Podcasts about marry

Les propos exprimés dans ce podcast relèvent d'expériences et d'opinions personnelles dans un but de divertissement et ne substituent pas les conseils d'un.e sexologue ou autre professionnel de la santé. Cette semaine sur le podcast, on vous sort notre show à thématique bachelorette party enregistré le 19 janvier dernier à Gatineau avec Alice & Gabrielle Marion. Au programme: - Un cours de pole dance par Alice - Un F*ck, Marry, Kill extra SPICY - Un vérité ou conséquences version Pole dance - Des témoignages d'histoires de bachelorette - Le désormais célèbre segment "Connais-tu ton Sexe Oral" Pour suivre Alice https://www.instagram.com/lustforalie/ Pour suivre Gabrielle: https://www.instagram.com/it5g4b/  Le podcast est présenté par Éros et Compagnie Utiliser le code promo : SEXEORAL pour 15% de rabais sur https://www.erosetcompagnie.com/ Les jouets dont les filles parlent: https://www.erosetcompagnie.com/page/podcast  Pour collaborations: partenariats@studiosf.ca Pour toutes questions: sexeoral@studiosf.ca Pour suivre les filles sur Patreon: https://www.patreon.com/sexeoralpodcast Pour contacter les filles directement, écrivez-nous sur Instagram: https://www.instagram.com/sexeoral.podcast/

Lolipops, the Law, and Coitus: Greg considers sex in a marriageless heaven.  Episode 1277 Greg's new book: Inspired Imperfection Dan's new book: Confident Humility Send Questions To: Dan: @thatdankent Twitter: @reKnewOrg Facebook: ReKnew Email: askgregboyd@gmail.com Links: Greg's book:"Crucifixion of the Warrior God" Website: ReKnew.org  

What does it really mean to live a “balanced” life?In today's powerful episode, Cam sits down with Dr. Travis Parry—father of eight, author of Achieving Balance and Marry and Grow Rich, and founder of the Make Time Institute. Together, they unpack the tension every driven dad feels: chasing success while trying to stay connected at home.Travis shares his journey from aspiring pilot to business owner, sparked by the sudden loss of his father, and how that moment redefined his purpose. You'll hear a fresh perspective on balance—not as perfect time allocation—but as intentional alignment with your highest priorities.From managing family finances with your spouse to the real reason most entrepreneurs resist delegation, this conversation delivers wisdom every dad needs.Key Takeaways:Why balance isn't about perfection—it's about prioritizing what matters most.How unresolved money beliefs are silently hurting your marriage.The three steps to financial unity with your spouse (hint: it starts with psychology).Why “grinding now for balance later” is a myth that destroys families.A practical framework for sustainable growth without losing your health, marriage, or purpose.“Balance is a feeling. When you're living your highest priorities, you feel fulfilled—regardless of the chaos at work.” – Dr. Travis ParryShare your thoughts in the comments—what resonates most with you?Explore The DMD community, coaching programs, and FREE resources designed to help you lead with purpose and create lasting impact:Get Cam's Weekly 5-Minute Newsletter for Busy Dads, the Balanced Dad Blueprint: Balanced Dad BlueprintFree Resource – DMD Time Machine: www.dadsmakingadifference.caJoin the Brotherhood: www.dadsmakingadifference.caOther Ways to Connect, Follow, and Engage:WebsiteFacebookInstagramTwitterLinkedInYouTube

The Knicks have a new candidate to add to their list of coaching candidates & we run through an edition of Cuddle, Marry, Trash! Learn more about your ad choices. Visit podcastchoices.com/adchoices

You asked and wow, did Schwartzy answer! Marriage & Katie Maloney, and was VPR to blame for the divorce? What would one more season of VPR have looked like for everyone? Lala & Schwartz ever a thing? F, Marry, Kill (Lala, Scheana & Rachel), and does Tom have another bar in him? Plus, kids, religion, day-drinking, and Detox Retox! Listen to Detox Retox with Tom Schwartz: https://open.spotify.com/show/5jecjaqQBvxidEvJo7KGwJ GTL Bonus video episodes available Mondays at 9am Pacific on YouTube: https://youtube.com/@GiveThemLalaPodcast?si=9oETguBpysJbttBz Learn more about your ad choices. Visit podcastchoices.com/adchoices

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

By the world's standards, Christians make some audacious truth-claims about everything from morality and virtue to sexuality and marriage. Throughout this series, we will explore five such claims, and each week, you - the congregation - will have the chance to voice your own opinion by answering a simple survey. At the start of every message, we will share the poll results, and compare our congregation's opinions to what the Bible has to say. Join us every Sunday in June at The Story Church as we fact-check five controversial Christian claims!

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Want to join us on the podcast?Fill out this form to be part of a future episode and ask your question live! https://form.jotform.com/250853154368158 Lose Fat With My Clubhouse App HERE  https://theclubhouse1.lpages.co/erfclubhouse-app-info/ Lose Fat With Personalized 1:1 Coaching HERE https://theclubhouse1.lpages.co/1to1-coaching Free Calorie Calculator  https://ericrobertsfitness.com/free-calorie-calculator/ 20% Off Legion Athletic Supplements Code “ERIC” HERE https://legionathletics.rfrl.co/qj2dy Youtube Channel https://www.youtube.com/@ericrobertsfitness  In this episode, Sophie and I break down the real reasons people struggle to reach their fitness goals. We talk about the power of mindset, the role of accountability, and how shifting from seeking motivation to taking consistent action creates lasting change. We also explore the fear of failure and why embracing discomfort is essential for personal growth.

The 2024/25 season is officially in the books — and it's time to break it all down in The Black Eagles Podcast's ultimate Beşiktaş season recap! From moments of brilliance to brutal lows, we cover it all.

Kip Moore just put out his new album 'Solitary Tracks' in February, but in this episode of Countrykoorts he admits that he already has a new album ready to record. And there's a song on there that he really feels good about. ‘I hate to put it this way, but this song feels like a thing that really could catch a lot of steam', says Kip. Nashville feels like a highschool, he'll never plays songs in front of business people or record an album with more than 13 songs again. His upcoming album will have nine or ten songs. An honest conversation with an approachable artist that has a strong character and a beautiful soul. Keep it up, Kip! 

Corinthians

Buckle Up, it's a roller coaster episode as Trouble maker Visha returns to the backyard and International sensation Gbenga (Mc Gabriel), makes his debut.  We celebrate father's day, Gbenga breaks down why emcess don't get married, Kendrick performs in Toronto while Davido pulls out of upcoming Stadium Tour with 50 Cent, We discuss bare minimum gestures, how daylight is underrated and more on this episode.Please, Rate, Like, Comment & Share.Send Fam mails to thetalkativex@gmail.com or HEREHappy Fathers Day - (6:46) Gbengas no dey Marry - (14:47)Kendrick in Toronto - (32:50)Daylight is underrated (46:45)BET AWARDS (51:48)Davido pulled out of Stadium tour with 50 Cent  (54:22)Bare Minimum vs Princess Treatment (1:08:00)If women steal Hoodies, then men steal ......(1:34:50)Take your Flowers Bro (Being an Emcee) (1:39:35) Father sues his Son (1:50:45)

John Barklow - a seasoned outdoorsman and 26-year U.S. Navy veteran. A diver by trade, he spent most of his career supporting Navy Special Warfare, often working with elite SEAL teams. Much of his time was spent in Kodiak, Alaska, training SEALs in cold-weather survival and night movement through technical terrain, known as Cliff Assault. After his service, John joined SITKA Gear, applying his military expertise to develop advanced clothing systems for hunters and outdoorsmen. Join us for a conversation about John's experiences with helping grow the Sitka brand, the succession of hunting gear and how the gear has changed, some of John's greatest hunt stories, and more! Follow along: Instagram: https://www.instagram.com/cameronrhanes Twitter: https://twitter.com/cameronhanes Facebook: https://www.facebook.com/camhanes/ Website: https://www.cameronhanes.com Follow John Barklow: https://www.instagram.com/jbarklow/  Follow Sitka: https://www.instagram.com/sitkagear/  Thank you to our sponsors: Ketone IQ: https://www.ketone.com/Cam use code CAM for 30% off your first subscription Sig Sauer: https://www.sigsauer.com/ use code CAM10 for 10% off optics Montana Knife Company: https://www.montanaknifecompany.com/ Use code CAM for 10% off  Black Rifle Coffee: https://www.blackriflecoffee.com/ Use code KEEPHAMMERING for 20% your first order Hoyt: http://bit.ly/3Zdamyv use code CAM for 10% off MTN OPS Supplements: https://mtnops.com/ Use code KEEPHAMMERING for 20% off and Free Shipping Timestamps: 00:00:00  Montana Knife Company Video Series & a Unique Perspective 00:04:28  John's Background (the NAVY & Teaching Survival Skills) 00:11:17  Understanding the Concepts in Gear 00:16:12  The Great Equalizers: Testing Guys in the Field 00:22:20  Survival Exercises 00:27:09  Finishing School for BUDS 00:29:07  Peer Reviews 00:31:56  Ad Break (Ketone IQ & Sig Sauer) 00:33:56  Diving & Getting into Hunting 00:36:18  When John got into Hunting 00:38:56  John's Most Memorable Hunt 00:45:52  Hunting Mountain Goats 00:48:53  John's Brown Bear Hunt 00:54:59  High Stakes in Hunting & Memories from the Hunt 00:59:31  John's Buffalo Hunt 01:08:48  Takeaways from John's Hunting Stories 01:13:10  John's Best Elk Hunt Story 01:18:35  Hunters John Looked up to 01:22:03  How Much the Hunting Industry has Changed 01:29:03  Failure: The Foundation that Built Cam's Hunting Career 01:30:51  Celebrating Success in Hunting 01:32:29  Measuring Success in Hunting 01:33:47  The Succession of Hunting Gear & Clothing (Down) 01:37:10  What's Next for GORE-TEX Gear 01:42:29  Small Adjustments in Gear Make a Big Difference 01:44:44  Nobody Likes Being Cold 01:45:40  QA: F#$k, Marry, Kill: Backcountry Bowhunting, Diving, or Mountaineering? 01:46:48  QA:  For Sitka - is Mountaineering a Good Place for Inspiration? 01:50:34  QA:  If you had to Choose 1 Material or Textile to Use, What Would You Choose? 01:52:06  QA: How Would You Use High Pressure Situations to Help Develop Your Career Path? 01:54:21 QA: What's One Non Negotiable for Your Daily Routine? 01:57:06  Outro

Who is the front-runner to be the head coach of the Knicks? Plus, an edition of Cuddle, Marry, Trash & do you question Dave's dignity? Learn more about your ad choices. Visit podcastchoices.com/adchoices

Corinthians

6-15-25 | Have you heard some worldly wisdom and thought, “That's the worst advice I've ever heard!”?  The reason is, Biblical wisdom is often at odds with the wisdom of this world. In this sermon series, we will attack the advice the world gives with God's Word and choose to be led by the Holy Spirit.

Jess is joined by standup comedian LIZ GLAZER, days after making her Tonight Show debut! Topics — Liz quitting her law career to pursue comedy, her failed SoulCycle instructor audition, being married to a (lesbian) rabbi, the ghost of Joan Rivers uniting her with Judy Gold, transcendental meditation, 12 step programs & more!  Cult of Body & Soul on all podcast platforms & YouTube Watch Liz' special on YouTube IG: @jessxnyc | @lizglazer  

Welcome Back No Shame GANG!!!This week Tahoe, Traum and Yesssterday sit with Daj's HUSBAND Dru to talk why men want to get married, why the engagement process can be longer for some than others, how they deal with being gaslit by their partners, not feeling comfortable speaking on certain issues with their fiancees and why, being rewarded for telling the truth vs being condemned for it, why men get into monogamous relationships even though they dont consider themselves monogamous, and would they be cool with a woman you're interested in telling you that she's interested in your friend? Stay tuned for part two releasing this thursday or head to our patreon to listen to the whole episode ad free!! and ENJOY!!!!Socials:Dru@SheCallsMe_Sirr on Instagram and Twitter

In this episode of The Sarah Fraser Show, I dive into the finale of Season 19 of Sister Wives, which wrapped up with a four-part one-on-one special. I share my thoughts on the show's longevity and the producers' knack for keeping fans engaged, despite some repetitive content. We discuss Kody's comments about his sexual experiences and the ongoing dynamics between him, Robyn, Christine, and Janelle, including the luggage rack incident and Kody's obsession with looks. Christine's candid remarks about her lack of respect in her marriage and the contradictions in Kody's statements about love are particularly noteworthy. I also touch on the women's current dating lives and their differing opinions on whether they would consider polygamy again.  Timestamps: 00:00:00 - Introduction and Season 19 Finale Overview 00:10:00 - Kody's Sexual Experience and Relationships 00:15:00 - Kody and Robyn's Love Story 00:30:00 - Meri and Janelle's Dating Lives MY Go Big Podcasting Courses Are Here! Purchase Go Big Podcasting and learn to start, monetize, and grow your own podcast. Use code DAD15 for 15% OFF until 6/30/2025 **SHOP my Amazon Marketplace - especially if you're looking to get geared-up to start your own Podcast!!!** https://www.amazon.com/shop/thesarahfrasershow Show is sponsored by: Download Cash App & sign up! Use our exclusive referral code TSFS in your profile, send $5 to a friend within 14 days, and you'll get $10 dropped right into your account. Terms apply Horizonfibroids.com get rid of those nasty fibroids Gopurebeauty.com science backed skincare from head to toe, use code TSFS at checkout for 25% OFF your order Nutrafol.com use code TSFS for FREE shipping and $10 off your subscription Quince.com/tsfs for FREE shipping on your order and 365 day returns Rula.com/tsfs to get started today. That's R-U-L-A dot com slash tsfs for convenient therapy that's covered by insurance. SkylightCal.com/tsfs for $30 OFF your 15 inch calendar  Thrivecosmetics.com/tsfs Brighten a mom's day—especially if you're that mom. Go to thrivecausemetics.com/TSFS for 20% OFF your order Warbyparker.com/tsfs make an appointment at one of their 270 store locations and head to the website to try on endless pairs of glasses virtually and buy your perfect pair Follow me on Instagram/Tiktok: @thesarahfrasershow   ***Visit our Sub-Reddit: reddit.com/r/thesarahfrasershow for ALL things The Sarah Fraser Show!!!*** Advertise on The Sarah Fraser Show: thesarahfrasershow@gmail.com Got a juicy gossip TIP from your favorite TLC or Bravo show? Email: thesarahfrasershow@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Corinthians

Erick has a Switch 2, but Zack didn't get his Nintendo Switch—and there's a reason why. Zack told Erick he should try Wet Lemon Pepper wings instead of the regular ones he usually has. Erick talked about what he did last Sunday, and you'll find out why we didn't have a show. Erick was watching Denzel Washington action movies, including one where an actor who usually plays a good guy was the villain. Zack brought some beef jerky for Erick to try on the show while he answered F-k, Marry, Kill questions. All of that and so much more on today's show.     Links: The Podcast IG Erick Feiling Website Erick Feiling IG Zack Stack IG Comedian Erick Feiling

In this EPISODE I'm sharing on: I'm answering your dating questions Wife In Waiting - my 12 month Group Coaching Program that shows you how to date your husband in 90 days and commit to him in 6 months Opens on June 28 right after the MEET AND COMMIT TO YOUR HUSBAND IN 6 MONTHS WEBINAR Register here to attend: https://www.tolufalode.com/meet-your-husband

Whether it's scaling down, moving up, or diving into the home-buying market for the very first time, people are navigating a wide range of housing journeys. In this episode, we sit down with real estate expert Kim Primus to break down the issues, challenges, and opportunities in the real estate market today. If you are an aspiring investor, buyer or homeowner, you don't want to miss this one! Find Kim on Instagram @kimprimusnjrealtor

Show Open 06.14.25 ⚾

Dash and J.D. discuss Ciara interrupting Jim Jones's interview, Tyler Perry's BET awards speech and Nicki Minaj‘s controversial verse on Lil Wayne‘s album.

See omnystudio.com/listener for privacy information.

What does it really mean to be led by the Holy Spirit in relationships? In this episode, Adam and Ashlee—joined by pastors and marriage coaches George and Tondra Gregory—dig into what spiritual discernment looks like when you're choosing who to marry, how to navigate conflict, or just trying to figure out if you're on the same page as your spouse. It's not just about hearing an audible voice from heaven—it's about walking in daily partnership with the Holy Spirit, especially when your emotions, opinions, or logic want to take the lead.Together, they break down common misconceptions about what being “Spirit-led” means, why timing matters, and how to build a relationship rooted in surrender instead of self-will. Whether you're dating, married, or in a season of waiting, this episode offers a real, biblical perspective on what it looks like to let God lead your love life.--Join our AFTER I DO community for Exclusive Content & community!www.afterido.app--Have a question about relationships? Ask us by clicking the link below!https://patria.church.ai/form/BeyondIdo_BEYOND I DO: MARRIAGE COURSEhttps://beyondido.thinkific.com/courses/beyond-I-do--Connect with Adam & Ashlee Mesahttps://instagram.com/amesa?igshid=YTQwZjQ0NmI0OA==https://instagram.com/ashleemesa?igshid=YTQwZjQ0NmI0OA==--Connect with George & Tondra Gregoryhttps://www.instagram.com/georgeagregory/https://www.instagram.com/tondragregory/--Don't forget to stay connected with us: Instagram @beyond.idoTik Tok @beyond.ido--We've entered into an exciting new partnership with renowned jeweler Erin Barnett in Los Angeles. This partnership perfectly aligns with our love for relationships and jewelry. Whether you're looking for a special gift, an engagement ring, or a wedding band, Erin has you covered. And as part of the Beyond I Do community, you get exclusive discounts and the opportunity for a private showroom experience. It's time to celebrate your love with exquisite jewelry from our partner, Erin Barnett.How to get the exclusive discount?SEND HIM A DM and tell him you are part of the BEYOND I DO family or mention Adam Mesa. https://www.instagram.com/by.barnett/?hl=enhttps://bybarnett.com

In the modern dating climate, we sometimes wish relationships came with a manual. In the 1920s, ladies could use one, written by the author of the previous episode's “A Woman You Should Not Marry”. How does it compare? Is Reinhold Gerling, to quote Mr Darcy, equally “severe upon his own sex”?  ________________  If you enjoy the podcast and want to support what I'm doing, check out my Patreon!  https://www.patreon.com/textory 

Marry into the butt. Third Party Body Parts. South Africa on the Tip of the Thing. Penguistan. Horking Prizes From Your Nose! Are there any fantasy epics filmed in New Zealand, cuz I, like, really wanted to know. Get in losers. We're going to Finland. Ice on a cold tin roof. Three-way couch. More than four Fantastic Fours. Good ol' fashioned farmer blow. You're-Born-with-It Holes. Transorbital intubation. All that and a can of chips with Tom. Home Box Office Positive with Nicole and more on this episode of The Morning Stream. Hosted on Acast. See acast.com/privacy for more information.

Marry into the butt. Third Party Body Parts. South Africa on the Tip of the Thing. Penguistan. Horking Prizes From Your Nose! Are there any fantasy epics filmed in New Zealand, cuz I, like, really wanted to know. Get in losers. We're going to Finland. Ice on a cold tin roof. Three-way couch. More than four Fantastic Fours. Good ol' fashioned farmer blow. You're-Born-with-It Holes. Transorbital intubation. All that and a can of chips with Tom. Home Box Office Positive with Nicole and more on this episode of The Morning Stream. Hosted on Acast. See acast.com/privacy for more information.

Read any good books lately? On this episode of “613 Books” podcast, producer and host Heather Dean welcomes back several authors to the podcast, this time to get their answers to the question, “What's on your reading table?” First we'll hear from Devorah Kigel, the author of her newly-released “Marry a Mensch.” Heather also checks in with Rifka Lebowitz, the author of “(title)” for her reading table selection, and later on with award-winning writer and Mishpacha Magazine contributor, Barbara Bensoussan whose recent book is a cozy mystery called “Seven Blessings and a Murder.” Subscribe to “613 Books Podcast” and discover new books every week! = = = Show Notes: Featured Guest, 1st Segment: Devorah Kigel Devorah's Reading Table Selection: “The Five Love Languages: How to Express Heartfelt Commitment to Your Mate” by Gary Chapman To Purchase “Five Love Languages” from the author: https://5lovelanguages.com/store Devorah Kigel's website: https://www.devorahkigel.com/ To Purchase your copy of Devorah's Book “Marry a Mensch:” https://www.devorahkigel.com/marryamensch = = = = = = = Featured Guest, 2nd Segment: Rifka Lebowitz Rifka's Reading Table Selection: “One Day in October” by Yair Agmon and Oriya Mevorach To Purchase “Reading Table Title” on Amazon: One Day in October: Forty Heroes, Forty Stories Contact Rifka Lebowitz: https://rifkalebowitz.com/ To Purchase your copy of Rifka's Book “Smarter Israeli Banking 2.0” on Amazon: https://www.amazon.com/Smarter-Israeli-Banking-Rifka-Lebowitz/dp/9655987965 For information about Living Financially Smarter in Israel Conference in Jerusalem on Sunday, June 15, 2025 from 9:45 AM – 4:00 PM): https://www.nbn.org.il/lfsii-conference/ PLEASE NOTE: This Conference is SOLD OUT. Meanwhile, buy Rifka's book, and join her Facebook group, “Living Financially Smarter in Israel” = = = = = = = Featured Guest, 3rd Segment: Barbara Bensoussan Barbara's Reading Table Selection: “House on Endless Waters: A Novel” by Emuna Elon To Purchase from “House on Endless Waters” on Amazon: https://www.amazon.com/House-Endless-Waters-Emuna-Elon/dp/1982130229 Contact Barbara Bensoussan through her website: https://barbarabensoussan.com/ To purchase your copy of Barbara's book, “Seven Blessings and a Murder” on Amazon: https://www.amazon.com/Seven-Blessings-Murder-Barbara-Bensoussan/dp/B0DGGBBHHY For info about the email community for Jewish Women of Wisdom: https://jewishwomenofwisdom.org/ To Contact Jewish Women of Wisdom: hello@jewishwomenofwisdom.org = = = Show Announcer for 613 Books Podcast: Michael Doniger Michael's contact info, voice-over samples, and demo: https://michaeldoniger.net/en/home/

Degens Andy S and Brandon Bombay light the fuse for a special Cruisemas edition of the podcast as they discuss one of the greatest action movies of all-time, 'Mission: Impossible - Fallout.' Bombay jumps into action by remembering a time when a gorgeous girl hit him with a surprisingly hard kiss, reminiscent of Vanessa Kirby grabbing Ethan Hunt. Then Andy recalls utilizing MoviePass when this was in theater and seeing this flick countless times while being unemployed — and severely under the influence. Then the fellas chat about this instant classic, and make a motion for 'Fallout' to not only be taught in every classroom, but to be requisite viewing for all children across America. This leads to discussing their favorite action set pieces, and having difficulty deciding between the HALO jump, the inner city motorcycle chase, and the bonkers helicopter flight chase sequence. Choosing between those is almost as difficult as the game of Marry, Marry, Marry between the enchanting lightly-freckled trio of Rebecca Ferguson, Vanessa Kirby, and Michelle Monaghan. Simon Pegg's franchise-best comedic chops get some love, as do Ving Rhames' hats. Even Henry Cavill finds his calling as a mustachioed heavy, who can't comprehend why Cruise's Hunt won't just die. Of course, it's all held together by cinema's savior who made the ultimate sacrifice by breaking his ankle Jackie Chan 'Rumble in the Bronx'-style when he jumped out of a window for our entertainment. The greater the suffering, the greater the podcast. Merry Cruisemas to all! 

Not Another Spooky Podcast is a horror podcast hosted by spooky besties Mandy Spooks and Rabbit Loves Horror. Each week, we review a horror movie and dive into spooky chats inspired by its themes—from haunted history and true crime to Halloween vibes and horror pop culture.This week's freshly popped horror movie review covers M3gan (2022).

President Trump and House Speaker Mike Johnson are being vocal about correcting lies that the Democrats are making about the "Big Beautiful Bill."  The Trump Administration has make it clear that they will not stand for activists judges.  Minnesota Governor, Tim Walz is calling for Democrats to be more meaner.  The investigations are continuting in Joe Biden's health and who used the auto-pen to sign documents for him.  Democrats in California are starting "Blue M.A.G.A." .  A Florida man gets caught by the Secret Service for trying to break into Mer-a-lago, who says he wanted to marry President Trump's granddaughter.  -Thank you for listening!-  

We live in a world of countless decisions—some small, some life-altering.

We live in a world of countless decisions—some small, some life-altering.

For more information regarding The Clearing Church, visit our website by clicking hereFollow us on Instagram today by clicking hereWatch the message on our YouTube channel here

 Karen Saves The Universe: Part 2Can a strange marriage survive?Based on a post by LingeringAfterthought, in 3 parts. Listen to the Podcast at Steamy Stories.I want you, Red. I need to make you mine; mine forever. I've never felt like this before; I know I never will again. Marry me." Cal pleaded."I;” Karen murmured, glancing around their group to make sure she wouldn't be overheard, "I don't know what to say. You're wonderful; and you've done so much for me, but this has all been so fast. We're still just getting to know each other; and half the time it doesn't even make sense to me why you would want me; but I; I just; can I just finish school?" she asked."How you can even think about school when someone like me is ready to give you everything you ever wanted, to take care of you completely, it's just crazy;” Cal murmured, sliding his hand up between her legs and brushing along the edge of her panties.Karen blushed and squeezed her thighs together, looking around embarrassed. "I just; I just worked so hard to get in. Juilliard's been my whole life for so long," she said, looking up into his eyes pleading.Cal looked at her through hooded eyes, "Keep looking at me like that and we won't be waiting for anything." His eyes heated as he pulled her closer, dominating her with a hungry kiss while she squirmed self-consciously. The couples around the table smirked as Cal grew even more bold in his explorations.When he released her, Karen hid her face in his neck as the others cheered. They were his friends, happy to see him happy. Cal glanced at a waiter nearby and gestured for more drinks for the table. The opening act on the stage below finished its last set, but the crowd refused to let the show end. Cheers filled the club, with the crowd demanding an encore.Castor, the lead singer, waited for the crowd to quiet with a grin, then his eyes drifted upward and his face lit with excitement. "Thank you, thanks guys, you're a great audience. For an encore, we'd love to give you a taste of our next album. We've been banging it out in the studio and I can't tell you how excited we are for it to be released. Problem is, it's got this insane keys part that can't be played by just anyone, but I think I see our studio angel in the audience tonight. Kare, baby; will you come help us out?" he asked, reaching upward to where Karen sat.Cal's friends turned to look at Karen in surprise. "You play? Like, for real?" Cal's friend Tony yelled across the table to her in surprise. Karen nodded in embarrassment, glancing at Cal.Everything suddenly froze as Karen rose and walked over to the table, standing over her younger self looking at Cal's face. "Look, you little dummy; look at it! It's right there!" she yelled at Young Karen."What's there?" Holland asked, craning his neck to try to see what she was yelling about."Cal, for all his big words, rich gifts, and grand gestures; he hadn't told his friends anything about me; because nothing of who I really was mattered to him. Only the things he wanted about me mattered to him ; that I was shy, and submissive, and just grateful to have someone pay attention to me. And here ; look at his face! It fell!" she yelled, gesturing to where Cal sat, leaning back in his chair."His face appears still to be attached, to me;” Holland said, doubtfully."It's just a phrase. His face didn't actually fall, but his eyes; look, he's still smiling, but you see it in his eyes. He's not happy for me. He's not happy because the moment stopped being about Cal and how he was the great boyfriend spoiling his new stupid girlfriend on her birthday. Once the moment became about me; that I was asked up on stage; that I could do something his friends admired; ugh, why didn't I see it?" she moaned."What happened?" Holland asked.Karen rubbed her eyes with her hand. "I was young. I was asked to do something. I was asked for help. I was a stupid ninny that had absolutely no ability to say 'no' without thinking the world would end; so, I went up and played with the band.""Oh; was that bad?" Holland asked."No, it wasn't bad. It was a great song. I played well and I was just tipsy enough to not feel all the eyes that were looking at me, making my skin crawl. And you know; some part of me; I wanted to do it. I wanted to show myself that I could play for people; outside a quiet studio," Karen admitted. "Everyone always went on and on about how I needed to get over being so self-conscious and how it would hold my career back. That, and part of me wanted to show Cal's friends that I was more than just another girl in the long line of girls that he had gone through; that I was worth something.""Sometimes I wish our crew would see that I was worth something more;” Holland said, ruefully."Yeah; it's hard when you're young. You're dying to show the world what you're worth, how you're special, but they mostly just need you to work hard and do as you're told," Karen sighed, looking around the club. "Some people will never see what's special about you. They see what they want and they really don't care about the rest. It's those people that see who you really are; without wanting anything from you; those are the ones you need to hang onto."Karen turned her back on the club and the room re-formed into her Newark apartment. The intercom buzzed and Dana rolled out of bed to answer it. "What's up?" she asked."Hey; um, I don't have my keys. Can you buzz me in?" Karen's voice shakily asked through the intercom. Dana frowned in confusion and pressed the button to allow her entry. Soon, she opened the door after Karen's tentative knock."What happened, Kare? I thought you'd be gone all weekend," Dana said, taking in her roommate's appearance. Karen looked unharmed, but her face was puffy and her makeup was streaked from crying and trying to wipe it away."I; uh; I played at the club tonight. Castor Graham was the opening act and he asked me to come up for the encore, so I did.""You played in front of rowdy drunk people? That's fantastic! How did it feel?" Dana asked, offering her back for Karen to lean on while she took off her heels."I was scared; but after a while it was fun. The keyboard was facing the crowd and after a while I looked out over the people and; they looked happy. They liked it. It felt good, then.""God, I wish I'd been there. I'm so proud of you! What did Cal and the entourage say?""Um; I; don't know," Karen blinked and looked around the apartment. "When, uh; when I um; when I got back to the table, they were all gone." Karen wiped her eyes with the back of her hand and cleared her throat."Wait, what?" Dana said, her tone darkening like a storm cloud, threatening imminent destruction. "Say that again. You get called up on stage to perform, you play in front of all those people; like the freakin' keyboard genius you are; and when you got back, those motherfuckers were gone?""I; I think they were gone? The table was empty from what I could see; and the, uh, the security guy; he couldn't let me into the area. He really only knew Cal, and um;” Karen choked and turned her face away, trying to breathe through it and stop herself from crying."Karen; that's not; wait, how did you even get home?" Dana asked, unzipping Karen's dress and grabbing a pair of yoga pants for her."Well, my purse and phone were gone from the table, so I couldn't call anybody and I didn't have any money;” Karen choked. "The security guy was really nice and said I could use his MetroCard if I returned it, so;”"Oh, Christ On A Crotch-Rocket!" Dana yelled, throwing a sweatshirt at Karen, who caught it and pulled it over her head. "Kare. You gotta stop dating this guy. He's a piece of shit. Trust me. I didn't know it when I sent you over there to play, but he's walking excrement;""It's probably just a misunderstand;""And believe me, I'm sure he'll come back with some half-assed explanation, because that's what they all do;""And he tells me all the time that he;""Yeah. He ‘tells ‘; you pretty stuff. He ‘buys ‘; you pretty stuff. Problem is, words and money are nothing to him. Where the hell is he when you're walking home in fuck-me club clothes from the train station and trying not to lose your virginity, huh? Kare. I know you've been through hell, but you are worth more than this. You need a guy that walks you down the sidewalk and puts himself on the traffic side; just in case, because that's who he is. You deserve that. Don't you get it?" Dana asked, taking Karen's hair down and brushing it out, gently."Cal isn't; it's probably just; something;” Karen whispered, biting her lips closed.Dana stopped brushing and wrapped her arms around her roommate, squeezing her hard. "There is real love out there, Kare; and if you don't deserve it, I don't know who does. Someday, you're going to meet a guy that actually loves you and it's going to blow your mind when the games and bullshit are gone. It's like; when a guy is in love, gravity changes for them, or something;”Holland jumped up and pointed excitedly at Dana. "She's right! When I met the Zendayans, my tongue swelled up and;""Are you listening to my story at all, or are you just fantasizing about pretty girls?" Karen huffed."Um; both?" Holland replied, smirking. "I mean, you and Dana were really pretty; and there's just one bed here, and;"Karen shot him an exasperated look and he shrank back behind the bulkhead. "Anyway;” she said.The room dissolved and re-formed, both girls sleeping in the queen-sized bed they shared, morning sunlight streaming in through the dirty window, when the buzzer sounded. "Day, c'mon time to go," a man's voice sounded from the intercom. Karen's head peered out from under the blanket and she ran over to the intercom, tripping over some bottles of wine that they (mostly Dana) had consumed the previous night, trying to rid Karen of her birthday misery."Um; she's almost ready!" Karen replied, then ran to the bed and shook her hungover roommate awake. "Day, someone's here for you; they say it's time to go."Dana grunted and turned over, away from Karen. "Go do it for me; just say you're me again," Dana grumbled into her pillow.Karen swallowed nervously, but gamely grabbed Dana's dress, quickly got ready, and ran out the door. Upon leaving the building, she stumbled into the guy waiting outside. "Um; I'm ready! I'm ready! Dana Stevens. Thanks for waiting;” she panted.The man gave her a quick considering look, then walked her to a large extended-cab pickup truck that looked ridiculously out of place on the streets of Newark. "Miss Stevens," he said, opening the passenger side door and offering his hand to help her up into the vehicle."Thanks. Thank you;” she said, precariously climbing up the runner board in her heels until she settled herself up onto the seat."Just wait there, a bit," he said, after closing the door. Walking back to the building, he selected a key from his collection, opened the building door and walked in. Not long after, he emerged from the building carrying Dana over his shoulder and carrying a bag stuffed haphazardly with clothes. Opening the door behind Karen, he dumped Dana unceremoniously into the back seat and tossed the bag of clothes on top of her. Dana, still in her pajamas, put the bag under her head and turned away from the sunlight streaming into the cab."Dean, this is Karen. Karen, my brother Dean," Dana mumbled, as she draped a pair of sweatpants over her head to block the light."Oh; um, sorry," Karen said, flushing red as she glanced over at Dean's face. "I didn't mean to; um, I'll just go;""Lock the doors, and get us out of the city, Dean. She's coming with us," Dana ordered. "She's on asshole detox!"Karen jumped as the truck's doors locked and Dean wordlessly pulled out into the street and started out. She clasped her hands in her lap nervously. She hadn't packed anything. She had no phone. She didn't have time to let Dana drag her to West Virginia for a visit. Dana had been trying to talk her into coming with her to where she had grown up with her grandparents, but in the excitement of her birthday, Karen had forgotten the trip was this week. She knew better than to say anything, though. Dana wouldn't care, and Dean; who knew what Dean Stevens the brother would think. He didn't say much, but he obviously knew better than to argue with hungover Dana, which was something they had in common."She knows where we're goin?" Dean asked, checking his mirrors as he merged onto the freeway. Dana grunted in assent. "Why ain't she singin' it, yet?" he rumbled, seemingly amused."Because She's Not A Drunk College Kid, Idiot!" Dana howled, holding her head in pain.Dean smirked and started humming "Country Roads" to himself."I hate you so much;” Dana growled, pulling the bag of clothes over her head again. Dean only laughed.After a few miles of road, Karen looked at her roommate in the back seat, and unbuckled her seatbelt. She began to turn to lean over the front seat when Dean reached over and pushed her back down and pointed at her seatbelt. "Um sorry; I just;” Karen trailed off, horrified that she had done something wrong. She couldn't finish her sentence and sat back down, blinking back tears as she put her seatbelt back on.Dean glanced over, looking her up and down for a moment. With a sigh, he put his turn signal on and pulled off the road into a gas station at the next exit. "Do what you need to do," he said, curtly.Karen jumped up, turned around and loosely buckled the seatbelt across the sleeping Dana's hips, then turned, sat down again, and buckled her seatbelt. "Thank you," she mumbled. Dean turned to the back seat where his sister continued sleeping and his face softened. He looked at Karen a second time, sitting with her hands in her lap again, clenched like she expected a tongue-lashing from him for delaying the trip. His eyes drifted down to her feet, where her cold toes were turning pink in the strappy, uncomfortable-looking heels she wore when she came running out of the apartment building on his sister's fool errand. Reaching back, he grabbed a pair of thick socks that had fallen out of the bag of clothes and tossed them to her. Smiling gratefully, Karen removed the strappy heels and pulled on the warm socks as he pulled out onto the road again.The road stretched on. The scenery gradually becoming more rural, the traffic less crowded. Karen found herself relaxing and breathing more slowly as the land passed by. She occasionally glanced at the gas gauge and compared them to the passing road signs to try to discern when they might be pulling over to refill the tank. The third time she did it, Dean shook his head. "Bedford, hon," he chuckled. "You know, you could just ask me. I might be a longshoreman, but I don't bite.""Not like Dana, then," Karen replied, biting her lips so she didn't smile."Hm. Sounds like a story," he said.Karen nodded. "The first time we met, I was waiting to audition for our agency and I was almost going to leave, I was so scared. Day asked to see what I was playing and I handed her the music. Instead of looking at it, she took my hand and bit me. Said it was 'for luck,'" Karen said, laughing to herself."It worked, too. Kare needed to get of her head. She plays better when you throw her off balance, first," Dana said, rising to a sitting position and running her fingers through her hair."Is that so?" Dean asked, looking over at Karen."Yeah. I think too much. My teacher always said I played things perfectly, but he could hear me thinking about it the whole time. Day's a true performer, though. She doesn't think at all - she plays with her feelings, and that's what an audience connects with," Karen said, smiling proudly at Dana."Thoughtlessly playing with feelings; sounds about right," Dean said, chuckling when Dana punched him in the shoulder. "Speaking of, we're coming up on Bedford. Let me know if you need anything."Dana growled at this but said nothing as Karen blinked in confusion. Soon, Dean pulled off the interstate into a gas station and up to a gas pump. Dean hopped out of the truck and began filling the tank. After noticing the bug-splattered windshield, Karen changed back into her strappy heels and walked over to where the island held the squeegee and mop. Dean watched, bemused, as she diligently scrubbed the dried carcasses of insects off the glass while dressed to the nines. Karen finished and climbed back into the truck, only to have Dana grab her shoulder and start whispering in her ear and pointing at the convenience store. Karen, appearing distressed, blushed and said something back to Dana, who gestured emphatically.Dean kept watching as Karen seemed to screw up her courage, took her purse, and walked quickly into the store. He shot his sister a flat look. Dana only grinned, stretched, and put her feet up on the front seat. Shaking his head, he followed into the store."And what would you be needing all those for, hon?" the guy at the till asked while ogling Karen, who looked like she wanted to disappear under the rug."Um; it's uh;” Karen stammered."I need to ask for state regulatory purposes," the guy continued, as he put a large box of condoms on the counter and rang it up."They're for me," Dean said, as he tossed some drinks, chips and cookies on the counter. "Uncut and hangs to the left. Anything else the state needs to know about my cock?" The till guy cleared his throat and began ringing up the additional items and bagging them without further comment. Annoyed, Dean grabbed the bagged items in one hand and took Karen's hand in the other and left the store. "You know, you don't have to do everything my little sister tells you," he said under his breath as they walked to the truck."Then why'd you buy them? Seems like you can't tell her 'no' any more than I can," Karen replied, a little surprised that she had the guts to argue with him.Dean laughed, "I don't want her knocked up any more than you do." He helped her up into the truck and tossed the bag of items to his sister.Dana went digging through the bag and retrieved the box. "Wait a minute, these are just regular. Didn't they have lubricated?" she complained. Karen swallowed uncomfortably, searching for an answer as Dean pulled her seatbelt out and buckled it around her."Don't need lubricated if the guy does his job right," Dean said, grinning at her cheerfully. "Raise your standards and you won't need so many, either.""Hum; lower yours, and maybe you'll actually need some," Dana retorted, opening the package of cookies. Karen just shrank in her seat and covered her flaming cheeks as they pulled back onto the freeway.The scenery turned into wooded hills with mountains growing in the distance. Steering down the curved roads, Dean sighed quietly, a peaceful smile on his face. Karen leaned forward in her seat, trying to see everything as it passed, excitement lighting her face. Dana had fallen asleep again.Near evening, Dean turned the truck down a long, dirt road and reached behind him to shake Dana awake. "Watch for him, Day;” he said. Dana sat up, suddenly alert and scanning the darkening woods around them."What are we looking for?" Karen asked.

Welcome back to Stories From the River, where Charlie Malouf continues his conversation with Bradley Sullivan, the General Manager of the award-winning Albemarle Aces, for an in-depth discussion on leadership, motivation, and what it takes to build a high-performing retail team at Broad River Retail. Against the energetic backdrop of the Charlotte Motor Speedway, Bradley shares how his obsession with performance metrics, consistency in routines, and a deep investment in the growth of his Memory Makers have been the driving forces behind his team's repeated successes, including multiple top store awards and coveted cheeseburger trophies for sleep sales excellence. He highlights the importance of embodying the business, emphasizing the motto "be the business," and fostering a culture that values both results and personal connections. Bradley delves into the unique culture of the Albemarle Aces, describing it through the metaphor of poker—where patience, strategy, and embracing the hand you're dealt are essential to winning. He reflects on meaningful moments, like witnessing Memory Makers achieve personal financial milestones and seeing them feel at home in the store's nurturing environment. Motivated by the desire to create a legacy of excellence, Bradley stresses the importance of passionate leadership, the impact of teaching others to surpass their own expectations, and a love for "playing the game." The episode wraps up with Bradley sharing personal anecdotes about family, literature, and the comeback journey that's defined his return to Broad River, leaving listeners inspired to lead with heart and a competitive spirit. Additional resources: The Motive: Why So Many Leaders Abdicate Their Most Important Responsibilities by Patrick Lencioni - https://www.amazon.com/Motive-Leaders-Abdicate-Important-Responsibilities/dp/1119600456   The Outsiders by S.E. Hinton - https://www.amazon.com/Outsiders-S-Hinton/dp/014240733X   The Count of Monte Cristo by Alexandre Dumas - https://www.amazon.com/Count-Monte-Cristo-Wordsworth-Classics/dp/1853267333   Marry the Process, Divorce the Outcome: Lessons on Success with Keith Jones - https://youtu.be/z3autMe8m3Y   Broad River's Original Purpose Summit, Purpose 8:28 (held on 8.28.2019) - https://www.purpose828.com    Watch this episode YouTube:  https://youtu.be/4qfkK_n6mD4  Visit https://www.storiesfromtheriver.com for more episodes. Broad River Retail brought this show to you. Visit https://BroadRiverRetail.com                              Follow us on LinkedIn: https://www.linkedin.com/company/broad-river-retail

This is a free preview of a paid episode. To hear more, visit www.louiseperry.co.ukMy guest today is Benjamin Goldman, Assistant Professor of economics at Cornell University. We spoke about his research on marriage: why non-college educated Americans have seen plummeting marriage rates over the last century, how sex ratios affect dating cultures, how male "left tail" phenomena like joblessness and incarceration are affecting the marri…

Text the Bookcast and say "hi"!Welcome to Chapter 72!I've got an incredibly fun conversation for you this month with the folks from Goblin Booth Productions which is a media production company from Norman that moved into the world of publishing in May by releasing their first book - First Degree Magic by J.M. Linkhart. In this conversation, I'm joined by the author of First Degree Magic, Jessica Linkhart, (who also happens to be the creative director of Goblin Booth Productions) and two other members of the GBP crew - Jamie Sykes (who handles the business side of Goblin Booth) and Mitchell Lewis (Goblin Booth's art director and designer). We talk about First Degree Magic, how Goblin Booth got started, their work in the podcasting and audio space, the challenges and opportunities of independent content creation, and we get to the bottom of why they are called Goblin Booth. Connect with Jessica: InstagramConnect with Goblin Booth Productions: website | InstagramCheck out their podcasts: The Harrowing of Minerva Damson | Route 6.6 | Find the rest of their showsMentioned on the Show:The Goblin Emperor - Katherine AddisonThe Witchstone - Henry H. NeffTress of the Emerald Sea - Brandon SandersonDead Wake - Erik LarsonHow to Marry a Millioinaire Vampire - Kerrelyn SparksDaisy Jones & the Six - Taylor Jenkins ReidTomorrow and Tomorrow and Tomorrow - Gabrielle ZevinThe Midnight Library - Matt HaigTerry PratchettThe Hollow Places - T. KingfisherThe Old Kingdom Trilogy - Garth NIxSpinning Silver - Naomi NovikThe Curse of Chalion - Lois McMaster BujoldC.L. PolkRebecca RoanhorseStorm Front - Jim ButcherConnect with J: website | TikTok | Twitter | Instagram | FacebookShop the Bookcast on Bookshop.orgMusic by JuliusH

In this episode of 'Take It or Leave It', Meredith Masony and Tiffany Jenkins dive into personal experiences surrounding relationships, emotional intelligence, and parenting. They reflect on past relationships, the importance of asking for help, and the journey of self-discovery that often follows difficult experiences like divorce. ___ Join the Take it Or Leave it Podcast Patreon!: https://www.patreon.com/takeitorleaveitpodcast Be nonchalant about buying your next shirt: https://www.bonfire.com/chalant/ Order Tiff's Book: https://premierecollectibles.com/cleanmess Get your Laundry Lady scented or fragrance-free Laundry Sheets and Dishwasher Detergent sheets today!: http://laundrylady.co Learn more about your ad choices. Visit podcastchoices.com/adchoices

It feels like Aaron Judge is still getting better, but he needs to come through in the playoffs. Also, an edition of Cuddle, Marry, Trash! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Is marrying someone who's been divorced a recipe for disaster or a chance for a stronger, more informed partnership? CONQUER SHYNESS

Better to Marry, with Pete Chiofalo by Keller, Texas

In the third episode of "The Purpose of Marriage," Duane Sheriff explains that marriage is a sacred institution created by God for companionship and partnership, mirroring the relationship between Christ and the Church. In Genesis 2, the story of Adam and Eve, God states that it is "not good" for man to be alone. This story emphasizes our deep-rooted desire for companionship and partnership. The creation of Eve from Adam's rib symbolizes the unity and intimacy that God intended for marriage.Click for FREE offer ➡️https://pastorduane.com/the-purpose-of-marriage/

In episode two of "The Purpose of Marriage," Duane Sheriff discusses five common misconceptions about why people get married. In a survey, he discovered that people get married to be happy, to find their value or worth, to be complete, to get out of trouble, or simply as an experiment to see how it goes. These reasons go against God's intended design for marriage. No person, place, or thing can make you happy.Entering the institution of marriage in order to achieve happiness will actually ensure unhappiness. Instead, we are called to approach marriage from a biblical perspective and find our happiness, value, and completeness in Christ rather than in a spouse. Colossians 2:9-10 reminds us that in Jesus, all the fullness of the Godhead dwells bodily, and we are complete in Him. This spiritual foundation is crucial before entering into marriage. Click for FREE offer ➡️https://pastorduane.com/the-purpose-of-marriage/

On this week's bonus episode Sam and Pete tackle the ultimate Shag, Marry, Kill (featuring Theodore, Inspector Gadget, and Darth Vader), and chat to Aussie honeymooners who are flying across the world to see them at the O2 instead of lounging in The Maldives. Plus, expect fiery jelly cat opinions and their thoughts on the new phenomenon: Virgin Island.Listen by clicking 'Play' on Apple Podcasts, Spotify or wherever it is you're listening now.Make sure to subscribe, follow, rate and review. Find us on Instagram, TikTok and Youtube - @stayingrelevantpodcastTo get in touch with the podcast, please email hello@srproductions.co.uk (great e-mail, we know)PO BOX:SR ProductionsPO Box 81681LondonSW6 9SW Hosted on Acast. See acast.com/privacy for more information.

This episode is a conversation with my husband, Jeff, and our two teenagers Lucy and Finch. We're answering listener questions about family dynamics, living in LA, how the kids feel about their parents' careers, and what they picture for their futures. Other Tremaine family episodes:Ep 59: Marry the person you could quarantine with (the Tremaines wave hello from lockdown)Ep 69: 22 Things Out Family Watched in QuarantineBONUS: Tremaines Wave Hello From One Year of the PandemicEp 138: 10 Questions To Ask Your Kids (with Lucy & Finch)Ep 211: The Cell Phone Contract for TeensFULL SHOW NOTES HEREMentioned in this episode:Ep 255: Making R-Rated Art As A Mom (with Stacy Rukeyser)***SUBSCRIBE to 10 Things To Tell You so you never miss an episode!CLICK HERE for episode show notesFOLLOW @10ThingsToTellYou on InstagramFOLLOW @10ThingsToTellYou on FacebookSIGN UP for episode emails, links, and show notesJOIN Laura Tremaine's SECRET SUBSTACKBUY THE BOOK: Share Your Stuff. I'll Go First. by Laura TremaineBUY THE BOOK: The Life Council: 10 Friends Every Woman Needs by Laura Tremaine Hosted on Acast. See acast.com/privacy for more information.