Podcasts about Messina

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

L’Inter, nel finale, vince in rimonta contro i giapponesi dell’Urawa Red Diamonds. Primo successo in panchina per Chivu: i Nerazzurri si giocheranno la qualificazione nella sfida con il River Plate. Ne parliamo con Tancredi Palmeri di Sportitalia, inviato negli Stati Uniti.Da Los Angeles ci spostiamo a Philadelphia, dove tra pochi minuti scenderà in campo la Juventus. I Bianconeri affronteranno i marocchini del Wydad Athletic Club per strappare la qualificazione agli ottavi di finale. Sentiamo sul posto Max Nerozzi del Corriere della Sera.In questo mondiale la grande sorpresa sono sicuramente le squadre brasiliane: clamorose, ad esempio, le vittorie di Botafogo e Flamengo rispettivamente contro PSG e Chelsea. Ne parliamo con il brasiliano Jeda, protagoniste di tante stagioni nella nostra Serie A.Spazio poi alla MotoGP. Al Mugello vince ancora Marc Marquez, secondo posto per il fratello Alex. Terzo Di Giannantonio, solo quarto Bagnaia. Sentiamo cosa ne pensa Carlo Pernat.Torniamo al calcio: Alex Frosio, inviato della Gazzetta dello Sport, ci introduce al quarto di finale degli Europei under 21. Stasera l’Italia di Nunziata sfida la Germania.Niccolò Ceccarini ci racconta invece le ultime novità del calciomercato. Tengono banco, in particolare, gli interessamenti di Atletico Madrid e Galatasaray per Theo Hernandez e Chalanoglu.Con Vincenzo Martucci discutiamo poi di tennis e di un Sinner chiamato a dimenticare le sconfitte al Roland Garros e ad Halle per preparare al meglio Wimbledon.Infine il basket: nella notte italiana Oklahoma City Thunder e Indiana Pacers si contenderanno il titolo NBA in un’attesissima gara 7. Intanto in Italia coach Messina lascerà l’Olimpia Milano a partire dal 2026. Sentiamo Guido Bagatta.

Urbana Radio Show By David Penn Chapter #695 1. Kate Stein & Lord Fascinator - Asteroid (Aeroplane Remix) - Eskimo Recordings 2. Claptone, Sea Girls feat. Henry Camamile - Put Your Love On Me (Marco Lys Remix) 3. Messina, Mel Bundo, Mrossi - Groove Thang - Haute Couture Music 4. Illyus Barrientos - Capitale - In / Rotation 5. Meeko - The Feeling - Medina Records 6. Jerk Boy & Birdee - Rock The Beats - Motive Records 7. Fuzzy Hair - Got The Power - Milk & Sugar Recordings 8. Tommy Vee, Mauro Ferrucci, Keller - Inside At Night - Airplane! Records 9. Richard Earnshaw, Ridney & Jovonn - House Is The Message - Soulfuric Deep 10. Mason, David Penn & Erire - Dusk Till Dawn - Altra Moda 11. Lefti - Heart And Soul - There Was Jack 12. The Goodfellas - Soul Heaven (Glen Horsborough 2025 Remix) - Saifam 13. Alaia & Gallo - Lipstick - Toolroom Thanks to all the labels and artist for their music. All tracks selected and mixed by David Penn DJDAVIDPENN.COM FACEBOOK DJDAVIDPENN INSTAGRAM @DJDAVIDPENN INGENIUM BOKINGS EUROPA MUSIC MANAGEMENT Encoded by MUSICZONE PODCAST SERVICES.

Giorgio Bocca definì l'esposizione in piazzale Loreto dei corpi di Benito Mussolini, di Claretta Petacci e dei gerarchi uccisi sul lago di Como «un atto rivoluzionario» su cui si sarebbe fatto «dell'inutile moralismo». Per Ferruccio Parri, leader azionista della Resistenza, il 29 aprile 1945 andò in scena a Milano «una macelleria messicana». Piazzale Loreto, simbolo di vergogna nazionale per la letteratura neofascista, diventò luogo identitario di una parte politica. La narrazione prevalente del dopoguerra ha oscurato però il massacro dei quindici partigiani uccisi per rappresaglia da un plotone della Legione Muti otto mesi e mezzo prima della Liberazione, il 10 agosto 1944. I loro corpi erano stati esposti per volontà dei nazisti come monito alla popolazione. Fu una ferita, mai rimarginata, alla tradizione civile della città. In questo podcast, il giornalista Dino Messina racconta le due vicende. Messina, autorevole firma del Corriere della Sera, ha scritto per Solferino "Piazzale Loreto. I due volti della Liberazione". A cura di Francesco De Leo. Montaggio di Silvio Farina. https://storiainpodcast.focus.it - Canale Eventi e luoghi ------------ Storia in Podcast di Focus si può ascoltare anche su Spotify https://open.spotify.com/show/293C5TZniMOgqHdBLSTaRc ed Apple Podcasts https://podcasts.apple.com/it/podcast/la-voce-della-storia/id1511551427. Siamo in tutte le edicole... ma anche qui: - Facebook: https://www.facebook.com/FocusStoria/ - Gruppo Facebook Focus Storia Wars: https://www.facebook.com/groups/FocuStoriaWars/ (per appassionati di storia militare) - YouTube: https://www.youtube.com/user/focusitvideo - Twitter: https://twitter.com/focusstoria - Sito: https://www.focus.it/cultura Learn more about your ad choices. Visit megaphone.fm/adchoices

In this powerful episode of the Authors on Mission podcast, host Danielle Hutchinson sits down with Guitze Messina to reveal why return on investment should be your #1 priority when choosing a ghostwriter—not the price tag.Discover the game-changing difference between traditional ghostwriting and Authors on Mission's revolutionary "Angel Writing" approach, featuring a comprehensive team strategy designed to guarantee bestseller results.Key insights you'll learn:Why ROI trumps cost every single time in book writingThe critical difference between ghostwriting and "Angel Writing"How a comprehensive team approach beats solo writersThe guaranteed bestseller strategy that actually worksWhy your book should be treated as a business growth tool, not just contentIf you're ready to write a book that doesn't just tell your story but transforms your business, this episode is your blueprint.

NADA PERSONAL con Anabella Messina 14-06-2025 Entrevistas a: Franco Capone @franco__paco (Médico, Residente de Medicina General y Familiar del Hospital Penna) Eugenia Garay Heinze (Médica, Residente del Hospital Posadas) Damián Drescher y Natalia Giglio (Maestros de Sala de la 1.11.14) Anita Sicilia (Directora de la Fundación AS Proyecto “Libros en los pabellones”) Jimena Blasco (Coordinadora General de la Asociación Civil Manos en Acción)

Hello, I'm Brett and I'll be your host for these amazing Old Time Radio Shows :) Dangerous Assignment was a thrilling NBC radio drama that captivated audiences from 1949 to 1953, starring the dynamic Brian Donlevy as the fearless U.S. special agent Steve Mitchell. It was broadcast across a range of media, including a syndicated TV series in 1951–52, and even inspired a reimagined Australian radio version from 1954 to 1956. Both the radio and TV series kept viewers on the edge of their seats with fast-paced plots filled with espionage, deception, and international intrigue. Series Premise: Each episode followed Steve Mitchell, an American agent dispatched by "The Commissioner," the enigmatic head of an unnamed U.S. State Department division. Steve's mission: to travel to exotic locations around the world to foil nefarious plots and uncover dangerous secrets. The show was designed to keep listeners in suspense, opening with a tantalizing scene before the action unfolded. Mitchell, posing as a suave foreign correspondent for an unspecified publication, navigated a maze of lies, betrayal, and violence—always emerging victorious by the end of the episode. Origins and Evolution: Dangerous Assignment was originally conceived as a summer replacement series for NBC in 1949. It quickly gained popularity, and its success led to a full radio series running until 1953. Brian Donlevy, who also narrated the show, brought an intense realism to his portrayal of Steve Mitchell, which contributed to the show's gripping atmosphere. The only other consistent voice on the radio version was Herb Butterfield, who played "The Commissioner." Guest stars included famous actors like Raymond Burr, William Conrad, and Richard Boone, each lending their talents to create a unique cast of characters across the episodes. After the American radio series concluded, Dangerous Assignment continued its journey abroad with a 1954 Australian radio adaptation. This version used remade American scripts and introduced Lloyd Burrell as Steve Mitchell, broadcasting a total of 39 episodes. The 1949 Summer Series: Dangerous Assignment first aired as a seven-week summer series in the summer of 1949, running on Saturdays from 8:30 to 9:00 PM EST. The character of Ruthie, the Commissioner's secretary, was played by Betty Moran, hinting at a possible romantic backstory with Steve Mitchell. The show's first episodes took listeners on adventures to locations like Messina, Sicily, Saigon, and Paris, where Steve investigated everything from stolen relief supplies to millionaire murder conspiracies. The 1950–1953 Radio Run: The show's popularity ensured its return to the airwaves in February 1950, although it faced some scheduling challenges. Over the next few years, Dangerous Assignment moved through various time slots, ultimately running for over 160 episodes. The radio series also attracted major sponsors, including Ford Motor Company, Wheaties, and Anacin, though it was largely supported by NBC itself. The episodes became more formulaic, often starting with Steve Mitchell being assigned a mission—usually involving espionage, sabotage, or international political conflict—followed by thrilling encounters with dangerous enemies. Syndicated Television Version (1951–1952): In 1951, Donlevy adapted the series into a syndicated television show. Rather than relying on a traditional TV network, Donlevy self-financed the production of 39 episodes, selling them individually to local stations across the country. This approach, aided by NBC's distribution assistance, allowed the show to reach a wide audience despite limited network support. Each episode remained faithful to the original radio scripts, with Donlevy reprising his role as Steve Mitchell and Herb Butterfield again playing "The Commissioner." Production Team and Legacy: The television version of Dangerous Assignment employed a talented team behind the scenes, including assistant director William McGarry, production designer George Van Marter, and film editor Edward Schroeder, A.C.E. The show's episodes were often fast-paced, with each story revolving around Mitchell's covert operations in places as diverse as Paris, Berlin, and the African jungle. Among the famous guest stars featured in the TV series were Hugh Beaumont, Paul Frees, and Michael Ansara, who appeared as a variety of different characters throughout the series. Notable episodes included titles like "The Alien Smuggler Story" and "The Atomic Mine Story," where Steve Mitchell faced off against spies, criminals, and saboteurs in a constant battle to protect U.S. interests overseas. The Man Behind the Character: Brian Donlevy: Brian Donlevy, born in Cleveland, Ohio, on February 9, 1901, was known for his tough, no-nonsense persona, both on screen and on the airwaves. With a career that spanned film, radio, and television, Donlevy brought a unique depth to his portrayal of Steve Mitchell. He was a familiar face in 1940s Hollywood, starring in classic films like Beau Geste (1939) and Wake Island (1942), and even earned an Academy Award nomination for his role in Beau Geste. In addition to his success in film, Donlevy was a major figure in the development of Dangerous Assignment, both as the star and as a key producer for the television adaptation. His tough-guy image made him a natural fit for the role of the action-packed American agent, and he remained a popular figure in postwar television, contributing to numerous anthology series like Kraft Theatre and Lux Video Theatre. Conclusion: Dangerous Assignment remains a notable chapter in both radio and television history. The series was a standout example of 1940s and 1950s action-adventure storytelling, blending espionage, drama, and international intrigue. Thanks to Brian Donlevy's magnetic performance, Dangerous Assignment continues to be remembered as a thrilling and influential series that helped set the stage for future espionage-themed shows and films.

NADA PERSONAL con Anabella Messina 07-06-2025 Entrevistas a: Marina Bertone @marina_bertone (Integrante de la ONG Argentinos por la educación) Marcela Morera (Integrante del Grupo Familiares Atravesados por el Femicidio) Anabella Maudet (Directora Ejecutiva de Fundación Integrar) Gabriela Discetta (Miembro de la Organización 4to Deseo)

Hello, I'm Brett and I'll be your host for these amazing Old Time Radio Shows :) Dangerous Assignment was a thrilling NBC radio drama that captivated audiences from 1949 to 1953, starring the dynamic Brian Donlevy as the fearless U.S. special agent Steve Mitchell. It was broadcast across a range of media, including a syndicated TV series in 1951–52, and even inspired a reimagined Australian radio version from 1954 to 1956. Both the radio and TV series kept viewers on the edge of their seats with fast-paced plots filled with espionage, deception, and international intrigue. Series Premise: Each episode followed Steve Mitchell, an American agent dispatched by "The Commissioner," the enigmatic head of an unnamed U.S. State Department division. Steve's mission: to travel to exotic locations around the world to foil nefarious plots and uncover dangerous secrets. The show was designed to keep listeners in suspense, opening with a tantalizing scene before the action unfolded. Mitchell, posing as a suave foreign correspondent for an unspecified publication, navigated a maze of lies, betrayal, and violence—always emerging victorious by the end of the episode. Origins and Evolution: Dangerous Assignment was originally conceived as a summer replacement series for NBC in 1949. It quickly gained popularity, and its success led to a full radio series running until 1953. Brian Donlevy, who also narrated the show, brought an intense realism to his portrayal of Steve Mitchell, which contributed to the show's gripping atmosphere. The only other consistent voice on the radio version was Herb Butterfield, who played "The Commissioner." Guest stars included famous actors like Raymond Burr, William Conrad, and Richard Boone, each lending their talents to create a unique cast of characters across the episodes. After the American radio series concluded, Dangerous Assignment continued its journey abroad with a 1954 Australian radio adaptation. This version used remade American scripts and introduced Lloyd Burrell as Steve Mitchell, broadcasting a total of 39 episodes. The 1949 Summer Series: Dangerous Assignment first aired as a seven-week summer series in the summer of 1949, running on Saturdays from 8:30 to 9:00 PM EST. The character of Ruthie, the Commissioner's secretary, was played by Betty Moran, hinting at a possible romantic backstory with Steve Mitchell. The show's first episodes took listeners on adventures to locations like Messina, Sicily, Saigon, and Paris, where Steve investigated everything from stolen relief supplies to millionaire murder conspiracies. The 1950–1953 Radio Run: The show's popularity ensured its return to the airwaves in February 1950, although it faced some scheduling challenges. Over the next few years, Dangerous Assignment moved through various time slots, ultimately running for over 160 episodes. The radio series also attracted major sponsors, including Ford Motor Company, Wheaties, and Anacin, though it was largely supported by NBC itself. The episodes became more formulaic, often starting with Steve Mitchell being assigned a mission—usually involving espionage, sabotage, or international political conflict—followed by thrilling encounters with dangerous enemies. Syndicated Television Version (1951–1952): In 1951, Donlevy adapted the series into a syndicated television show. Rather than relying on a traditional TV network, Donlevy self-financed the production of 39 episodes, selling them individually to local stations across the country. This approach, aided by NBC's distribution assistance, allowed the show to reach a wide audience despite limited network support. Each episode remained faithful to the original radio scripts, with Donlevy reprising his role as Steve Mitchell and Herb Butterfield again playing "The Commissioner." Production Team and Legacy: The television version of Dangerous Assignment employed a talented team behind the scenes, including assistant director William McGarry, production designer George Van Marter, and film editor Edward Schroeder, A.C.E. The show's episodes were often fast-paced, with each story revolving around Mitchell's covert operations in places as diverse as Paris, Berlin, and the African jungle. Among the famous guest stars featured in the TV series were Hugh Beaumont, Paul Frees, and Michael Ansara, who appeared as a variety of different characters throughout the series. Notable episodes included titles like "The Alien Smuggler Story" and "The Atomic Mine Story," where Steve Mitchell faced off against spies, criminals, and saboteurs in a constant battle to protect U.S. interests overseas. The Man Behind the Character: Brian Donlevy: Brian Donlevy, born in Cleveland, Ohio, on February 9, 1901, was known for his tough, no-nonsense persona, both on screen and on the airwaves. With a career that spanned film, radio, and television, Donlevy brought a unique depth to his portrayal of Steve Mitchell. He was a familiar face in 1940s Hollywood, starring in classic films like Beau Geste (1939) and Wake Island (1942), and even earned an Academy Award nomination for his role in Beau Geste. In addition to his success in film, Donlevy was a major figure in the development of Dangerous Assignment, both as the star and as a key producer for the television adaptation. His tough-guy image made him a natural fit for the role of the action-packed American agent, and he remained a popular figure in postwar television, contributing to numerous anthology series like Kraft Theatre and Lux Video Theatre. Conclusion: Dangerous Assignment remains a notable chapter in both radio and television history. The series was a standout example of 1940s and 1950s action-adventure storytelling, blending espionage, drama, and international intrigue. Thanks to Brian Donlevy's magnetic performance, Dangerous Assignment continues to be remembered as a thrilling and influential series that helped set the stage for future espionage-themed shows and films.

In this episode, we speak with Singer/Songwriter/Producer Jim Messina. We discuss how he came about partnering with Kenny Loggins as Loggins and Messina in the early 1970s and selling 16 million albums. We also discuss his earlier career with Buffalo Springfield, Poco, his post-Loggins and Messina solo career, and his current tour with his band, The Road Runners.

In this episode of Risky Benefits, we speak with Andrea Messina and Danielle Thomas from the Florida School Boards Association. Andrea and Danielle provide insights on the outcomes of the 2025 legislative session, emphasizing important changes in school start times and school safety measures. They discuss the implementation challenges and financial implications for school districts. Additionally, they address the increasing need for schools to adapt to emerging technologies and the importance of building relationships with legislators. The discussion also touches on strategies for efficiently managing school resources amid evolving educational landscapes, including the role of benefits and support for staff in school districts.To listen in and subscribe to more episodes, visit our website: fbmc.com/podcast.

Kat went on an 11-day Mediterranean cruise itinerary on the Norwegian Dawn with her parents and sister to celebrate her mom retiring soon. And it was SO much fun! So Kat is breaking down the Mediterranean cruise itinerary. The stops are below: Day 1: Depart from Trieste, Italy Day 2: Koper, Slovenia Day 3: Split, Croatia Day 4: Dubrovnik, Croatia Day 5: Kotor, Montenegro Day 6: Corfu, Greece Day 7: Valletta, Malta Day 8: Messina, Sicily Day 9: Naples, Italy Day 10: Florence (Livorno), Italy Day 11: Nice (Villefranche-sur-Mer), France Kat also discusses what it was like on board the Norwegian Dawn!   Relevant Links (may contain affiliate links, meaning if you book through these links, we earn a small commission-at no additional cost to you!): -Norwegian Cruise Itinerary (This is the closest to what we did) -TukTuk Tour of Split -Pompeii Tour -Gallerie dell'Academia tickets   Check us out on Substack: Follow for updates, free and paid posts, and exclusive podcast episodes! Subscribe here to get this exclusive content now! Traveling to France? Check out our Facebook Group called France Travel Tips to ask/answer questions and learn more! Don't forget to follow along! Instagram: https://www.instagram.com/worldwidehoneymoon Facebook: https://www.facebook.com/worldwidehoneymoon TikTok: https://www.tiktok.com/@worldwidehoneymoon World Wide Honeymoon Blog: https://worldwidehoneymoon.com France Voyager Blog: https://francevoyager.com Subscribe to the World Wide Honeymoon blog here for monthly updates and tips + get our FREE trip planning guide: https://www.subscribepage.com/o4e5c2

Hello, I'm Brett and I'll be your host for these amazing Old Time Radio Shows :) Dangerous Assignment was a thrilling NBC radio drama that captivated audiences from 1949 to 1953, starring the dynamic Brian Donlevy as the fearless U.S. special agent Steve Mitchell. It was broadcast across a range of media, including a syndicated TV series in 1951–52, and even inspired a reimagined Australian radio version from 1954 to 1956. Both the radio and TV series kept viewers on the edge of their seats with fast-paced plots filled with espionage, deception, and international intrigue. Series Premise: Each episode followed Steve Mitchell, an American agent dispatched by "The Commissioner," the enigmatic head of an unnamed U.S. State Department division. Steve's mission: to travel to exotic locations around the world to foil nefarious plots and uncover dangerous secrets. The show was designed to keep listeners in suspense, opening with a tantalizing scene before the action unfolded. Mitchell, posing as a suave foreign correspondent for an unspecified publication, navigated a maze of lies, betrayal, and violence—always emerging victorious by the end of the episode. Origins and Evolution: Dangerous Assignment was originally conceived as a summer replacement series for NBC in 1949. It quickly gained popularity, and its success led to a full radio series running until 1953. Brian Donlevy, who also narrated the show, brought an intense realism to his portrayal of Steve Mitchell, which contributed to the show's gripping atmosphere. The only other consistent voice on the radio version was Herb Butterfield, who played "The Commissioner." Guest stars included famous actors like Raymond Burr, William Conrad, and Richard Boone, each lending their talents to create a unique cast of characters across the episodes. After the American radio series concluded, Dangerous Assignment continued its journey abroad with a 1954 Australian radio adaptation. This version used remade American scripts and introduced Lloyd Burrell as Steve Mitchell, broadcasting a total of 39 episodes. The 1949 Summer Series: Dangerous Assignment first aired as a seven-week summer series in the summer of 1949, running on Saturdays from 8:30 to 9:00 PM EST. The character of Ruthie, the Commissioner's secretary, was played by Betty Moran, hinting at a possible romantic backstory with Steve Mitchell. The show's first episodes took listeners on adventures to locations like Messina, Sicily, Saigon, and Paris, where Steve investigated everything from stolen relief supplies to millionaire murder conspiracies. The 1950–1953 Radio Run: The show's popularity ensured its return to the airwaves in February 1950, although it faced some scheduling challenges. Over the next few years, Dangerous Assignment moved through various time slots, ultimately running for over 160 episodes. The radio series also attracted major sponsors, including Ford Motor Company, Wheaties, and Anacin, though it was largely supported by NBC itself. The episodes became more formulaic, often starting with Steve Mitchell being assigned a mission—usually involving espionage, sabotage, or international political conflict—followed by thrilling encounters with dangerous enemies. Syndicated Television Version (1951–1952): In 1951, Donlevy adapted the series into a syndicated television show. Rather than relying on a traditional TV network, Donlevy self-financed the production of 39 episodes, selling them individually to local stations across the country. This approach, aided by NBC's distribution assistance, allowed the show to reach a wide audience despite limited network support. Each episode remained faithful to the original radio scripts, with Donlevy reprising his role as Steve Mitchell and Herb Butterfield again playing "The Commissioner." Production Team and Legacy: The television version of Dangerous Assignment employed a talented team behind the scenes, including assistant director William McGarry, production designer George Van Marter, and film editor Edward Schroeder, A.C.E. The show's episodes were often fast-paced, with each story revolving around Mitchell's covert operations in places as diverse as Paris, Berlin, and the African jungle. Among the famous guest stars featured in the TV series were Hugh Beaumont, Paul Frees, and Michael Ansara, who appeared as a variety of different characters throughout the series. Notable episodes included titles like "The Alien Smuggler Story" and "The Atomic Mine Story," where Steve Mitchell faced off against spies, criminals, and saboteurs in a constant battle to protect U.S. interests overseas. The Man Behind the Character: Brian Donlevy: Brian Donlevy, born in Cleveland, Ohio, on February 9, 1901, was known for his tough, no-nonsense persona, both on screen and on the airwaves. With a career that spanned film, radio, and television, Donlevy brought a unique depth to his portrayal of Steve Mitchell. He was a familiar face in 1940s Hollywood, starring in classic films like Beau Geste (1939) and Wake Island (1942), and even earned an Academy Award nomination for his role in Beau Geste. In addition to his success in film, Donlevy was a major figure in the development of Dangerous Assignment, both as the star and as a key producer for the television adaptation. His tough-guy image made him a natural fit for the role of the action-packed American agent, and he remained a popular figure in postwar television, contributing to numerous anthology series like Kraft Theatre and Lux Video Theatre. Conclusion: Dangerous Assignment remains a notable chapter in both radio and television history. The series was a standout example of 1940s and 1950s action-adventure storytelling, blending espionage, drama, and international intrigue. Thanks to Brian Donlevy's magnetic performance, Dangerous Assignment continues to be remembered as a thrilling and influential series that helped set the stage for future espionage-themed shows and films.

Orsini: serve un Piano industriale straordinario per l'Italia e l'Ue per rilanciare gli investimenti Nel corso dell'assemblea nazionale di Confindustria 2025 a Bologna, il presidente Emanuele Orsini ha lanciato un appello forte e diretto: sia l'Italia che l'Unione Europea affrontano un rischio concreto di deindustrializzazione, aggravato dalla guerra dei dazi e da un pregiudizio diffuso contro l'industria. Per contrastare questa tendenza, Confindustria propone un Piano industriale straordinario, articolato su due leve principali. La prima riguarda gli investimenti per potenziare la capacità innovativa del sistema industriale, attraverso un nuovo piano europeo simile al Next Generation EU ma dedicato all'industria e sostenuto da un mercato dei capitali unico e integrato. La seconda leva è normativa: occorre semplificare le regole, ridurre gli oneri burocratici e unire le dimensioni della sostenibilità economica, sociale e ambientale. Orsini ha chiesto con forza il potenziamento di Industria 4.0 – o 6.0 – e dei contratti di sviluppo, strumenti già collaudati dalle imprese. Ma ha anche puntato i riflettori sull'urgenza di affrontare l'emergenza energetica, definendola un “dramma quotidiano” per famiglie, imprese e per l'intero Paese. La premier Giorgia Meloni, presente all'assemblea, ha espresso condivisione per le istanze di Orsini, dichiarandosi pronta a intervenire sul piano Transizione 5.0, che nella prima versione era troppo restrittivo. La premier ha anche aperto alla possibilità di includere le misure Transizione 4.0 e 5.0 nella revisione del Pnrr, con l'obiettivo di renderle più semplici e accessibili, in condivisione con le imprese e in dialogo con la Commissione Europea.Bancari, quasi 45mila assunzioni con il Fondo occupazioneDurante il 129° Consiglio nazionale della FABI, tenutosi a Milano, il segretario generale Lando Maria Sileoni ha rivendicato con orgoglio i risultati ottenuti dal sindacato negli ultimi 18 mesi. Tra questi spicca il Fondo per l'occupazione, che ha consentito l'assunzione di quasi 45mila giovani nelle banche, con accordi sindacali mirati, in un settore segnato da piani di ristrutturazione, prepensionamenti e fusioni. Il contratto chiuso a fine 2023 – con l'aumento medio più alto tra tutti i rinnovi contrattuali, pari a 435 euro – viene descritto da Sileoni come un atto politico, non solo sindacale: un'affermazione del valore del lavoro e del rispetto che gli va riconosciuto. In un contesto di forte instabilità, dove in pochi mesi sono state lanciate cinque operazioni di M&A che coinvolgono oltre 100mila lavoratori – tra cui Unicredit-Banco Bpm e Mps-Mediobanca – Sileoni invita a guardare il cambiamento organizzativo e tecnologico senza paura ma con consapevolezza, per non subirlo passivamente. A questo proposito sottolinea che i sindacati si sono dotati di strumenti propri per gestire i cambiamenti in autonomia, evitando licenziamenti. Sul tema delle aggregazioni, è intervenuto anche il ceo di Intesa Sanpaolo, Carlo Messina, che ha criticato la modalità con cui si stanno conducendo molte delle operazioni, definite “ostili” e potenzialmente dannose per l'immagine del Paese. Messina ha anche difeso il ricorso alla Golden Power da parte del governo, pur riconoscendo che Bruxelles potrebbe intervenire per limitarne l'uso. Intanto Andrea Orcel, ceo di UniCredit, ha smentito qualsiasi interesse per Generali e ha definito l'operazione con Banco Bpm strategicamente valida ma bloccata da ostacoli legali e costi troppo alti legati proprio ai vincoli del Golden Power. Se le condizioni non cambieranno, ha detto, “la valutazione è definitiva”. Interviene a Focus Economia Lando Maria Sileoni - segretario generale FABI (Federazione Autonoma Bancari Italiani)Auto, il mercato Ue stabile ma Tesla dimezza le immatricolazioni ad aprileIl mercato dell'auto in Europa continua a mostrare segni di stagnazione: ad aprile le immatricolazioni sono calate dello 0,3% rispetto allo stesso mese del 2024 e, nel primo quadrimestre, l'incremento è stato appena dello 0,4%. I volumi restano inferiori del 20% rispetto ai livelli pre-Covid. Tra i cinque principali mercati europei, la Francia registra la maggiore contrazione rispetto al 2019 (-26%), seguita da Germania, Regno Unito, Italia e Spagna. Sul fronte dei costruttori, Volkswagen tiene le posizioni, mentre Stellantis perde il 9,6% da inizio anno, pur mostrando segnali di ripresa grazie a modelli come Citroën C3/Aircross e Peugeot 3008. Renault consolida la terza posizione per volumi, mentre Saic Motor cresce fortemente (+31%), al contrario di Tesla, che dimezza le immatricolazioni e scende allo 0,7% di quota mensile. L'elettrico rappresenta il 17% delle immatricolazioni complessive, ma con forti differenze tra paesi: guida il Regno Unito (20,7%), seguita da Francia e Germania, mentre l'Italia è fanalino di coda con appena il 5,1%. Gli ibridi restano la scelta prevalente. Secondo Gian Primo Quagliano del Centro Studi Promotor, i risultati raggiunti grazie a incentivi e sconti non fanno pensare che l'obiettivo della completa elettrificazione entro il 2035 sia realistico, anche perché la misura incontra sempre meno il favore dell'opinione pubblica. Ne parliamo con Filomena Greco, Sole24ore.

Jim Deshaies shares his journey from a small town in New York to becoming a Major League pitcher and broadcaster. He recounts memorable experiences, including his unique connection to the Andy Griffith Show, his college choices, and his remarkable achievement of striking out the first eight batters in a game. Deshaies also humorously reflects on his struggles as a hitter and his unexpected Hall of Fame vote campaign, providing insights into the life of a professional athlete. His experiences as a former player and current broadcaster are fascinating, discussing the nuances of hitting in the big leagues, his memorable high school baseball moments, and the dynamics of working with Boog Sciambi in the broadcast booth. The discussion also touches on the current state of the Cubs, the humor inherent in baseball, and a fun segment creating an All-Andy Griffith Show baseball team, showcasing the light-hearted side of the sport.As you continue to support our show, we cannot thank you enough!! Share it with a friend, rate and review wherever you are listening! Visit GreatGameOrWhat.com to contact the show with your questions, quips and insights. Joy Pop Productions LLC

Hello, I'm Brett and I'll be your host for these amazing Old Time Radio Shows :) Dangerous Assignment was a thrilling NBC radio drama that captivated audiences from 1949 to 1953, starring the dynamic Brian Donlevy as the fearless U.S. special agent Steve Mitchell. It was broadcast across a range of media, including a syndicated TV series in 1951–52, and even inspired a reimagined Australian radio version from 1954 to 1956. Both the radio and TV series kept viewers on the edge of their seats with fast-paced plots filled with espionage, deception, and international intrigue. Series Premise: Each episode followed Steve Mitchell, an American agent dispatched by "The Commissioner," the enigmatic head of an unnamed U.S. State Department division. Steve's mission: to travel to exotic locations around the world to foil nefarious plots and uncover dangerous secrets. The show was designed to keep listeners in suspense, opening with a tantalizing scene before the action unfolded. Mitchell, posing as a suave foreign correspondent for an unspecified publication, navigated a maze of lies, betrayal, and violence—always emerging victorious by the end of the episode. Origins and Evolution: Dangerous Assignment was originally conceived as a summer replacement series for NBC in 1949. It quickly gained popularity, and its success led to a full radio series running until 1953. Brian Donlevy, who also narrated the show, brought an intense realism to his portrayal of Steve Mitchell, which contributed to the show's gripping atmosphere. The only other consistent voice on the radio version was Herb Butterfield, who played "The Commissioner." Guest stars included famous actors like Raymond Burr, William Conrad, and Richard Boone, each lending their talents to create a unique cast of characters across the episodes. After the American radio series concluded, Dangerous Assignment continued its journey abroad with a 1954 Australian radio adaptation. This version used remade American scripts and introduced Lloyd Burrell as Steve Mitchell, broadcasting a total of 39 episodes. The 1949 Summer Series: Dangerous Assignment first aired as a seven-week summer series in the summer of 1949, running on Saturdays from 8:30 to 9:00 PM EST. The character of Ruthie, the Commissioner's secretary, was played by Betty Moran, hinting at a possible romantic backstory with Steve Mitchell. The show's first episodes took listeners on adventures to locations like Messina, Sicily, Saigon, and Paris, where Steve investigated everything from stolen relief supplies to millionaire murder conspiracies. The 1950–1953 Radio Run: The show's popularity ensured its return to the airwaves in February 1950, although it faced some scheduling challenges. Over the next few years, Dangerous Assignment moved through various time slots, ultimately running for over 160 episodes. The radio series also attracted major sponsors, including Ford Motor Company, Wheaties, and Anacin, though it was largely supported by NBC itself. The episodes became more formulaic, often starting with Steve Mitchell being assigned a mission—usually involving espionage, sabotage, or international political conflict—followed by thrilling encounters with dangerous enemies. Syndicated Television Version (1951–1952): In 1951, Donlevy adapted the series into a syndicated television show. Rather than relying on a traditional TV network, Donlevy self-financed the production of 39 episodes, selling them individually to local stations across the country. This approach, aided by NBC's distribution assistance, allowed the show to reach a wide audience despite limited network support. Each episode remained faithful to the original radio scripts, with Donlevy reprising his role as Steve Mitchell and Herb Butterfield again playing "The Commissioner." Production Team and Legacy: The television version of Dangerous Assignment employed a talented team behind the scenes, including assistant director William McGarry, production designer George Van Marter, and film editor Edward Schroeder, A.C.E. The show's episodes were often fast-paced, with each story revolving around Mitchell's covert operations in places as diverse as Paris, Berlin, and the African jungle. Among the famous guest stars featured in the TV series were Hugh Beaumont, Paul Frees, and Michael Ansara, who appeared as a variety of different characters throughout the series. Notable episodes included titles like "The Alien Smuggler Story" and "The Atomic Mine Story," where Steve Mitchell faced off against spies, criminals, and saboteurs in a constant battle to protect U.S. interests overseas. The Man Behind the Character: Brian Donlevy: Brian Donlevy, born in Cleveland, Ohio, on February 9, 1901, was known for his tough, no-nonsense persona, both on screen and on the airwaves. With a career that spanned film, radio, and television, Donlevy brought a unique depth to his portrayal of Steve Mitchell. He was a familiar face in 1940s Hollywood, starring in classic films like Beau Geste (1939) and Wake Island (1942), and even earned an Academy Award nomination for his role in Beau Geste. In addition to his success in film, Donlevy was a major figure in the development of Dangerous Assignment, both as the star and as a key producer for the television adaptation. His tough-guy image made him a natural fit for the role of the action-packed American agent, and he remained a popular figure in postwar television, contributing to numerous anthology series like Kraft Theatre and Lux Video Theatre. Conclusion: Dangerous Assignment remains a notable chapter in both radio and television history. The series was a standout example of 1940s and 1950s action-adventure storytelling, blending espionage, drama, and international intrigue. Thanks to Brian Donlevy's magnetic performance, Dangerous Assignment continues to be remembered as a thrilling and influential series that helped set the stage for future espionage-themed shows and films.

In Episode 8, Dr. Messina and Dr. Gill, the host and co-host of this podcast, talked about the emotional toll that is associated with lost time---time that cannot be reclaimed. While there are many things in life that can be found or recovered when lost, time is not among them; once it is gone, it is lost forever. They highlighted the impact of technology on human connections and the importance of judicious use of time for personal growth and well-being since the risks of constant digital device usage can lead to depression, suicidal ideation, and social isolation. However, alternative activities to foster more meaningful connections can mitigate losses. The inherent ambiguity of this type of loss – its lack of clear definition or resolution – is precisely what makes it so difficult to process. Because the loss is intangible (lost presence, loss of potential connections) and is ongoing rather than a single, definable event, it prevents the typical processes of grieving from unfolding naturally. Individuals can become stuck. It is also the case for older adults. While they may not spend too much time on smartphones or scrolling through their social media accounts—some older adults do engage in these types of activities---they can lose time by watching continuous episodes of a television show versus connecting with friends. At any age, no matter how much time anyone has lost, it is important to come to the realization that our time spend with others is a precious commodity that can't be reclaimed but there are ways to change our behavior. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Episode 8, Dr. Messina and Dr. Gill, the host and co-host of this podcast, talked about the emotional toll that is associated with lost time---time that cannot be reclaimed. While there are many things in life that can be found or recovered when lost, time is not among them; once it is gone, it is lost forever. They highlighted the impact of technology on human connections and the importance of judicious use of time for personal growth and well-being since the risks of constant digital device usage can lead to depression, suicidal ideation, and social isolation. However, alternative activities to foster more meaningful connections can mitigate losses. The inherent ambiguity of this type of loss – its lack of clear definition or resolution – is precisely what makes it so difficult to process. Because the loss is intangible (lost presence, loss of potential connections) and is ongoing rather than a single, definable event, it prevents the typical processes of grieving from unfolding naturally. Individuals can become stuck. It is also the case for older adults. While they may not spend too much time on smartphones or scrolling through their social media accounts—some older adults do engage in these types of activities---they can lose time by watching continuous episodes of a television show versus connecting with friends. At any age, no matter how much time anyone has lost, it is important to come to the realization that our time spend with others is a precious commodity that can't be reclaimed but there are ways to change our behavior. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychology

In Episode 8, Dr. Messina and Dr. Gill, the host and co-host of this podcast, talked about the emotional toll that is associated with lost time---time that cannot be reclaimed. While there are many things in life that can be found or recovered when lost, time is not among them; once it is gone, it is lost forever. They highlighted the impact of technology on human connections and the importance of judicious use of time for personal growth and well-being since the risks of constant digital device usage can lead to depression, suicidal ideation, and social isolation. However, alternative activities to foster more meaningful connections can mitigate losses. The inherent ambiguity of this type of loss – its lack of clear definition or resolution – is precisely what makes it so difficult to process. Because the loss is intangible (lost presence, loss of potential connections) and is ongoing rather than a single, definable event, it prevents the typical processes of grieving from unfolding naturally. Individuals can become stuck. It is also the case for older adults. While they may not spend too much time on smartphones or scrolling through their social media accounts—some older adults do engage in these types of activities---they can lose time by watching continuous episodes of a television show versus connecting with friends. At any age, no matter how much time anyone has lost, it is important to come to the realization that our time spend with others is a precious commodity that can't be reclaimed but there are ways to change our behavior. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Hello, I'm Brett and I'll be your host for these amazing Old Time Radio Shows :) Dangerous Assignment was a thrilling NBC radio drama that captivated audiences from 1949 to 1953, starring the dynamic Brian Donlevy as the fearless U.S. special agent Steve Mitchell. It was broadcast across a range of media, including a syndicated TV series in 1951–52, and even inspired a reimagined Australian radio version from 1954 to 1956. Both the radio and TV series kept viewers on the edge of their seats with fast-paced plots filled with espionage, deception, and international intrigue. Series Premise: Each episode followed Steve Mitchell, an American agent dispatched by "The Commissioner," the enigmatic head of an unnamed U.S. State Department division. Steve's mission: to travel to exotic locations around the world to foil nefarious plots and uncover dangerous secrets. The show was designed to keep listeners in suspense, opening with a tantalizing scene before the action unfolded. Mitchell, posing as a suave foreign correspondent for an unspecified publication, navigated a maze of lies, betrayal, and violence—always emerging victorious by the end of the episode. Origins and Evolution: Dangerous Assignment was originally conceived as a summer replacement series for NBC in 1949. It quickly gained popularity, and its success led to a full radio series running until 1953. Brian Donlevy, who also narrated the show, brought an intense realism to his portrayal of Steve Mitchell, which contributed to the show's gripping atmosphere. The only other consistent voice on the radio version was Herb Butterfield, who played "The Commissioner." Guest stars included famous actors like Raymond Burr, William Conrad, and Richard Boone, each lending their talents to create a unique cast of characters across the episodes. After the American radio series concluded, Dangerous Assignment continued its journey abroad with a 1954 Australian radio adaptation. This version used remade American scripts and introduced Lloyd Burrell as Steve Mitchell, broadcasting a total of 39 episodes. The 1949 Summer Series: Dangerous Assignment first aired as a seven-week summer series in the summer of 1949, running on Saturdays from 8:30 to 9:00 PM EST. The character of Ruthie, the Commissioner's secretary, was played by Betty Moran, hinting at a possible romantic backstory with Steve Mitchell. The show's first episodes took listeners on adventures to locations like Messina, Sicily, Saigon, and Paris, where Steve investigated everything from stolen relief supplies to millionaire murder conspiracies. The 1950–1953 Radio Run: The show's popularity ensured its return to the airwaves in February 1950, although it faced some scheduling challenges. Over the next few years, Dangerous Assignment moved through various time slots, ultimately running for over 160 episodes. The radio series also attracted major sponsors, including Ford Motor Company, Wheaties, and Anacin, though it was largely supported by NBC itself. The episodes became more formulaic, often starting with Steve Mitchell being assigned a mission—usually involving espionage, sabotage, or international political conflict—followed by thrilling encounters with dangerous enemies. Syndicated Television Version (1951–1952): In 1951, Donlevy adapted the series into a syndicated television show. Rather than relying on a traditional TV network, Donlevy self-financed the production of 39 episodes, selling them individually to local stations across the country. This approach, aided by NBC's distribution assistance, allowed the show to reach a wide audience despite limited network support. Each episode remained faithful to the original radio scripts, with Donlevy reprising his role as Steve Mitchell and Herb Butterfield again playing "The Commissioner." Production Team and Legacy: The television version of Dangerous Assignment employed a talented team behind the scenes, including assistant director William McGarry, production designer George Van Marter, and film editor Edward Schroeder, A.C.E. The show's episodes were often fast-paced, with each story revolving around Mitchell's covert operations in places as diverse as Paris, Berlin, and the African jungle. Among the famous guest stars featured in the TV series were Hugh Beaumont, Paul Frees, and Michael Ansara, who appeared as a variety of different characters throughout the series. Notable episodes included titles like "The Alien Smuggler Story" and "The Atomic Mine Story," where Steve Mitchell faced off against spies, criminals, and saboteurs in a constant battle to protect U.S. interests overseas. The Man Behind the Character: Brian Donlevy: Brian Donlevy, born in Cleveland, Ohio, on February 9, 1901, was known for his tough, no-nonsense persona, both on screen and on the airwaves. With a career that spanned film, radio, and television, Donlevy brought a unique depth to his portrayal of Steve Mitchell. He was a familiar face in 1940s Hollywood, starring in classic films like Beau Geste (1939) and Wake Island (1942), and even earned an Academy Award nomination for his role in Beau Geste. In addition to his success in film, Donlevy was a major figure in the development of Dangerous Assignment, both as the star and as a key producer for the television adaptation. His tough-guy image made him a natural fit for the role of the action-packed American agent, and he remained a popular figure in postwar television, contributing to numerous anthology series like Kraft Theatre and Lux Video Theatre. Conclusion: Dangerous Assignment remains a notable chapter in both radio and television history. The series was a standout example of 1940s and 1950s action-adventure storytelling, blending espionage, drama, and international intrigue. Thanks to Brian Donlevy's magnetic performance, Dangerous Assignment continues to be remembered as a thrilling and influential series that helped set the stage for future espionage-themed shows and films.

Guiri al Aire, martes 13 de mayo del 2025

Drs. Messina and Gill discussed the concept of technoference, which refers to the interference of technology with human connection and its impact on personal interactions and relationships. They emphasized the importance of being present in the moment and not letting devices like smartphones and laptops distract us from connecting with others, highlighting the negative impact of constant distractions on relationships. Dr. Messina provided an example that focused on a family gathered around their dinner table, the aroma of food mingling with the day's leftover stress suggesting this time was meant to be a time to reconnect and perhaps to share stories. A young child, eager for attention, started to recount an exciting event from school but their parents' attention was elsewhere. Their phones rested beside their plates, "just in case." Their thumbs were busy scrolling through social media feeds. They both offered distracted acknowledgments like "uh-huh," and "that's nice" – without ever making eye contact. The child's story faltered; his enthusiasm visibly dimmed. He felt ignored as though his story was unimportant. Research confirms that children notice and dislike when parents prioritize devices during family time. This perceived neglect can lead to frustration, sadness, or even acting out as a bid for the attention they crave. This isn't just about a missed story. It's a lost opportunity for vital family bonding during a core routine. The parents missed the chance to validate their child's experiences, to engage in a shared moment, and to reinforce the child's sense of being seen and valued. A precious "micro-moment" of connection, irreplaceable, vanished into the glow of a screen. They also discussed the how blue light effects the production Melatonin which is the key hormone responsible for regulating our natural sleep-wake cycles. This disruption not only makes it more challenging to fall asleep but also reduces the quality and duration of those crucial sleep stages required for effective memory consolidation. Consequently, even if an individual manages to stay awake and seemingly absorb information during a meeting or lecture, that information might not be properly encoded and stored if their subsequent sleep is compromised by late-night screen use. This neurological mechanism resonates strongly with frequent clinical reports of individuals experiencing a pervasive sense of mental fog, increased forgetfulness, and a subjective feeling that their memory is simply not as sharp as it once was. The conversation ended with a call to manage notifications and regulate the relationship with devices, and to be present and mindful in our interactions with others. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Drs. Messina and Gill discussed the concept of technoference, which refers to the interference of technology with human connection and its impact on personal interactions and relationships. They emphasized the importance of being present in the moment and not letting devices like smartphones and laptops distract us from connecting with others, highlighting the negative impact of constant distractions on relationships. Dr. Messina provided an example that focused on a family gathered around their dinner table, the aroma of food mingling with the day's leftover stress suggesting this time was meant to be a time to reconnect and perhaps to share stories. A young child, eager for attention, started to recount an exciting event from school but their parents' attention was elsewhere. Their phones rested beside their plates, "just in case." Their thumbs were busy scrolling through social media feeds. They both offered distracted acknowledgments like "uh-huh," and "that's nice" – without ever making eye contact. The child's story faltered; his enthusiasm visibly dimmed. He felt ignored as though his story was unimportant. Research confirms that children notice and dislike when parents prioritize devices during family time. This perceived neglect can lead to frustration, sadness, or even acting out as a bid for the attention they crave. This isn't just about a missed story. It's a lost opportunity for vital family bonding during a core routine. The parents missed the chance to validate their child's experiences, to engage in a shared moment, and to reinforce the child's sense of being seen and valued. A precious "micro-moment" of connection, irreplaceable, vanished into the glow of a screen. They also discussed the how blue light effects the production Melatonin which is the key hormone responsible for regulating our natural sleep-wake cycles. This disruption not only makes it more challenging to fall asleep but also reduces the quality and duration of those crucial sleep stages required for effective memory consolidation. Consequently, even if an individual manages to stay awake and seemingly absorb information during a meeting or lecture, that information might not be properly encoded and stored if their subsequent sleep is compromised by late-night screen use. This neurological mechanism resonates strongly with frequent clinical reports of individuals experiencing a pervasive sense of mental fog, increased forgetfulness, and a subjective feeling that their memory is simply not as sharp as it once was. The conversation ended with a call to manage notifications and regulate the relationship with devices, and to be present and mindful in our interactions with others. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychology

Drs. Messina and Gill discussed the concept of technoference, which refers to the interference of technology with human connection and its impact on personal interactions and relationships. They emphasized the importance of being present in the moment and not letting devices like smartphones and laptops distract us from connecting with others, highlighting the negative impact of constant distractions on relationships. Dr. Messina provided an example that focused on a family gathered around their dinner table, the aroma of food mingling with the day's leftover stress suggesting this time was meant to be a time to reconnect and perhaps to share stories. A young child, eager for attention, started to recount an exciting event from school but their parents' attention was elsewhere. Their phones rested beside their plates, "just in case." Their thumbs were busy scrolling through social media feeds. They both offered distracted acknowledgments like "uh-huh," and "that's nice" – without ever making eye contact. The child's story faltered; his enthusiasm visibly dimmed. He felt ignored as though his story was unimportant. Research confirms that children notice and dislike when parents prioritize devices during family time. This perceived neglect can lead to frustration, sadness, or even acting out as a bid for the attention they crave. This isn't just about a missed story. It's a lost opportunity for vital family bonding during a core routine. The parents missed the chance to validate their child's experiences, to engage in a shared moment, and to reinforce the child's sense of being seen and valued. A precious "micro-moment" of connection, irreplaceable, vanished into the glow of a screen. They also discussed the how blue light effects the production Melatonin which is the key hormone responsible for regulating our natural sleep-wake cycles. This disruption not only makes it more challenging to fall asleep but also reduces the quality and duration of those crucial sleep stages required for effective memory consolidation. Consequently, even if an individual manages to stay awake and seemingly absorb information during a meeting or lecture, that information might not be properly encoded and stored if their subsequent sleep is compromised by late-night screen use. This neurological mechanism resonates strongly with frequent clinical reports of individuals experiencing a pervasive sense of mental fog, increased forgetfulness, and a subjective feeling that their memory is simply not as sharp as it once was. The conversation ended with a call to manage notifications and regulate the relationship with devices, and to be present and mindful in our interactions with others. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Hello, I'm Brett and I'll be your host for these amazing Old Time Radio Shows :) Dangerous Assignment was a thrilling NBC radio drama that captivated audiences from 1949 to 1953, starring the dynamic Brian Donlevy as the fearless U.S. special agent Steve Mitchell. It was broadcast across a range of media, including a syndicated TV series in 1951–52, and even inspired a reimagined Australian radio version from 1954 to 1956. Both the radio and TV series kept viewers on the edge of their seats with fast-paced plots filled with espionage, deception, and international intrigue. Series Premise: Each episode followed Steve Mitchell, an American agent dispatched by "The Commissioner," the enigmatic head of an unnamed U.S. State Department division. Steve's mission: to travel to exotic locations around the world to foil nefarious plots and uncover dangerous secrets. The show was designed to keep listeners in suspense, opening with a tantalizing scene before the action unfolded. Mitchell, posing as a suave foreign correspondent for an unspecified publication, navigated a maze of lies, betrayal, and violence—always emerging victorious by the end of the episode. Origins and Evolution: Dangerous Assignment was originally conceived as a summer replacement series for NBC in 1949. It quickly gained popularity, and its success led to a full radio series running until 1953. Brian Donlevy, who also narrated the show, brought an intense realism to his portrayal of Steve Mitchell, which contributed to the show's gripping atmosphere. The only other consistent voice on the radio version was Herb Butterfield, who played "The Commissioner." Guest stars included famous actors like Raymond Burr, William Conrad, and Richard Boone, each lending their talents to create a unique cast of characters across the episodes. After the American radio series concluded, Dangerous Assignment continued its journey abroad with a 1954 Australian radio adaptation. This version used remade American scripts and introduced Lloyd Burrell as Steve Mitchell, broadcasting a total of 39 episodes. The 1949 Summer Series: Dangerous Assignment first aired as a seven-week summer series in the summer of 1949, running on Saturdays from 8:30 to 9:00 PM EST. The character of Ruthie, the Commissioner's secretary, was played by Betty Moran, hinting at a possible romantic backstory with Steve Mitchell. The show's first episodes took listeners on adventures to locations like Messina, Sicily, Saigon, and Paris, where Steve investigated everything from stolen relief supplies to millionaire murder conspiracies. The 1950–1953 Radio Run: The show's popularity ensured its return to the airwaves in February 1950, although it faced some scheduling challenges. Over the next few years, Dangerous Assignment moved through various time slots, ultimately running for over 160 episodes. The radio series also attracted major sponsors, including Ford Motor Company, Wheaties, and Anacin, though it was largely supported by NBC itself. The episodes became more formulaic, often starting with Steve Mitchell being assigned a mission—usually involving espionage, sabotage, or international political conflict—followed by thrilling encounters with dangerous enemies. Syndicated Television Version (1951–1952): In 1951, Donlevy adapted the series into a syndicated television show. Rather than relying on a traditional TV network, Donlevy self-financed the production of 39 episodes, selling them individually to local stations across the country. This approach, aided by NBC's distribution assistance, allowed the show to reach a wide audience despite limited network support. Each episode remained faithful to the original radio scripts, with Donlevy reprising his role as Steve Mitchell and Herb Butterfield again playing "The Commissioner." Production Team and Legacy: The television version of Dangerous Assignment employed a talented team behind the scenes, including assistant director William McGarry, production designer George Van Marter, and film editor Edward Schroeder, A.C.E. The show's episodes were often fast-paced, with each story revolving around Mitchell's covert operations in places as diverse as Paris, Berlin, and the African jungle. Among the famous guest stars featured in the TV series were Hugh Beaumont, Paul Frees, and Michael Ansara, who appeared as a variety of different characters throughout the series. Notable episodes included titles like "The Alien Smuggler Story" and "The Atomic Mine Story," where Steve Mitchell faced off against spies, criminals, and saboteurs in a constant battle to protect U.S. interests overseas. The Man Behind the Character: Brian Donlevy: Brian Donlevy, born in Cleveland, Ohio, on February 9, 1901, was known for his tough, no-nonsense persona, both on screen and on the airwaves. With a career that spanned film, radio, and television, Donlevy brought a unique depth to his portrayal of Steve Mitchell. He was a familiar face in 1940s Hollywood, starring in classic films like Beau Geste (1939) and Wake Island (1942), and even earned an Academy Award nomination for his role in Beau Geste. In addition to his success in film, Donlevy was a major figure in the development of Dangerous Assignment, both as the star and as a key producer for the television adaptation. His tough-guy image made him a natural fit for the role of the action-packed American agent, and he remained a popular figure in postwar television, contributing to numerous anthology series like Kraft Theatre and Lux Video Theatre. Conclusion: Dangerous Assignment remains a notable chapter in both radio and television history. The series was a standout example of 1940s and 1950s action-adventure storytelling, blending espionage, drama, and international intrigue. Thanks to Brian Donlevy's magnetic performance, Dangerous Assignment continues to be remembered as a thrilling and influential series that helped set the stage for future espionage-themed shows and films.

As we say on Wall Street, "Everything before the 'but' is nonsense." Too many people talk in big words about how “important and valuable” something is, but when it comes time to write a check or take an action, they suddenly disappear. My guest and instant friend on March 31, 2025 is the exact opposite of that. There is no “but” in his life – if he believes in something, he takes immediate responsibility and action. Oded Rahav is a man of vision and abounding love for this world and humanity, which is in and of itself something of a miracle, given that he is Israeli and has endured this latest outburst of hateful evil from his neighbors, along with many prior eruptions of genocidal hate. He has the energy of a dozen people and turned a passion for long-distance swimming into a foundation to restore the Dead Sea – a body of water of immeasurable value to the human journey. Tune in while we discuss the Dead Sea Guardians.  ⁠https://deadseaguardians.org/ ⁠The conversation is informed by the fact that Messina's Federal Budget, written by our Host, inspired Elon Musk to create DOGE.  Strong moral intention can lead to real world solutions that inspire and create stronger, healthier societies. There are many good projects in the world. Many valuable ideas worth donating to. This is one of them. Not only is this an initiative that everyone should support, but as we discuss on the podcast, you should get some skin in the game.Help us work towards a solution. Buy the ticket - take the ride. Swim out into the ocean. Love instead of hate. Make some art. There are many ways large and small to get involved in healing the Dead Sea and by extension, Israel and her neighbors. You can make any size donation on the Guardians website. You can ALSO benefit yourself, the larger economy and the Dead Sea by buying a Gaju (Bitcoin 3.0) mining license. You can start mining Gajus immediately; a portion of every license subscription will go to support the Dead Sea Guardians directly. ⁠https://gajumining.com/shop/?ref=Mess1na⁠  

Hello, I'm Brett and I'll be your host for these amazing Old Time Radio Shows :) Dangerous Assignment was a thrilling NBC radio drama that captivated audiences from 1949 to 1953, starring the dynamic Brian Donlevy as the fearless U.S. special agent Steve Mitchell. It was broadcast across a range of media, including a syndicated TV series in 1951–52, and even inspired a reimagined Australian radio version from 1954 to 1956. Both the radio and TV series kept viewers on the edge of their seats with fast-paced plots filled with espionage, deception, and international intrigue. Series Premise: Each episode followed Steve Mitchell, an American agent dispatched by "The Commissioner," the enigmatic head of an unnamed U.S. State Department division. Steve's mission: to travel to exotic locations around the world to foil nefarious plots and uncover dangerous secrets. The show was designed to keep listeners in suspense, opening with a tantalizing scene before the action unfolded. Mitchell, posing as a suave foreign correspondent for an unspecified publication, navigated a maze of lies, betrayal, and violence—always emerging victorious by the end of the episode. Origins and Evolution: Dangerous Assignment was originally conceived as a summer replacement series for NBC in 1949. It quickly gained popularity, and its success led to a full radio series running until 1953. Brian Donlevy, who also narrated the show, brought an intense realism to his portrayal of Steve Mitchell, which contributed to the show's gripping atmosphere. The only other consistent voice on the radio version was Herb Butterfield, who played "The Commissioner." Guest stars included famous actors like Raymond Burr, William Conrad, and Richard Boone, each lending their talents to create a unique cast of characters across the episodes. After the American radio series concluded, Dangerous Assignment continued its journey abroad with a 1954 Australian radio adaptation. This version used remade American scripts and introduced Lloyd Burrell as Steve Mitchell, broadcasting a total of 39 episodes. The 1949 Summer Series: Dangerous Assignment first aired as a seven-week summer series in the summer of 1949, running on Saturdays from 8:30 to 9:00 PM EST. The character of Ruthie, the Commissioner's secretary, was played by Betty Moran, hinting at a possible romantic backstory with Steve Mitchell. The show's first episodes took listeners on adventures to locations like Messina, Sicily, Saigon, and Paris, where Steve investigated everything from stolen relief supplies to millionaire murder conspiracies. The 1950–1953 Radio Run: The show's popularity ensured its return to the airwaves in February 1950, although it faced some scheduling challenges. Over the next few years, Dangerous Assignment moved through various time slots, ultimately running for over 160 episodes. The radio series also attracted major sponsors, including Ford Motor Company, Wheaties, and Anacin, though it was largely supported by NBC itself. The episodes became more formulaic, often starting with Steve Mitchell being assigned a mission—usually involving espionage, sabotage, or international political conflict—followed by thrilling encounters with dangerous enemies. Syndicated Television Version (1951–1952): In 1951, Donlevy adapted the series into a syndicated television show. Rather than relying on a traditional TV network, Donlevy self-financed the production of 39 episodes, selling them individually to local stations across the country. This approach, aided by NBC's distribution assistance, allowed the show to reach a wide audience despite limited network support. Each episode remained faithful to the original radio scripts, with Donlevy reprising his role as Steve Mitchell and Herb Butterfield again playing "The Commissioner." Production Team and Legacy: The television version of Dangerous Assignment employed a talented team behind the scenes, including assistant director William McGarry, production designer George Van Marter, and film editor Edward Schroeder, A.C.E. The show's episodes were often fast-paced, with each story revolving around Mitchell's covert operations in places as diverse as Paris, Berlin, and the African jungle. Among the famous guest stars featured in the TV series were Hugh Beaumont, Paul Frees, and Michael Ansara, who appeared as a variety of different characters throughout the series. Notable episodes included titles like "The Alien Smuggler Story" and "The Atomic Mine Story," where Steve Mitchell faced off against spies, criminals, and saboteurs in a constant battle to protect U.S. interests overseas. The Man Behind the Character: Brian Donlevy: Brian Donlevy, born in Cleveland, Ohio, on February 9, 1901, was known for his tough, no-nonsense persona, both on screen and on the airwaves. With a career that spanned film, radio, and television, Donlevy brought a unique depth to his portrayal of Steve Mitchell. He was a familiar face in 1940s Hollywood, starring in classic films like Beau Geste (1939) and Wake Island (1942), and even earned an Academy Award nomination for his role in Beau Geste. In addition to his success in film, Donlevy was a major figure in the development of Dangerous Assignment, both as the star and as a key producer for the television adaptation. His tough-guy image made him a natural fit for the role of the action-packed American agent, and he remained a popular figure in postwar television, contributing to numerous anthology series like Kraft Theatre and Lux Video Theatre. Conclusion: Dangerous Assignment remains a notable chapter in both radio and television history. The series was a standout example of 1940s and 1950s action-adventure storytelling, blending espionage, drama, and international intrigue. Thanks to Brian Donlevy's magnetic performance, Dangerous Assignment continues to be remembered as a thrilling and influential series that helped set the stage for future espionage-themed shows and films.

Sara Campanella è la studentessa sgozzata in strada a Messina dal suo molestatore.Support this podcast at — https://redcircle.com/storia/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Today's program features tuneage from XTC, Tim Buckley, It's A Beautiful Day, Lovin' Spoonful, John Mayall, Crosby Stills & Nash, Spirit, Beatles, Small Faces, Youngbloods, Randy Newman, The Left Banke, Cyrkle, Zombies, Seatrain, Rascals, Jean Luc Ponty, Doors, Tears For Fears, Byrds, Led Zeppelin, Simon & Garfunkel, Judy Collins, Quicksilver Messenger Service .and Loggins && Messina

New month, new show, packed with fresh bangers. Upfront house & techno cuts for April 2025 — raw, rolling and ready to take you straight into summer. Featuring new music from Tom Nolan, Sidney Charles, Green Velvet, Jamie Jones, Joe Vanditti and loads more Tracklist 1. Tom Nolan - Hurt (Extended Mix) 2. Sidney Charles - Low End Theory (Original Mix) 3. Papa Marlin - Move Your Feet (Original Mix) 4. Bruno Furlan - Go Down (Original Mix) 5. Blow (ITA), Jezu (US) - Remember Me (Extended Mix) 6. KESSIN - LDN (Ferg remix) 7. Enrico Caruso - Tolldip (Original Mix) 8. Green Velvet, Jamie Jones - Butterflies (Extended Mix) 9. FIRZA - Tutti Frutti (Original Mix) 10. Joe Vanditti - Clean Up (Original Mix) 11. Mooner GL - Five Panel Cap (Original Mix) 12. Junior Souza, Buogo - Little Story (Extended Mix) 13. Nicola Amoruso - Rhythm (Extended Mix) 14. Michele Arcieri, Manuel Torcello, Resco - Funky (Diego Sosa Remix) 15. Ramyen, MROSSI, MESSINA. - Uncle Hook (Original Mix) 16. Dan Costello - Blow Ur Mind

Hello, I'm Brett and I'll be your host for these amazing Old Time Radio Shows :) Dangerous Assignment was a thrilling NBC radio drama that captivated audiences from 1949 to 1953, starring the dynamic Brian Donlevy as the fearless U.S. special agent Steve Mitchell. It was broadcast across a range of media, including a syndicated TV series in 1951–52, and even inspired a reimagined Australian radio version from 1954 to 1956. Both the radio and TV series kept viewers on the edge of their seats with fast-paced plots filled with espionage, deception, and international intrigue. Series Premise: Each episode followed Steve Mitchell, an American agent dispatched by "The Commissioner," the enigmatic head of an unnamed U.S. State Department division. Steve's mission: to travel to exotic locations around the world to foil nefarious plots and uncover dangerous secrets. The show was designed to keep listeners in suspense, opening with a tantalizing scene before the action unfolded. Mitchell, posing as a suave foreign correspondent for an unspecified publication, navigated a maze of lies, betrayal, and violence—always emerging victorious by the end of the episode. Origins and Evolution: Dangerous Assignment was originally conceived as a summer replacement series for NBC in 1949. It quickly gained popularity, and its success led to a full radio series running until 1953. Brian Donlevy, who also narrated the show, brought an intense realism to his portrayal of Steve Mitchell, which contributed to the show's gripping atmosphere. The only other consistent voice on the radio version was Herb Butterfield, who played "The Commissioner." Guest stars included famous actors like Raymond Burr, William Conrad, and Richard Boone, each lending their talents to create a unique cast of characters across the episodes. After the American radio series concluded, Dangerous Assignment continued its journey abroad with a 1954 Australian radio adaptation. This version used remade American scripts and introduced Lloyd Burrell as Steve Mitchell, broadcasting a total of 39 episodes. The 1949 Summer Series: Dangerous Assignment first aired as a seven-week summer series in the summer of 1949, running on Saturdays from 8:30 to 9:00 PM EST. The character of Ruthie, the Commissioner's secretary, was played by Betty Moran, hinting at a possible romantic backstory with Steve Mitchell. The show's first episodes took listeners on adventures to locations like Messina, Sicily, Saigon, and Paris, where Steve investigated everything from stolen relief supplies to millionaire murder conspiracies. The 1950–1953 Radio Run: The show's popularity ensured its return to the airwaves in February 1950, although it faced some scheduling challenges. Over the next few years, Dangerous Assignment moved through various time slots, ultimately running for over 160 episodes. The radio series also attracted major sponsors, including Ford Motor Company, Wheaties, and Anacin, though it was largely supported by NBC itself. The episodes became more formulaic, often starting with Steve Mitchell being assigned a mission—usually involving espionage, sabotage, or international political conflict—followed by thrilling encounters with dangerous enemies. Syndicated Television Version (1951–1952): In 1951, Donlevy adapted the series into a syndicated television show. Rather than relying on a traditional TV network, Donlevy self-financed the production of 39 episodes, selling them individually to local stations across the country. This approach, aided by NBC's distribution assistance, allowed the show to reach a wide audience despite limited network support. Each episode remained faithful to the original radio scripts, with Donlevy reprising his role as Steve Mitchell and Herb Butterfield again playing "The Commissioner." Production Team and Legacy: The television version of Dangerous Assignment employed a talented team behind the scenes, including assistant director William McGarry, production designer George Van Marter, and film editor Edward Schroeder, A.C.E. The show's episodes were often fast-paced, with each story revolving around Mitchell's covert operations in places as diverse as Paris, Berlin, and the African jungle. Among the famous guest stars featured in the TV series were Hugh Beaumont, Paul Frees, and Michael Ansara, who appeared as a variety of different characters throughout the series. Notable episodes included titles like "The Alien Smuggler Story" and "The Atomic Mine Story," where Steve Mitchell faced off against spies, criminals, and saboteurs in a constant battle to protect U.S. interests overseas. The Man Behind the Character: Brian Donlevy: Brian Donlevy, born in Cleveland, Ohio, on February 9, 1901, was known for his tough, no-nonsense persona, both on screen and on the airwaves. With a career that spanned film, radio, and television, Donlevy brought a unique depth to his portrayal of Steve Mitchell. He was a familiar face in 1940s Hollywood, starring in classic films like Beau Geste (1939) and Wake Island (1942), and even earned an Academy Award nomination for his role in Beau Geste. In addition to his success in film, Donlevy was a major figure in the development of Dangerous Assignment, both as the star and as a key producer for the television adaptation. His tough-guy image made him a natural fit for the role of the action-packed American agent, and he remained a popular figure in postwar television, contributing to numerous anthology series like Kraft Theatre and Lux Video Theatre. Conclusion: Dangerous Assignment remains a notable chapter in both radio and television history. The series was a standout example of 1940s and 1950s action-adventure storytelling, blending espionage, drama, and international intrigue. Thanks to Brian Donlevy's magnetic performance, Dangerous Assignment continues to be remembered as a thrilling and influential series that helped set the stage for future espionage-themed shows and films.

Drs. Messina and Gill talked about cognitive offloading in our digital age—how smartphones, AI, and other technologies are reshaping our mental habits, our memory, our capacity for attention, and ultimately, our emotional lives. Cognitive offloading refers to the process of using tools and technologies to take over mental functions we used to perform ourselves. Whether it's using GPS to navigate, storing phone numbers in our contacts, or asking ChatGPT for help organizing thoughts, we're increasingly externalizing our thinking. They also discussed the psychoanalytic defense mechanisms involved in our reliance on technology, how AI impacts metacognition, and how this process influences us both individually and collectively. From a psychoanalytic perspective, cognitive offloading is similar to projection—placing uncomfortable labor or responsibility outside of ourselves. It may also involve disavowal: we know we're becoming dependent, but we ignore or deny the psychological cost. Dr. Messina mentioned that Freud saw memory as a core element of identity adding that when we delegate memory to devices, we risk fragmenting the ego. She also elaborated on the concept of “metacognition” which refers to the awareness and regulation of one's own thought processes, also described as “thinking about thinking.” It involves understanding how we learns, plans, monitors, and evaluates our cognitive strategies to achieve specific goals. Dr. Gill talked about cognitive offloading from a neuroscience perspective noting that the practice of using external tools or resources to reduce mental effort involves complex interactions between several brain regions. He discussed how the prefrontal cortex plays a central role in cognitive offloading while the hippocampus is critical for memory encoding and retrieval. How to mitigate problems that arise from cognitive offloading was also discussed as well as the risks of overreliance on AI chatbots which can lead to cognitive atrophy. This is now referred to as artificial intelligence chatbots induced cognitive atrophy or AICICA. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Send us a textIn this episode of Big Butts No Lies, Mavi sits down with board-certified plastic surgeon Dr. Kristen Aliano Messina to dive into the world of regenerative medicine and its role in plastic surgery. She explains what stem cells are, how they work, and their potential applications. Dr. Aliano Messina also breaks down the strict regulations around stem cell therapy, shedding light on bad actors in the field and the risks associated with unregulated clinics.She also compares recovery experiences between traditional liposuction and liposuction with Renuvion, highlighting the benefits of this advanced technology. Additionally, she discusses Attiva—what it is, how it works, and why patience is essential to seeing results. Dr. Aliano Messina also touches on how a vegetarian or vegan diet may impact outcomes and what patients can do to optimize their results. On a personal note, she shares insights into her own life.Key Topics Covered:What stem cells are and how they're used in regenerative medicineThe strict regulations around stem cell therapy and industry challengesLiposuction vs. Renuvion: differences in recovery and resultsUnderstanding Attiva: how it works and what to expectHow diet, including vegetarian and vegan lifestyles, may affect plastic surgery resultsTune in now to get expert insights into the latest advancements in plastic surgery recovery!For more from Dr. Kristen Aliano Messina, check out: 

Drs. Messina and Gill talked about cognitive offloading in our digital age—how smartphones, AI, and other technologies are reshaping our mental habits, our memory, our capacity for attention, and ultimately, our emotional lives. Cognitive offloading refers to the process of using tools and technologies to take over mental functions we used to perform ourselves. Whether it's using GPS to navigate, storing phone numbers in our contacts, or asking ChatGPT for help organizing thoughts, we're increasingly externalizing our thinking. They also discussed the psychoanalytic defense mechanisms involved in our reliance on technology, how AI impacts metacognition, and how this process influences us both individually and collectively. From a psychoanalytic perspective, cognitive offloading is similar to projection—placing uncomfortable labor or responsibility outside of ourselves. It may also involve disavowal: we know we're becoming dependent, but we ignore or deny the psychological cost. Dr. Messina mentioned that Freud saw memory as a core element of identity adding that when we delegate memory to devices, we risk fragmenting the ego. She also elaborated on the concept of “metacognition” which refers to the awareness and regulation of one's own thought processes, also described as “thinking about thinking.” It involves understanding how we learns, plans, monitors, and evaluates our cognitive strategies to achieve specific goals. Dr. Gill talked about cognitive offloading from a neuroscience perspective noting that the practice of using external tools or resources to reduce mental effort involves complex interactions between several brain regions. He discussed how the prefrontal cortex plays a central role in cognitive offloading while the hippocampus is critical for memory encoding and retrieval. How to mitigate problems that arise from cognitive offloading was also discussed as well as the risks of overreliance on AI chatbots which can lead to cognitive atrophy. This is now referred to as artificial intelligence chatbots induced cognitive atrophy or AICICA. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Drs. Messina and Gill talked about cognitive offloading in our digital age—how smartphones, AI, and other technologies are reshaping our mental habits, our memory, our capacity for attention, and ultimately, our emotional lives. Cognitive offloading refers to the process of using tools and technologies to take over mental functions we used to perform ourselves. Whether it's using GPS to navigate, storing phone numbers in our contacts, or asking ChatGPT for help organizing thoughts, we're increasingly externalizing our thinking. They also discussed the psychoanalytic defense mechanisms involved in our reliance on technology, how AI impacts metacognition, and how this process influences us both individually and collectively. From a psychoanalytic perspective, cognitive offloading is similar to projection—placing uncomfortable labor or responsibility outside of ourselves. It may also involve disavowal: we know we're becoming dependent, but we ignore or deny the psychological cost. Dr. Messina mentioned that Freud saw memory as a core element of identity adding that when we delegate memory to devices, we risk fragmenting the ego. She also elaborated on the concept of “metacognition” which refers to the awareness and regulation of one's own thought processes, also described as “thinking about thinking.” It involves understanding how we learns, plans, monitors, and evaluates our cognitive strategies to achieve specific goals. Dr. Gill talked about cognitive offloading from a neuroscience perspective noting that the practice of using external tools or resources to reduce mental effort involves complex interactions between several brain regions. He discussed how the prefrontal cortex plays a central role in cognitive offloading while the hippocampus is critical for memory encoding and retrieval. How to mitigate problems that arise from cognitive offloading was also discussed as well as the risks of overreliance on AI chatbots which can lead to cognitive atrophy. This is now referred to as artificial intelligence chatbots induced cognitive atrophy or AICICA. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychology

Welcome to the Athlete Mindset podcast, hosted by Lisa Bonta Sumii, LCSW, CMPC. In this episode, Lisa sits down with Courtney Messina, MA, LPC-S, LCDC, a former Ole Miss soccer athlete, and Senior Director for Outpatient Clinical Operations at All Points North (APN). Courtney shares insights from her work with elite athletes, including her role at APN's Elite Athletes Program and as a visiting therapist at TCU. They explore why athletes seek therapy—sports injuries, identity struggles, mental performance, and more—while unpacking the unique challenges of transitioning out of sport. From practical tips like prioritizing sleep to society's need to destigmatize mental health, this coffee-chat-style conversation offers hope and actionable insights.Key Takeaways from "Mental Health Realities for Elite Athletes with Courtney Messina"Common struggles: Injuries, identity loss, and the relentless pressure to perform flawlessly.APN's Elite Athletes Program: Residential care to virtual IOP, serving NFL players and expanding to other sports.Strategies: Reframing identity beyond sport, building resilience, and normalizing help-seeking behaviors.Society's role: Prioritizing mental health as integral to overall health and reducing stigma.Sleep matters: How rest boosts focus, mood, and emotional regulation for peak performance.Injury impact: The loneliness and body image shifts that amplify mental health challenges.More about Courtney Messina:Courtney Messina, MA, LPC-S, LCDC, is the Senior Director for Outpatient Clinical Operations at All Points North, leveraging extensive experience in clinical leadership and behavioral health services.After earning a bachelor's in psychology from the University of Mississippi and a master's in clinical Mental Health Counseling from the University of Texas at Tyler, Courtney has had the opportunity to work in various settings including community mental health, corrections and inpatient and outpatient facilities treating clients with co-occurring disorders.Beyond her pursuits at All Points North and as a former Division I athlete at Ole Miss, Courtney is very passionate about working with the Athlete population. She is a visiting senior therapist for the Athletics Department at Texas Christian University and is listed in The United States Olympic & Paralympic Committee Mental Health Registry.Courtney has been featured in several media outlets, including Treatment Magazine, the Psychiatry and Behavioral Health Learning Network, The Dallas Morning News, and Genesis the Podcast.Credits: Athlete Mindset is part of the SportsE Media platform.Produced by KazCM and featured on the QuietLoud Studios podcast network.Support the Athlete Mindset Community: Click Here to contribute to the Athlete Mindset Community.By supporting the Athlete Mindset community, you will contribute directly to the mental health of athletes. With your amplification, we can ensure more voices are heard and more individuals are impacted. Thank You for making a difference!Connect with the guest, host, and podcast production team:Courtney Messina: LinkedIn | websiteLisa Bonta Sumii, LCSW, CMPC: LinkedIn | Instagram | websiteSportsE Media: LinkedIn | XRelated episodes to “Mental Health Realities for Elite Athletes with Courtney Messina”:Mental Strength with Dr. Brook ChouletThe Intersection of Sports Psychiatry and Performance with Dr. Wilsa Charles MalveauxUnderstanding Athlete Identity with Kim BradyMusic: Beat Provided By freebeats.io | Produced By White Hot

The U.S.S. Messina ponders a mysterious orb that's refusing all attempts to scan it---Space Heroes by MaxKoMusic | https://maxkomusic.com/Music promoted by https://www.free-stock-music.comCreative Commons / Attribution-ShareAlike 3.0 Unported (CC BY-SA 3.0)https://creativecommons.org/licenses/by-sa/3.0/deed.en_US#StarTrek #StarTrekAdventures #TTRPG

In episode 5 Dr. Karyne Messina and Dr. Harry Gill talked about what can happen when middle-age and older adults watch screens too much as opposed to engaging in other important tasks in life during Erik Eriksson's last two stages of development. In the “Generativity versus Stagnation” stage (ages 40-65), productive individuals focus on contributing to society by raising families, engaging in meaningful work, and connecting with their communities. This can't be done in optimal ways when people spend too much time watching screens. Excessive screen time may also lead to a sense of stagnation if it prevents individuals from engaging in life in meaningful ways. In the “Integrity vs. Despair” stage (65+ years old), people who are connected to others don't watch screens excessively because they are engaged in life in their later years reflecting on what they have accomplished whether it is through writing books or sharing information with others in different ways. Too much screen time can interfere with the ability to engage in a meaningful review of one's life. Instead of sharing wisdom with younger generations, older adults who focus of watching screens for many hours a day may become isolated and disconnected from real-world interactions, potentially leading to a sense of despair. Dr. Messina discussed the fact that adults who spend 6 or more hours a day on social media platforms tend to be much more depressed and anxious than those who don't. Dr. Gill talked about the effects of too much screentime on sleep, explaining how blue light emitted by screens interferes with falling asleep because of the lack of production of melatonin. This prevents people from falling asleep. They both talked about the benefits of turning off phones and televisions early in the evening so that a person, couple or family can have quality time participating in some type of meaningful activity versus watching what people on screens are saying or doing. Another topic included in this podcast and YouTube video outlined ways to mitigate problems associated with too much screen time. Dr. Messina focused on the importance of community which she thinks is important at all ages. If getting together in person isn't possible, talking with a friend on the phone is better than using this device for passive purposes such as scrolling through social media posts. Dr. Gill reminded people how important it is to meet in person and said some of his patients have actually enjoyed going back to work full-time once they have gotten used to it again. He added that screen aren't always negative later in life if people aren't able to meet in person. For example, if older people can't drive or easily meet with friends or family members in person, he said some of his patients have weekly Zoom meetings with others which helps them feel connected. Drs. Gill and Messina talked about being addicted to screens and what people can do about this condition which starts with a commitment to set limits and make rules about screentime. Finding other worthwhile or pleasurable activities was included in the discussion such as listening to music, reading, painting, doing crossword puzzles, etc. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Here be monsters.We crack into Ulysses' ninth episode: "Scylla and Charybdis." Topics in this episode include: a great philosopher's thoughts on Shakespeare, Dermot, another great philosopher's, thoughts on Shakespeare, Odysseus' encounter with Scylla and Charybdis, the geography and currents of the Strait of Messina that likely inspired the story of Scylla and Charybdis, the triumphant return of Stephen Dedalus, Aristotle and Plato, George Æ Russell the engulfer of souls, why the brain is man's cruelest weapon, intellectual dialectic contrasted with empty rhetoric, the National Library of Ireland and why it's great, "The Holy Office", well-timed lunch, Stephen Dedalus' three forms of literature, Henrik Ibsen and the primacy of drama in Stephen's literary schema, and how to navigate between two sea monsters.Support us on Patreon to access episodes early, bonus content, and a video version of our podcast.Blooms & Barnacles Social Media:Facebook | Twitter | InstagramSubscribe to Blooms & Barnacles:Apple Podcasts | Spotify | YouTube 

In episode 5 Dr. Karyne Messina and Dr. Harry Gill talked about what can happen when middle-age and older adults watch screens too much as opposed to engaging in other important tasks in life during Erik Eriksson's last two stages of development. In the “Generativity versus Stagnation” stage (ages 40-65), productive individuals focus on contributing to society by raising families, engaging in meaningful work, and connecting with their communities. This can't be done in optimal ways when people spend too much time watching screens. Excessive screen time may also lead to a sense of stagnation if it prevents individuals from engaging in life in meaningful ways. In the “Integrity vs. Despair” stage (65+ years old), people who are connected to others don't watch screens excessively because they are engaged in life in their later years reflecting on what they have accomplished whether it is through writing books or sharing information with others in different ways. Too much screen time can interfere with the ability to engage in a meaningful review of one's life. Instead of sharing wisdom with younger generations, older adults who focus of watching screens for many hours a day may become isolated and disconnected from real-world interactions, potentially leading to a sense of despair. Dr. Messina discussed the fact that adults who spend 6 or more hours a day on social media platforms tend to be much more depressed and anxious than those who don't. Dr. Gill talked about the effects of too much screentime on sleep, explaining how blue light emitted by screens interferes with falling asleep because of the lack of production of melatonin. This prevents people from falling asleep. They both talked about the benefits of turning off phones and televisions early in the evening so that a person, couple or family can have quality time participating in some type of meaningful activity versus watching what people on screens are saying or doing. Another topic included in this podcast and YouTube video outlined ways to mitigate problems associated with too much screen time. Dr. Messina focused on the importance of community which she thinks is important at all ages. If getting together in person isn't possible, talking with a friend on the phone is better than using this device for passive purposes such as scrolling through social media posts. Dr. Gill reminded people how important it is to meet in person and said some of his patients have actually enjoyed going back to work full-time once they have gotten used to it again. He added that screen aren't always negative later in life if people aren't able to meet in person. For example, if older people can't drive or easily meet with friends or family members in person, he said some of his patients have weekly Zoom meetings with others which helps them feel connected. Drs. Gill and Messina talked about being addicted to screens and what people can do about this condition which starts with a commitment to set limits and make rules about screentime. Finding other worthwhile or pleasurable activities was included in the discussion such as listening to music, reading, painting, doing crossword puzzles, etc. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In episode 5 Dr. Karyne Messina and Dr. Harry Gill talked about what can happen when middle-age and older adults watch screens too much as opposed to engaging in other important tasks in life during Erik Eriksson's last two stages of development. In the “Generativity versus Stagnation” stage (ages 40-65), productive individuals focus on contributing to society by raising families, engaging in meaningful work, and connecting with their communities. This can't be done in optimal ways when people spend too much time watching screens. Excessive screen time may also lead to a sense of stagnation if it prevents individuals from engaging in life in meaningful ways. In the “Integrity vs. Despair” stage (65+ years old), people who are connected to others don't watch screens excessively because they are engaged in life in their later years reflecting on what they have accomplished whether it is through writing books or sharing information with others in different ways. Too much screen time can interfere with the ability to engage in a meaningful review of one's life. Instead of sharing wisdom with younger generations, older adults who focus of watching screens for many hours a day may become isolated and disconnected from real-world interactions, potentially leading to a sense of despair. Dr. Messina discussed the fact that adults who spend 6 or more hours a day on social media platforms tend to be much more depressed and anxious than those who don't. Dr. Gill talked about the effects of too much screentime on sleep, explaining how blue light emitted by screens interferes with falling asleep because of the lack of production of melatonin. This prevents people from falling asleep. They both talked about the benefits of turning off phones and televisions early in the evening so that a person, couple or family can have quality time participating in some type of meaningful activity versus watching what people on screens are saying or doing. Another topic included in this podcast and YouTube video outlined ways to mitigate problems associated with too much screen time. Dr. Messina focused on the importance of community which she thinks is important at all ages. If getting together in person isn't possible, talking with a friend on the phone is better than using this device for passive purposes such as scrolling through social media posts. Dr. Gill reminded people how important it is to meet in person and said some of his patients have actually enjoyed going back to work full-time once they have gotten used to it again. He added that screen aren't always negative later in life if people aren't able to meet in person. For example, if older people can't drive or easily meet with friends or family members in person, he said some of his patients have weekly Zoom meetings with others which helps them feel connected. Drs. Gill and Messina talked about being addicted to screens and what people can do about this condition which starts with a commitment to set limits and make rules about screentime. Finding other worthwhile or pleasurable activities was included in the discussion such as listening to music, reading, painting, doing crossword puzzles, etc. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychology

This is Episode No. 100 of “Music for a While.” To mark the occasion, Jay presents music associated with that number: 100. So, we can consider this a centennial celebration. Bach, “Darum wir billig loben dich,” from the Cantata BVW 130 Dvořák, Scherzo from Sonatina for Violin and Piano, Op. 100 Bach, “Er ist mein Licht, mein Leben,” from the Cantata BVW 100 Haydn, Presto, from Symphony No. 100 in G major, “Military” Beethoven, “Merkenstein” Prokofiev, Allegro marcato, from Symphony No. 5 Mozart, Serenade No. 1 in D Brahms, Sonata for Violin and Piano No. 2 in A major Schumann, “The Bride of Messina,” Overture in C minor Shostakovich, “Little Stars” from “Spanish Songs” arr. Vaughan Williams, “Old Hundredth Psalm”

Bridgett welcomes Jenn Messina, a Registered Dietitian and Certified Intuitive Eating Counselor from North Vancouver, B.C., passionate about holistic health and practices through the lens of Health at Every Size®, food neutrality, and Intuitive Eating. Initially educated in a weight-centric paradigm 17 years ago, Jenn reached a turning point, realizing there had to be a better way—not just for herself but also for her daughter. Determined to break the generational cycle of dieting she witnessed in her own family, Jenn shifted her focus toward an individualized, more compassionate approach to nutrition. Listen to Bridgett and Jenn's valuable conversation on how embracing food as a source of culture, connection, and joy can help you overcome diet culture's pervasive influence and heal disordered eating patterns. Connect with Jenn on Instagram and explore her resources at www.jennmessina.com. Subscribe to the newsletter: https://beyondbeautyproject.myflodesk.com/newsletter Learn about Keynotes & Workshops: https://www.beyondbeautyproject.com/workwithme For more, you can follow Beyond Beauty Project on Instagram, YouTube, and visit our website!Produced by Peoples Media Hosted on Acast. See acast.com/privacy for more information.

In this Mini episode, we're back to the world of Shakespeare with “Much Ado About Nothing”, and ask questions we hadn't asked before. Note, this episode features spoilers for the book. The Back of the Book: “The primary plot of Much Ado About Nothing turns on the courtship and scandal involving young Hero and her suitor, Claudio, but the witty war of words between Claudio's friend Benedick and Hero's cousin Beatrice often takes center stage. Set in Messina, the play begins as Don Pedro's army returns after a victory.”Content WarningsNASupport the showRecommend us a Book!If there's a book you want to recommend to us to read, just send us a message/email and we'll pop it on our long list (but please read our review policy on our website first for the books we accept).Social MediaWebsite: https://teachingmycattoread.wordpress.com/Email: teachingmycattoread@gmail.comInstagram: https://www.instagram.com/teachmycat2read/Tumblr: https://teachingmycattoread.tumblr.comYoutube: https://www.youtube.com/channel/UCFXi9LNQv8SBQt8ilgTZXtQListener Surveyhttps://forms.gle/TBZUBH4SK8dez8RP9

Valentina Iorio parla delle tariffe sulle importazioni negli Usa che il presidente Donald Trump ha annunciato per il 2 aprile, generando forti preoccupazioni sui mercati. Lara Sirignano racconta dell'uccisione della 21enne di Messina, per la quale è stato fermato il compagno di università che la tormentava da due anni. Davide Frattini spiega perché il premier israeliano vuole cacciare il capo dei servizi segreti interni.I link di corriere.it:Dazi, inizia la nuova era. Trump insiste: «Il Liberation Day colpirà tutti i Paesi»Sara Campanella uccisa a Messina: fermato il compagno d'università Stefano ArgentinoNetanyahu licenzia il capo dello Shin Bet, proteste in piazza: «Vuole evitare le indagini»

Dennis is joined via Zoom my playwright Audrey Cefaly & Actor Carolyn Messina from the play Alabaster, which is showing at the Fountain Theater in Los Angeles through March 30th. The play is a darkly Southern tale about a woman named June and her two goats who all survived an Alabama tornado and lived to tell the tale. June's sheltered world is rocked when a New York photographer named Alice comes to photograph her on her farm for an art project and a romance blooms. Oh, and one of the goats, Weezy (played by Carolyn) talks. In the interview, Audrey talks about how the play was inspired by a random image that popped into her head, of a scar-covered woman in a bed and how it then evolved into a love story between two very different women. Carolyn talks about researching goats to prepare for the role of Weezy and how she learned, among other things, that goats have four stomachs. Other topics include: how the two have been friends and collaborators since their high school drama days, the thrill of getting your play published by Samuel French, getting 11 productions of the play produced across the country as a recipient of the NNPN Rolling World Premier program, why their partnership works and meeting audience members after the show and having them share their own stories then ask for a hug.

In this episode Dr. Karyne Messina, a New Books Network host, and Dr. Harry Gill discussed the negative effects of excessive screen time on young adults' mental health and development, emphasizing the importance of face-to-face interactions and shared experiences. They focused on Erik Erickson's first phase of adulthood which is the Intimacy versus Isolation phase from neuroscience and psychoanalytic perspectives. Dr. Gill talked about the prefrontal cortex of our brains that continue to wire until age 25. This doesn't happen in an optimal way when people are passively tuned into screens. He highlighted the importance of connecting with real people versus social media “friends.” He also said that humans are much more prone to isolate as opposed to being in intimate relationships which takes work. He added that meeting on a screen promotes pseudo intimacy that is not an adequate substitute for being with a real person. Dr. Messina discussed a study that found adults who spend 6 hours a day or more on social media platforms tend to be much more depressed and anxious. She also mentioned that one of her middle-aged patients who gave up all social media activity, realized much to his surprise that he had 25 to 30 extra hours a week to do things he really enjoyed. They both talked about the benefits of turning off phones and televisions early in the evening so that a person, couple or family can have quality time participating in some type of meaningful activity versus watching or reading what people on screens are saying or doing. The also discussed how blue light emitted by screens interferes with the production of melatonin which prevents people from falling asleep. Another topic included was ways to mitigate problems associated with too much screen time. Dr. Messina focused on the importance of community which she thinks is important at all ages. If getting together in person isn't possible, talking with a friend on the phone is better than using this device for passive purposes such as scrolling through social media posts. Dr. Gill reminded people how important it is to meet in person and said some of his patients have actually enjoyed going back to work full-time once they got used to it again. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Dr. Karyne Messina, host of this series, and Dr. Felecia Powell-Williams, the co-host, talked about what happens when people can't listen. They discussed events that occurred at the Annual Conference of the American Psychoanalytic Association (APsA) that took place in San Francisco earlier this month and the half time show at Super Bowl 59. Dr. Powell-Williams, who attend the conference, said she left the APsA meeting holding a multitude of emotions. “On one level it was a satisfying reunification of parts of the organization that were split off due to fear or intolerance of exploring difference.” She added that as a guest on the Holmes Commission's panel when Sam Cooke's song was played, “It's Been a Long Time Coming,” it resonated with her life experiences. She said she thought the attendees were very moved as well as they listened to the song together. Both hosts talked about the meaning of the words and how important it is to listen and take in the essence of the message. Dr. Messina introduced Kendrick Lamar's half time show at Superbowl 59. After briefly reviewing the theme of the performance she highlighted once again the importance of “listening,” whether or not one knows the words, adding that Lamar blended artistry, social commentary, and star power to the show. She made a point of saying one doesn't necessarily have to understand the words to a song or even like them to gather meaning. She said we all have the right to dislike any type of entertainment but when we don't understand because we refuse to listen, we could be missing something very important. She also said she liked the fact that the performance included women such as SZA who joined Lamar on stage to perform “Luther” and “All the Stars” as well as Serena Williams who made an appearance as one of Lamar's dancers. Dr. Powell-Williams talked about Jay-Z's partnership with the NFL, a collaboration that has given him significant influence over the selection of half time show performers. The host and co-host also talked about psychoanalytic mechanisms of defense that may have been part of the controversy about the performance. They both focused on denial, an unconscious defense that comes into play when something is too painful or difficult to process. They suggested that may have occurred with people who dismissed the show entirely. Intellectualization as a defense was discussed by Dr. Powell-Williams. This occurs when responses of viewers focus on certain aspects of a performance, such as the choreography or musical arrangements, rather than engaging with its emotional or political content. By analyzing the show from a detached, analytical perspective, these individuals could have been avoiding the more challenging aspects of Lamar's message. Both hosts talked about projection as a defense which occurs when people attribute their own unacceptable thoughts, feelings, or impulses to someone else. This allows them to avoid dealing with these aspects of themselves by seeing them in others instead. Projection may have played a significant role with some viewers based on their reactions to the show. Those who felt threatened by the social commentary might have projected their own biases or interpretations onto the performance, assuming Lamar's intentions aligned with their own views rather than engaging with the actual performance. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychoanalysis

Venerdi analisi. Finisce la settimana. Evviva.Marco Zanasi ritorna. Non siamo mai stati sulla luna. Davanti a lui Vittorio Baraldi, uno che con lo spazio ci lavora.Simone Carabella offeso dalle parole di Parenzo. Lui le rom le combatte, ogni giorno.Michele da Messina vede complotti nella banca del seme.Angelo della pizzeria Sor Pizzitto censurato... aveva messo Faccetta Nera su Tiktok.Paolo Mezzana sbugiarda Michelle Comi: non è tornata vergine.