conversations to help us reconnect. In the aftermath of this division, Heard Storytelling was born. It began with a series of live events in a pub in the Northern Quarter, where people were invited to share their personal stories in front of a live audience. Just last month, they launched their first podcast series, the Heard Storytelling podcast. They publish twice a week, with one long form episode on Monday which features a story and an interview with the storyteller, and on Fridays, they publish Briefly Heard, which offers behind-the-scenes insights into how a story was crafted. In this special episode, Mollie sits down with Heard Storytelling's co-founder Caroline Dyer to discuss the inspirational Manchester stories that they discovered while making the podcast, the importance of being vulnerable with strangers and why storytelling matters. Warning: this episode contains a mention of suicidal ideation.Recommendations:The Heard Storytelling PodcastSobriety's Wake-Up Call: Karl's StoryFollow Heard Storytelling on Instagram to keep up with their latest events, projects and announcements Hosted on Acast. See acast.com/privacy for more information.

De Manchester Derby verveelde geen seconde. Na de wereldgoal van Marcus Rashford ging Man. City op en over de Mancunians, gedirigeerd door orkestleider Phil Foden. Een nieuwe belangrijke driepunter in de titelstrijd voor de Citizens dus, want ook Liverpool blijft foutloos na een winning goal in de slotseconden tegen Sheffield UTD. Voor Man. United blijft het dan weer hopen dat Aston Villa en Tottenham steken laten vallen in de strijd om de top 4, iets wat dit weekend alvast niet gebeurde. Wie wel weer steken liet vallen, is het Burnley van Vincent Kompany dat in hetzelfde bedje ziek blijft en het behoud steeds moeilijker ziet worden. Goed nieuws trouwens voor de vrienden en vijanden van de Premier League, want later deze week schuiven Leroy en Tim aan in de zetels van MIDMID om het over de spannendste Engelse titelstrijd in jaren te hebben.00:00 Intro00:12 Coup de Fo(u)d(r)en27:30 (Dar)winning goal van Núñez40:33 Aston Villa blijft meeDigne(n) naar een CL-Ticket47:16: Burnley heeft nog een hele Kluivert aan niet degraderen49:09 Geen Eze overwinning voor Tottenham55:39 Shirtloze Souček58:13 FPL & Naftpompchallenge59:51 Uitsmijter

“We're finding our feet again as a city.”Lisa Morton is in the process of talking to one hundred born, bred and adopted Mancunians that have been - and are - the building blocks of Greater Manchester. At the start of a new year it's time to both reflect and look forward. Who's going to be running the city?What are the events we'll be looking forward to?And how is Manchester's skyline going to change? Lisa's joined by Chief Executive of Manchester City Council, Joanne Roney OBE CBE; Entrepreneur and Business owner Karina Jadhav, Broadcaster Anna Jameson and the Co Founder of OBI property Will Lewis, to look at these issues and more. This episode is a celebration of Greater Manchester's spirit and a look ahead to its bright and promising horizon.------Your host, Lisa Morton, started PR company Roland Dransfield in 1996, one month after the fateful IRA bomb that tore apart the city centre. From that point, the business, and its team members, have been involved in helping to support the creation of Modern Manchester – across regeneration, business, charity, leisure and hospitality, sport and culture.To celebrate the 26 years that Roland Dransfield has spent creating these bonds, Lisa is gathering together some of her Greater Mancunian ‘family' and will be exploring how they have created their own purposeful relationships with the best place in the world.Connect with Lisa and Roland Dransfield: Via our websiteOn InstagramOn X FKA TwitterOn Spotify

Some say the 'Manchester model' is a cautionary tale about what happens when a city hands over its keys to property investors. Others say it's an example of how the great cities of the UK should regenerate and rebuild their prosperity. Economist Mike Emmerich is closer to the second view and has been a key voice in the city for decades. He used to be an advisor in the Treasury and Downing Street before returning home to Manchester, where he helped to negotiate the first big devolution deal. In an in-depth interview with Joshi, he expresses frustration with "the cheap talk of a certain kind of radical politics that fails to give credit to the city's leaders for the unbelievable hard work that they did to bring this city back from the near dead". In the episode, we refer to Mike's recent lecture at the University of Manchester and Daniel's long read for The Mill about whether the city's economic growth is benefiting Mancunians more broadly. Thanks to our sponsors Glow, at the RHS Garden Bridgewater for supporting this episode and our journalism. Book your tickets now. Hosted on Acast. See acast.com/privacy for more information.

With travelling Mancunians, Dubliners and Basques. 

Good morning. Presenting Season 5, Episode 10 of the #MeettheMancunian #podcast #mancunian #manchester #refugees #asylumseekers #community #socialimpact #nonprofit Hosted by Deepa Thomas-Sutcliffe (https://www.instagram.com/meetthemancunian/). In the tenth episode of Season 5, the Meet the Mancunian podcast talks to Liz Hibberd, Strategic & Partnership Lead, Manchester City of Sanctuary (https://manchester.cityofsanctuary.org/) [https://manchester.cityofsanctuary.org/]about welcoming refugees and asylum seekers and providing safe spaces for safety, welcome and friendship. They help them connect with Mancunians for friendship and wellbeing. Liz also shares how they offer refugees and asylum seekers an opportunity to volunteer in local organisations. Listen to the episode and read the transcript on www.meetthemancunian.co.uk [http://www.meetthemancunian.co.uk/]

Moving into June, we have some in depth conversations with movers, shakers and generally good people. First up is the amazing Keisha Thompson, CEO and Artistic Director at Contact (previously Contact Theatre) talking about creative production, managing an iconic building, working with young people, letting young people run the place and their 50th anniversary. https://contactmcr.com Then the brilliant Rose Marley, a woman you can't say 'no' to, on the Co-Op movement, the relevance of Co-Ops to the current age, managing something of such historic importance, working in a heritage building and what comes next..(oh and Beyond the Music again) https://www.uk.coop And finally the wonder that is writer and broadcaster David Scott, on his superb book 'Mancunians', talking about the untold stories of Manchester, how he knitted hundreds of narratives together, what the city centre was like pre-1996 bomb, why we don't talk enough about the post-Hacienda period, how you get drug dealers on the record, and a whole lot of music... https://manchesteruniversitypress.co.uk/9781526161505/ It's a long one, and hope you enjoy listening as much as I enjoyed interviewing these three. Talk to us on twitter @cottonmouthmcr or visit us at cityco.com

This week, Darryl Morris and Mollie Simpson pick throughthe local election results, and ask what Arooj Shah returning as Oldham's council leader means for the town's fractured politics. Plus, we journey to neighbouring Liverpool for the Eurovision Song Contest and digest new rules for Greater Manchester's landlords. Don't miss our next Mill Members Club Event: in conversation with author and poet Dave Scott about his new book, Mancunians, on Thursday 18th May at the International Anthony Burgess Foundation. Get tickets here for just £5: https://www.eventbrite.co.uk/e/mill-members-club-feat-dave-scott-tickets-518575532377 Hosted on Acast. See acast.com/privacy for more information.

Hello dear listener. Welcome to the fifth season of the Meet the Mancunian podcast: social impact stories from Manchester. I am Deepa Thomas-Sutcliffe, your friendly host. It is a privilege and a pleasure for me to interview some of the most inspiring people working in Manchester's social impact sector and feature them on this podcast. My guests are leaders and worker bees associated as employees, trustees and volunteers with social enterprises, non-profits, and community groups. They share their life stories and passions with you, dear listener. My aim through this podcast is to inspire you and share a bit of good news. My guests tackle serious concerns in Manchester, but most of these are also universal themes resonating in many parts of the globe. All my guests talk about the power of collaboration and how together we are stronger. They of course expand on their pride in Manchester and Mancunians as well. I hope you enjoy listening to the podcast on Apple, Spotify or Google or any of your favourite podcasting platforms. You can also listen to the podcast episodes and read the transcripts on my website www.meetthemancunian.co.uk The first episode of the new season features John Galloway from the charity Speed of Sight talking about enabling people of all ages and abilities to experience the excitement of driving. Tune in next Tuesday, 18 April 2023 to listen to the episode. If you are a new listener, you can log onto www.meetthemancunian.co.uk [http://www.meetthemancunian.co.uk/] to listen to the first 4 seasons of the podcast and read more about my podcasting story. If you are a returning listener, welcome back. Thank you for your support. I hope you enjoy the new season.

Episode 159 of A History of Rock Music in Five Hundred Songs looks at “Itchycoo Park” by the Small Faces, and their transition from Mod to psychedelia. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "The First Cut is the Deepest" by P.P. Arnold. 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/ Resources As so many of the episodes recently have had no Mixcloud due to the number of songs by one artist, I've decided to start splitting the mixes of the recordings excerpted in the podcasts into two parts. Here's part one and part two. I've used quite a few books in this episode. The Small Faces & Other Stories by Uli Twelker and Roland Schmit is definitely a fan-work with all that that implies, but has some useful quotes. Two books claim to be the authorised biography of Steve Marriott, and I've referred to both -- All Too Beautiful by Paolo Hewitt and John Hellier, and All Or Nothing by Simon Spence. Spence also wrote an excellent book on Immediate Records, which I referred to. Kenney Jones and Ian McLagan both wrote very readable autobiographies. I've also used Andrew Loog Oldham's autobiography Stoned, co-written by Spence, though be warned that it casually uses slurs. P.P. Arnold's autobiography is a sometimes distressing read covering her whole life, including her time at Immediate. There are many, many, collections of the Small Faces' work, ranging from cheap budget CDs full of outtakes to hundred-pound-plus box sets, also full of outtakes. This three-CD budget collection contains all the essential tracks, and is endorsed by Kenney Jones, the band's one surviving member. And if you're intrigued by the section on Immediate Records, this two-CD set contains a good selection of their releases. ERRATUM-ISH: I say Jimmy Winston was “a couple” of years older than the rest of the band. This does not mean exactly two, but is used in the vague vernacular sense equivalent to “a few”. Different sources I've seen put Winston as either two or four years older than his bandmates, though two seems to be the most commonly cited figure. Transcript For once there is little to warn about in this episode, but it does contain some mild discussions of organised crime, arson, and mental illness, and a quoted joke about capital punishment in questionable taste which may upset some. One name that came up time and again when we looked at the very early years of British rock and roll was Lionel Bart. If you don't remember the name, he was a left-wing Bohemian songwriter who lived in a communal house-share which at various times was also inhabited by people like Shirley Eaton, the woman who is painted gold at the beginning of Goldfinger, Mike Pratt, the star of Randall and Hopkirk (Deceased), and Davey Graham, the most influential and innovative British guitarist of the fifties and early sixties. Bart and Pratt had co-written most of the hits of Britain's first real rock and roll star, Tommy Steele: [Excerpt: Tommy Steele, "Rock with the Caveman"] and then Bart had gone solo as a writer, and written hits like "Living Doll" for Britain's *biggest* rock and roll star, Cliff Richard: [Excerpt: Cliff Richard, "Living Doll"] But Bart's biggest contribution to rock music turned out not to be the songs he wrote for rock and roll stars, and not even his talent-spotting -- it was Bart who got Steele signed by Larry Parnes, and he also pointed Parnes in the direction of another of his biggest stars, Marty Wilde -- but the opportunity he gave to a lot of child stars in a very non-rock context. Bart's musical Oliver!, inspired by the novel Oliver Twist, was the biggest sensation on the West End stage in the early 1960s, breaking records for the longest-running musical, and also transferred to Broadway and later became an extremely successful film. As it happened, while Oliver! was extraordinarily lucrative, Bart didn't see much of the money from it -- he sold the rights to it, and his other musicals, to the comedian Max Bygraves in the mid-sixties for a tiny sum in order to finance a couple of other musicals, which then flopped horribly and bankrupted him. But by that time Oliver! had already been the first big break for three people who went on to major careers in music -- all of them playing the same role. Because many of the major roles in Oliver! were for young boys, the cast had to change frequently -- child labour laws meant that multiple kids had to play the same role in different performances, and people quickly grew out of the roles as teenagerhood hit. We've already heard about the career of one of the people who played the Artful Dodger in the original West End production -- Davy Jones, who transferred in the role to Broadway in 1963, and who we'll be seeing again in a few episodes' time -- and it's very likely that another of the people who played the Artful Dodger in that production, a young lad called Philip Collins, will be coming into the story in a few years' time. But the first of the artists to use the Artful Dodger as a springboard to a music career was the one who appeared in the role on the original cast album of 1960, though there's very little in that recording to suggest the sound of his later records: [Excerpt: Steve Marriott, "Consider Yourself"] Steve Marriott is the second little Stevie we've looked at in recent episodes to have been born prematurely. In his case, he was born a month premature, and jaundiced, and had to spend the first month of his life in hospital, the first few days of which were spent unsure if he was going to survive. Thankfully he did, but he was a bit of a sickly child as a result, and remained stick-thin and short into adulthood -- he never grew to be taller than five foot five. Young Steve loved music, and especially the music of Buddy Holly. He also loved skiffle, and managed to find out where Lonnie Donegan lived. He went round and knocked on Donegan's door, but was very disappointed to discover that his idol was just a normal man, with his hair uncombed and a shirt stained with egg yolk. He started playing the ukulele when he was ten, and graduated to guitar when he was twelve, forming a band which performed under a variety of different names. When on stage with them, he would go by the stage name Buddy Marriott, and would wear a pair of horn-rimmed glasses to look more like Buddy Holly. When he was twelve, his mother took him to an audition for Oliver! The show had been running for three months at the time, and was likely to run longer, and child labour laws meant that they had to have replacements for some of the cast -- every three months, any performing child had to have at least ten days off. At his audition, Steve played his guitar and sang "Who's Sorry Now?", the recent Connie Francis hit: [Excerpt: Connie Francis, "Who's Sorry Now?"] And then, ignoring the rule that performers could only do one song, immediately launched into Buddy Holly's "Oh Boy!" [Excerpt: Buddy Holly, "Oh Boy!"] His musical ability and attitude impressed the show's producers, and he was given a job which suited him perfectly -- rather than being cast in a single role, he would be swapped around, playing different small parts, in the chorus, and occasionally taking the larger role of the Artful Dodger. Steve Marriott was never able to do the same thing over and over, and got bored very quickly, but because he was moving between roles, he was able to keep interested in his performances for almost a year, and he was good enough that it was him chosen to sing the Dodger's role on the cast album when that was recorded: [Excerpt: Steve Marriott and Joyce Blair, "I'd Do Anything"] And he enjoyed performance enough that his parents pushed him to become an actor -- though there were other reasons for that, too. He was never the best-behaved child in the world, nor the most attentive student, and things came to a head when, shortly after leaving the Oliver! cast, he got so bored of his art classes he devised a plan to get out of them forever. Every art class, for several weeks, he'd sit in a different desk at the back of the classroom and stuff torn-up bits of paper under the floorboards. After a couple of months of this he then dropped a lit match in, which set fire to the paper and ended up burning down half the school. His schoolfriend Ken Hawes talked about it many decades later, saying "I suppose in a way I was impressed about how he had meticulously planned the whole thing months in advance, the sheer dogged determination to see it through. He could quite easily have been caught and would have had to face the consequences. There was no danger in anybody getting hurt because we were at the back of the room. We had to be at the back otherwise somebody would have noticed what he was doing. There was no malice against other pupils, he just wanted to burn the damn school down." Nobody could prove it was him who had done it, though his parents at least had a pretty good idea who it was, but it was clear that even when the school was rebuilt it wasn't a good idea to send him back there, so they sent him to the Italia Conti Drama School; the same school that Anthony Newley and Petula Clark, among many others, had attended. Marriott's parents couldn't afford the school's fees, but Marriott was so talented that the school waived the fees -- they said they'd get him work, and take a cut of his wages in lieu of the fees. And over the next few years they did get him a lot of work. Much of that work was for TV shows, which like almost all TV of the time no longer exist -- he was in an episode of the Sid James sitcom Citizen James, an episode of Mr. Pastry's Progress, an episode of the police drama Dixon of Dock Green, and an episode of a series based on the Just William books, none of which survive. He also did a voiceover for a carpet cleaner ad, appeared on the radio soap opera Mrs Dale's Diary playing a pop star, and had a regular spot reading listeners' letters out for the agony aunt Marje Proops on her radio show. Almost all of this early acting work wa s utterly ephemeral, but there are a handful of his performances that do survive, mostly in films. He has a small role in the comedy film Heavens Above!, a mistaken-identity comedy in which a radical left-wing priest played by Peter Sellers is given a parish intended for a more conservative priest of the same name, and upsets the well-off people of the parish by taking in a large family of travellers and appointing a Black man as his churchwarden. The film has some dated attitudes, in the way that things that were trying to be progressive and antiracist sixty years ago invariably do, but has a sparkling cast, with Sellers, Eric Sykes, William Hartnell, Brock Peters, Roy Kinnear, Irene Handl, and many more extremely recognisable faces from the period: [Excerpt: Heavens Above!] Marriott apparently enjoyed working on the film immensely, as he was a fan of the Goon Show, which Sellers had starred in and which Sykes had co-written several episodes of. There are reports of Marriott and Sellers jamming together on banjos during breaks in filming, though these are probably *slightly* inaccurate -- Sellers played the banjolele, a banjo-style instrument which is played like a ukulele. As Marriott had started on ukulele before switching to guitar, it was probably these they were playing, rather than banjoes. He also appeared in a more substantial role in a film called Live It Up!, a pop exploitation film starring David Hemmings in which he appears as a member of a pop group. Oddly, Marriott plays a drummer, even though he wasn't a drummer, while two people who *would* find fame as drummers, Mitch Mitchell and Dave Clark, appear in smaller, non-drumming, roles. He doesn't perform on the soundtrack, which is produced by Joe Meek and features Sounds Incorporated, The Outlaws, and Gene Vincent, but he does mime playing behind Heinz Burt, the former bass player of the Tornadoes who was then trying for solo stardom at Meek's instigation: [Excerpt: Heinz Burt, "Don't You Understand"] That film was successful enough that two years later, in 1965 Marriott came back for a sequel, Be My Guest, with The Niteshades, the Nashville Teens, and Jerry Lee Lewis, this time with music produced by Shel Talmy rather than Meek. But that was something of a one-off. After making Live It Up!, Marriott had largely retired from acting, because he was trying to become a pop star. The break finally came when he got an audition at the National Theatre, for a job touring with Laurence Olivier for a year. He came home and told his parents he hadn't got the job, but then a week later they were bemused by a phone call asking why Steve hadn't turned up for rehearsals. He *had* got the job, but he'd decided he couldn't face a year of doing the same thing over and over, and had pretended he hadn't. By this time he'd already released his first record. The work on Oliver! had got him a contract with Decca Records, and he'd recorded a Buddy Holly knock-off, "Give Her My Regards", written for him by Kenny Lynch, the actor, pop star, and all-round entertainer: [Excerpt: Steve Marriott, "Give Her My Regards"] That record wasn't a hit, but Marriott wasn't put off. He formed a band who were at first called the Moonlights, and then the Frantiks, and they got a management deal with Tony Calder, Andrew Oldham's junior partner in his management company. Calder got former Shadow Tony Meehan to produce a demo for the group, a version of Cliff Richard's hit "Move It", which was shopped round the record labels with no success (and which sadly appears no longer to survive). The group also did some recordings with Joe Meek, which also don't circulate, but which may exist in the famous "Teachest Tapes" which are slowly being prepared for archival releases. The group changed their name to the Moments, and added in the guitarist John Weider, who was one of those people who seem to have been in every band ever either just before or just after they became famous -- at various times he was in Johnny Kidd and the Pirates, John Mayall's Bluesbreakers, Family, Eric Burdon and the Animals, and the band that became Crabby Appleton, but never in their most successful lineups. They continued recording unsuccessful demos, of which a small number have turned up: [Excerpt: Steve Marriott and the Moments, "Good Morning Blues"] One of their demo sessions was produced by Andrew Oldham, and while that session didn't lead to a release, it did lead to Oldham booking Marriott as a session harmonica player for one of his "Andrew Oldham Orchestra" sessions, to play on a track titled "365 Rolling Stones (One For Every Day of the Year)": [Excerpt: The Andrew Oldham Orchestra, "365 Rolling Stones (One For Every Day of the Year)"] Oldham also produced a session for what was meant to be Marriott's second solo single on Decca, a cover version of the Rolling Stones' "Tell Me", which was actually scheduled for release but pulled at the last minute. Like many of Marriott's recordings from this period, if it exists, it doesn't seem to circulate publicly. But despite their lack of recording success, the Moments did manage to have a surprising level of success on the live circuit. Because they were signed to Calder and Oldham's management company, they got a contract with the Arthur Howes booking agency, which got them support slots on package tours with Billy J Kramer, Freddie and the Dreamers, the Kinks, and other major acts, and the band members were earning about thirty pounds a week each -- a very, very good living for the time. They even had a fanzine devoted to them, written by a fan named Stuart Tuck. But as they weren't making records, the band's lineup started changing, with members coming and going. They did manage to get one record released -- a soundalike version of the Kinks' "You Really Got Me", recorded for a budget label who rushed it out, hoping to get it picked up in the US and for it to be the hit version there: [Excerpt: The Moments, "You Really Got Me"] But the month after that was released, Marriott was sacked from the band, apparently in part because the band were starting to get billed as Steve Marriott and the Moments rather than just The Moments, and the rest of them didn't want to be anyone's backing band. He got a job at a music shop while looking around for other bands to perform with. At one point around this time he was going to form a duo with a friend of his, Davy Jones -- not the one who had also appeared in Oliver!, but another singer of the same name. This one sang with a blues band called the Mannish Boys, and both men were well known on the Mod scene in London. Marriott's idea was that they call themselves David and Goliath, with Jones being David, and Marriott being Goliath because he was only five foot five. That could have been a great band, but it never got past the idea stage. Marriott had become friendly with another part-time musician and shop worker called Ronnie Lane, who was in a band called the Outcasts who played the same circuit as the Moments: [Excerpt: The Outcasts, "Before You Accuse Me"] Lane worked in a sound equipment shop and Marriott in a musical instrument shop, and both were customers of the other as well as friends -- at least until Marriott came into the shop where Lane worked and tried to persuade him to let Marriott have a free PA system. Lane pretended to go along with it as a joke, and got sacked. Lane had then gone to the shop where Marriott worked in the hope that Marriott would give him a good deal on a guitar because he'd been sacked because of Marriott. Instead, Marriott persuaded him that he should switch to bass, on the grounds that everyone was playing guitar since the Beatles had come along, but a bass player would always be able to find work. Lane bought the bass. Shortly after that, Marriott came to an Outcasts gig in a pub, and was asked to sit in. He enjoyed playing with Lane and the group's drummer Kenney Jones, but got so drunk he smashed up the pub's piano while playing a Jerry Lee Lewis song. The resulting fallout led to the group being barred from the pub and splitting up, so Marriott, Lane, and Jones decided to form their own group. They got in another guitarist Marriott knew, a man named Jimmy Winston who was a couple of years older than them, and who had two advantages -- he was a known Face on the mod scene, with a higher status than any of the other three, and his brother owned a van and would drive the group and their equipment for ten percent of their earnings. There was a slight problem in that Winston was also as good on guitar as Marriott and looked like he might want to be the star, but Marriott neutralised that threat -- he moved Winston over to keyboards. The fact that Winston couldn't play keyboards didn't matter -- he could be taught a couple of riffs and licks, and he was sure to pick up the rest. And this way the group had the same lineup as one of Marriott's current favourites, Booker T and the MGs. While he was still a Buddy Holly fan, he was now, like the rest of the Mods, an R&B obsessive. Marriott wasn't entirely sure that this new group would be the one that would make him a star though, and was still looking for other alternatives in case it didn't play out. He auditioned for another band, the Lower Third, which counted Stuart Tuck, the writer of the Moments fanzine, among its members. But he was unsuccessful in the audition -- instead his friend Davy Jones, the one who he'd been thinking of forming a duo with, got the job: [Excerpt: Davy Jones and the Lower Third, "You've Got a Habit of Leaving"] A few months after that, Davy Jones and the Lower Third changed their name to David Bowie and the Lower Third, and we'll be picking up that story in a little over a year from now... Marriott, Lane, Jones, and Winston kept rehearsing and pulled together a five-song set, which was just about long enough to play a few shows, if they extended the songs with long jamming instrumental sections. The opening song for these early sets was one which, when they recorded it, would be credited to Marriott and Lane -- the two had struck up a writing partnership and agreed to a Lennon/McCartney style credit split, though in these early days Marriott was doing far more of the writing than Lane was. But "You Need Loving" was... heavily inspired... by "You Need Love", a song Willie Dixon had written for Muddy Waters: [Excerpt: Muddy Waters, "You Need Love"] It's not precisely the same song, but you can definitely hear the influence in the Marriott/Lane song: [Excerpt: The Small Faces, "You Need Loving"] They did make some changes though, notably to the end of the song: [Excerpt: The Small Faces, "You Need Loving"] You will be unsurprised to learn that Robert Plant was a fan of Steve Marriott. The new group were initially without a name, until after one of their first gigs, Winston's girlfriend, who hadn't met the other three before, said "You've all got such small faces!" The name stuck, because it had a double meaning -- as we've seen in the episode on "My Generation", "Face" was Mod slang for someone who was cool and respected on the Mod scene, but also, with the exception of Winston, who was average size, the other three members of the group were very short -- the tallest of the three was Ronnie Lane, who was five foot six. One thing I should note about the group's name, by the way -- on all the labels of their records in the UK while they were together, they were credited as "Small Faces", with no "The" in front, but all the band members referred to the group in interviews as "The Small Faces", and they've been credited that way on some reissues and foreign-market records. The group's official website is thesmallfaces.com but all the posts on the website refer to them as "Small Faces" with no "the". The use  of the word "the" or not at the start of a group's name at this time was something of a shibboleth -- for example both The Buffalo Springfield and The Pink Floyd dropped theirs after their early records -- and its status in this case is a strange one. I'll be referring to the group throughout as "The Small Faces" rather than "Small Faces" because the former is easier to say, but both seem accurate. After a few pub gigs in London, they got some bookings in the North of England, where they got a mixed reception -- they went down well at Peter Stringfellow's Mojo Club in Sheffield, where Joe Cocker was a regular performer, less well at a working-man's club, and reports differ about their performance at the Twisted Wheel in Manchester, though one thing everyone is agreed on is that while they were performing, some Mancunians borrowed their van and used it to rob a clothing warehouse, and gave the band members some very nice leather coats as a reward for their loan of the van. It was only on the group's return to London that they really started to gel as a unit. In particular, Kenney Jones had up to that point been a very stiff, precise, drummer, but he suddenly loosened up and, in Steve Marriott's tasteless phrase, "Every number swung like Hanratty" (James Hanratty was one of the last people in Britain to be executed by hanging). Shortly after that, Don Arden's secretary -- whose name I haven't been able to find in any of the sources I've used for this episode, sadly, came into the club where they were rehearsing, the Starlight Rooms, to pass a message from Arden to an associate of his who owned the club. The secretary had seen Marriott perform before -- he would occasionally get up on stage at the Starlight Rooms to duet with Elkie Brooks, who was a regular performer there, and she'd seen him do that -- but was newly impressed by his group, and passed word on to her boss that this was a group he should investigate. Arden is someone who we'll be looking at a lot in future episodes, but the important thing to note right now is that he was a failed entertainer who had moved into management and promotion, first with American acts like Gene Vincent, and then with British acts like the Nashville Teens, who had had hits with tracks like "Tobacco Road": [Excerpt: The Nashville Teens, "Tobacco Road"] Arden was also something of a gangster -- as many people in the music industry were at the time, but he was worse than most of his contemporaries, and delighted in his nickname "the Al Capone of pop". The group had a few managers looking to sign them, but Arden convinced them with his offer. They would get a percentage of their earnings -- though they never actually received that percentage -- twenty pounds a week in wages, and, the most tempting part of it all, they would get expense accounts at all the Carnaby St boutiques and could go there whenever they wanted and get whatever they wanted. They signed with Arden, which all of them except Marriott would later regret, because Arden's financial exploitation meant that it would be decades before they saw any money from their hits, and indeed both Marriott and Lane would be dead before they started getting royalties from their old records. Marriott, on the other hand, had enough experience of the industry to credit Arden with the group getting anywhere at all, and said later "Look, you go into it with your eyes open and as far as I was concerned it was better than living on brown sauce rolls. At least we had twenty quid a week guaranteed." Arden got the group signed to Decca, with Dick Rowe signing them to the same kind of production deal that Andrew Oldham had pioneered with the Stones, so that Arden would own the rights to their recordings. At this point the group still only knew a handful of songs, but Rowe was signing almost everyone with a guitar at this point, putting out a record or two and letting them sink or swim. He had already been firmly labelled as "the man who turned down the Beatles", and was now of the opinion that it was better to give everyone a chance than to make that kind of expensive mistake again. By this point Marriott and Lane were starting to write songs together -- though at this point it was still mostly Marriott writing, and people would ask him why he was giving Lane half the credit, and he'd reply "Without Ronnie's help keeping me awake and being there I wouldn't do half of it. He keeps me going." -- but for their first single Arden was unsure that they were up to the task of writing a hit. The group had been performing a version of Solomon Burke's "Everybody Needs Somebody to Love", a song which Burke always claimed to have written alone, but which is credited to him, Jerry Wexler, and Bert Berns (and has Bern's fingerprints, at least, on it to my ears): [Excerpt: Solomon Burke, "Everybody Needs Somebody to Love"] Arden got some professional writers to write new lyrics and vocal melody to their arrangement of the song -- the people he hired were Brian Potter, who would later go on to co-write "Rhinestone Cowboy", and Ian Samwell, the former member of Cliff Richard's Drifters who had written many of Richard's early hits, including "Move It", and was now working for Arden. The group went into the studio and recorded the song, titled "Whatcha Gonna Do About It?": [Excerpt: The Small Faces, "Whatcha Gonna Do About It?"] That version, though was deemed too raucous, and they had to go back into the studio to cut a new version, which came out as their first single: [Excerpt: The Small Faces, "Whatcha Gonna Do About It?"] At first the single didn't do much on the charts, but then Arden got to work with teams of people buying copies from chart return shops, bribing DJs on pirate radio stations to play it, and bribing the person who compiled the charts for the NME. Eventually it made number fourteen, at which point it became a genuinely popular hit. But with that popularity came problems. In particular, Steve Marriott was starting to get seriously annoyed by Jimmy Winston. As the group started to get TV appearances, Winston started to act like he should be the centre of attention. Every time Marriott took a solo in front of TV cameras, Winston would start making stupid gestures, pulling faces, anything to make sure the cameras focussed on him rather than on Marriott. Which wouldn't have been too bad had Winston been a great musician, but he was still not very good on the keyboards, and unlike the others didn't seem particularly interested in trying. He seemed to want to be a star, rather than a musician. The group's next planned single was a Marriott and Lane song, "I've Got Mine". To promote it, the group mimed to it in a film, Dateline Diamonds, a combination pop film and crime caper not a million miles away from the ones that Marriott had appeared in a few years earlier. They also contributed three other songs to the film's soundtrack. Unfortunately, the film's release was delayed, and the film had been the big promotional push that Arden had planned for the single, and without that it didn't chart at all. By the time the single came out, though, Winston was no longer in the group. There are many, many different stories as to why he was kicked out. Depending on who you ask, it was because he was trying to take the spotlight away from Marriott, because he wasn't a good enough keyboard player, because he was taller than the others and looked out of place, or because he asked Don Arden where the money was. It was probably a combination of all of these, but fundamentally what it came to was that Winston just didn't fit into the group. Winston would, in later years, say that him confronting Arden was the only reason for his dismissal, saying that Arden had manipulated the others to get him out of the way, but that seems unlikely on the face of it. When Arden sacked him, he kept Winston on as a client and built another band around him, Jimmy Winston and the Reflections, and got them signed to Decca too, releasing a Kenny Lynch song, "Sorry She's Mine", to no success: [Excerpt: Jimmy Winston and the Reflections, "Sorry She's Mine"] Another version of that song would later be included on the first Small Faces album. Winston would then form another band, Winston's Fumbs, who would also release one single, before he went into acting instead. His most notable credit was as a rebel in the 1972 Doctor Who story Day of the Daleks, and he later retired from showbusiness to run a business renting out sound equipment, and died in 2020. The group hired his replacement without ever having met him or heard him play. Ian McLagan had started out as the rhythm guitarist in a Shadows soundalike band called the Cherokees, but the group had become R&B fans and renamed themselves the Muleskinners, and then after hearing "Green Onions", McLagan had switched to playing Hammond organ. The Muleskinners had played the same R&B circuit as dozens of other bands we've looked at, and had similar experiences, including backing visiting blues stars like Sonny Boy Williamson, Little Walter, and Howlin' Wolf. Their one single had been a cover version of "Back Door Man", a song Willie Dixon had written for Wolf: [Excerpt: The Muleskinners, "Back Door Man"] The Muleskinners had split up as most of the group had day jobs, and McLagan had gone on to join a group called Boz and the Boz People, who were becoming popular on the live circuit, and who also toured backing Kenny Lynch while McLagan was in the band. Boz and the Boz People would release several singles in 1966, like their version of the theme for the film "Carry on Screaming", released just as by "Boz": [Excerpt: Boz, "Carry on Screaming"] By that time, McLagan had left the group -- Boz Burrell later went on to join King Crimson and Bad Company. McLagan left the Boz People in something of a strop, and was complaining to a friend the night he left the group that he didn't have any work lined up. The friend joked that he should join the Small Faces, because he looked like them, and McLagan got annoyed that his friend wasn't taking him seriously -- he'd love to be in the Small Faces, but they *had* a keyboard player. The next day he got a phone call from Don Arden asking him to come to his office. He was being hired to join a hit pop group who needed a new keyboard player. McLagan at first wasn't allowed to tell anyone what band he was joining -- in part because Arden's secretary was dating Winston, and Winston hadn't yet been informed he was fired, and Arden didn't want word leaking out until it had been sorted. But he'd been chosen purely on the basis of an article in a music magazine which had praised his playing with the Boz People, and without the band knowing him or his playing. As soon as they met, though, he immediately fit in in a way Winston never had. He looked the part, right down to his height -- he said later "Ronnie Lane and I were the giants in the band at 5 ft 6 ins, and Kenney Jones and Steve Marriott were the really teeny tiny chaps at 5 ft 5 1/2 ins" -- and he was a great player, and shared a sense of humour with them. McLagan had told Arden he'd been earning twenty pounds a week with the Boz People -- he'd actually been on five -- and so Arden agreed to give him thirty pounds a week during his probationary month, which was more than the twenty the rest of the band were getting. As soon as his probationary period was over, McLagan insisted on getting a pay cut so he'd be on the same wages as the rest of the group. Soon Marriott, Lane, and McLagan were all living in a house rented for them by Arden -- Jones decided to stay living with his parents -- and were in the studio recording their next single. Arden was convinced that the mistake with "I've Got Mine" had been allowing the group to record an original, and again called in a team of professional songwriters. Arden brought in Mort Shuman, who had recently ended his writing partnership with Doc Pomus and struck out on his own, after co-writing songs like "Save the Last Dance for Me", "Sweets For My Sweet", and "Viva Las Vegas" together, and Kenny Lynch, and the two of them wrote "Sha-La-La-La-Lee", and Lynch added backing vocals to the record: [Excerpt: The Small Faces, "Sha-La-La-La-Lee"] None of the group were happy with the record, but it became a big hit, reaching number three in the charts. Suddenly the group had a huge fanbase of screaming teenage girls, which embarrassed them terribly, as they thought of themselves as serious heavy R&B musicians, and the rest of their career would largely be spent vacillating between trying to appeal to their teenybopper fanbase and trying to escape from it to fit their own self-image. They followed "Sha-La-La-La-Lee" with "Hey Girl", a Marriott/Lane song, but one written to order -- they were under strict instructions from Arden that if they wanted to have the A-side of a single, they had to write something as commercial as "Sha-La-La-La-Lee" had been, and they managed to come up with a second top-ten hit. Two hit singles in a row was enough to make an album viable, and the group went into the studio and quickly cut an album, which had their first two hits on it -- "Hey Girl" wasn't included, and nor was the flop "I've Got Mine" -- plus a bunch of semi-originals like "You Need Loving", a couple of Kenny Lynch songs, and a cover version of Sam Cooke's "Shake". The album went to number three on the album charts, with the Beatles and the Rolling Stones in the number one and two spots, and it was at this point that Arden's rivals really started taking interest. But that interest was quelled for the moment when, after Robert Stigwood enquired about managing the band, Arden went round to Stigwood's office with four goons and held him upside down over a balcony, threatening to drop him off if he ever messed with any of Arden's acts again. But the group were still being influenced by other managers. In particular, Brian Epstein came round to the group's shared house, with Graeme Edge of the Moody Blues, and brought them some slices of orange -- which they discovered, after eating them, had been dosed with LSD. By all accounts, Marriott's first trip was a bad one, but the group soon became regular consumers of the drug, and it influenced the heavier direction they took on their next single, "All or Nothing". "All or Nothing" was inspired both by Marriott's breakup with his girlfriend of the time, and his delight at the fact that Jenny Rylance, a woman he was attracted to, had split up with her then-boyfriend Rod Stewart. Rylance and Stewart later reconciled, but would break up again and Rylance would become Marriott's first wife in 1968: [Excerpt: The Small Faces, "All or Nothing"] "All or Nothing" became the group's first and only number one record -- and according to the version of the charts used on Top of the Pops, it was a joint number one with the Beatles' double A-side of "Yellow Submarine" and "Eleanor Rigby", both selling exactly as well as each other. But this success caused the group's parents to start to wonder why their kids -- none of whom were yet twenty-one, the legal age of majority at the time -- were not rich. While the group were on tour, their parents came as a group to visit Arden and ask him where the money was, and why their kids were only getting paid twenty pounds a week when their group was getting a thousand pounds a night. Arden tried to convince the parents that he had been paying the group properly, but that they had spent their money on heroin -- which was very far from the truth, the band were only using soft drugs at the time. This put a huge strain on the group's relationship with Arden, and it wasn't the only thing Arden did that upset them. They had been spending a lot of time in the studio working on new material, and Arden was convinced that they were spending too much time recording, and that they were just faffing around and not producing anything of substance. They dropped off a tape to show him that they had been working -- and the next thing they knew, Arden had put out one of the tracks from that tape, "My Mind's Eye", which had only been intended as a demo, as a single: [Excerpt: The Small Faces, "My Mind's Eye"] That it went to number four on the charts didn't make up for the fact that the first the band heard of the record coming out at all was when they heard it on the radio. They needed rid of Arden. Luckily for them, Arden wasn't keen on continuing to work with them either. They were unreliable and flakey, and he also needed cash quick to fund his other ventures, and he agreed to sell on their management and recording contracts. Depending on which version of the story you believe, he may have sold them on to an agent called Harold Davison, who then sold them on to Andrew Oldham and Tony Calder, but according to Oldham what happened is that in December 1966 Arden demanded the highest advance in British history -- twenty-five thousand pounds -- directly from Oldham. In cash. In a brown paper bag. The reason Oldham and Calder were interested was that in July 1965 they'd started up their own record label, Immediate Records, which had been announced by Oldham in his column in Disc and Music Echo, in which he'd said "On many occasions I have run down the large record companies over issues such as pirate stations, their promotion, and their tastes. And many readers have written in and said that if I was so disturbed by the state of the existing record companies why didn't I do something about it.  I have! On the twentieth of this month the first of three records released by my own company, Immediate Records, is to be launched." That first batch of three records contained one big hit, "Hang on Sloopy" by the McCoys, which Immediate licensed from Bert Berns' new record label BANG in the US: [Excerpt: The McCoys, "Hang on Sloopy"] The two other initial singles featured the talents of Immediate's new in-house producer, a session player who had previously been known as "Little Jimmy" to distinguish him from "Big" Jim Sullivan, the other most in-demand session guitarist, but who was now just known as Jimmy Page. The first was a version of Pete Seeger's "The Bells of Rhymney", which Page produced and played guitar on, for a group called The Fifth Avenue: [Excerpt: The Fifth Avenue, "The Bells of Rhymney"] And the second was a Gordon Lightfoot song performed by a girlfriend of Brian Jones', Nico. The details as to who was involved in the track have varied -- at different times the production has been credited to Jones, Page, and Oldham -- but it seems to be the case that both Jones and Page play on the track, as did session bass player John Paul Jones: [Excerpt: Nico, "I'm Not Sayin'"] While "Hang on Sloopy" was a big hit, the other two singles were flops, and The Fifth Avenue split up, while Nico used the publicity she'd got as an entree into Andy Warhol's Factory, and we'll be hearing more about how that went in a future episode. Oldham and Calder were trying to follow the model of the Brill Building, of Phil Spector, and of big US independents like Motown and Stax. They wanted to be a one-stop shop where they'd produce the records, manage the artists, and own the publishing -- and they also licensed the publishing for the Beach Boys' songs for a couple of years, and started publicising their records over here in a big way, to exploit the publishing royalties, and that was a major factor in turning the Beach Boys from minor novelties to major stars in the UK. Most of Immediate's records were produced by Jimmy Page, but other people got to have a go as well. Giorgio Gomelsky and Shel Talmy both produced tracks for the label, as did a teenage singer then known as Paul Raven, who would later become notorious under his later stage-name Gary Glitter. But while many of these records were excellent -- and Immediate deserves to be talked about in the same terms as Motown or Stax when it comes to the quality of the singles it released, though not in terms of commercial success -- the only ones to do well on the charts in the first few months of the label's existence were "Hang on Sloopy" and an EP by Chris Farlowe. It was Farlowe who provided Immediate Records with its first home-grown number one, a version of the Rolling Stones' "Out of Time" produced by Mick Jagger, though according to Arthur Greenslade, the arranger on that and many other Immediate tracks, Jagger had given up on getting a decent performance out of Farlowe and Oldham ended up producing the vocals. Greenslade later said "Andrew must have worked hard in there, Chris Farlowe couldn't sing his way out of a paper bag. I'm sure Andrew must have done it, where you get an artist singing and you can do a sentence at a time, stitching it all together. He must have done it in pieces." But however hard it was to make, "Out of Time" was a success: [Excerpt: Chris Farlowe, "Out of Time"] Or at least, it was a success in the UK. It did also make the top forty in the US for a week, but then it hit a snag -- it had charted without having been released in the US at all, or even being sent as a promo to DJs. Oldham's new business manager Allen Klein had been asked to work his magic on the US charts, but the people he'd bribed to hype the record into the charts had got the release date wrong and done it too early. When the record *did* come out over there, no radio station would play it in case it looked like they were complicit in the scam. But still, a UK number one wasn't too shabby, and so Immediate Records was back on track, and Oldham wanted to shore things up by bringing in some more proven hit-makers. Immediate signed the Small Faces, and even started paying them royalties -- though that wouldn't last long, as Immediate went bankrupt in 1970 and its successors in interest stopped paying out. The first work the group did for the label was actually for a Chris Farlowe single. Lane and Marriott gave him their song "My Way of Giving", and played on the session along with Farlowe's backing band the Thunderbirds. Mick Jagger is the credited producer, but by all accounts Marriott and Lane did most of the work: [Excerpt: Chris Farlowe, "My Way of Giving"] Sadly, that didn't make the top forty. After working on that, they started on their first single recorded at Immediate. But because of contractual entanglements, "I Can't Make It" was recorded at Immediate but released by Decca. Because the band weren't particularly keen on promoting something on their old label, and the record was briefly banned by the BBC for being too sexual, it only made number twenty-six on the charts. Around this time, Marriott had become friendly with another band, who had named themselves The Little People in homage to the Small Faces, and particularly with their drummer Jerry Shirley. Marriott got them signed to Immediate, and produced and played on their first single, a version of his song "(Tell Me) Have You Ever Seen Me?": [Excerpt: The Apostolic Intervention, "(Tell Me) Have You Ever Seen Me?"] When they signed to Immediate, The Little People had to change their name, and Marriott suggested they call themselves The Nice, a phrase he liked. Oldham thought that was a stupid name, and gave the group the much more sensible name The Apostolic Intervention. And then a few weeks later he signed another group and changed *their* name to The Nice. "The Nice" was also a phrase used in the Small Faces' first single for Immediate proper. "Here Come the Nice" was inspired by a routine by the hipster comedian Lord Buckley, "The Nazz", which also gave a name to Todd Rundgren's band and inspired a line in David Bowie's "Ziggy Stardust": [Excerpt: Lord Buckley, "The Nazz"] "Here Come the Nice" was very blatantly about a drug dealer, and somehow managed to reach number twelve despite that: [Excerpt: The Small Faces, "Here Come the Nice"] It also had another obstacle that stopped it doing as well as it might. A week before it came out, Decca released a single, "Patterns", from material they had in the vault. And in June 1967, two Small Faces albums came out. One of them was a collection from Decca of outtakes and demos, plus their non-album hit singles, titled From The Beginning, while the other was their first album on Immediate, which was titled Small Faces -- just like their first Decca album had been. To make matters worse, From The Beginning contained the group's demos of "My Way of Giving" and "(Tell Me) Have You Ever Seen Me?", while the group's first Immediate album contained a new recording of  "(Tell Me) Have You Ever Seen Me?", and a version of "My Way of Giving" with the same backing track but a different vocal take from the one on the Decca collection. From this point on, the group's catalogue would be a complete mess, with an endless stream of compilations coming out, both from Decca and, after the group split, from Immediate, mixing tracks intended for release with demos and jam sessions with no regard for either their artistic intent or for what fans might want. Both albums charted, with Small Faces reaching number twelve and From The Beginning reaching number sixteen, neither doing as well as their first album had, despite the Immediate album, especially, being a much better record. This was partly because the Marriott/Lane partnership was becoming far more equal. Kenney Jones later said "During the Decca period most of the self-penned stuff was 99% Steve. It wasn't until Immediate that Ronnie became more involved. The first Immediate album is made up of 50% Steve's songs and 50% of Ronnie's. They didn't collaborate as much as people thought. In fact, when they did, they often ended up arguing and fighting." It's hard to know who did what on each song credited to the pair, but if we assume that each song's principal writer also sang lead -- we know that's not always the case, but it's a reasonable working assumption -- then Jones' fifty-fifty estimate seems about right. Of the fourteen songs on the album, McLagan sings one, which is also his own composition, "Up the Wooden Hills to Bedfordshire". There's one instrumental, six with Marriott on solo lead vocals, four with Lane on solo lead vocals, and two duets, one with Lane as the main vocalist and one with Marriott. The fact that there was now a second songwriter taking an equal role in the band meant that they could now do an entire album of originals. It also meant that their next Marriott/Lane single was mostly a Lane song. "Itchycoo Park" started with a verse lyric from Lane -- "Over bridge of sighs/To rest my eyes in shades of green/Under dreaming spires/To Itchycoo Park, that's where I've been". The inspiration apparently came from Lane reading about the dreaming spires of Oxford, and contrasting it with the places he used to play as a child, full of stinging nettles. For a verse melody, they repeated a trick they'd used before -- the melody of "My Mind's Eye" had been borrowed in part from the Christmas carol "Gloria in Excelsis Deo", and here they took inspiration from the old hymn "God Be in My Head": [Excerpt: The Choir of King's College Cambridge, "God Be in My Head"] As Marriott told the story: "We were in Ireland and speeding our brains out writing this song. Ronnie had the first verse already written down but he had no melody line, so what we did was stick the verse to the melody line of 'God Be In My Head' with a few chord variations. We were going towards Dublin airport and I thought of the middle eight... We wrote the second verse collectively, and the chorus speaks for itself." [Excerpt: The Small Faces, "Itchycoo Park"] Marriott took the lead vocal, even though it was mostly Lane's song, but Marriott did contribute to the writing, coming up with the middle eight. Lane didn't seem hugely impressed with Marriott's contribution, and later said "It wasn't me that came up with 'I feel inclined to blow my mind, get hung up, feed the ducks with a bun/They all come out to groove about, be nice and have fun in the sun'. That wasn't me, but the more poetic stuff was." But that part became the most memorable part of the record, not so much because of the writing or performance but because of the production. It was one of the first singles released using a phasing effect, developed by George Chkiantz (and I apologise if I'm pronouncing that name wrong), who was the assistant engineer for Glyn Johns on the album. I say it was one of the first, because at the time there was not a clear distinction between the techniques now known as phasing, flanging, and artificial double tracking, all of which have now diverged, but all of which initially came from the idea of shifting two copies of a recording slightly out of synch with each other. The phasing on "Itchycoo Park" , though, was far more extreme and used to far different effect than that on, say, Revolver: [Excerpt: The Small Faces, "Itchycoo Park"] It was effective enough that Jimi Hendrix, who was at the time working on Axis: Bold as Love, requested that Chkiantz come in and show his engineer how to get the same effect, which was then used on huge chunks of Hendrix's album. The BBC banned the record, because even the organisation which had missed that the Nice who "is always there when I need some speed" was a drug dealer was a little suspicious about whether "we'll get high" and "we'll touch the sky" might be drug references. The band claimed to be horrified at the thought, and explained that they were talking about swings. It's a song about a park, so if you play on the swings, you go high. What else could it mean? [Excerpt: The Small Faces, “Itchycoo Park”] No drug references there, I'm sure you'll agree. The song made number three, but the group ran into more difficulties with the BBC after an appearance on Top of the Pops. Marriott disliked the show's producer, and the way that he would go up to every act and pretend to think they had done a very good job, no matter what he actually thought, which Marriott thought of as hypocrisy rather than as politeness and professionalism. Marriott discovered that the producer was leaving the show, and so in the bar afterwards told him exactly what he thought of him, calling him a "two-faced", and then a four-letter word beginning with c which is generally considered the most offensive swear word there is. Unfortunately for Marriott, he'd been misinformed, the producer wasn't leaving the show, and the group were barred from it for a while. "Itchycoo Park" also made the top twenty in the US, thanks to a new distribution deal Immediate had, and plans were made for the group to tour America, but those plans had to be scrapped when Ian McLagan was arrested for possession of hashish, and instead the group toured France, with support from a group called the Herd: [Excerpt: The Herd, "From the Underworld"] Marriott became very friendly with the Herd's guitarist, Peter Frampton, and sympathised with Frampton's predicament when in the next year he was voted "face of '68" and developed a similar teenage following to the one the Small Faces had. The group's last single of 1967 was one of their best. "Tin Soldier" was inspired by the Hans Andersen story “The Steadfast Tin Soldier”, and was originally written for the singer P.P. Arnold, who Marriott was briefly dating around this time. But Arnold was *so* impressed with the song that Marriott decided to keep it for his own group, and Arnold was left just doing backing vocals on the track: [Excerpt: The Small Faces, "Tin Soldier"] It's hard to show the appeal of "Tin Soldier" in a short clip like those I use on this show, because so much of it is based on the use of dynamics, and the way the track rises and falls, but it's an extremely powerful track, and made the top ten. But it was after that that the band started falling apart, and also after that that they made the work generally considered their greatest album. As "Itchycoo Park" had made number one in Australia, the group were sent over there on tour to promote it, as support act for the Who. But the group hadn't been playing live much recently, and found it difficult to replicate their records on stage, as they were now so reliant on studio effects like phasing. The Australian audiences were uniformly hostile, and the contrast with the Who, who were at their peak as a live act at this point, couldn't have been greater. Marriott decided he had a solution. The band needed to get better live, so why not get Peter Frampton in as a fifth member? He was great on guitar and had stage presence, obviously that would fix their problems. But the other band members absolutely refused to get Frampton in. Marriott's confidence as a stage performer took a knock from which it never really recovered, and increasingly the band became a studio-only one. But the tour also put strain on the most important partnership in the band. Marriott and Lane had been the closest of friends and collaborators, but on the tour, both found a very different member of the Who to pal around with. Marriott became close to Keith Moon, and the two would get drunk and trash hotel rooms together. Lane, meanwhile, became very friendly with Pete Townshend, who introduced him to the work of the guru Meher Baba, who Townshend followed. Lane, too, became a follower, and the two would talk about religion and spirituality while their bandmates were destroying things. An attempt was made to heal the growing rifts though. Marriott, Lane, and McLagan all moved in together again like old times, but this time in a cottage -- something that became so common for bands around this time that the phrase "getting our heads together in the country" became a cliche in the music press. They started working on material for their new album. One of the tracks that they were working on was written by Marriott, and was inspired by how, before moving in to the country cottage, his neighbours had constantly complained about the volume of his music -- he'd been particularly annoyed that the pop singer Cilla Black, who lived in the same building and who he'd assumed would understand the pop star lifestyle, had complained more than anyone. It had started as as fairly serious blues song, but then Marriott had been confronted by the members of the group The Hollies, who wanted to know why Marriott always sang in a pseudo-American accent. Wasn't his own accent good enough? Was there something wrong with being from the East End of London? Well, no, Marriott decided, there wasn't, and so he decided to sing it in a Cockney accent. And so the song started to change, going from being an R&B song to being the kind of thing Cockneys could sing round a piano in a pub: [Excerpt: The Small Faces, "Lazy Sunday"] Marriott intended the song just as an album track for the album they were working on, but Andrew Oldham insisted on releasing it as a single, much to the band's disgust, and it went to number two on the charts, and along with "Itchycoo Park" meant that the group were now typecast as making playful, light-hearted music. The album they were working on, Ogden's Nut-Gone Flake, was eventually as known for its marketing as its music. In the Small Faces' long tradition of twisted religious references, like their songs based on hymns and their song "Here Come the Nice", which had taken inspiration from a routine about Jesus and made it about a drug dealer, the print ads for the album read: Small Faces Which were in the studios Hallowed be thy name Thy music come Thy songs be sung On this album as they came from your heads We give you this day our daily bread Give us thy album in a round cover as we give thee 37/9d Lead us into the record stores And deliver us Ogdens' Nut Gone Flake For nice is the music The sleeve and the story For ever and ever, Immediate The reason the ad mentioned a round cover is that the original pressings of the album were released in a circular cover, made to look like a tobacco tin, with the name of the brand of tobacco changed from Ogden's Nut-Brown Flake to Ogden's Nut-Gone Flake, a reference to how after smoking enough dope your nut, or head, would be gone. This made more sense to British listeners than to Americans, because not only was the slang on the label British, and not only was it a reference to a British tobacco brand, but American and British dope-smoking habits are very different. In America a joint is generally made by taking the dried leaves and flowers of the cannabis plant -- or "weed" -- and rolling them in a cigarette paper and smoking them. In the UK and much of Europe, though, the preferred form of cannabis is the resin, hashish, which is crumbled onto tobacco in a cigarette paper and smoked that way, so having rolling or pipe tobacco was a necessity for dope smokers in the UK in a way it wasn't in the US. Side one of Ogden's was made up of normal songs, but the second side mixed songs and narrative. Originally the group wanted to get Spike Milligan to do the narration, but when Milligan backed out they chose Professor Stanley Unwin, a comedian who was known for speaking in his own almost-English language, Unwinese: [Excerpt: Stanley Unwin, "The Populode of the Musicolly"] They gave Unwin a script, telling the story that linked side two of the album, in which Happiness Stan is shocked to discover that half the moon has disappeared and goes on a quest to find the missing half, aided by a giant fly who lets him sit on his back after Stan shares his shepherd's pie with the hungry fly. After a long quest they end up at the cave of Mad John the Hermit, who points out to them that nobody had stolen half the moon at all -- they'd been travelling so long that it was a full moon again, and everything was OK. Unwin took that script, and reworked it into Unwinese, and also added in a lot of the slang he heard the group use, like "cool it" and "what's been your hang-up?": [Excerpt: The Small Faces and Professor Stanley Unwin, "Mad John"] The album went to number one, and the group were justifiably proud, but it only exacerbated the problems with their live show. Other than an appearance on the TV show Colour Me Pop, where they were joined by Stanley Unwin to perform the whole of side two of the album with live vocals but miming to instrumental backing tracks, they only performed two songs from the album live, "Rollin' Over" and "Song of a Baker", otherwise sticking to the same live show Marriott was already embarrassed by. Marriott later said "We had spent an entire year in the studios, which was why our stage presentation had not been improved since the previous year. Meanwhile our recording experience had developed in leaps and bounds. We were all keenly interested in the technical possibilities, in the art of recording. We let down a lot of people who wanted to hear Ogden's played live. We were still sort of rough and ready, and in the end the audience became uninterested as far as our stage show was concerned. It was our own fault, because we would have sussed it all out if we had only used our brains. We could have taken Stanley Unwin on tour with us, maybe a string section as well, and it would have been okay. But we didn't do it, we stuck to the concept that had been successful for a long time, which is always the kiss of death." The group's next single would be the last released while they were together. Marriott regarded "The Universal" as possibly the best thing he'd written, and recorded it quickly when inspiration struck. The finished single is actually a home recording of Marriott in his garden, including the sounds of a dog barking and his wife coming home with the shopping, onto which the band later overdubbed percussion, horns, and electric guitars: [Excerpt: The Small Faces, "The Universal"] Incidentally, it seems that the dog barking on that track may also be the dog barking on “Seamus” by Pink Floyd. "The Universal" confused listeners, and only made number sixteen on the charts, crushing Marriott, who thought it was the best thing he'd done. But the band were starting to splinter. McLagan isn't on "The Universal", having quit the band before it was recorded after a falling-out with Marriott. He rejoined, but discovered that in the meantime Marriott had brought in session player Nicky Hopkins to work on some tracks, which devastated him. Marriott became increasingly unconfident in his own writing, and the writing dried up. The group did start work on some new material, some of which, like "The Autumn Stone", is genuinely lovely: [Excerpt: The Small Faces, "The Autumn Stone"] But by the time that was released, the group had already split up. The last recording they did together was as a backing group for Johnny Hallyday, the French rock star. A year earlier Hallyday had recorded a version of "My Way of Giving", under the title "Je N'Ai Jamais Rien Demandé": [Excerpt: Johnny Hallyday, "Je N'Ai Jamais Rien Demandé"] Now he got in touch with Glyn Johns to see if the Small Faces had any other material for him, and if they'd maybe back him on a few tracks on a new album. Johns and the Small Faces flew to France... as did Peter Frampton, who Marriott was still pushing to get into the band. They recorded three tracks for the album, with Frampton on extra guitar: [Excerpt: Johnny Hallyday, "Reclamation"] These tracks left Marriott more certain than ever that Frampton should be in the band, and the other three members even more certain that he shouldn't. Frampton joined the band on stage at a few shows on their next few gigs, but he was putting together his own band with Jerry Shirley from Apostolic Intervention. On New Year's Eve 1968, Marriott finally had enough. He stormed off stage mid-set, and quit the group. He phoned up Peter Frampton, who was hanging out with Glyn Johns listening to an album Johns had just produced by some of the session players who'd worked for Immediate. Side one had just finished when Marriott phoned. Could he join Frampton's new band? Frampton said of course he could, then put the phone down and listened to side two of Led Zeppelin's first record. The band Marriott and Frampton formed was called Humble Pie, and they were soon releasing stuff on Immediate. According to Oldham, "Tony Calder said to me one day 'Pick a straw'. Then he explained we had a choice. We could either go with the three Faces -- Kenney, Ronnie, and Mac -- wherever they were going to go with their lives, or we could follow Stevie. I didn't regard it as a choice. Neither did Tony. Marriott was our man". Marriott certainly seemed to agree that he was the real talent in the group. He and Lane had fairly recently bought some property together -- two houses on the same piece of land -- and with the group splitting up, Lane moved away and wanted to sell his share in the property to Marriott. Marriott wrote to him saying "You'll get nothing. This was bought with money from hits that I wrote, not that we wrote," and enclosing a PRS statement showing how much each Marriott/Lane

Guest: Lisa Morton understands the power of a values-based company. Lisa is the CEO and founder of Roland Dransfield, one of Manchester, England's most established communications agencies. For the last 24 years, Lisa has worked to forge meaningful, lasting business relationships that create both business growth and social impact alongside her team of award-winning strategists, journalists, creatives, digital, and social media specialists. Now with a London office and a partnership with an LA-based agency, of which the founder is a former Roland Dransfield team member, Lisa is continuing to expand Roland Dransfield and explore new paths for growth. Lisa's commitment to purpose-driven work is exemplified by Roland Dransfield's "We Built This City" podcast. This podcast series hears from Mancunians, born, bred and adopted, who put their heart into Greater Manchester. The podcast has been nominated for Best Business Podcast by the prestigious British Podcast Awards. It celebrates stories of determination, loyalty, and diversity across culture, arts, politics, sport, music and business. Episode in a Tweet: When you focus your team and company on values, you can get through almost anything. Values give you and your team a clear sense of purpose and something to rally around. Background: Twenty-five years ago, it became apparent to Lisa that the only way to work somewhere with suitable goals and values as an enterprise was to start it herself. Almost immediately, her talent for creating relationships became apparent when Manchester suffered a devastating bombing. Lisa got involved heavily in rebuilding the city center and, over the years, has played a large part in helping to regenerate neglected parts of the city center to create the new key "pillar" neighborhoods that make up the city. As a result, Lisa has been at the forefront of the response to crises in her community. Her commitment to social impact in the business community has driven her to help others do the same. During this inspiring episode, Lisa shares how rebuilding Manchester helped her understand the power of values and how shared values bring people together. Lisa shares how her company transformed when they got really clear on their values. Called the Roland Dransfield Way, fifteen principles help Lisa and her team holds themselves accountable for building an exceptional company built on purposeful relationships. My favorite is "plant trees you'll never see," which describes the goal of leaving things in a better place out of respect for those how to follow you. There is no doubt Lisa is building a values-based company that is loved by everyone who works for her. I know you'll enjoy this conversation as much as I did. Have a listen and let me know what you think! How to find Lisa https://www.linkedin.com/in/lisamortonrdpr/ https://www.rdpr.co.uk/ https://www.rdpr.co.uk/we-built-this-city-podcast/ Follow me on Instagram or LinkedIn. Subscribe to my podcast Reflect Forward on iTunes Or check out my new YouTube Channel, where you can watch full-length episodes of Advice From a CEO! And if you are looking for a keynote speaker or a podcast guest, click here to book a meeting with me to discuss what you are looking for!

Connect with Nate: www.linkedin.com/in/natelesliecec Connect with Lisa: www.linkedin.com/in/lisamortonrdpr About this episode: This conversation was great. you know. It started heavy in one thousand nine hundred six Ira bombing in Manchester, England flattened the downtown. My guest. Lisa Morton, at the time, was just starting a business in public relations and was involved in building up the city and giving it a new identity and helping cast a vision for a brighter future, which now is unrecognizable in downtown Manchester from only twenty five years ago. After that terrible attack, the theme that runs through this conversation with Lisa is around the importance of personal values, living those values, defining them within sight of your organization in creating a culture based on behaviors that are accepted Eliminating the behaviors that are not accepted that don't align with the values. I learned a ton. It's personal. It's raw. There's a ton of storytelling and I hope you enjoy it as much as I did recording it. This is Lisa Morton, CEO and founder of Roland Dransfield in Manchester, England public relations firm. About Lisa: 25 years ago, it became apparent to Lisa that the only way to work somewhere that had suitable goals and values as an enterprise was to start it herself. Almost immediately, her talent for creating relationships became apparent when Manchester suffered a devastating bombing. Lisa got involved heavily in rebuilding the city centre and over the years has played a large part in helping to regenerate neglected parts of the city centre to create the new key “pillar” neighborhoods that make up the city. As a result, Lisa has been at the forefront of the response to crises in her community, Lisa Morton is the CEO and founder of Roland Dransfield, one of the most established communications agencies in Manchester, England. For the last 24 years, Lisa has worked to forge meaningful, lasting business relationships that create both business growth and social impact alongside her team of award-winning strategists, journalists, creatives, digital, and social media specialists. Now with a London office and a partnership with an LA-based agency, of which the founder is a former Roland Dransfield team member, Lisa is continuing to expand Roland Dransfield and explore new paths for growth. Lisa's commitment to purpose-driven work is exemplified by Roland Dransfield's “We Built This City” podcast, a podcast series which hears from Mancunians, born, bred and adopted, who put the heart into Greater Manchester. The podcast has been nominated for Best Business Podcast by the prestigious British Podcast Awards and celebrates stories of determination, loyalty, and diversity across culture, arts, politics, sport, music and business. Roland Dransfield's other recent award wins include PR & Marketing Agency of the Year, Marketing Personality of the Year (Downtown in Business), Best PR/Social Agency Campaign (MPA), Small PR Agency of the Year (MPA), PR Agency of the Year (MPA) and Best PR Agency (The Talk of Manchester). They are currently shortlisted for Prolific North Best PR Agency and Best Digital Campaign and Best Social Impact Award 2020 (Downtown in Business), among others. --- Send in a voice message: https://anchor.fm/nathan-leslie/message

In this episode, I will speak with Lisa Morton. Lisa is the CEO and founder of Roland Dransfield, one of the most established communications agencies in Manchester, England. For the last 24 years, Lisa and her team worked to create meaningful, lasting business relationships that create both business growth and social impact. Lisa's commitment to purpose-driven work is exemplified by Roland Dransfield's “We Built This City” podcast, a podcast series which hears from Mancunians (a native or inhabitant of Manchester) who put the heart into Greater Manchester. In this episode we will speak about how leaders and businesses communicate their values in a transparent and authentic way, and why it's so crucial. Why is it important to implement transparent communication and what does it mean? What are the other mistakes we're making as leaders and individuals in communication?

Manchester born award-winning author Howard Jacobson is on home turf as he talks to we fellow Mancunians about work, life and, of course, his own Jewish mother.

Lisa Morton is the CEO and founder of Roland Dransfield, one of the most established communications agencies in Manchester, England. For the last 24 years, Lisa has worked to forge meaningful, lasting business relationships that create both business growth and social impact alongside her team of award-winning strategists, journalists, creatives, digital, and social media specialists. Now with a London office and a partnership with an LA-basedagency, of which the founder is a former Roland Dransfield team member, Lisa is continuing to expand Roland Dransfield and explore new paths for growth.Lisa's commitment to purpose-driven work is exemplified by Roland Dransfield's “We Built This City” podcast, a podcast series that hears from Mancunians, born, bred, and adopted, who put their heart into Greater Manchester. The podcast has been nominated for Best Business Podcast by the prestigious British Podcast Awards and celebrates stories of determination, loyalty, and diversity across culture, arts, politics, sport, music, and business. Roland Dransfield's other recent award wins include PR & Marketing Agency of the Year, Marketing Personality of the Year (Downtown in Business), Best PR/Social Agency Campaign (MPA), Small PR Agency of the Year (MPA), PR Agency of the Year (MPA) and Best PR Agency (The Talk of Manchester). They are currently shortlisted for Prolific North Best PR Agency and Best Digital Campaign and Best Social Impact Award 2020 (Downtown in Business), among others.25 years ago, it became apparent to Lisa that the only way to work somewhere that had suitable goals and values as an enterprise was to start it herself. Almost immediately, her talent for creating relationships became apparent when Manchester suffered a devastating bombing. Lisa got involved heavily in rebuilding the city centre and over the years has played a large part in helping to regenerate neglected parts of the city centre to create the new key “pillar” neighborhoods that make up the city. As a result, Lisa has been at the forefront of the response to crises in her community, and her commitment to social impact in the business community has driven her to help others to do the same. In this episode, Dean Newlund and Lisa Morton discuss:How crisis reveals our identity and creates progressOrganizations that stay and get stronger together Adding value during adversities Working with others who are aligned with your values Key Takeaways:Adversity can create a lot of beauty and positive progress. It is where our true identity is tested. We can only know who we really are or who our team members are when we go through a crisis. Organizations that figured out who they were, what their purpose was, and what their values were are those that stayed together and got stronger.Companies that add value during adversities will be remembered. Companies that don't add value during adversities will also be remembered. People will be able to work more effectively and happily when they work with others who are aligned with their own values and purpose. Ideally, organizations must choose clients that are aligned with their values and purpose. "Plant trees you'll never see. Leave a legacy out of respect for those who follow." —  Lisa Morton  See Dean's TedTalk “Why Business Needs Intuition” here: https://www.youtube.com/watch?v=EEq9IYvgV7I Check out their podcast, We Built This City, by clicking on this link: https://www.rdpr.co.uk/we-built-this-city-podcast/ Connect with Lisa Morton:  Website: https://www.rdpr.co.uk/Twitter: https://twitter.com/lisamortonInstagram: https://www.instagram.com/lisam2301/ Connect with Dean:YouTube: https://www.youtube.com/channel/UCgqRK8GC8jBIFYPmECUCMkwWebsite: https://www.mfileadership.com/The Mission Statement E-Newsletter: https://www.mfileadership.com/blog/LinkedIn: https://www.linkedin.com/in/deannewlund/Twitter: https://twitter.com/deannewlundFacebook: https://www.facebook.com/MissionFacilitators/Email: dean.newlund@mfileadership.comPhone: 1-800-926-7370  Show notes by Podcastologist: Justine Talla Audio production by Turnkey Podcast Productions. You're the expert. Your podcast will prove it. 

Mahua Roy (https://www.instagram.com/mahua_r) is the talented creator of the colourful wall art & creatives for the Meet the Mancunian podcast and a very dear friend. In this bonus episode, I talk to Mahua about her interest in podcasting, her concept for Season 3's wall art, and her thoughts about Manchester. Mahua also shares what she has learned from listening to the Meet the Mancunian podcast.  Watch out for Season 3 of the Meet the Mancunian podcast which now launches on Tuesday, 26 July 2022 with a fresh new look and more inspiring Mancunians. --- Send in a voice message: https://podcasters.spotify.com/pod/show/deepa-thomas-sutcliffe/message

The Meet the Mancunian Podcast returns on Tuesday, 26 July 2022. The podcast introduces listeners to inspirational Mancunians who are making a difference in the local community. Whether they run a charity or a social enterprise, volunteer, or coach others, host a community or go it alone; all my guests have fascinating stories to tell. The podcast is hosted by newbie Mancunian Deepa Thomas-Sutcliffe. Sit back, relax, and listen to Season 3 of the Meet the Mancunian podcast. Tune into your favourite podcasting platform every Tuesday to hear the latest episode. --- Send in a voice message: https://podcasters.spotify.com/pod/show/deepa-thomas-sutcliffe/message

Mike Unger, the legendary former editor of the Manchester Evening News, tells Joshi about being asked to mediate with prisoners during the Strangeways Riot. And recalls his time editing a newspaper read by a million Mancunians. What does he think of the state of local journalism today? "They're blindly doing clickbait," he tells us. Hosted on Acast. See acast.com/privacy for more information.

"If you can see the poverty in Greater Manchester or anywhere and not act, I'm worried.” - Vikas Shah MBE Ahead of the Queen's Platinum Jubilee on Friday 3rd June, we are taking a look back at those, of our guests, who have been recognised for their acts of service to others, to their communities and to causes they hold close to their hearts.  Join us for a special episode in which we will hear the inspirational stories of the Mancs who have been awarded MBEs, OBEs, Deputy Lieutenant and High Sheriff and the reasons for which they have chosen to devote their lives to service.  ------ Your host, Lisa Morton, started PR company Roland Dransfield in 1996, one month after the fateful IRA bomb that tore apart the city centre.  From that point, the business, and its team members, have been involved in helping to support the creation of Modern Manchester – across regeneration, business, charity, leisure and hospitality, sport and culture. To celebrate the 25 years that Roland Dransfield has spent creating these bonds, Lisa is gathering together some of her Greater Mancunian ‘family' and will be exploring how they have created their own purposeful relationships with the best place in the world. Connect with Lisa and Roland Dransfield:  Via our website On Instagram On Twitter On Spotify

We've heard how the Ukrainian community in Manchester has reacted to the shock and heartbreak of the unfolding war, but how are Mancunians working to make a difference? Darryl and Joshi speak to the founder of UK - Med Professor Tony Redmond OBE about the vital humanitarian work they're doing in Ukraine. Plus there's a brief on the latest stories from the city and recommendations for what you can get up to this week. Hosted on Acast. See acast.com/privacy for more information.

This weeks podcast guest is singer Wayne Ellington. Behind the beautifully seasoned tones of his voice though, stands a humble and modest, yet quietly confident man, with a burning passion for music and song that stretches throughout the wonderful city of Manchester and reaches the grateful ears of the world. Having founded the internationally acclaimed gospel choir ‘Manchester Inspirational Voices' in 2006, Wayne has touched the lives of hundreds of Mancunians, who have joined, rehearsed and performed under his dedicated leadership and master class orchestration. Capturing hearts and captivating minds. From humble beginnings, singing his heart out every weekend in church as a child, Wayne has followed the road his voice has forged for him, the road that he was always supposed to take. He attended Brunel University, studying a BMus in Music and Art, where he was awarded with the prestigious Sheridan Instrumental Prize for Outstanding Singing and Musicianship along the way. The road has led him to some beautiful places around the world and allowed him to meet some incredible people too. Wayne has performed alongside Brit Pop idols Blur and has taken to the stage in front of millions of worshippers in Krakow, with Pope St John Paul II amongst the esteemed attendees. As part of the Kingdom Choir, Wayne helped to create a musical landscape that will be remembered for decades, whilst performing at the Royal Wedding of Prince Harry and Meghan Markle. Whether he is in front of his beloved choir, or performing his masterful renditions of Nat King Cole, Wayne gives it everything. His passion and love. His heart and soul. Produced by RecRooms, The Kicking Back Podcast is an audio and video podcast hosted by video producer and musician Brad Ingham and co-hosted by singer Kim McKenzie. It discusses Arts, Music and many other topics with a different Artist/ Creative in each episode.

In this episode we welcome the excellent Kate Mossman to our state-of-the-art recording suite and ask her about her writing career and musical passions. She talks about working with Mark Ellen at The Word and about her current employer the New Statesman, and Jasper quotes from a recent Statesman piece she wrote about her secret passion for jazz fusion.Kate's interview with "mean old daddy" Cary Raditz affords her the chance to talk about her beloved Joni Mitchell and the classic Blue song Raditz inspired. Joni's request to follow Neil Young's lead and have Blue and other albums removed from Spotify prompts discussion of the streaming platform's headaches in the wake of Joe Rogan's COVID disinformation.Another of Kate's Statesman pieces, about Lou Reed, gives her and co-hosts Mark & Barney the perfect excuse to riff on Reed's notoriously sadistic treatment of British interviewers — and the cue for Mark to talk about Martin Aston's 1989 audio interview with the ex-Velvets man. From there we turn to Lou's fellow contrarian Morrissey and the "severed alliance" between him and former Smiths bandmate Johnny Marr. With the latter releasing a new album this month, Kate and the RBP crew reflect on the very different personalities (and values) of the two Mancunians.After noting the passing of folk matriarch Norma Waterson, Mark references recently-added library pieces about Sam Cooke, Todd Rundgren and the late Janice Long. Jasper then finishes things off with observations on pieces about Glass Animals and Adele.Many thanks to special guest Kate Mossman; find her writing in the New Statesman and on RBP.Pieces discussed: Jazz fusion, Carey Raditz, Lou Reed, Lou Reed audio, Johnny Marr, the Smiths, Morrissey, Norma Waterson, Sam Cooke, Scott Walker, Steve Paul, Nona Hendryx, Vicki Wickham, Black Sabbath, Todd Rundgren, Janice Long, Laura Barton's heckler's guide, Glass Animals and Adele.

In this episode we welcome the excellent Kate Mossman to our state-of-the-art recording suite and ask her about her writing career and musical passions. She talks about working with Mark Ellen at The Word and about her current employer the New Statesman, and Jasper quotes from a recent Statesman piece she wrote about her secret passion for jazz fusion. Kate's interview with "mean old daddy" Cary Raditz affords her the chance to talk about her beloved Joni Mitchell and the classic Blue song Raditz inspired. Joni's request to follow Neil Young's lead and have Blue and other albums removed from Spotify prompts discussion of the streaming platform's headaches in the wake of Joe Rogan's COVID disinformation. Another of Kate's Statesman pieces, about Lou Reed, gives her and co-hosts Mark & Barney the perfect excuse to riff on Reed's notoriously sadistic treatment of British interviewers — and the cue for Mark to talk about Martin Aston's 1989 audio interview with the ex-Velvets man. From there we turn to Lou's fellow contrarian Morrissey and the "severed alliance" between him and former Smiths bandmate Johnny Marr. With the latter releasing a new album this month, Kate and the RBP crew reflect on the very different personalities (and values) of the two Mancunians. After noting the passing of folk matriarch Norma Waterson, Mark references recently-added library pieces about Sam Cooke, Todd Rundgren and the late Janice Long. Jasper then finishes things off with observations on pieces about Glass Animals and Adele. Many thanks to special guest Kate Mossman; find her writing in the New Statesman and on RBP. Pieces discussed: Jazz fusion, Carey Raditz, Lou Reed, Lou Reed audio, Johnny Marr, the Smiths, Morrissey, Norma Waterson, Sam Cooke, Scott Walker, Steve Paul, Nona Hendryx, Vicki Wickham, Black Sabbath, Todd Rundgren, Janice Long, Laura Barton's heckler's guide, Glass Animals and Adele. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode we welcome the excellent Kate Mossman to our state-of-the-art recording suite and ask her about her writing career and musical passions. She talks about working with Mark Ellen at The Word and about her current employer the New Statesman, and Jasper quotes from a recent Statesman piece she wrote about her secret passion for jazz fusion.Kate's interview with "mean old daddy" Cary Raditz affords her the chance to talk about her beloved Joni Mitchell and the classic Blue song Raditz inspired. Joni's request to follow Neil Young's lead and have Blue and other albums removed from Spotify prompts discussion of the streaming platform's headaches in the wake of Joe Rogan's COVID disinformation.Another of Kate's Statesman pieces, about Lou Reed, gives her and co-hosts Mark & Barney the perfect excuse to riff on Reed's notoriously sadistic treatment of British interviewers — and the cue for Mark to talk about Martin Aston's 1989 audio interview with the ex-Velvets man. From there we turn to Lou's fellow contrarian Morrissey and the "severed alliance" between him and former Smiths bandmate Johnny Marr. With the latter releasing a new album this month, Kate and the RBP crew reflect on the very different personalities (and values) of the two Mancunians.After noting the passing of folk matriarch Norma Waterson, Mark references recently-added library pieces about Sam Cooke, Todd Rundgren and the late Janice Long. Jasper then finishes things off with observations on pieces about Glass Animals and Adele.Many thanks to special guest Kate Mossman; find her writing in the New Statesman and on RBP.Pieces discussed: Jazz fusion, Carey Raditz, Lou Reed, Lou Reed audio, Johnny Marr, the Smiths, Morrissey, Norma Waterson, Sam Cooke, Scott Walker, Steve Paul, Nona Hendryx, Vicki Wickham, Black Sabbath, Todd Rundgren, Janice Long, Laura Barton's heckler's guide, Glass Animals and Adele.

In this episode we welcome the excellent Kate Mossman to our state-of-the-art recording suite and ask her about her writing career and musical passions. She talks about working with Mark Ellen at The Word and about her current employer the New Statesman, and Jasper quotes from a recent Statesman piece she wrote about her secret passion for jazz fusion. Kate's interview with "mean old daddy" Cary Raditz affords her the chance to talk about her beloved Joni Mitchell and the classic Blue song Raditz inspired. Joni's request to follow Neil Young's lead and have Blue and other albums removed from Spotify prompts discussion of the streaming platform's headaches in the wake of Joe Rogan's COVID disinformation. Another of Kate's Statesman pieces, about Lou Reed, gives her and co-hosts Mark & Barney the perfect excuse to riff on Reed's notoriously sadistic treatment of British interviewers — and the cue for Mark to talk about Martin Aston's 1989 audio interview with the ex-Velvets man. From there we turn to Lou's fellow contrarian Morrissey and the "severed alliance" between him and former Smiths bandmate Johnny Marr. With the latter releasing a new album this month, Kate and the RBP crew reflect on the very different personalities (and values) of the two Mancunians. After noting the passing of folk matriarch Norma Waterson, Mark references recently-added library pieces about Sam Cooke, Todd Rundgren and the late Janice Long. Jasper then finishes things off with observations on pieces about Glass Animals and Adele. Many thanks to special guest Kate Mossman; find her writing in the New Statesman and on RBP. Pieces discussed: Jazz fusion, Carey Raditz, Lou Reed, Lou Reed audio, Johnny Marr, the Smiths, Morrissey, Norma Waterson, Sam Cooke, Scott Walker, Steve Paul, Nona Hendryx, Vicki Wickham, Black Sabbath, Todd Rundgren, Janice Long, Laura Barton's heckler's guide, Glass Animals and Adele.

“You didn't need music. You could listen to the stories by earwigging” Manchester poet Argh Kid is one of many guests on We Built This City, to reflect on the fact that Mancunians tell great tales.   As National Storytelling Week approaches, host Lisa Morton brings you some of the best stories about Manchester people, from the We Built This City Archives.   You'll hear about the famous to the not so famous.  You'll hear about poetry of everyday life, plus you'll hear a story about Roland Dransfield himself.   Featuring contributions from Argh Kid aka David Scott; Karen Gabay; Shelina Begum, Dianne Bourne, Liz Taylor, Justin Eagleton, Eamonn O'Neal, Gary Neville, Geraldine Ryan, Sacha Lord, Sid Williams and John Thomson  ------ Your host, Lisa Morton, started PR company Roland Dransfield in 1996, one month after the fateful IRA bomb that tore apart the city centre.  From that point, the business, and its team members, have been involved in helping to support the creation of Modern Manchester – across regeneration, business, charity, leisure and hospitality, sport and culture. To celebrate the 25 years that Roland Dransfield has spent creating these bonds, Lisa is gathering together some of her Greater Mancunian ‘family' and will be exploring how they have created their own purposeful relationships with the best place in the world. Connect with Lisa and Roland Dransfield:  Via our website On Instagram On Twitter On Spotify

“You don't need to have super-heroes because there are so many stories you can shine a spotlight on from an ordinary couple sat on the couch.” David Scott - AKA Argh Kid - is the poet who's captured the imagination of Mancunians with his observational work that often celebrates the Manchester dialect.   David never expected to get a career in the creative industries when he was growing up.  Now - he's the official poet for the NSPCC and UEFA, and he's worked with Manchester United.  His radio show on BBC Radio Manchester showcases creative talent from across the region and his book Mancunians is out in 2022. You'll hear as Lisa Morton discusses the guts it took for Dave to stand on stage and perform in front of all his friends and family, for the first time, in his early 30's. How that led to a video that went viral and kick-started his career, and how he can hear the poetry that comes from everyday people in Greater Manchester.   ------ Your host, Lisa Morton, started PR company Roland Dransfield in 1996, one month after the fateful IRA bomb that tore apart the city centre.  From that point, the business, and its team members, have been involved in helping to support the creation of Modern Manchester – across regeneration, business, charity, leisure and hospitality, sport and culture. To celebrate the 25 years that Roland Dransfield has spent creating these bonds, Lisa is gathering together some of her Greater Mancunian ‘family' and will be exploring how they have created their own purposeful relationships with the best place in the world. Connect with Lisa and Roland Dransfield:  Via our website On Instagram On Twitter On Spotify Connect with Dave:  Via website On Twitter

“The harder you work the luckier you get”.  Stanley Chow is a world-renowned artist from Manchester whose artwork is now commonplace with Mancunians after drawing countless icons from the city. From Liam Gallagher to Emmeline Pankhurst, you'll see Stan's distinctive drawings scattered around the walls of so many buildings, bars and restaurants in the city. Hear as he tells Lisa Morton how he very nearly won a GRAMMY,  met Man United legends such as Bobby Charlton and Dennis Law, and how he and those around him felt they were on the cusp of something big in the famed 90s of Manchester. ------ Your host, Lisa Morton, started PR company Roland Dransfield in 1996, one month after the fateful IRA bomb that tore apart the city centre.  From that point, the business, and its team members, have been involved in helping to support the creation of Modern Manchester – across regeneration, business, charity, leisure and hospitality, sport and culture. To celebrate the 25 years that Roland Dransfield has spent creating these bonds, Lisa is gathering together some of her Greater Mancunian ‘family' and will be exploring how they have created their own purposeful relationships with the best place in the world. Connect with Lisa and Roland Dransfield:  Via our website On Instagram On Twitter On Spotify Connect with Stan: On Instagram On Twitter Via his website

December 29th-30th 1922: General Manager John Reith begins work! The good ship Broadcasting finally gets its captain. On Episode 35 of The British Broadcasting Century, we bring you the complete tale of not only Reith's first day - the liftsman, the lone office, the "Dr Livingstone, I presume" moment - but also his commute to work, from Scotland to London via Newcastle. Here he investigates/interviews/interrogates poor Tom Payne, director of Newcastle 5NO, a BBC station that's only five days old, temporarily running from the back of a lorry in a stable-yard. We'll hear from Reith, Payne (who claims to be the only person to bank-roll a British radio station), Birmingham director Percy Edgar, early BBC governor Mary Agnes Hamitlon. Plus we'll hear from Mark Carter of BBC Radio Sussex, BBC Radio Surrey, Susy Radio, Wey Valley Radio, across which he's been presenter, producer and now Executive Editor. There's also a treasure trove of radio memoribilia including 'the green book' of what you can and can't say on the radio - in 1948 - courtesy of the collection of former BBC Head of Heritage Justin Phillips. We're ever so grateful to his family for sharing that with us.   SHOWNOTES: This episode leans on several books, the chief of which is probably Garry Alligan's 1938 book Sir John Reith, but also Asa Briggs' various books, Brian Hennessy's The Emergence of Broadcasting in Britain, and The Reith Diaries edited by Charles Stuart. Plus about a dozen others.  Join us on Patreon for a tour of my radio history bookshelf, plus extras, audio, video, an occasional reading from C.A. Lewis' 1924 book Broadcasting From Within, plus the glowing feeling of supporting this podcast. Thanks to all who support us there and keep us ticking over. For a one-off contribution, you could buy us a coffee at ko-fi.com/paulkerensa. Thanks! It all helps keep us afloat. This podcast is NOTHING to do with the present-day BBC - it's entirely run, researched, presented and corralled by Paul Kerensa, who you can email if you want to add something to the show on radio history. Your contributions are welcome. The British Broadcasting Century Facebook page is here. Join us there. The British Broadcasting Century Facebook group is here. Join us there too. The British Broadcasting Century Twitter profile is here. Join us there three. My other podcast of interviews is A Paul Kerensa Podcast. Have a listen! My mailing list is here - sign up for updates on all I do, writing, teaching writing, stand-up, radio etc. My books are available here or orderable from bookshops, inc Hark! The Biography of Christmas. Coming in 2022: a novel on all this radio malarkey. Archive clips are either public domain or used with kind permission from the BBC, copyright content reproduced courtesy of the British Broadcasting Corporation. All rights reserved. Please rate and review this podcast where you found it... and keep liking/sharing/commenting on what we do online. It all helps others find us.      APPROXIMATE TRANSCRIPT: Previously on the BBCentury...   The 6-week-old BBC now has 4 plucky stations! Yes, the Geordies have joined the Cockneys the Brummies and the Mancunians... Except 5NO Newcastle has had a few teething troubles. No one there's run a radio station before! So on Christmas Eve Eve 1922, their first is broadcast from the back of a lorry in a stableyard.   But fear not, with Christmas behind us, Head Office are on the case! And the BBC's first and only General Manager John Reith is well-rested, he's even asked a friend what broadcasting is, and he reckons he's ok to take control. He's always liked fishing. That's what broadcasting is... isn't it?   THIS TIME... Still puzzling out what his job is, John Reith begins work! We've got all the info on his legendary first day, his ‘Dr Livingstone I presume' moment... and his first task of running the Beeb: fixing Newcastle. He seeks to inform, educate and entertain, but first troubleshoot.   Plus bang up to date, we'll hear from a man with radio in his very fibre... local radio executive editor and presenter, from BBC Radio Sussex and BBC Radio Surrey, and Susy Radio, and Wey Valley Radio... Mark Carter   As we mark the start of the Reith era, buckle up, it's going to be a bumpy ride. Here on the BBCentury   TITLES   Hullo, hullo...   We've seen a few eps ago, how Reith, and Burrows, and Anderson and Lewis were all hired as the first 4 founding fathers at the BBC. But they start work at New Year. Of course, we know that those of them who were broadcasters, Burrows and Lewis – they were already workig super-hard, planning and presenting almost 7 days a week, even through Christmas.   But the start of the BBC's new era, with a head office at Magnet House, till Savoy Hill opened, all of this happens after Christmas 1922, going into New Year 1923.   So this ep, I'll tell you about Reith's first day, Dec 29th. Next episode, we'll round off with a rather sweet New Year's Eve bit of programming. Then I think we'll have a bit of a recap and a breather, before starting 1923 proper, when the BBC exploded into life, with a booming staff, the first proper live concerts from the royal opera house, and so much more.   What a tale! What an era! I wish I was there. I can't be, so next best thing, I'll spend a pandemic researching and recording this... The BBCe, now with the first day of work from John Reith!   STING   But before he starts in London, we're going super-geeky, super0detailed, and I'll actually tell you about Reith's JOURNEY to London. Because that's really notable too.   Having been appointed, and spent a day or two with Burrows and co, scouting for offices, puzzling out what broadcasting is, Reith has spent Christmas in Scotland, staying with his mum...   “I told her that I wanted her to live to see me a knight anyhow. I feel if this job succeeds and I am given grace to succeed in it, I might nt be so far off this. I do want a title for dear mother's sake, and Muriel's...”    That from Reith's diary, Dec 28th 1922. So he's keen on this job, for the authoritative position it gives him, it seems, to begin with, at least. He's turned down good deputy jobs before this point. He wanted to lead something. Anything. Even a thing he doesn't understand.   Here's a snapshot what Reith would have been completely unaware was on that Christmas, on each of the BBC's stations:   We told you all about the London Christmas last time, but from Boxing Day, you'd hear more from the brand new 2LO Orchestra, and a triumphant Boxing Day Peter Pan, Uncle Jeff and Uncle Arthur holding the fort, rewarded with many gifts from the listeners. Demand for radio sets outstripped supply. The radio boom was booming. In Brum: Percy Edgar gives his Dickens, artistes don't turn up. Callout on air. Frederick Warrander turned up, with his pianist! Manc: Christmas stories for kids, then grownups, Handel's Messiah, ghost stories Newcastle: Hawaiian band   Then there's 2MT Writtle, who've had the week off for Christmas – that's not a BBC station, but they've done the groundwork earlier in the year, and now Peter Eckersley is there pondering whether he should keep going, in this Marconi station out in Essex, now that proper broadcasting has begun – and the big boss is on his way to start work.   So Friday 29th December, Reith says bye mum, I'll come back when I'm knighted, and leaves Dunardoch for London – raring to start work the next day, a Saturday, but he wanted to get in before his small staff turns up after the weekend.   But, his Director of Progs Arthur Burrows, who knows more than almost anyone about how all this runs, he's asked his boss to make a stopover en route to Magnet House in London. Burrows wants Reith to get off the train at Newcastle, and check in on the baby station, 5NO. We talked about their launch last time – so at this point it's only 5 days old, and it's the first BBC station to be built from scratch.   Burrows has his doubts about the Newcastle staff. New station director Payne is out on a limb, setting up this new station in the northeast – with the smallest, most abandoned staff.... Probably adding to Burrows' doubts were Tom Payne's announcing habits: he kept repeating the callsign over and over: ‘This is 5NO calling, this is 5NO calling, this is 5NO calling...”   Payne was popular locally already in amateur radio circles – but would he have the chops to broadcast nationally, on radio? To fit in, with what Burrows had set in motion?   Reith's a bit reluctant to break his journey in Newcastle. Doesn't quite see why. Doesn't quite know what a radio station is. But he's quite keen to see one in action – although Newcastle's version is a stableyard, so not really your typical radio station...   ‘Newcastle at 12:30. Here I really began my BBC responsibility. Saw transmitting station and studio place and landlords. It was very interesting. Away at 4:28, London at 10:10, bed at 12:00. I am trying to keep in close touch with Christ in all I do and I pray he may keep close to me. I have a great work to do.'   Reith is dumbfounded. He's got off the train, and found Tom Payne alternating between announcing what's on the radio, playing some live musical instruments, and trying to shut up a howling dog in a nearby kennel. So did he let Mr Payne off the hook?   “As the temporary Station Director knew more than I did, as he had produced programmes of some kind or another for 5 days already... I rather naturally left him in possession for the time being.”   As for the tech setup in Newcastle, that doesn't improve too quickly. Reith will be shocked in the New Year of '23 to discover their new control room is in fact a standard public phone box installed in the middle of the studio. Forget the engineer through the glass. This was an engineer in the glass, in a glass box, closed in from before the programme started till after it finished, no ventilation, no seat, no dignity.   Come January, Reith would personally seek new premises for those provincial stations that were lacking. Eventually.   For now though, on Dec 29th, Reith leaves Newcastle, after a stopover of less than 4hrs, and continues to London.   So Reith has arrived in London, slept off his train journey, and awoken ready for his first day at the BBC. London at 10:10, bed at 12:00. I am trying to keep in close touch with Christ in all I do and I pray he may keep close to me. I have a great work to do.' At 9am that Saturday, Reith arrives at the GEC offices in Kingsway, London. “where I had been informed temporary accommodation had been at our disposal.” This is Magnet House., first offices of the BBC.   He has doubts what he'll find, but is pleased to see a large notice in the foyer: “Brit Broad Company, 2nd floor”   “This was rather reassuring. One was therefore not altogether unexpected and there really was such a thing as the BBC. Before I was permitted to enter the elevator, an enquiry was naturally made regarding my business. ‘BBC', I said deliberately. “Nobody there yet, sir,” he replied. So I told him that this was it, or part of it, one quarter approximately.”   How delightfully drole, of both Reith and the liftsman.   “A room about 30fr by 15, furnished with 3 long tables and some chairs. A door at one end invited examination: a tiny compartment 6ft sq, here a table and a chair, also a telephone. ‘This,' I thought, ‘is the general manager's office'. The door swung to behind me. I wedged it open; sat down, surveyed the emptiness of the outer office. Though various papers had accumulated in the past fortnight, I had read them all before. No point in pretending to be busy with no one to see.”   It's an unusual start for Reith then, still a little clueless as to what's required of him. He needs his staff to arrive before he can quite figure out what to do, how to run this BBC. So he picks up the phone, a bit like Manuel when he briefly takes charge of Fawlty Towers. “Manuel Towers! How are you today!” Or Alan Partridge picking up the hotel phone to find he's reached reception.   In Reith's case, he's delighted a female voice answers. Yes? “Having been unexpectedly answered, I trued hurriedly to think of a number which at 9:15am I might be properly expected to call up, on BBC business. Naturally without success. As there was no BBC business to anything with. So I enquired, somewhat fatuously, and with some embarrassment, if she had had any intrusctions about calls for the BBC or from them, and that if so, the BBC was there.” Now. Just.     This receptionist would connect many calls to R over the coming months, and years, Miss Isobel Shields.   Reith was a fan of Mr Gamage of the GEC. He was not a fan of Major Anderson, his new, brief secretary.     1/2hr later, Major Anderson, Sec, arrived 9:30am, “with some manifestation of authority”.  Silk hat, two attache cases, legal-looking books under his arm. Reith described it as a bit “Livingstone and Stanley”, each presumed the other was the Secretary or General Manager.  ‘I hadn't seen him before. It was an awful shock. I saw at once that he would never do... Conversation was not brisk...”   Then Mr Gamage, Secretary of the GEC, lovely welcoming fella. For 10 weeks, Gamage sees to their every need, and refuses all offer of payment for the room, lunch, tea, phone calls. GEC's guest.   That night Major Anderson the Sec goes home to type a letter, to invite Miss Isobel Shields to stop working for General Electric, be poached by the BBC, and become one of the first six staff members, and the first female employee.   Next time: New Year 1922!

Lisa Morton, Founder and CEO of Roland Dransfield, a leading Manchester and London based full service communications agency.  Lisa helps leaders define  the values of their business and ensure those values are owned and communicated effectively. She has a method to take those values and find a way to create a meaningful story to grow the business for stronger relations with their customer base.   For 24 years Lisa has forged meaningful relationships that have proved to be impactful both professionally and socially. Her award winning team of strategists, journalists and social media specialists make Roland Dransfield a business to watch and certainly take note of as you listen.   What You'll Learn in This Episode: When cleaning house is necessary in an organization What is the “Roland Dransfield Way” and how it impacted their business Why boundaries are important regardless of failout or change “Thank you” is so much more than a phrase How pride in the organization is a collective responsibility Why “showing up” means more than a good presentation What kind of environment is created by a few “bad seeds” Why setting boundaries as a leader is so impactful How male and female leaders own the same qualities but lies society tells us and what you can do How the pandemic may affect employees ability to cope What listening to a “story” can do to align people   Resources: Facebook: www.facebook.com/RolandDransfield Instagram: www.instagram.com/RolandDransfield Linkedin: www.linkedin.com/in/Lisa Morton Websites:www.rdpr.co.uk                 BIO:   Lisa Morton is the CEO and founder of Roland Dransfield, one of the most established communications agencies in Manchester, England. For the last  24 years, Lisa has worked to forge meaningful, lasting business relationships that create both business growth and social impact alongside her team  of award-winning strategists, journalists, creatives, digital, and social media specialists. Now with a London office and a partnership with an LA-based  agency, of which the founder is a former Roland Dransfield team member, Lisa is continuing to expand Roland Dransfield and explore new paths for growth.  Lisa's commitment to purpose-driven work is exemplified by Roland Dransfield's “We Built This City” podcast, a podcast series which hears from  Mancunians, born, bred and adopted, who put the heart into Greater Manchester. The podcast has been nominated for Best Business Podcast by the  prestigious British Podcast Awards and celebrates stories of determination, loyalty, and diversity across culture, arts, politics, sport, music and  business. Roland Dransfield's other recent award wins include PR & Marketing Agency of the Year, Marketing Personality of the Year (Downtown in  Business), Best PR/Social Agency Campaign (MPA), Small PR Agency of the Year (MPA), PR Agency of the Year (MPA) and Best PR Agency (The Talk  of Manchester). They are currently shortlisted for Prolific North Best PR Agency and Best Digital Campaign and Best Social Impact Award 2020  (Downtown in Business), among others. 25 years ago, it became apparent to Lisa that the only way to work somewhere that had suitable goals and values as an enterprise was to start it  herself. Almost immediately, her talent for creating relationships became apparent when Manchester suffered a devastating bombing. Lisa got  involved heavily in rebuilding the city centre and over the years has played a large part in helping to regenerate neglected parts of the city centre to  create the new key “pillar” neighborhoods that make up the city. As a result, Lisa has been at the forefront of the response to crises in her community,  and her commitment to social impact amongst the business community has driven her to help others to do the same.

Ricky Hatton is a British sporting icon who was known for his huge fanbase. Tens of thousands of supporters would flock to the Mancunians fights, whether it was home in Manchester or in Las Vegas, and they saw him fight the likes of Kostya Tszyu, Floyd Mayweather and Ricky Hatton. Here, in colourful detail, Ricky recalls the highs of his incredible career and the lows of a personal life that saw him contemplate suicide through his darkest days. Now the father to a young pro, Campbell Hatton, he also trains fighters and has maintained his place in the hearts of the nation as one of the best-loved fighters ever out of the United Kingdom.

Hello there! I am so pleased you're joining us today. In this episode, I'm talking with Lisa Morton. Lisa Morton is the CEO and founder of Roland Dransfield, one of the most established public relations and communications agencies in Manchester, England. For the last 24 years, Lisa has worked to forge meaningful, lasting business relationships that create both business growth and social impact alongside her team of award-winning strategists, journalists, creatives, digital, and social media specialists. Now with a London office and a partnership with an LA-based agency, of which the founder is a former Roland Dransfield team member, Lisa is continuing to expand Roland Dransfield and explore new paths for growth. Lisa's commitment to purpose-driven work is exemplified by Roland Dransfield's “We Built This City” podcast, a podcast series that hears from Mancunians, born, bred, and adopted, who put the heart into Greater Manchester. 25 years ago, it became apparent to Lisa that the only way to work somewhere that had suitable goals and values as an enterprise was to start it herself. Almost immediately, her talent for creating relationships became apparent when Manchester suffered a devastating bombing. Lisa got involved heavily in rebuilding the city centre and over the years has played a large part in helping to regenerate neglected parts of the city centre to create the new key “pillar” neighborhoods that make up the city.  As a result, Lisa has been at the forefront of the response to crises in her community, and her commitment to social impact amongst the business community has driven her to help others to do the same. In this episode, we discuss: - The power you using your leadership platform for good - What it means to plant a tree you cannot see - The importance of leaving a leadership legacy - Why values are important in your leadership - The power of leadership purpose You can contact Lisa at: Website: www.rdpr.co.uk Instagram: @roland_dransfield Twitter: @rdprtweets Podcast: We Built This City   Want more from Dr. Robin? Sign up for a free "Unlock Your Zone of Genius" strategy session at https://www.robinlowens.com/gift OR  Download your free guide today! "Unlock Your Zone of Genius: #1 Key to Discovering Your Leadership Purpose" at www.RobinLOwens.com   Thank you for listening! Be sure to follow the show so you don't miss the next episode! You can connect with Dr. Robin on LinkedIn  or Facebook or contact me via email at: robin@purpose-based.com You can read more about Leadership Purpose and my upcoming book on my website at: https://www.robinlowens.com/ Talk to you soon!

Lisa Morton returns with more of the incredible people who have put the heart and soul in to the iconic city region of Greater Manchester. Find out who is the first guest of the new season. Manchester is known around the world for music, sport, art, culture, tv, food and much much more. In these conversations with inspirational Mancunians - born, bred or adopted - Lisa Morton is on a journey to discover what drives them. What are their values? What is their purpose? And what is their legacy?  Most of all - what can we learn from people who work to "plant trees they will never see?"  In Season 2 you met Mancunians like boxer Sam Hyde; fitness guru, actor and presenter Gemma Atkinson; poet Lemn Sissay, and the former and current CEO of Manchester City Council: Sir Howard Bernstein and Joanne Roney OBE.  This season features many more of the inspiring stories that have built this city, at a time when we are rebuilding this city.  Thank you for listening to We Built This City - the new season launches on September 9th and we can't wait to share our next set of incredible Mancunians. 

The first on location podcast in 14 months! The guys catch up about Mikey's love for V-Tubers, a vague attempt at football commentary and Jon tells a tale (or 10) about some lovely Mancunians. This season is gonna be huge, so be sure to tell your friends! Need more Animus? Follow us on Instagram or join our Discord Community to get involved! Instagram @animuspodcast @mikeyshujinko @jonnyhawkwind Discord - https://discord.gg/GwJkA5TB Email shout@animuspodcast.com

We'll get back to dancing on tables again.  As series two of We Built This City comes to an end host Lisa Morton looks back at the stories and values that have been shared by the fifty-one Mancunians that have joined her on the show, reflecting on how the city has coped this past year and looking ahead to a time when Mancs can come together once again. 

“If you've run a five-minute mile, you know that there's a chance you can probably do a four and a half minute mile. You're not going to go backwards. So, I believe once you conquer that self-belief and truly believe in yourself, anything’s possible and you don't go back then." Sam Hyde’s ability to believe in himself has seen him achieve incredible amounts of success. From an amazing professional boxing career to running his own gym, Nowhere 2 Hyde, to launching a property company, Sam, at age 27, has already created an impressive legacy.  His success is underpinned by hard graft and a determination to give back to his local community of Sale, Greater Manchester. In this episode, discover alongside Lisa Morton, the power of having self-belief and passing on that sense of self-belief to others.   We Built This City is a series of conversations with some of the amazing Mancunians - born, bred or adopted – who put the heart into modern Manchester. A celebration of the human grit, determination and love found throughout the city, these episodes will lift you up, make you laugh and inspire you to leave our city in a better place. _ _ _ _ _Your host, Lisa Morton, started PR company Roland Dransfield in 1996, one month after the fateful IRA bomb that tore apart the city centre. From that point, the business, and its team members, have been involved in helping to support the creation of Modern Manchester – across regeneration, business, charity, leisure and hospitality, sport and culture. To celebrate the 24 years that Roland Dransfield has spent creating these bonds, Lisa is gathering together some of her Greater Mancunian ‘family’ and will be exploring how they have created their own purposeful relationships with the best place in the world.  Connect with Lisa and Roland Dransfield:Via Phone: 01612361122Via our websiteOn Instagram On Twitter  On Spotify Connect with Sam Via his websiteOn Twitter

“I've got determination and that determination will take me as many places as I want it to go. And I really feel, if we can have determination, we can transform our own world.” Founder of Tales to Inspire, Greater Mancunian, Krish Patel, is driven by his determination to transform our world for the better. This commitment to leading with empathy has resulted in incredible work that has impacted communities across the globe.  In this episode, discover alongside Lisa Morton, how seeing potential in yourself can be instrumental in overcoming obstacles, leading a purpose-driven life and creating a legacy to be proud of.  We Built This City is a series of conversations with some of the amazing Mancunians - born, bred or adopted – who put the heart into modern Manchester. A celebration of the human grit, determination and love found throughout the city, these episodes will lift you up, make you laugh and inspire you to leave our city in a better place._ _ _ _ _Your host, Lisa Morton, started PR company Roland Dransfield in 1996, one month after the fateful IRA bomb that tore apart the city centre. From that point, the business, and its team members, have been involved in helping to support the creation of Modern Manchester – across regeneration, business, charity, leisure and hospitality, sport and culture. To celebrate the 24 years that Roland Dransfield has spent creating these bonds, Lisa is gathering together some of her Greater Mancunian ‘family’ and will be exploring how they have created their own purposeful relationships with the best place in the world.  Connect with Lisa and Roland Dransfield:Via Phone: 01612361122Via our websiteOn Instagram On Twitter  On Spotify  Connect with Krish: Via his website On LinkedIn

This week The BBL Show reviews 3 BBL Cup Games! Up first, the B. Braun Sheffield Sharks handed the London Lions their second loss of the 2020-21 season on Friday night. Vince Macaulay's capital side were hoping to bounce back following their recent overtime loss to the Newcastle Eagles. Despite an encouraging late comeback, the Lions fell short, with the Sharks picking up the 70-61 victory. Jay and Drew welcome a special guest, former Plymouth Raiders coach Gary Stronach! Jay catches up with Gary to see what he's been up to since he hung up his clip board 10 years ago. Hardcore BBL fans may remember that Gary gave Drew his first professional opportunity back in 2005. If not for Gary, England may not have become the foundation for Drew's professional basketball career. Thanks to Gary for being a change agent for countless careers in the BBL! Gary also sticks around with The BBL Show team to review the final two games of the weekend. Homecourt advantage was non-existent on the third gameday of the BBL season as in both the Newcastle Eagles vs. Leicester Riders and the Manchester Giants vs. Cheshire Phoenix games the victory went to the visiting team…leaving the taste of defeat with the Riders and Phoenix for the first time this season. Newcastle handed the Riders their first opening day loss since 2006, in a game that only saw 200 points in total, 98-102. Whilst the North-West derby between Cheshire Phoenix and Manchester Giants saw the Mancunians pick up a 92-98 victory. Newcastle now extends its lead at the top of Group 3, whilst Manchester sits in first place of Group 2. --- Support this podcast: https://anchor.fm/bblshow/support

For the first time the opening event of the Manchester International Festival isn't a big show or concert, instead it's a large-scale public event, What Is The City But The People, starring Mancunians. We hear from some of those selected to represent their city, and Jeremy Deller, the artist behind the commission, discusses making art for the public with the public. A Man Called Ove was a surprise international bestseller in 2014. The book, which depicts the effect of new neighbours on a grumpy middle aged man called Ove, has now been made into a film in the book's original language, Swedish. Briony Hanson reviews.In 2015 Kenneth Steven, a poet known for writing about the wilds of Scotland and the distant past, started writing a novel set five years hence. His story revolves around terrorist atrocity, retaliation from the far right and a fractured society. He talks to Samira Ahmed about his prescient book, called 2020.The Art Fund Museum of the Year is the world's biggest museum prize and back in April we revealed the finalists in a special programme from The British Museum. The overall winner will be announced next Wednesday but on the run up to the ceremony Front Row will be looking at each of the five shortlisted finalists. Tonight, photographer Martin Parr and art collector Tim Sayer share their appreciation for The Hepworth Wakefield.