Podcasts about Messina

For far too long, the word “community” has been tossed around as a trendy buzzword, often diluted by vague interpretations and overuse, particularly in the world of dance. Add “online” to the mix, and we're left navigating an even murkier sea of meaning. What does community really mean in the context of dance, and how can it be effectively cultivated in the digital age?At the helm of Skool Dance is none other than Lauren Ashlee Messina, a trailblazing choreographer and passionate advocate for dance and connection. Lauren is a Big Easy Award-winning choreographer with a storied career spanning multiple dimensions of dance—performance, choreography, mentorship, and community-building. As the founder of Skool Dance, Lauren has reimagined what it means to create an online dance community. Her mission is to foster meaningful movement experiences that inspire empathy, transformation, and collaboration across disciplines. In this episode, we unpack Lauren's journey of building Skool Dance, the lessons she's learned in fostering a vibrant online dance community, and her vision for the future. Along the way, we explore the essence of community itself and how dance can serve as a bridge between people in a rapidly evolving digital world. Welcome to Episode 6 of Season 3, Communing Dance in Skool.Lauren Ashlee MessinaSkool DanceSoundtracks:Birds - Tyler Twombly Poison Ivy Yard Work - Uncle MilkBeyond the time - Main 7425 Support the showLike our offers? S2 Summer SALE! Check out our new Dance Masterclass YouTube review Sign up for Dance Masterclass Choreographing Your Dance Career by Janaea Rose Lyn Try Nord VPN Like what we do? Help us grow by Visiting The Background Dancer YouTube Channel Rate and review here Email me at backgrounddancer.jy@gmail.com Answer a survey Sign up here to receive future updates Leave a thought on Facebook and Instagram Join the Facebook group and introduce yourself as a member of our community

NADA PERSONAL con Anabella Messina 25-10-2025 Entrevistas a; Pablo Lecuona @pabloltfl (Director y Fundador de la Asociación Tiflonexos @Tiflonexos ) María Sol Alzú @SolAlzu (Analista de datos del Observatorio de Argentinos por la Educación @ArgxEdu ) Hernán Espantoso Rodriguez (Fundador y Director en Fundación Alegrañatas) Carolina Carrillo (Investigadora del CONICET y del Instituto Milstein, CoFundadora Empresa de Base Tecnológica NEOKIT)

NADA PERSONAL con Anabella Messina 18-10-2025 Entrevistas a: Gloria Ibañez (Integrante de Amigos Unidos) Daniela Aza (Mamá, Influencer, Referente en discapacidad y diversidad) Elizabeth Maciulis (Referente Regional de Médicos Sin Fronteras, Legados Solidarios) Christian Pizzarelli (Entrenador de "Los Topos" la Selección Argentina de Básquet Silencioso)

Orlando is a destination that is no stranger to superlatives. From being named the top meetings destination in North America for the 10th time to logging record visitor numbers both in the leisure and meetings segments, this Florida phenomenon is always ahead of the competition.Meetings Today's Tyler Davidson met up with Lisa Messina, chief sales officer for Visit Orlando, at IMEX America 2025 to discover what's new and improved in a destination that is always top of mind with meeting and event planners.From the first new theme park in 25 years to property announcements and its hot dining scene, Messina shares why this Central Florida standout is always earning the attention and accolades it receives.

On a cold night in March of 1976, a young couple was brutally murdered in an apartment in Chicago. The murders were as violent as they were baffling. Who would want to hurt them, and why? At the same time that police were investigating the scene, Gregg Owen was taking the bar exam and would go on to become a prosecutor. 4 years later, Gregg would take the case, determined to put the man guilty of killing the couple behind bars when no one else would. The case was, seemingly, unwinnable: no evidence, no motive, and the only witness was prepared to take the 5th, but, against all odds, he was prepared to do what no other prosecutor would. Decades later, the story of the Messina/Moore Murders and the trial would be immortalized in the book Convergence-written by Gregg Owen and Jonathan Dixon. They sat down with me today to break down the incredible trial, Gregg's journey from rockstar on stage to performing for a jury, and what it took to bring this story back to life. Get your copy of Convergence hereBecome a 26th Street Investigator and join The Motive ChallengeCheck out 26th Street BooksFollow 26th Street Books :BlueskyInstagramX/TwitterFacebookYoutubeConnect with us on Social Media!You can find us at:Instagram: @bookofthedeadpodX: @bkofthedeadpodFacebook: The Book of the Dead PodcastTikTok: BookofthedeadpodOr visit our website at www.botdpod.comIf you enjoyed the episode, consider leaving a review or rating! It helps more than you know! If you have a case suggestion, or want attention brought to a loved one's case, email me at bookofthedeadpod@gmail.com with Case Suggestion in the subject line.Stay safe, stay curious, and stay vigilant.

Title: Love One Another Text: Acts 28:11-16 FCF: We often struggle remaining self-focused even with our Christian brothers and sisters. Prop: Because hospitality and brotherly love in the church is needed by all in abundance, we must love one another like Christ loved us. Scripture Intro: [Slide 1] Turn in your bible to Acts chapter 28. In a moment we'll begin reading in verse 11 from the New English Translation. You can follow along in the pew bible or in whatever version you prefer. Since chapter 27, Luke has been telling us the maritime adventure story of Paul on his way to Rome. The greater story of Paul going to Rome actually began all the way back in Acts chapter 19 when Paul decides to go to Jerusalem on the leading of the Holy Spirit. So, we have been in this final narrative of the book of Acts for quite some time now. Although it has only been 7 months for us to learn about Paul's journey to Rome, it has already taken Paul about 3 years having arrived in Jerusalem around AD 57 and now having wintered in Malta, arriving in Rome in AD 60. Today we will see the completion of this adventure and see the providence of God to use His church to bring Paul safely to Rome. Please stand with me to focus on and give honor to the Word of God as it is read. Invocation: Our Father in heaven. Your name is of more value than any name that has ever been or ever will be. May Your Kingdom permeate this world so that Your will reigns in the hearts of all people. We ask as Your children that Your Spirit might feed us today on Your Holy Word and help us to love one another as Your Son has loved us. Father do not allow us to be overtaken with the temptation to love ourselves or to be self-focused. But deliver us from the deceptions of the Evil One who walks about like a roaring lion waiting to feast on us. Instead, let us take up Your armor to extinguish his fiery darts. We seek all these things from You, because to You belongs the Kingdom, the power, the glory, forever and ever. We pray in Jesus' name – Amen. Transition: [Slide 2] The Puritan Richard Sibbes once said, “No man can love a saint as a saint but a saint.” In other words, the only way it is possible for a Christian to be loved as a Christian ought to be loved, is if he or she is loved by another Christian. The English Evangelist of the Great Awakening George Whitefield said, “As soon as the love of God was shed abroad in my soul, I loved all, of whatsoever denomination, who loved the Lord Jesus in sincerity of heart.” Truly being a follower of Christ requires and naturally produces unconditional and self-sacrificing love for others who are followers of Christ. This… is what we will see today. Let's start in verse 11. I.) Hospitality and brotherly love should abound in the church, so we must love one another as Christ loved us. (11-14) a. [Slide 3] 11 - After three months we put out to sea in an Alexandrian ship that had wintered at the island and had the “Heavenly Twins” as its figurehead. i. And so, the final leg of the journey to Rome begins. ii. After wintering on Malta for 3 months the passengers of the Alexandrian grain vessel which was no more, no doubt split up between various ships on Malta to go to various destinations. iii. But Paul, his companions, the soldiers, Julius the centurion, and the rest of the prisoners all board another Alexandrian ship headed for Rome. iv. This ship had wintered in Malta, arriving well before the storm no doubt. v. But then Luke includes a final detail about the ship, and for a casual 21st century western reader of the text, it would very easily slip past unnoticed. vi. Luke records that the ship had on the bow a figurehead. Now this could be carved wooden images or perhaps an engraved or painted image. We are not exactly sure. But regardless, Luke dutifully records that on the bow were “The Heavenly Twins.” vii. Which should lead us to ask two basic questions. viii. First, who are the Heavenly twins? And second, what is the significance of Luke mentioning this? 1. [Slide 4] So, who are the Heavenly twins? a. In Greek mythology the Heavenly twins, or The Sons of Zeus, are two heroes named Castor and Pollux. b. The story goes that their mother Leda was seduced by Zeus who posed as a swan. On the night she conceived her children her husband was with her too. c. She produced 2 children hatched from an egg. d. Castor was the son of the human father and Pollux was the son of Zeus. Yet they were identical twins. e. Both sons were renowned for their prowess in battle. They were patron deities of navigation and protection of travelers and are represented in the constellation Gemini. f. This answers the question as to why they would be included on a sea faring vessel. g. The way the story goes… The twin brothers abducted two sisters, and because of this two of the women's cousins came after Castor and Pollux. Pollux killed his pursuer but Castor was not so lucky. h. Zeus killed the man who killed Castor and then gave Pollux a choice. i. Pollux was his son and asked if he would rather stay with him on Olympus forever or share his immortality with his brother. j. Pollux chose to share his immortality and he and Castor alternated days being either immortal or bound in the realm of the dead. 2. [Slide 5] So, why does Luke mention this? What is the significance of this figurehead? a. Is Luke simply recording details to reinforce the reliability of his information? i. Adding this detail would mean that a person could go and look up this ship in the future to confirm the story was true. ii. In fact, some older commentators suggest that this was actually the name of the ship or even the owner of the ship. But that is not a very common interpretation. iii. Assuming it isn't the name of the ship or the owner of the ship, mentioning this figurehead would not have been a great way to increase reliability, since so many ships which sailed the Mediterranean would have a figurehead of the Castor and Pollux. iv. Furthermore, not many people would question the believability that Paul and his companions sailed safely to Italy from Malta. v. It would have been the fact that they all survived a Nor'easter that would have been the far-fetched maritime tale. vi. No. I don't think this is an instance where Luke is detail dropping to increase the believability of his story. b. Is Luke praising Castor and Pollux? i. Another possibility is Luke recognizing some kind of authority of these gods to actually impact the world around them. ii. We know that Paul and his companions arrive safely in Rome and even, as we'll see, experience a favorable south wind to make their travel swift. iii. If Luke is praising these gods for getting Paul to Rome, then we probably need to dismiss the entire book of Acts and Luke from our cannon of scripture or we need to radically change our monotheistic view to recognize that other gods should be looked to for various things and not Yahweh alone. iv. So no, I do not think that Luke is saying that the success of their trip was due to Castor and Pollux blessing them. v. If anything, Luke might be making a somewhat comical comparison to these impotent gods of paganism and how they are really only able to save these sailors when the weather is good and only Yahweh can save His people through bad weather and storms. c. [Slide 6] Is Luke including this detail to further contrast the state of unbelieving Gentiles and unbelieving Jews? i. Theophilus is the recipient of Luke's two scroll tome. ii. Luke begins his gospel expressing that the things he writes are to reinforce what Theophilus has come to believe. iii. Theophilus is probably not the true name of the person Luke is writing to. More than likely Theophilus is a gentile who probably knew quite well who the Heavenly Twins were. He also was probably relatively high up in the Roman government, and has come to know Christ as Savior and Lord. iv. As such, Luke has tried to emphasize a few themes in the book of Acts. v. One of these themes is that Christianity is not a direct threat to the Roman Empire. 1. Over and over again, although Christianity is at the center of unrest throughout the empire, Luke has shown that it is actually the unbelieving Jews who are stirring up trouble because they will not accept their Messiah, Jesus of Nazareth. 2. Unlike the zealots and the Jews in Judea at the time of his writing this book, Christians are not actively opposing Roman rule. 3. In fact, the Christians are generally peaceful and submissive toward the Roman government. 4. Christian beliefs and ideology stand opposed to the paganism of Rome in many ways… but not in every way. vi. Pagan gentiles share some common practices with Christians that unbelieving Jews seem to lack. 1. The story of Castor and Pollux emphasizes the brotherly love and hospitality valued in Roman culture. 2. Values that are directly associated with paganism. 3. Luke connects the Maltese brotherly love to this figurehead which stands for the same thing. 4. And soon he'll be talking about Christians who show similar love and hospitality. 5. But by the end of the book of Acts, the unbelieving Jews do not afford the gentiles a similar love. 6. In fact, they are absolutely appalled at the thought that the Jewish Messiah would be offered to Gentiles. 7. Which leads us to another reason Luke would include this detail. vii. Paul has not allowed his Jewish sensibilities to prevent him from giving the gospel to the Maltese or from getting to Rome to give the gospel to Emperor Nero. 1. Throughout the three months on Malta, Paul certainly ate with gentiles. 2. And more than likely, he ate whatever was set in front of him. 3. Meaning that Paul did not follow the Jewish dietary laws while on Malta. 4. Now he boards a ship with obvious idols at the bow. 5. These practices would have been repudiated by every good Jew. Indeed, to even eat with gentiles (even if the food was kosher) would have been culturally taboo and somewhat illegal, especially in Judea. 6. Remember, Paul is headed to Rome because of the Jews' hatred of gentiles being welcomed into the Nazarene sect of Judaism known now as The Way or Christianity. 7. Paul forgoes these sensibilities to do what the Lord Jesus had commanded him to do. 3. So, to take a long answer and make it very short, Luke includes this detail to continue his comparison between three groups of people. 4. Unbelieving Jews, unbelieving gentiles, and Christians. 5. And his point is clear. 6. In many ways, unbelieving gentiles are more receptive to the truth of the gospel, and closer to the teachings of Jesus, than unbelieving Jews are. 7. This seems to conform to Paul's point that he has already made in his letter to the Romans that the Gentiles coming to Christ in droves are part of God's plan to make the Jews jealous. 8. We are praying, even still today, that there would be an awakening among the Jews to the one whom they have pierced. 9. So, what's next on the trip? b. [Slide 7] 12 - We put in at Syracuse and stayed there three days. - 13 - From there we cast off and arrived at Rhegium, and after one day a south wind sprang up and on the second day we came to Puteoli. i. Largely we merely see itinerary here. ii. [Slide 8] The band of travelers make their way through the Strait of Messina. They land first in Syracuse on Sicily. Then on to Rhegium in Italy. iii. After staying there a day, a south wind favored their travel and they made it to Puteoli the next day. A trip which would have probably taken a little longer. c. [Slide 9] 14 - There we found some brothers and were invited to stay with them seven days. And in this way we came to Rome. i. And so here we have the comparison and contrast between Christians and the Maltese people. ii. How are they similar? Both groups welcome Paul and his companions and the soldiers and the other prisoners to stay with them. iii. They were shown hospitality as strangers. iv. Publius entertained them for 3 days and the Maltese villagers took them in after they were shipwrecked. v. Here we see a subtle difference. vi. Publius was a leading man. A man who probably had a good deal of wealth. vii. Luke doesn't mention anything about the station of these individuals. He only says that they were brothers. They were believers. viii. And they hosted Paul, his companions, Julius, the soldiers and the other prisoners, for an entire week. ix. Julius would have had the right and responsibility to requisition a room and provisions from the cities they went to, but this would have no doubt been a tedious task and the rooms they got would have no doubt been quite unpleasant. x. Discovering people who willingly desired to host them, without force, for an entire week, would have been a perplexing but welcome surprise. xi. Lengthy stays like this among pagans would have been generally discouraged. Two or three days was the typical threshold for social etiquette. xii. Indeed, to commit to an entire week's stay would have been very rare and reserved only for family or very close friends. xiii. But we get the impression that these Christians are not following some social convention or cultural requirement – but rather this is the heart of Christians welcoming and caring for other Christians. xiv. As though they are very close friends or family. xv. So, we can see and understand that the pagan sense of hospitality is rooted in social norms and moral examples of their somewhat morally ambiguous gods. But the Christian form was rooted in mutual love as we are one in Christ and follow His perfect example to love others. xvi. And now after a long maritime adventure, Luke rather modestly reports how Paul arrives in Rome. Luke isn't saying this as though Paul had already arrived. Rather he is saying this as a way to close out the sea travel and indicate that they approach Rome by land on the Appian Way, the main road leading to the great city of Rome. d. [Slide 10] Summary of the Point: In a world where culture seemed to value hospitality and brotherly love, we might wonder what Jesus might mean by His statement to His disciples that the world will know that they are His disciples by their love for one another. Certainly, if our love for one another merely parallels the love that pagans show each other, then the world would not see us as any different. But by way of direct comparison to the Maltese unbelievers' hospitality and care, we see the brothers in Puteoli taking in and caring for Paul and his companions for an entire week. This shatters the social convention and proves that something is indeed different about the way Christians exercise hospitality and brotherly love toward one another. Indeed, hospitality and brotherly love in the church should be in abundant supply. And as our culture devalues these traits or limits them to family and friends, it becomes even easier for God's people to separate themselves from the culture and love one another abundantly. For this is what we must do. We must love one another. How? As Christ has loved us. Transition: [Slide 11 (blank)] So we see that loving one another is a normative practice in Christ's church that should be so abundant that the world recognizes it as peculiar and different than what they can find anywhere else. It is a love based on connection in Christ which transcends and goes deeper than all the normal things that usually bind people together. But is this something that only weak Christians need? Do only weak Christians need to be loved and cared for abundantly? Let's take a look at the last couple verses of Paul's journey to Rome. II.) Hospitality and brotherly love is needed by all in the church, so we must love one another as Christ loved us. (15-16) a. [Slide 12] 15 - The brothers from there, when they heard about us, came as far as the Forum of Appius and Three Taverns to meet us. When he saw them, Paul thanked God and took courage. i. So, the brothers here are referring to brothers from Rome. Rome was referenced in the last verse. ii. [Slide 13] We see on the map behind us that in reference to Rome and Puteoli the Forum of Appius and the Three Taverns are roughly ¾ of the way to Rome. iii. The Forum of Appius is about 43 miles from Rome while the Three Taverns was about 33 miles away. iv. No doubt these brothers were either two separate groups of believers or 1 large group that went to meet Paul. v. The first group stopped at Three Taverns knowing that Paul would certainly travel through there on the Appian Way to Rome. vi. The second group went on to meet him at the Forum of Appius. vii. But what are these places? viii. They are two famous way stations along the Appian way as one traveled to and from Rome. ix. The Forum of Appius is really not a Forum at all. It is actually a market town where people rested during their travels. x. The Three Taverns is another rest stop along the Appian Way which included shops, booths, and inns. Tavern for us indicates a bar – but that was not the meaning at this time. xi. [Slide 14] When Paul saw these Christian brothers, he thanked the Lord that he was being received to Rome with such love and care. xii. He also took courage for the time he would remain here knowing that he would certainly be provided for and have the ability to connect with the church in Rome. Something he had desired to do for quite some time. xiii. Notice that Paul the apostle who this entire trip has trusted God to get him to Rome… thanks God and takes courage at the sight of Christian brothers. xiv. Even Paul, though he had the promise of God, took comfort in the fact that there were people he could see, hear, touch, and speak with that would care for him and see him to Rome. b. [Slide 15] 16 - When we entered Rome, Paul was allowed to live by himself, with the soldier who was guarding him. i. And so, Paul's journey to Rome officially comes to a close. ii. He arrives in the city and is permitted to rent a house for himself. iii. He would be kept under guard of a single soldier. But he would enjoy a significant amount of freedom in the city of Rome while he awaited his meeting with Caesar Nero. iv. We'll see a bit of that freedom next time in the book of Acts. c. [Slide 16] Summary of the Point: So once again we see highlighted for us the brotherly love of these fellow Christians who traveled 43 miles to meet with and escort Paul safely back another 43 miles to Rome. But unique in these last couple verses is the need Paul had for Christian brothers to surround him and see him safely to Rome. Paul trusted God without question. During the storm, he may have been one of the few who kept on believing God's Word. But now, on his last leg of 120 miles from Puteoli to Rome, Paul finds great comfort and courage in Christian brothers surrounding him and caring for him. If PAUL needs this kind of hospitality and brotherly love, it seems like no one in the church would be without this need. So, since the weakest to the strongest of us need love from one another… we must love one another as Christ loves us. Conclusion: So, CBC, what have we learned today that informs or corrects our beliefs and guides and shapes our lifestyles. Basics of Faith and Practice: [Slide 17] In chapter 28 Luke has shown us the general hospitality and care that unbelieving pagans were capable of. But since beginning the church on Malta, Luke has transitioned to showing us the necessary and abundant hospitality and brotherly love of the body of Christ. First with the Maltese sending Paul away with wealth and provisions. Then with the brothers in Puteoli putting Paul and his companions and even Roman soldiers and other prisoners up for a week. Then with these brothers who traveled over 40 miles to ensure that Paul and his companions arrived safely in Rome. So, we see how necessary abundant hospitality and brotherly love is to the church. We also see that every member of the church needs this necessary and abundant love from time to time. In seasons of doubt, lack, and hardship – this love is especially necessary – even by those who we would say are spiritually… strong. Strength does not mean invulnerability. The obvious application for both of these truths today, is that we as believers must love one another as Christ has loved us. This implies not only that it is necessary that we love one another but that we must love one another abundantly. But let me apply these teachings and applications a little more specifically this morning. 1.) [Slide 18] Mind Transformation: “What truth must we believe from this text?” or “What might we not naturally believe that we must believe because of what this text has said?” We must affirm that abundant brotherly love is required in the body of Christ. a. Jesus told His disciples that He gave them a new commandment. That they should love one another. b. Now that in and of itself is not a new commandment at all. c. In fact, that is a command given in the Old Testament Mosaic Law. d. Jesus affirmed that law during his ministry when the Pharisees were trying to set him up for failure by asking what is the greatest Old Testament law. e. He said to love God with all your heart, mind, and strength and the second is like it (or similar in importance and value) which is to love your neighbor as you already love yourself. f. Then He said that on these two laws hang all the law and the prophets. g. So why did Jesus call His command new? h. His command no longer required for His disciples to love one another as they already loved themselves. His command required His disciples to love one another as He loved them. i. To be plain, Jesus said to love other disciples of Christ unconditionally and self-sacrificially. j. Then Jesus goes on to say that if we love each other this way – the world will know we are His followers. k. Real, abundant, unconditional, self-sacrificing love is absolutely required of all the members of the body of Christ. l. So much so that if you are not loving your brother, the apostle John points out that you cannot love God. For how can you love God whom you haven't seen if you can't love your brother whom you have seen? 2.) [Slide 19] Refutation: “What lies must we cast down” or “What do we naturally believe, or have been taught to believe, that this passage shows is false?” We must deny that strong Christians do not need abundant brotherly love from other Christians. a. Another way we might say this is that our real, abundant, unconditional, and self-sacrificing love for other believes is not selectively applied to any category of person. b. All Christ followers need this love. Who among us does not need the love of Christ? Any hands? c. If we are to love one another like Christ loved us – does Christ truly love His bride? Is there any of His sheep that He has despised? d. The goats He will turn away to be sure. But will any of the sheep His Father has given to Him be lost? e. My friends, this pastor needs Christians loving him. f. Your Elders need Christians loving them. g. Our missionaries need Christians loving them. h. Paul, an apostle, thanked God and took courage from the hospitality and brotherly love given to him by the believers in Rome. i. God should have been enough for him. God should be enough for all of us. j. But Paul needed assurances. God gave him the love of other believers. k. We all need the love of Christ to flow through us. l. These truths give us one application and one warning. m. First, by application… 3.) [Slide 20] Exhortation: “What actions should we take?” or “What is this passage specifically commanding us to do that we don't naturally do or aren't currently doing?” We must love one another as Christ loved us. a. If you are actually a Christian, you should love other Christians the way Christ loved you. Without question. Without excuse. Without pause. Without complaint. b. That is why you are here. c. You aren't here to have your career. d. You aren't here to be parents. e. You can have these goals but it isn't your primary purpose here. f. You are here to build the Kingdom and lay up treasures in that kingdom that cannot be destroyed. g. Think of it this way, you will spend the rest of your eternal life with these people. h. You might as well start loving them now! i. And now is when we get to practice loving them the way Christ loved us. In the New Kingdom there will be no sin, which means that to love unconditionally will actually be quite easy. j. It is very difficult to love other believers when they are selfish. When they are immature. When they hurt you. When they are acting sinfully. When they don't deserve it or don't think they need it. When they love you conditionally, it is very hard to love them unconditionally. k. But we get to be refined in fire in this life. We get to love when it is hard now. l. And this is how people will know that we are Christians. Because in spite of all our differences and in spite of whether someone has earned it – we still love them. m. That is weird. REALLY weird. n. Our culture tells us to write people out of our lives who treat us this way. o. Jesus says to love them. p. Our culture calls them toxic. q. Jesus says to love them. r. Our culture says you have to protect yourself. s. Jesus says to love them selflessly and sacrificially. t. Now part of love is rebuke. As Christians they don't get a free pass to live this way forever… and that is the warning… 4.) [Slide 21] De-Exhortation: “What actions should we stop doing” or “What behaviors do we naturally practice that this passage tells us to stop doing?” We must not become self-focused or self-serving in our love for one another. a. Because abundant, unconditional, self-sacrificing love is required by all believers, we must not allow our love to become self-serving or self-focused. b. Imagine we have two cables attached to posts stretching out in a V shape. c. Unconditional, self-sacrificing love is when two people stand on either of these cables and lean on each other to walk toward the end. d. But when one of us becomes self-focused or self-serving, when one of us stops giving love and only seeks to take love… what happens? e. It is like if one person stopped leaning in and began to shift their weight back to protect themselves from falling face first. f. What does that produce? What hurts does that cause? g. I will suggest to you two hurts come from this. i. First, the Christian who has become self-serving and self-focused will feel as though others are not loving them the way they had before. 1. When you lean in on someone else, you feel all their weight against you. But when you pull back it seems like they aren't leaning in the way they should. 2. The more self-seeking and self-focused we become in the church, the less we will appreciate the love others offer to us. 3. In an effort to care for ourselves and protect ourselves, we actually end up ensuring that we won't feel loved or cared for. 4. And that might lead to bitterness and resentment. ii. Second, the Christian who is loving unconditionally will be hurt in one of two ways. 1. Either we will also become self-focused or self-serving in our love… since this Christian has stopped loving us unconditionally, we will stop loving them unconditionally. 2. OR, we will fall flat on our faces and wonder what happened. We will become gun shy about loving someone unconditionally in the future because we know the hurt that can be caused when that relationship is not characterized by mutual unconditional love. h. Can you imagine what we would do if Jesus loved us like this? i. We must love one another. We must do so unconditionally and in a self-sacrificing way. j. Because the moment we make it about what we get rather than what we give… we will hurt ourselves and others. 5.) [Slide 22] Comfort: “What comfort can we find here?” or “What peace does the Lord promise us in light of this passage of scripture?” God has provided Spirit indwelled human ministers to encourage and care for us. This is the necessity of the local church. a. We ought only to need the Lord. b. But we are weak. c. And God knows our weakness. He knows that although He is enough, that we would need Spirit indwelled flesh and blood to come alongside us and love us. d. That is why He built His church. e. When it works the way God designed it… we have a perfect relationship where we lean in on one another and we can walk this life all the way to its end… together. f. And God's grace can give us the strength to love each other in this way. g. And this is the greatest argument for the local church. h. As believers in Christ, we are all part of the universal church. i. But the universal church which is spread throughout the world and throughout time, doesn't know my hurts and failings. The universal church doesn't see me in my weakness. The universal church can't tell that my countenance has fallen. j. And I can't meet the needs of the universal church. Those needs are too great for me. k. But here… as a local assembly… we can know each other… well. l. And without derision and without judgment we can cling to one another for help when we are at our weakest. m. People who insist that it is normal to do church from their couch. People leaning heavily into their immediate family rather at the expense of gathering with their local church. n. You need to hear me. Your couch will burn up. And your family relationships won't exist any longer in the New Kingdom. o. You know what will? p. The church. q. The late Voddie Baucham said, “Church membership is the most important aspect of lifestyle evaluation. Let that statement sink in for a minute. I'm arguing that the most important thing for a family shepherd to do—when he's evaluating how he's leading his family—is to ensure they're healthy members of a healthy church. This is more important than his assessment of their financial status, their use of time, where and how they live, what they drive, where and how their children are educated, or any other lifestyle issue. None of those things is as significant as church membership." r. The local church is a gift to us and we cannot survive without it. s. Which brings me to the nature of the church and its reflection of the gospel… 6.) [Slide 23] Evangelism: “What about this text points us to Jesus Christ, the gospel, and how we are restored?” The church is completely different than any other organization or group because we love one another deeply, many times in spite of our differences. a. Any human made organization can engineer connections and friendships around common interests. b. In fact, many churches do this on purpose thinking that they are helping people in the church to form lasting relationships which will make sure they stay at the church. c. But all they do is segregate the body of Christ into likeminded interest groups that are essentially separate churches operating within a larger church. d. The body of Christ is different than any other human organization in that we may be completely different people. e. We may have different interests, different hobbies, different social statues, different ethnicities, different cultures, different upbringings. f. We might be in different places in life, either a kid, a young adult, a young married couple, a young married couple with kids, a middle aged married couple with older kids, a middle aged couple with grown kids, an older couple with adult children, an older couple with grand children, widows, widowers, single and never married, and the list goes on… g. And in spite of all these differences… we are still here together… worshipping God. h. Why? i. Because of Jesus. j. He connects us more deeply and more fully than any other common interest we may share. k. And indeed the intergenerational nature and diversity of the church is essential. We don't need to be divided into what earthly circumstance we have in common. Instead, we must be united based on what we all have in common. l. That is Christ has saved us from our sins! m. If we are united with others around our common interests we may as well be a club. A VFW. A fraternal order. Why? n. Because that is what everyone does. o. But to intentionally disregard common interests and unite together under the commonality of Christ… is to truly grasp what it means to be the church. p. To have such deep unconditional and self-sacrificing love for someone who isn't your age, who doesn't like the things you do, who isn't in the same place in life that you are, who isn't your family… THAT… is WEIRD! q. And that is what Jesus meant when He said they will know you are my disciples by your love for one another. r. The 12 disciples were made up of i. Fishermen ii. Tax collectors iii. Zealots iv. Some were family, being brothers v. Some were from Galilee, others from other places vi. Some of them were fiery vii. Some were skeptical viii. Some were warm and winsome ix. Some were given an elevated status x. Some were wealthy when they were called to follow Jesus xi. Most were poor s. They were a diverse crowd to be sure… t. But you know what… u. All but one of them were tortured and killed for preaching Jesus Christ crucified, risen, and coming again. v. And all of them suffered for the name of Jesus. w. What does that mean? x. It means that this entity known as the church… is no man-made thing. Because it shouldn't work. We don't have enough in common to love each other this way. y. Yet… we do. z. If you desire to know this gospel that binds us all together in love – Speak to an Elder today. [Slide 24 (end)] Let me close with a prayer by the church father John Chrysostom. Lord, help us never to distance ourselves from you. Instead, let us hold tightly to the care of our souls, and to love each other. Let us not injure other members of our own body, as that would be insane. But let us be kind to others even more as we see them feeling poorly. Though we often see many persons physically suffering from difficult or incurable illness, we never stop offering possible remedies. What is worse than painful arthritis in the foot or hand? Would we just cut off the limbs? Not at all! We do everything possible to relieve the pain, even if we cannot cure the disease. Let us do the same for our brothers and sisters in Christ. Even if they have an incurable disease, help us to still tend to them, and let us bear one another's burdens. That way, we fulfill the law of Christ, and obtain the promised good things, through the grace and lovingkindness of our Lord Jesus Christ, to whom be glory forever and ever with the Father and the Holy Spirit, Amen. Benediction: May He Who has revealed to every nation His everlasting righteousness, Who sits enthroned in ageless splendor, Rule in your hearts since as members of one body you were called to peace. Until we meet again – go in peace and in love for one another.

Nuova settimana, nuova rassegna stampa dalle Cronache LeoniFiles!Questa settimana parliamo di infrastrutture e trasporti, partendo prima da Genova, dove la AMT (Azienda Mobilità e Trasporti) continua a essere un caso purtroppo non isolato: biglietti bassi che non coprono i costi, portando ad un servizio inefficiente e ad un bilancio in rosso segnalato anche da ANAC, che grava sulle tasche dei contribuenti. La gestione pubblica, ancora una volta, mostra il suo lato meno brillante.Ci spostiamo poi a Messina, per parlare di uno degli aspetti meno indagati del progetto per il ponte sullo Stretto: i costi della manutenzione e il del tema (gigantesco) dello stato attuale delle ferrovie siciliane da adeguare. Ha senso costruire una grande opera avveniristica se l'infrastruttura circostante è da dopoguerra? Si, ma bisogna essere onesti con i contribuenti su quello che sarà il conto reale della spesaTra ironia e dati concreti, cerchiamo di capire cosa c'è dietro queste due storie e cosa dicono sul nostro Paese. Spoiler: le risate ci scappano, ma l'analisi resta seria.00:00 -

When gentle Hero meets the shy Claudio in this comedy by William Shakespeare, there is alas quite a bit of spice in the gumbo with Beatrice, aka Lady Tongue, and the blunt Benedick as they banter to beat the bands. Don Pedro and company arrive at Messina and go to the home of the governor, Hero's father and Beatrice's uncle, Leonata. The unsavory half-brother of Don Pedro, Don John, is, as Kate said, a contaminant and sets out to destroy happiness wherever it crops up.Notable Quotes:Beatrice: I'd rather hear my dog bark at a crow than a man swear he loves me.Claudio: Bait the hook well: this fish will bite.Benedict: That a woman conceived me, I thank her; that she brought me up, I likewise give her most humble thanks; all women shall pardon me…I will live a bachelor.Friar: That what we have we prize not to the worth whiles we enjoy it; but being Jack'd and lost, why, then we rack the value…Much can be gleaned from this short play! Trust plays a part in all relationships. One's inner circle must be made up of trusted people. Don Pedro's had an unsavory character. Impulsiveness is an issue for Claudio, who believes without giving Hero a chance to defend herself. Don John knows that people tend to believe the worst, especially with a set-up visual. He stacks up the dominoes and waits for the drama to fall.Join in on the fun recapping this climactic, chaotic comedy from the Wiley Wordsmith! May blessings come to you, listeners so dear, We hope you enjoy another classic from Shakespeare!https://recapbookchat.com/

NADA PERSONAL con Anabella Messina 27-09-2025 Entrevistas a: Lucas Manjon @LucasManjon (Coordinador de Bien Restituido) y Emiliano Cottini (Representante de Libera Italia) Melina Ikei (Cafeteria Aki amai) Sebastián Kahansky (Presidente de la Asociación Civil Verte Reir Federal)

Informativa del Ministro Crosetto alla Camera sulla Flotilla: “Non potremo garantire la sicurezza in acque israeliane”. Con noi Marco Grimaldi, vice capogruppo di Avs alla Camera dei Deputati. La Corte europea per i diritti umani condanna la giustizia italiana “inerte sugli abusi” subiti da Valentina Scuderoni. Sentiamo Sabrina Frasca, esperta di contrasto a molestie e violenze di genere e componente del direttivo di Differenza Donna, associazione impegnata nella difesa dei diritti delle donne e nella lotta contro la violenza di genere. La Corte dei Conti blocca l’appalto per il ponte sullo Stretto di Messina chiedendo chiarimenti. Domani sciopero aereo. Ne parliamo con Andrea Giuricin, docente di Economia dei Trasporti all’Università degli Studi di Milano-Bicocca.

My Story   Talk 27  More Activities in Europe Welcome to Talk 27 in our series where I'm reflecting on God's goodness to me throughout my life. Last time I was talking about our off-campus activities while we were at Mattersey. I began by talking about activities in Britain and concluded with our activities in Europe, particularly in connection with EPTA, the European Pentecostal Theological Association. Today we'll be saying more about Europe, first with regard to our activities in the Pentecostal European Fellowship, and then about my preaching in national leaders' conferences as well as in local churches. The Pentecostal European Fellowship As I have already explained, PEF was formed as a result of a merger between PEC and EPF. Little did I know when I accepted the invitation to preach at the PEC conference in 1978 that it would eventually lead not only to the founding of EPTA but also to a ministry within PEF itself, and ultimately to representing Europe on the Presidium of the Pentecostal World Conference. Because of my experience in Europe, I was first asked by the AoG Executive Council, as its chairman, to represent AoG on the PEF committee. Jakob Zopfi from Swtizerland had been its chairman for many years and, after Reinhold Ulonska retired as vice-chairman, the PEF Committee elected me to take his place. Major features of the work of PEF were the conferences it usually held once every three years. Thousands of people from all over Europe came to these conferences, though the majority on each occasion came from the country that was hosting it. Relatively few, however, came from the UK. This may have been because of the cost of crossing the channel, or even because the preaching was always done through an interpreter which English speaking people often find it hard to get used to. After preaching at the conference in The Hague in 1978, the next PEF conference we attended was in Böblingen near Stuttgart in 1984, but not in any official capacity. Eileen and I went on to attend conferences in Jönköping, (Sweden, 1991), Bordeaux (France, 1994), Fridek-Mistek (Czech Republic, 1997), Helsinki (Finland, 2000), and Berlin (Germany, 2003). There are many towns in Sweden with a name ending in -koping. It's connected with our English word shopping and is roughly equivalent to market. It was at Jönköping (pronounced yernsherping) that I was appointed to serve as Vice Chairman of PEF. We travelled there by car, which may seem surprising bearing in mind the distance, but it meant that Eileen could come with me, and the trip would cost no more than the price of one air ticket for me. And it turned out that, as most of the delegates had arrived by plane, there was little transport available between the hotel and the conference centre. This meant that we were able to transport Dr Ray Hughes, who was the chairman of the Pentecostal World Conference and the guest speaker from America, to and from the meetings. It gave him the opportunity to get to know us and may have been partly the reason why the following year I was appointed to serve on the PWC advisory committee, and eventually as a member of its presidium. We also travelled by car to the Bordeaux conference in 1994, combining it with a holiday exploring south-western France and visiting Castera Verduzan in Gascony, and Mauléon-Licharre and Eaux Bonnes in the Pyrenees. The conference was particularly significant for Eileen because she was the wife of the Vice-Chairman. This normally carried no specific responsibility, but Sylvia Zopfi, the wife of the Chairman, had broken her leg and was unable to attend. Consequently, it fell to Eileen to preside at a meal for ladies, most of whom were French speaking. Of course there was an interpreter, but Eileen never saw herself as an ‘up front' person and was understandably nervous. Because it was a meal for ladies, I was unable to attend, but I found out later that Herman von Ameron, the husband of the guest speaker, had crept in at the back. So I asked him privately how Eileen had got on, and he replied, She was magnificent. She was like the Queen! Following the political reforms known as perestroika introduced by Russian President Mikhail Gorbachov in the late 1980s, Czechoslovakia was divided into two separated nations, the Czech Republic (or Czechia) and Slovakia. Fridek-Mistek was the venue chosen for the 1997 PEF conference, because it lies on the border of these two countries and so provided delegates from both equal opportunities to attend. Once again, Eileen and I travelled by car, taking extra care in Czechia not to exceed the speed limit, as we'd heard that the Czech police were likely to impose heavy fines on foreigners for any minor infringement. We took the opportunity to visit Prague, a beautiful city, for a weekend before travelling on to the conference. It was now almost 20 years since I had first preached at the conference in The Hague, but for the next decade I was to become a regular speaker with the special responsibility of preaching on the Baptism in the Holy Spirit and praying for people to receive. Sadly there are still many people who attend Pentecostal churches who have not yet come into the experience and in a conference where thousands are in attendance the numbers coming forward for prayer were likely to be enormous. Pentecostal pastors often seem reluctant to teach on the subject, possibly because they are frightened that, when they lay hands on those they pray for, they will not begin to speak in tongues. So I felt the need to preach not only to the people, but also to the pastors. And at Fridek-Mistek I decided to pray for the pastors before I prayed for the people. I asked all the pastors who wanted the Lord to use them in laying hands on people to receive the baptism, to come forward first. I explained that I would pray for them first so that they could then join with me in praying for the people. Dozens of pastors came forward and after I had prayed for them I asked them to turn round and face the congregation. I then called the people to come forward. Hundreds came and each pastor had a queue of people to pray for. Of course, it's impossible to know how many spoke in tongues for the first time, especially in a meeting where so many different languages are spoken! And, even with the people I personally prayed for, there was no way of knowing if they were speaking in tongues or if they were just praying in their own native language. But one thing was particularly noteworthy. When teaching on the baptism I have always been careful to stress that the evidence we are expecting is tongues, not tingles – or shaking, or falling over, or anything else that has no clear biblical basis! However, when one of the people I prayed for did fall over, there was an immediate reaction in the queue next to mine. People started to move into my queue. Perhaps they felt that, despite all I had said, they would somehow get something extra if they fell over! There is still a desperate need for teaching on this throughout the Pentecostal movement and the charismatic renewal worldwide. After the conference we drove into Austria and stayed in an apartment in the church in Bad Ischl where Klaus Winter, the PEF treasurer, was the pastor. I preached in his church and we had a wonderful ten days there exploring Salzburg and the Salzkammergut, the wonderful area where The Sound of Music was filmed. The Helsinki conference was held in the summer of the year 2000 but was preceded by an EPTA conference held in Kaggeholme near Stockholm. We travelled by car as far as Kaggeholme but after EPTA we parked it at Arlanda airport and flew to Helsinki. As Jakob Zopfi was unable to attend because of an illness, it was my responsibility to chair the conference. I also preached on the baptism in the Holy Spirit and, as at Fridek-Mistek, had the privilege of praying for many who were seeking. Shortly after that Jakob Zopfi retired as the PEF chairman and I confess that I was rather relieved not to be appointed as his successor. I too was soon to retire from Mattersey and frankly I didn't want the responsibility. Ingolf Ellsel, a younger man who was the leader of the BFP in Germany, was appointed as chairman, and I was happy to continue to serve as vice chairman. In 2003 the conference was held in Berlin in June. En route we stopped at Liège preaching there over the weekend. We reached Berlin in good time for the conference travelling at times at almost 150 m.p.h. on the autobahns where there was no speed limit. We stayed in a hotel on the outskirts of Berlin in Spandau, famous for its ballet company, and travelled in by underground train to the conference meetings. As in previous years I preached and prayed for people to receive the baptism and hundreds came forward. When Ingolf Ellsel asked who had spoken in tongues for the first time it seemed like just about everybody who had been prayed for raised their hand. It was experiences like this that were undoubtedly the reason why I was asked to speak at so many churches and conferences for national leaders. Churches and National Leaders' Conferences During the years I was at Mattersey I spoke at several national leaders' conferences as well as ministering in local churches. Most of the teaching I did at national conferences centred on the baptism and gifts of the Holy Spirit and how to encourage them at local church level.  These included Germany and Hungary (1989), Iceland (1990), Austria (1999), Belgium (2003) and France (2004) where I was required to preach six times in French on a variety of topics.   The conference was held in Léognan, near Bordeaux, and close to the site of the ADD Bible College. (ADD Assemblées de Dieu i.e. AoG). I taught several sessions in the college in the week preceding the conference and then preached at a youth event held in a marquee in the college grounds. This was an occasion where I really needed the Lord to help me. Of course we always need his help, but this time even more so. I had completely forgotten that I was scheduled to be the speaker at this event, so I said to the principal of the college,             I don't really need to be at the youth meeting this afternoon, do I? To which he replied,             Mais si, vous êtes le prédicteur! (But yes, you are the preacher!) But I had nothing prepared, and I had never preached to young people in French before. Fortunately, several of my books have been translated into French including The Holy Spirit – an Introduction. I had little more than an hour before the meeting began and so, helped the French text of the section on the fruit of the Spirit, I hurriedly prepared a message on this, using examples from the life of Jesus. And the Lord really blessed it. Dozens of young people came forward responding to the appeal to seek to rededicate their lives to Christ. That really encouraged me as the I was preaching in the thousand strong assembly in Bordeaux where Daniel Hébert, whom I had met through PEF, was the pastor. But before leaving the subject of national conferences I need to mention that it was at that conference that David Cizéron gave me a book about his father's work in a part of France I had never heard of, something which will become relevant in a later talk. As far as preaching in local churches is concerned, there are of course far too many to mention them all. I have already talked about my trips to Sweden when I preached in local churches as well as teaching in Bible Colleges. One highlight of these trips was preaching in the Filadelfia church in Stockholm founded by the renowned Pentecostal pioneer, Lewi Pethrus (whose name, incidentally, features immediately before mine in the International Dictionary of Pentecostal and Charismatic Movements). Another highlight was travelling with Eileen to Kristinehamn at the northern end of Lake Vänern, the largest lake in Sweden, and preaching for a week for Paul Gren, one of our former Mattersey students. Germany was another country I also visited frequently. My contact with Germany came from three different though interrelated sources – EPTA which I have already mentioned, the national leaders of the Volksmission group of churches, and the local church in Heidenheim. Herbert Ros and Günter Kaupp were president and vice-president of Volksmission and had both been students at Kenley under the principalships of Donald Gee and John Carter respectively. They both had a great respect for what we were doing at Mattersey and over the years sent us a good number of excellent students who, after they had returned to Germany to take up pastorates there, invited us to minister for them whenever we were in Germany. It was also through my contacts with the leadership of Volksmission that I was invited on several occasions to travel round the churches for a couple of weeks often preaching for just one evening in each church. I was usually accompanied by Eileen, who loved travelling with me and enjoying the beautiful scenery of southern Germany and the warm hospitality we received in homes wherever we went. We undertook such trips in 1998, and 1999, when I was also the guest speaker at the BFP national leaders' conference. (BFP was the wider Pentecostal movement in Germany of which Volksmission had become a part). We made similar trips in 1994, '95, and '96. But it was the church at Heidenheim that we visited most frequently. The pastor there was Albert Bühler. In the early eighties his son-in-law Jürgen Single had heard about a youth camp we were holding at Mattersey during the summer vacation and asked if he could visit it with a coachload of young people from their church as they were arranging a tour of England. We were delighted to receive them and that was the beginning of a lovely relationship we enjoyed with the Bühler-Single family and the church in Heidenheim. We also visited Luxembourg on several occasions due to our relationship with John and Ann Leese who, as AoG missionaries, did an amazing job over many years planting a church there. John had been a student at Kenley when I first started teaching there. We first visited them for a weekend with William and Anthea Kay in 1990 and then again for a holiday in '92 with our daughter Debbie, her husband David, and their one-year-old daughter, Emily, who was our first grandchild. We have visited them many times since including 2001 when John asked me to take care of the preaching (in French, not Luxembourgish) while he and Ann were on holiday. It's also through our contact with Luxembourg that some of my books were translated into French. I will always be grateful to Caroline Hutin, a French schoolteacher who specialised in English, who spent many hours translating You'd Better Believe It, Body Builders, and Just a Taste of Heaven. Having these available was very helpful when I was preaching or teaching in French-speaking countries like France and Belgium. I am so grateful to the Lord that people have enjoyed my teaching and have usually wanted to know more. And my books, in whatever language, have made that possible. My ministry in Belgium was concentrated largely in and around Brussels, at the Continental Theological Seminary where I taught regularly for several years, and at the Christian Centre which held services in both English and French. Daniel Costanza, the pastor of the French speaking church, has used my books as a basis for teaching various courses of Bible study. Jacques Dernelle, who teaches regular courses at CTS, also pastors a great church in Tubize where I have also had the privilege of teaching and preaching. And on at least two occasions I visited Liège and gave a series of teaching which seemed to be well appreciated by the people there. In France where we frequently went on holiday we always sought to attend the nearest ADD church on Sunday mornings and I was often asked to preach. I remember preaching in Versailles, Pau, Mourrenx, Clermont-Ferrand, and Toulouse. However, in Embrun they didn't know who I was and anyway there was already a guest preacher, a French pastor, Samuel Foucart, from Pavilly near Rouen. I enjoyed his preaching and spoke with him afterwards. We exchanged contact details and as a result I was invited in the year 2000 to do a week's teaching on the Holy Spirit. Countries I visited only once or twice during this period were Austria, Denmark, Finland, Iceland, Ireland, and Italy. In 1982 at the invitation of Carl Pocklington we went to Austria for a week and I preached in Villach and Klagenfürt. And in 2000 I taught for a few days in the church in Linz where Eddie Griesfelder was the pastor. On two occasions I preached for a week in Messina in Sicily where Giuseppe Melusso was the pastor of large AoG church. In 1991 I preached in Reykjavik (Iceland), and in Nokia (Finland) where Teuvo Valkama, one of our former students was the pastor. And in 2002 I preached in Copenhagen (Denmark) and Limerick in Ireland. I look back on all these experiences with great joy and a profound sense of gratitude to the Lord for the privilege of declaring his word in so many places and to so many people. Next time we'll be talking about our service for the Lord beyond Europe.

Héctor Messina recibió el reconocimiento por su trayectoria como vendedor ambulante y su aporte a la cultura santafesina. Su carrito de pochoclos y manzanas acarameladas marcó a generaciones de vecinos.

NADA PERSONAL con Anabella Messina 20-09-2025

This episode of “A Psychoanalytic Perspective on Racism in America” takes a deep dive into the disturbing legal outcomes of state-sanctioned violence. The host and co-host, Dr. Karyne Messina and Dr. Felecia Powell-Williams, analyze the Department of Justice's sentencing recommendation for Brett Hankison, one of the officers involved in the raid that led to Breonna Taylor's death. The episode uses this case as a springboard to explore the central question: what unconscious processes are at work when the state acknowledges harm but refuses to assign it meaningful consequence? And how does this shape the racial psyche of a nation already strained by the traumatic repetition of Black death without accountability? The episode begins by examining the DOJ's sentencing memo for Brett Hankison, who was convicted of federal civil rights violations for blindly firing his weapon. Drs. Messina and Powell-Williams note that while Hankison was not found directly responsible for Taylor's death, his actions contributed to a chaotic and dangerous situation. The DOJ's recommendation for leniency—framed around Hankison's expressed remorse and mental health struggles—is presented not as a gesture of compassion but as a powerful act of disavowal. In psychoanalytic terms, this is a mechanism of simultaneously knowing and not knowing: the state admits a legal wrongdoing but emotionally withdraws from its moral and human significance. This defense is a way for institutions to maintain a sense of "white institutional innocence" by trivializing the consequences of their actions and deflecting from the deeper, systemic issues of race and historical violence. Drawing on historical analysis, the podcast then places this legal outcome within a larger pattern of Black death as public spectacle and white remorse as resolution.  The hosts argue that these ritualized performances of remorse—appeals to "good intentions" and vague promises of reform—are ways to reassert order and preserve the racial status quo. They use Saidiya Hartman's concept that "innocence is the condition of whiteness" to explain how the justice system often re-centers the perpetrator's psychological state and suffering over the victim's. This reversal, where the officer is subtly pitied and the Black woman's life becomes incidental, is a key dynamic of this historical pattern. To further illustrate this psychic phenomenon, the episode sets up a comparative case study between the killing of Breonna Taylor, a Black woman killed by white officers, and the death of Justine Ruszczyk Damond, a white woman killed by a Black officer. The hosts detail the background, outcomes, and sentences in each case to illuminate the differential application of justice and the underlying psychic valuations of human life based on race in America. This comparison serves to highlight how the justice system's response is often a traumatic reenactment of historical patterns rather than a genuine move toward accountability and repair. The episode also introduces the Freudian concept of the return of the repressed, arguing that the persistence of Breonna Taylor's name in cultural discourse—in art, protests, and community rituals—is a refusal to allow her death to be buried. These acts of symbolic resistance, or counter-memory as defined by Foucault, challenge the official narrative and insist on a different kind of justice. This alternative model of justice, the hosts conclude, requires not just legal process, but a willingness to bear witness to suffering and engage in the emotional labor and truth-telling that are necessary for genuine collective repair. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychoanalysis

This episode of “A Psychoanalytic Perspective on Racism in America” takes a deep dive into the disturbing legal outcomes of state-sanctioned violence. The host and co-host, Dr. Karyne Messina and Dr. Felecia Powell-Williams, analyze the Department of Justice's sentencing recommendation for Brett Hankison, one of the officers involved in the raid that led to Breonna Taylor's death. The episode uses this case as a springboard to explore the central question: what unconscious processes are at work when the state acknowledges harm but refuses to assign it meaningful consequence? And how does this shape the racial psyche of a nation already strained by the traumatic repetition of Black death without accountability? The episode begins by examining the DOJ's sentencing memo for Brett Hankison, who was convicted of federal civil rights violations for blindly firing his weapon. Drs. Messina and Powell-Williams note that while Hankison was not found directly responsible for Taylor's death, his actions contributed to a chaotic and dangerous situation. The DOJ's recommendation for leniency—framed around Hankison's expressed remorse and mental health struggles—is presented not as a gesture of compassion but as a powerful act of disavowal. In psychoanalytic terms, this is a mechanism of simultaneously knowing and not knowing: the state admits a legal wrongdoing but emotionally withdraws from its moral and human significance. This defense is a way for institutions to maintain a sense of "white institutional innocence" by trivializing the consequences of their actions and deflecting from the deeper, systemic issues of race and historical violence. Drawing on historical analysis, the podcast then places this legal outcome within a larger pattern of Black death as public spectacle and white remorse as resolution.  The hosts argue that these ritualized performances of remorse—appeals to "good intentions" and vague promises of reform—are ways to reassert order and preserve the racial status quo. They use Saidiya Hartman's concept that "innocence is the condition of whiteness" to explain how the justice system often re-centers the perpetrator's psychological state and suffering over the victim's. This reversal, where the officer is subtly pitied and the Black woman's life becomes incidental, is a key dynamic of this historical pattern. To further illustrate this psychic phenomenon, the episode sets up a comparative case study between the killing of Breonna Taylor, a Black woman killed by white officers, and the death of Justine Ruszczyk Damond, a white woman killed by a Black officer. The hosts detail the background, outcomes, and sentences in each case to illuminate the differential application of justice and the underlying psychic valuations of human life based on race in America. This comparison serves to highlight how the justice system's response is often a traumatic reenactment of historical patterns rather than a genuine move toward accountability and repair. The episode also introduces the Freudian concept of the return of the repressed, arguing that the persistence of Breonna Taylor's name in cultural discourse—in art, protests, and community rituals—is a refusal to allow her death to be buried. These acts of symbolic resistance, or counter-memory as defined by Foucault, challenge the official narrative and insist on a different kind of justice. This alternative model of justice, the hosts conclude, requires not just legal process, but a willingness to bear witness to suffering and engage in the emotional labor and truth-telling that are necessary for genuine collective repair. 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 part two, Elizabeth Messina dives deep into the behind-the-camera experience of her photography sessions and shares her thoughtful approach to post-shoot curation. She reveals how she creates an atmosphere where clients feel like guests first, subjects second, and explains her "immersive photography" philosophy where the entire experience becomes part of the session. Key Takeaways: Show up even when you don't feel like it Create atmosphere and connection before performance Curation is where the art lives Give tangible gifts to clients And more! Elizabeth Messina's sanctuary for creatives: ⁠https://theartedept.com⁠ Connect with Kim: Site: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://kimbox.com ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ IG ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/kimbox 

Brendan shares his favorite games that have the number 7 in the title. Join us, won't you?Flip 7 (2024)Las Vegas (2012)Dead Man's Draw (2014)The 7th Continent (2017)Vantage (2025)Gen7: A Crossroads Game (2018)Dead of Winter: A Crossroads Game (2014)Forgotten Waters (2020)Level 7 [Escape] (2012)Cube (1997)7 Wonders: Architects (2021)7 Wonders Duel (2015)7 Wonders (2010)Games with years in the title that include the number 7Tortuga 1667 (2017)Hollywood 1947 (2023)Messina 1347 (2021)What are your favorite games that have the number 7 in them? Share your thoughts over on boardgamegeek in guild #3269.

In the first part of this riveting 2-part interview, photographer Elizabeth Messina shares how she evolved from being too shy for photos to confidently teaching others about her craft. She believes successful photography businesses start with creating excellent work you're proud of, not just clever marketing. Key Takeaways: Start with good work: Build your business on photography you actually love, not just marketing tactics Growing confidence takes time: Overcoming shyness and learning to trust your vision Balance art with client needs: Serve clients while still making time for your own creative work Focus on what you control: During slow periods, improve your portfolio and skills instead of worrying about what's not working Join us next week for Part 2! Elizabeth Messina's sanctuary for creatives: https://theartedept.com Connect with Kim: Site: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://kimbox.com ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ IG ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/kimbox 

About God's Name for Me“We all have funny nicknames from our families near and far,And even though they're silly, they're a part of who we are.”Does your little one have a special nickname that's used just for them?In God's Name for Me, author Talia Messina gathers diverse children to share their funny and silly nicknames―names that they were given by loved ones. But they are reminded that there is a name, the very best name, from God who has given it out of his perfect love.The perfect Christian gift for baby showers or stocking stuffer for baby's first Christmas, this charming kids' picture book features:Personalization page that allows this book to be dedicated to a special child with the sweet nickname you have given themRhyming story to make it the perfect read-aloud for babies, toddlers, and preschoolersLift-the-flap surprises to keep young children engaged and delightedSturdy board book pages that make the book durable for years of useMirror surprise in the back!Discover God's super special name for you, given freely for being exactly who he made you to be. This name can't be earned―it's part of your identity, so you can't lose it! It reminds you that being God's child has nothing to do with personality, likability, outward appearance, energy, size, the love given, or actions taken towards others.It has everything to do with the love God pours out on all of us, his precious children.Purchase a copy of God's Name for Me here.Connect with Talia MessinaInstagramTalia Messina is an editor, writer, speaker, teacher, and believer in Jesus. She graduated from Gordon College with an English degree and lives north of Boston, where she volunteers in her church's library and middle school youth ministry. When she's not working with words, she enjoys rock climbing, dancing, and playing board games like Everdell with her friends and family.

THE PARKERS ARE BACK IN TOWN! Join the Book Club Bois for a constructive* conversation on the merits and pitfalls of Hickman, Checchetto and Messina's ULTIMATE SPIDER-MAN! Peter returns to New York alongside the power couple of Harry Osborn and Gwen Stacy! Throwing themselves back into the fray against Kingpin and the Sinister Six, will they be able to take back their city? Or will suspicion and mistrust tear their partnership apart before they get the chance? Covers Ultimate Spider-Man (2024) #18-20 by Jonathan Hickman, David Messina and Marco Checchetto Support us on Patreon! https://www.patreon.com/c/geeksplained Geeksplained Merch: https://www.teepublic.com/user/geeksplained Follow us! Bluesky: https://bsky.app/profile/geeksplained.bsky.social Instagram: www.instagram.com/geeksplainedpod/?hl=en Send us your questions for the Geeksplained Mailbag! Email: Geeksplained@gmail.com Music Sampled: “Alive” by Warbly Jets

Human Performance Resources by CHAMP (HPRC) is a team of scientists and specialists who utilize research to develop evidence-based resources to help service members and their families to achieve total fitness.  Listen as Dr. Lauren Messina discusses the #GotMySix campaign and its focus on social connections and relationship building to help support military families maintain overall fitness.   This podcast is made possible by generous funding from the USAA Foundation.     Audio mixing by Concentus Media, Inc., Temple, Texas.   Show Notes: Resources:   #GotMySix https://www.hprc-online.org/total-force-fitness/gotmysix   Human Performance Resources by CHAMP https://www.hprc-online.org/   Bio: Lauren A. Messina, PhD, LCMFT, DipACLM is a Senior Scientist supporting the Human Performance Resources by CHAMP (HPRC-online.org) team at the Uniformed Services University. With her clinical and research experiences, Lauren is a subject-matter expert in relational health, family well-being, social connections, behavior change, and holistic approaches to well-being. She is a Diplomate with the American College of Lifestyle Medicine and a certified Health and Well-being Coach by Wellcoaches ©.   Dr. Messina is an Assistant Professor in the School of Medicine and the College of Allied Health Sciences at the Uniformed Services University of the Health Sciences. She is also an Adjunct Lecturer at the University of Maryland, College Park. Dr. Messina has a master's degree and clinical license in Couple and Family Therapy and a doctoral degree in Family Science from the School of Public Health at the University of Maryland, College Park.

Are you truly listening to clients or just waiting to ask your next question? In this episode of the Real Estate Excellence Podcast, Tracy Hayes welcomes Shannon Messina. Shannon brings a kinetic blend of New York grit and Florida community savvy. In this conversation she unpacks how fitness and training shaped her sales engine, why relationships beat cold prospecting, and how themed open houses with real vibes convert neighbors into buyers. She shares the move that reset her life, rebuilt her career, and led to record sales in St Johns Golf. Shannon fought through nine months of impaired vision, passed her licensing exam with a pirate patch, and surged back with 2020 sight and a bigger vision for her family and clients. Her takeaways land hard be relentlessly resourceful, sell every listing like it is your own, and let clients tell you what matters most then amplify it. Subscribe and share this episode with one agent friend who needs a push of grit today. Follow the show for fresh playbooks that help you close with confidence.   Highlights: 00:00 - 11:39 Meet Shannon and visibility in real estate • First impressions and introduction • The importance of visibility in real estate • Balancing social media with authentic connection • Why screen time matters for agents • Staying consistent to remain top of mind 23:20 - 34:59 Restart in Florida referrals over cold hunting • Fitness coaching as sales training ground • Leadership lessons carried into real estate • Building trust beyond transactions • Listening deeply to client needs • Creating conversations that convert 35:00 - 46:39 Embracing discomfort to grow intentionally • Business collapse and bold move south • First FSBO listing that sparked momentum • Treating every client like a marketing billboard • Relocating families through trust and connection • Using reels and hashtags to attract buyers 46:40 - 58:19 Selling with pride and execution • Studying with impaired vision and determination • Passing exams with a pirate patch • Life reset after eye surgery • Embracing discomfort to grow intentionally • A renewed mission in real estate 58:20 - 1:09:59 Hosting events to build community • Neighbors as natural recruiters • Hosting events to build community • Learning from the refrigerator fiasco • Staying calm under negotiation pressure • Relentless drive to find a solution   Quotes: “I love real estate because I am in control of how much money I make.” – Shannon Messina “Use what clients give you to ask your next question do not have a script.” – Shannon Messina “Those dual side deals happened because I sold the home during the open house.” – Shannon Messina “I like to do things that make me uncomfortable and then do well.” – Shannon Messina   To contact Shannon Messina, learn more about her business, and make her a part of your network, make sure to follow her on her Instagram and Facebook.   Connect with Shannon Messina! Instagram: https://www.instagram.com/shannon_lyn_messina Facebook: https://www.facebook.com/shannon.messina.106   Connect with me! Website: toprealtorjacksonville.com   Website: toprealtorstaugustine.com    SUBSCRIBE & LEAVE A 5-STAR REVIEW as we discuss real estate excellence with the best of the best.   #RealEstateExcellence #ShannonMessina #FloridaRealEstate #NewYorkToFlorida #AgentGrit #OpenHouseIdeas #StJohnsCounty #RelationshipSelling #ReferralsWork #ListingStrategy #BuyerMindset #DualAgency #SellItLikeYours #CommunityMarketing #SocialMediaForAgents #MargaritavilleVibes #CoffeeTruckOpenHouse #Resilience #WomenInRealEstate #GritWins

Show Schedule 8-22-2025 The show begins in a suddenly anxious Las Vegas. First Hour 9:00-9:15 #PacificWatch: #VegasReport: Flagging business model. @JCBliss 9:15-9:30 AI/Quantum: Bubble chat. Brandon Weichert, National Interest 9:30-9:45 POTUS: Tariffs unstable, inefficient. Richard Epstein, Civitas Institute, University of Texas 9:45-10:00 Venezuela flotilla like 1989 Panama? Richard Epstein, Civitas Institute, University of Texas Second Hour 10:00-10:15 Proliferation: What is the US policy? Henry Sokolski, NPEC 10:15-10:30 Proliferation: What is the US policy? Henry Sokolski, NPEC continued 10:30-10:45 SpaceX: Launching X-37B. Bob Zimmerman BehindTheBlack.com 10:45-11:00 Webb: More black hole mysteries. Bob Zimmerman BehindTheBlack.com Third Hour 11:00-11:15 Vietnam War 5/8: Military History. Geoffrey Wawro 11:15-11:30 Vietnam War 6/8: Military History. Geoffrey Wawro 11:30-11:45 Vietnam War 7/8: Military History. Geoffrey Wawro 11:45-12:00 Vietnam War 8/8: Military History. Geoffrey Wawro Fourth Hour 12:00-12:15 Lancaster County: Booming tourism. Jim McTague, former Washington Editor, Barron's. @McTagueJ. Author of the "Martin and Twyla Boundary Series." #FriendsOfHistoryDebatingSociety 12:15-12:30 Italy: Bridge over the Straits of Messina. Lorenzo Fiori 12:30-12:45 Canada: Conrad Black. National Post 12:45-1:00 AM Market: Tariffs fail. Veronique de Rugy

Italy: Bridge over the Straits of Messina. Lorenzo Fiori 1943 POPE PIUS

Iniziamo la prima parte del programma parlando dei tentativi di porre fine alla guerra in Ucraina. Gli sforzi congiunti del Presidente degli Stati Uniti e dei leader europei riusciranno davvero a portare ad un accordo di pace? Proseguiremo, poi, con un dibattito sulle critiche sollevate dall'estrema destra nell'UE riguardo all'assegnazione di oltre 17 milioni di euro a progetti legati all'Islam. Nella sezione dedicata a scienza e tecnologia parleremo di uno studio sorprendente che mostra come sia possibile convertire i pensieri dei pazienti in voce artificiale. E infine, discuteremo di un programma europeo per reclutare scienziati statunitensi. Dopo i tagli draconiani ai progetti scientifici decisi da Trump, l'Europa sta, davvero, “soffiando” i cervelli agli americani?    La seconda parte della puntata è dedicata alla lingua e alla cultura italiana. L'argomento grammaticale di oggi è Prepositions: Simple and Articulated. Ne troverete numerosi esempi nel dialogo che seguirà, incentrato su una polemica che ha scaldato le estati degli italiani: l'aumento dei prezzi per l'affitto di sdraio e ombrelloni negli stabilimenti balneari. Nel finale ci soffermeremo sull'espressione idiomatica di oggi: A colpo sicuro. Il dialogo in cui la useremo prende spunto da una notizia che riguarda la costruzione del Ponte sullo Stretto di Messina. Dopo decenni di annunci e rinvii, il governo ha approvato il progetto definitivo, passo cruciale verso l'avvio dei lavori. Ma alle promesse di sviluppo si contrappongono proteste e dubbi: c'è chi vede un'opera storica e chi teme uno spreco colossale. - I leader europei rispondono dopo il vertice Trump-Putin, ma non si intravede alcun progresso - L'UE risponde alle critiche sui progetti di ricerca legati all'Islam - I ricercatori decifrano con precisione i pensieri dei pazienti - L'Europa sta cercando di accaparrarsi gli scienziati statunitensi dopo i drastici tagli di Trump? - Agosto di polemiche: spiagge care e ombrelloni chiusi - Tra sogno e realtà: il futuro del Ponte sullo Stretto di Messina

Full Text of ReadingsMemorial of Saint Pius X, Pope Lectionary: 422The Saint of the day is Saint Pius XSaint Pius X's Story Pope Pius X is perhaps best remembered for his encouragement of the frequent reception of Holy Communion, especially by children. The second of 10 children in a poor Italian family, Joseph Sarto became Pius X at age 68. He was one of the 20th century's greatest popes. Ever mindful of his humble origin, Pope Pius stated, “I was born poor, I lived poor, I will die poor.” He was embarrassed by some of the pomp of the papal court. “Look how they have dressed me up,” he said in tears to an old friend. To another, “It is a penance to be forced to accept all these practices. They lead me around surrounded by soldiers like Jesus when he was seized in Gethsemani.” Interested in politics, Pope Pius encouraged Italian Catholics to become more politically involved. One of his first papal acts was to end the supposed right of governments to interfere by veto in papal elections—a practice that reduced the freedom of the 1903 conclave which had elected him. In 1905, when France renounced its agreement with the Holy See and threatened confiscation of Church property if governmental control of Church affairs were not granted, Pius X courageously rejected the demand. While he did not author a famous social encyclical as his predecessor had done, he denounced the ill treatment of indigenous peoples on the plantations of Peru, sent a relief commission to Messina after an earthquake, and sheltered refugees at his own expense. On the 11th anniversary of his election as pope, Europe was plunged into World War I. Pius had foreseen it, but it killed him. “This is the last affliction the Lord will visit on me. I would gladly give my life to save my poor children from this ghastly scourge.” He died a few weeks after the war began, and was canonized in 1954. Reflection His humble background was no obstacle in relating to a personal God and to people whom he loved genuinely. Pius X gained his strength, his gentleness and warmth for people from the source of all gifts, the Spirit of Jesus. In contrast, we often feel embarrassed by our backgrounds. Shame makes us prefer to remain aloof from people whom we perceive as superior. If we are in a superior position, on the other hand, we often ignore simpler people. Yet we, too, have to help “restore all things in Christ,” especially the wounded people of God. Saint of the Day, Copyright Franciscan Media

Thursday of the 20th Week in Ordinary Time Memorial of St. Pius X, 1835-1914; he encouraged Italian Catholics to become more politically involved; one of his first papal acts was to end the supposed right of governments to interfere by veto in papal elections; he denounced the ill treatment of indigenous peoples on the plantations of Peru, sent a relief commission to Messina after an earthquake, and sheltered refugees at his own expense; Pius X foresaw World War I, but it killed him; he said, "This is the last affliction the Lord will visit on me. I would gladly give my life to save my poor children from this ghastly scourge”; he died a few weeks after the beginning of the war, in 1914 Office of Readings and Morning Prayer for 8/21/25 Gospel: Matthew 22:1-14

Nella puntata di oggi parliamo del progetto del Ponte sullo Stretto di Messina, di Google che punta sul nucleare per approvvigionarsi di energia e di un inizio di riavvicinamento delle relazioni tra India e Cina. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Morning Footy crew welcome in Marco Messina to chat all things Serie A which kicks off this weekend. The group zero in on AC Milan, Inter Milan, Napoli, and the notable coaching changes across the league. Morning Footy is available for free on the Audacy app as well as Apple Podcasts, Spotify and wherever else you listen to podcasts.  Visit the ⁠⁠betting arena on CBSSports.com⁠⁠ for all the latest in ⁠⁠sportsbook reviews⁠⁠ and ⁠⁠sportsbook promos⁠⁠ for ⁠⁠betting on soccer⁠⁠ For more soccer coverage from CBS Sports, visit ⁠⁠https://www.cbssports.com/soccer/⁠⁠ To hear more from the CBS Sports Podcast Network, visit ⁠⁠https://www.cbssports.com/podcasts/⁠⁠ Watch UEFA Champions League, UEFA Europa League, UEFA Europa Conference League, Serie A, Coppa Italia, EFL, NWSL, Scottish Premiership, Argentine Primera División by subscribing Paramount Plus: ⁠⁠https://www.paramountplus.com/home/⁠⁠ Visit the betting arena on CBS Sports.com: ⁠⁠https://www.cbssports.com/betting/⁠⁠ For all the latest in sportsbook reviews: ⁠⁠https://www.cbssports.com/betting/sportsbooks/⁠⁠ And sportsbook promos: ⁠⁠https://www.cbssports.com/betting/promos/⁠⁠ For betting on soccer: ⁠⁠https://www.cbssports.com/betting/soccer/ To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Sara Campanella è la studentessa universitaria assassinata a Messina.Support this podcast at — https://redcircle.com/storia/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

It's a buck dancer's choice my friendBetter take my adviceYou know all the rules by nowAnd the fire from the ice"No Buck dancing here, just 2 hours of terrific tunes on this week's Super Sounds Of The 70's. Please join me for a brief trip "Back o The Garden". Joining us are Joni Mitchell, Lynyrd Skynyrd, The Byrds, Doors, Eagles, Jackson Browne, The James Gang, Guess Who, Bobby Darin, America, The Charlie Daniels Band, Humble Pie, Loggins & Messina, Crosby Stills & Nash, Jethro Tull, The Youngbloods, Doobie Brothers, Blood Sweat & Tears, Little River Band, Jimmy Buffett and The Grateful Dead.

Oggi parliamo dell'approvazione del progetto per il ponte sullo stretto di Messina, di quanto costano un ombrellone e due sdraio nelle spiagge italiane e quanto può arrivare a costare un meteorite marziano. Stivale Italiano è un podcast di lingua italiana per stranieri, esplora e impara la lingua italiana con i nostri episodi di italiano naturale.Vuoi migliorare il tuo italiano? Scrivici a info@stivaleitaliano.com

00:22:28 Trauner, Martin full Credits Autor/in dieser Folge: Martin Trauner Regie: Martin Trauner Redaktion: Thomas Morawetz Interviews mit:  Prof. Winfried Nerdinger (Architekturhistoriker, ehem. Leiter des   Architekturmuseum der TU München)  Prof. Egon Johannes Greipl - ehemaliger (seit 30-11-2013) bayerischer   Generalkonservator Geschichte: Noch mehr Interesse an Geschichte? Dann empfehlen wir: Alles Geschichte – Der History-Podcast Wir freuen uns über Feedback und Anregungen zur Sendung per Mail an radiowissen@br.de. Radiowissen finden Sie auch in der ARD Audiothek: ARD Audiothek | Radiowissen JETZT ENTDECKEN Das vollständige Manuskript gibt es HIER. Lesen Sie einen Ausschnitt aus dem Manuskript: ERZÄHLERIN Endlich, nach beinahe 16 Jahren Planungs- und Bauzeit ist es soweit. - Jetzt, 1843, ist sie fertiggestellt: Die königliche Hof- und Staatsbibliothek in München.   ZITATOR (Architekturführer) Dieser in den großartigsten Verhältnissen angelegte Bau wurde im italienischen-mittelalterlichen Style ausgeführt. -    ERZÄHLERIN - schreibt ein zeitgenössischer bautechnischer Führer -   ZITATOR (Architekturführer) - In seinen ausgedehnten Räumlichkeiten umschließt das Gebäude die außerordentlich reiche, gegenwärtig 1.300.000 Bände zählende Staatsbibliothek.   MUSIK    1. ZUSPIELUNG (Greipl) Da denkt man - riesengroß - da müssen alle Bücher der Welt hineinpassen -   ERZÄHLERIN Sagt Egon Greipl, (ehemaliger) oberster Denkmalschützer in Bayern. -   2. ZUSPIELUNG (Greipl) - und dann geht man hinein und sieht, da ist eine Menge Platz verschenkt worden für eine Treppe und solche repräsentative Sachen.   MUSIK    ERZÄHLERIN Eine Prachttreppe, die seinerzeit nur der König benutzen durfte. An ihr hat man bis zuletzt gearbeitet. 54 Stufen muss die Majestät überwinden, um aus dem dunklen Eingangsbereich in das Licht, zu den Büchern, zur Wissenschaft zu gelangen. - Obwohl der König in den letzten Jahren meist ein schwieriger Auftraggeber gewesen ist, ständig an den Plänen etwas ändert oder ändern lässt, die Treppe findet selbst der Architekt so schlecht nicht:   ZITATOR GÄRTNER Für die Haupttreppe stehe ich gut, das ist die pompöseste die wenigstens in Deutschland existiert. Diese gefällt mir selbst.   MUSIK    ERZÄHLERIN Und das ist der Baumeister des 152 Meter langen und 24 Meter hohen Monumentalbaus: Friedrich von Gärtner. Die Bibliothek: sein erster Auftrag für König Ludwig I. - Vor 16 Jahren, 1827, ließ Ludwig den gar nicht mehr so jungen Architekten gewähren: Gärtner soll nun endlich sein erstes Gebäude überhaupt bauen. Und dann gleich ein so großes.   3. ZUSPIELUNG (Nerdinger) Ein riesiger Bau. Und die besondere Pointe oder Gemeinheit könnte man auch sagen, liegt darin, dass er diesen Bau an der von Klenze geplanten Ludwigsstraße vorgesehen hat...   ERZÄHLERIN - so Winfried Nerdinger, Architekturhistoriker aus München. - Die Ludwigsstraße, sie ist des Königs Lieblingskind, sie soll seine Prachtmeile werden...     4. ZUSPIELUNG (Nerdinger) Klenze hat ja diese Straße komplett geplant, das war "seine Straße", er hat den ganzen südlichen Teil bereits mit Neubauten bestückt und jetzt mitten hinein in seine Straße, der größte Bau überhaupt bis dahin, die Staatsbibliothek, da bekommt ausgerechnet sein Konkurrent den Auftrag. Und das war sicherlich für Klenze ein Schlag.   MUSIKAKZENT   ERZÄHLERIN Friedrich Gärtner und Leo Klenze, zwei Baumeister in königlichen Diensten - ein Berufsleben lang lauern sie wie Skylla und Charybdis, die beiden Ungeheuer, an der Meerenge von Messina. Und, um im mythologischen Bild zu bleiben, kein königlicher Auftrag soll an ihnen ungeschoren vorbei kommen.   5. ZUSPIELUNG (Nerdinger) Die waren beide nicht von Pappe, um es mal salopp zu formulieren und haben mit allen Mitteln sich gegenseitig bekämpft und für ihre Karriere gekämpft.   ERZÄHLERIN 26 Jahre ist er alt, da wird der junge begabte Nachwuchsarchitekt Friedrich Gärtner Ludwig vorgestellt. Und wer bringt ihn zum Kronprinzen? Der 7 Jahre ältere Klenze. Der, ein protestantischer Preuße, ist schon seit einem Jahr in Diensten des Königshofs.   ZITATOR GÄRTNER Dass dieser zum Faktotum geworden ist, ersah ich schon längst, den Grad aber ersah ich da näher.   6. ZUSPIELUNG (Nerdinger) Als drittes muss man immer noch den König mit einbeziehen, genauer gesagt, den Kronprinzen, der beide letztlich wie Schachfiguren in seinem Spiel benutzt hat.   ZITATOR GÄRTNER Ich sah nur zu deutlich, dass einem schlechten Schachspieler leicht eine Figur genommen und die andere dafür hingesetzt werden kann.   MUSIKAKZENT    ERZÄHLERIN Über Gärtners Karriereleiter sind wir Sprosse um Sprosse relativ gut informiert. Denn mehr als 30 Jahre lang schreibt er Briefe, an Martin von Wagner. -    7. ZUSPIELUNG (Nerdinger) Nun: der Martin von Wagner war eigentlich der Kunsthändler des Kronprinzen in Rom.   ERZÄHLERIN Martin von Wagner ist der Freund von Friedrichs Vater, dem Hofbauintendanten Andreas Gärtner. Und auch wenn die Mutter Bedenken gegenüber Wagner äußert, Friedrich beschwichtigt:   ZITATOR GÄRTNER Deine Warnung, gute Muttern über Wagner ist recht gut, allein sei versichert, sie war nicht nötig. So kenne ich meine Leute noch. Wagner ist ein guter, ernsthaft rechtschaffener Mann, allein nie für einen Freund geschaffen.   ERZÄHLERIN Friedrich Gärtner und Wagner werden trotzdem Freunde, gute Freunde. Netter Nebeneffekt für Gärtner: Wagner hat einen sehr guten Draht zum Kronprinzen. - Gärtner macht in seinen Briefen aus seinem Herzen keine Mördergrube. Winfried Nerdinger:   8. ZUSPIELUNG (Nerdinger) Ich glaube auch, dass man natürlich mit gewissen Abstrichen diesen Briefwechsel als ziemlich wichtige authentische Aussage nehmen kann, weil er sich da einem Freund geöffnet hat - Wir können da doch relativ tiefe Einblick in das Gefühlsleben Gärtners tun und in das Intrigenspiel bei Hofe.   ERZÄHLERIN Über 100 Mal wird die Post von Gärtner die Zeiten überdauern, die Post von Wagner retour dagegen nicht. - Kennen gelernt haben sich die beiden in Rom. -   ZITATOR GÄRTNER Rom ist nebenbei gesagt der herrlichste Ort, um einem als Mensch die besten Lebensregeln zu erteilen!   MUSIK  ERZÄHLERIN Im Oktober 1814 kommt Gärtner nach Rom. Nach seinem Architekturstudium in München bei Carl von Fischer, nach Lehrjahren in Paris, zieht der 22-Jährige in die deutsche Künstlerkolonie. "Quartiere degli Infedeli", "Viertel der Abtrünnigen", nennen es die Römer, wegen der vielen deutschen Protestanten. Der Katholik Gärtner kennt bald alle Trattorien und Weinstuben rund um seine Wohnung in der Via Sistina, nahe der spanischen Treppe. Jetzt will er wieder lernen, dieses Mal aber das Leben: MUSIK    ZITATOR GÄRTNER Der Durst war groß, der Wein war gut und so wurde allgemeiner Jubel unter der Gesellschaft. Eine Gitarre, die uns begleitete, spielte bald ihren Saltarello, bald ihren Walzer...   ERZÄHLERIN Martin von Wagner nimmt Friedrich in seine Obhut, im Auftrag von Andreas Gärtner, dessen Vater. Er zeigt ihm die mediterrane Lebensart, er bringt ihn in die Kreise der Rom-liebenden deutschen Künstler. Die feiern sich und "ihren" bayerischen Kronprinzen, den Kunstmäzen, am liebsten im Caffè Greco - keine zwei Minuten von der Wohnung Gärtners entfernt. Hier treffen sich auch die Mitglieder eines von Martin von Wagner initiierten Geheimbundes: "Nemesis" heißt er : MUSIK    9. ZUSPIELUNG (Nerdinger) Diese Künstler haben sich die Nemesianer genannt. - Die Nemesis als ihre Göttin, die dem einzelnen das Geschick zuweist, dem einen das Gute, dem anderen das schlechte. So etwas, was für Künstler ja ganz wichtig ist: Der eine steigt auf, der andere steigt ab...   ERZÄHLERIN Nemesis gibt sich zunächst wankelmütige, was das Schicksal des jungen Friedrich betrifft. Der "Orlando furioso", wie ihn seine Freunde jetzt rufen, genießt zwar in Rom das süße Leben in vollen Zügen, ganz untätig ist er freilich nicht. Er zeichnet etliche antike Ruinen, fährt nach Pompeji und Sizilien, besteigt die Vulkane Italiens. Und er beteiligt sich - auf sanftes Drängen seines Vaters -  am Wettbewerb zum Bau der Münchner Glyptothek. Mit Hilfe seines Vaters, der die Pläne ein wenig korrigiert und nachbessert, wird sein Entwurf vom Preisgericht als der für den Bau geeignetste befunden. Den Auftrag bekommt, allem zu Trotz, wie kann es anders sein, Leo Klenze.    MUSIK    ZITATOR GÄRTNER Thermometer 5 Grad Beaumont - Pluvianopolis am 12ten des 8. Regenmonats 1817 nach Christi Geburt - Parameter (wie gewöhnlich): Regen, Hagel, Wind.   ERZÄHLERIN Gärtner ist nach fast drei Jahren Sommer, Sonne, Kaktus wieder in München. In Pluvianopolis, der Regenstadt. Er schreibt an Wagner nach Rom:   ZITATOR GÄRTNER Der ewigen Nemesis zum Gruße! Ohne Nachrichten aus Rom bin ich ein geschlagener Mensch. Oh große Nemesis! Was habe ich verschuldet, dass du gerade jetzt mich ins Exil geschickt, wo ich dickes Bier um 12 Uhr saufen muss. MUSIK    ERZÄHLERIN Nemesis meint es tatsächlich nicht gut mit ihm. Nicht nur dickes Bier und saurer Wein schlagen ihm auf den Magen: In München, im Exil, findet er keine adäquate Anstellung, obwohl sein Vater immer noch königlich bayerischer Hofbauintendant ist, also de facto der oberste Baumeister. Und er würde so gerne in dessen Fußstapfen treten.   ZITATOR GÄRTNER Es ist traurig, wenn  man mehrere Jahre sich bemüht, um etwas zu lernen und am Ende wieder dort hingestellt ist, von wo man ausgegangen. Seit meiner Zurückkunft sitze ich da und lege die Hände in den Schoß.   ERZÄHLERIN 26 Jahre ist Gärtner mittlerweile. Er sehnt sich nach Rom. Hier im kalten Norden, in München: -  "Ein Windloch". Die Mutter stirbt. Er fühlt sich dazu verpflichtet, die Familie finanziell zu unterstützen, lebt aber im Gegenteil vom Geld des Vaters. Und dann auch noch das:   ZITATOR GÄRTNER Mit unverändertem Gemüte durchlas ich heute die Entlassung meines alten und würdigen Vaters von seinem treuen Dienste und dessen Erstattung durch Klenze mit einer vermehrten Besoldung von 3000 fl.   10. ZUSPIELUNG (Nerdinger) Aus den Briefen, die er an seinen Freund Martin von Wagner schrieb, kommt ganz klar heraus, dass diese Verdrängung seines Vaters als Hofbauintend

Ponte sullo Stretto di Messina, da chimera a realtà? Una questione di fiducia Attività fisica e cervello… meglio se in un ambiente naturale Il mare italiano, un lusso per pochi?

Sino e Dom tornano per un nuovo episodio facendo un punto reale della situazione turismo in Italia tra dati effettivi, dimensioni e lamentele delle persone, pratiche scorrette che fanno scoppiare un dibattito tra i due, ponte sullo stetto di Messina e problematiche del sud, incontro Trump-Putin e cosa può comportare per la guerra in Ucraina e molto altro.(00:00:00) Intro(00:02:26) Overtourism o tutto vuoto? La realtà dal turismo italiano(00:11:04) Ponte sullo stretto di Messina(00:17:50) Incontro Trump - Putin e conseguenze in Ucraina(00:24:02) Botte da orbi tra Sino e DomApri il link per sottoscrivere ad un piano Zencastr usufruendo dello sconto Expatriati del 30%https://zen.ai/u1PcslG4r8g7s1ZYsg35qw

This week's program features tuneage from Brewer & Shipley, Janis  Joplin, Beatles, Jimi Hendrix Experience, Jefferson Airplane, Talking Heads, Donovan, Kinks, Cat Stevens, Ten Years After, Electric Prunes, Don McLean, Bachman Turner Overdrive, Brian Auger's Oblivion Express, Jeff Beck Group, John McLaughlin, Joni Mitchell, Loggins & Messina, Coldplay, Cream, Dada, Bruce Springsteen, Chicago & Crack The Sky.

Italy: Dining the Dolomites, bridging the Messina Strait. Lorenzo Fiori

Oggi parliamo di spionaggio israeliano, del ponte sullo stretto di Messina, del caso Bova-Corona e di Elon Musk che ha lanciato la modalità piccante della sua intelligenza artificiale spianando la strada ai deep fake. ... Qui il link per iscriversi al canale Whatsapp di Notizie a colazione: https://whatsapp.com/channel/0029Va7X7C4DjiOmdBGtOL3z Per iscriverti al canale Telegram: https://t.me/notizieacolazione ... Qui gli altri podcast di Class Editori: https://milanofinanza.it/podcast Musica https://www.bensound.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Laura Dyrda sits down with Travis Messina, CEO of Regent Surgical, to discuss the company's leadership in the ambulatory surgery center space. They explore Regent's unique partnerships with health systems and physicians, milestones achieved in 2024, and ambitious goals for 2025, including expansion through health system collaborations, de novo centers, and physician engagement.

The U.S.S. Messina gets a lesson on the Force as they seek a desperately needed source of Ryetalyn---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

The U.S.S. Messina goes fishing in a Black Hole---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

Brendan looks back 400 episodes and sees that he was talking about games with tracks. So he revisits that subject.Pick Up & Deliver 363: Games with Tracks400 Back seriesTech tree / Tech Tracks on BGGTrack as counterCoimbra (2018)Nucleum (2023)Theme failsPlanet Unknown (2022)Tapestry (2019)Revive (2022)Theme succeedsPraga Caput Regni (2020)Messina 1347 (2021)Which games with tracks did I miss? Which ones do you love? Share your thoughts over on boardgamegeek in guild #3269.

Get YDS Merch before July 25!!Support us on Patreon!This week on Your Diet Sucks, we're talking hormones: what they are, what they do, and why they've become the latest scapegoat for every diet culture grift on the internet. From adrenal fatigue (not real) to seed cycling (also not real), Zoë and Kylee cut through the pseudoscience and explain what actually supports hormone health—like eating enough, managing stress, and getting some damn sleep. We also take a look at the unhinged history of hormone manipulation (yes, monkey testicle transplants come up), why cortisol isn't your enemy, and what to do if your hormones actually feel off. If you've ever been told to “balance your hormones” with a supplement stack or juice cleanse, this episode is for you.Thanks to our sponsors:Get over 70 biomarkers analyzed and get personalized nutrition recommendations adn support, tailored specifically for athletes with Eternal's new Foundations membership. Try Tailwind's limited edition blueberry lemonade! Use YOURDIET20 for 20% OFF first order.Check out Janji's new summer shorts, sports bras, packs, and more! Use code YDS10 for 10% off!Run, bike, ski, with Microcosm Coaching. We coach humans, not just athletes. Book a free consultation call today!ReferencesBayliss, W. M., & Starling, E. H. (1902). The mechanism of pancreatic secretion. The Journal of Physiology, 28(5), 325–353. https://doi.org/10.1113/jphysiol.1902.sp000911Cadegiani, F. A., & Kater, C. E. (2016). Adrenal fatigue does not exist: A systematic review. BMC Endocrine Disorders, 16, 48. https://doi.org/10.1186/s12902-016-0128-4Cohen, P. A., Avula, B., Venhuis, B., Travis, J. C., Wang, Y. H., & Khan, I. A. (2014). Pharmaceutical ingredients in botanical dietary supplements: A review of the literature. Drug Testing and Analysis, 6(7–8), 587–596. https://doi.org/10.1002/dta.1525Duggan, C., Carbo, J. M., Wang, C. Y., et al. (2015). Effects of carbohydrate intake on the thyroid axis and reproductive hormones in healthy adults: A randomized controlled feeding study. Nutrition Journal, 14, 70. https://doi.org/10.1186/s12937-015-0054-6Hamilton-Reeves, J. M., Vazquez, G., Duval, S. J., Phipps, W. R., Kurzer, M. S., & Messina, M. J. (2010). Clinical studies show no effects of soy protein or isoflavones on reproductive hormones in men: Results of a meta-analysis. Fertility and Sterility, 94(3), 997–1007. https://doi.org/10.1016/j.fertnstert.2009.04.038Kantor, E. D., Rehm, C. D., Du, M., White, E., & Giovannucci, E. L. (2016). Trends in dietary supplement use among US adults from 1999–2012. JAMA, 316(14), 1464–1474. https://doi.org/10.1001/jama.2016.14403Messina, M. (2010). Insights gained from 20 years of soy research. The Journal of Nutrition, 140(12), 2289S–2295S. https://doi.org/10.3945/jn.110.124107Mountjoy, M., Sundgot-Borgen, J., Burke, L., et al. (2018). International Olympic Committee (IOC) consensus statement on relative energy deficiency in sport (RED-S): 2018 update. British Journal of Sports Medicine, 52(11), 687–697. https://doi.org/10.1136/bjsports-2018-099193Ross, A. C., Caballero, B. H., Cousins, R. J., Tucker, K. L., & Ziegler, T. R. (Eds.). (2020). Modern nutrition in health and disease (12th ed.). Wolters Kluwer.Takamine, J. (1901). The isolation of the active principle of the suprarenal gland. The Journal of the American Medical Association, 36(24), 1698–1698. https://doi.org/10.1001/jama.1901.02470350030010

If you've ever turned up the radio and belted out Footloose at the top of your lungs — or strutted around the house pretending you're Maverick flying a fighter jet to Danger Zone — then you already know the magic of Kenny Loggins, the undisputed king of the ‘80s movie soundtrack and a bonafide soft rock legend. But there's way more to Kenny Loggins than just toe-tapping anthems and blockbuster film credits. His story is pure classic rock gold, filled with sun-soaked California beginnings, powerhouse collaborations, and an uncanny knack for writing hits that stand the test of time.Born Kenneth Clark Loggins in Washington, Kenny grew up in the golden haze of Southern California's music boom. While his friends were trying to score surfboards, young Kenny was writing songs in his bedroom and dreaming up hooks that would one day echo through stadiums. He cut his teeth as a songwriter for hire, landing cuts with the Nitty Gritty Dirt Band.Kenny's story really kicks in when he teams up with ex-Poco and Buffalo Springfield member Jim Messina. Enter Loggins & Messina, the folk-rock duo that ruled the early ‘70s with feel-good harmonies and radio-friendly hits.These guys were the ultimate laid-back rock bros — they sold millions of records, filled arenas, and gave Kenny the confidence to step out on his own when the partnership ended in '76.When he did go solo, he doubled down. He scored a huge hit with “Whenever I Call You ‘Friend',” a dreamy duet with Stevie Nicks He co-write with Michael McDonald, “What a Fool Believes” — a song that scooped up the Grammy for Song of the Year in 1980.Then came the era that made Kenny a household name: the Soundtrack King phase. First up, Caddyshack. Next, Footloose — released in 1984, it shot straight to No. 1 and never left the pop culture dance floor. But Kenny Loggins wasn't done. Not even close. Two years later, the Top Gun soundtrack landed in his lap — and he strapped in for one of the most turbo-charged hits of his career: Danger Zone. But here's the thing — the Soundtrack King crown didn't box Kenny in. He's always been more than a hit machine. Albums like High Adventure and Vox Humana show his softer, more introspective side. Songs like “Heart to Heart” and “This Is It” gave us smooth sax solos and heartfelt lyrics. Kenny could be funky, he could be breezy, he could make you want to dance — or just chill on the porch.Through it all, Kenny stayed a collaborator at heart. He's jammed with Michael McDonald, Steve Perry, Stevie Nicks.He even dipped into children's music with Return to Pooh Corner. He's done Christmas albums, live records and acoustic sets. His catalogue is a masterclass in versatility.Today, Kenny Loggins is still out there, doing what he does best — playing sold-out shows for die-hard fans who never get tired of that big, warm, unmistakable voice. His book Still Alright: A Memoir tells the stories behind Kenny's legendary five-decade career and shares behind the scenes tales. The celebrated songwriter and chart-topping collaborator shares an entertaining perspective on his life and career as one of the most noteworthy musicians of the ‘70s and '80s and addresses his personal challenges and obstacles of his life and work -- including two failed marriages, a difficult but motivating relationship with the older brother for which “Danny's Song” is named, struggles with hisaddiction to benzodiazepines, and the revelations of turning seventy and looking back at everything that has shaped his music - as well as coming to terms with his rock-star persona and his true self.I hope you enjoy Kenny Loggins' candid conversation with me during this episode.To learn more about Kenny head ot his website: https://kennyloggins.com/

Enjoy tonight's edition of Swanky Southern Nights via The Mark White Show! Joining Makky & Brenda Lynn is Jim Messina of Loggins & Messina! Sit back, relax, & enjoy the show!

Guest Lauren Messina and I discuss what it's like to build your own community in the dance world, the unexpected changes in your life when you have children and what happens when you no longer dance full-time and how your identity changes. We both get deep and share personal expereinces and some of our "hows" of coming out on the other side. If you enjoy genuince conversation that organically finds its way, then this is the podcast for you.    Guest Bio: Lauren Ashlee Messina, M.F.A. (she/her/hers) is a Big Easy Award-winning dance choreographer with a heart for community. Born in Springfield, Illinois, Lauren has developed her career in the Greater New Orleans area in collaboration with a variety of dance related organizations, in addition to the Contemporary Arts Center of New Orleans and NOVAC. She is a 2023-2024 cohort member for New Orleans Museum of Art's Creative Assembly and founder of Dance Hub Community on Skool.   Highlights: The crossroads of community and dance How motherhood changes your dance path What happens with your identity as dancer when life changes   Links/Free Resources: Skool Dance The Dance CEO Society™ Community Dance CEO Masterclass Series   Follows & Contact: @laurenashleemessina @skooldance @thedanceceocoach thedanceceocoach@gmail.com 

In this raw and deeply honest conversation, Georgie is joined by content creator and all-around powerhouse Bella Messina to unpack the reality of what it really looks like to rebuild your life from the ground up — and share it online. Bella opens up about navigating postpartum depression, her divorce, and finding her true self on the other side — all while facing intense public scrutiny and judgment from strangers on the internet. Together, they dive into:✨ The power (and pain) of sharing your darkest moments online✨ Why we need professional support — and why it should be more accessible✨ The stigma around women’s mental health and internalised misogyny in online spaces✨ Why you don’t need to hit rock bottom to start healing (but if you do, you can rise)✨ Owning your story and staying true to your “why” even when the world tells you not to✨ Letting go of the need to be “liked” and focusing on impact instead If you've ever felt alone in your struggle, afraid to take up space, or scared to own your truth, this conversation will remind you: you are not alone — you’re stronger than you think and you WILL rise, even if you can't see it right now. ________________________________ Follow Bella Messina: Instagram: @bellsmessina Tikok: @bellsmessina Listen to Georgie's episode on Bella's podcast here Find out more about the Rise app here. Find the manifestation Lab HERE You can join TAA here. Join the Rise & Conquer Facebook group here. Follow the Rise & Conquer Instagram here. Discover Rise & Conquer courses here. Shop Rise & Conquer products here. See omnystudio.com/listener for privacy information.

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