Podcasts about Messina

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

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 

NADA PERSONAL con Anabella Messina 06-09-2025 Entrevistas a: Sol Ortiz (Escritora de Sucio, salvaje, intenso. Crónicas de una vida resiliente) Josefina Marcuzzi (Productora Periodística en Telefe Noticias, escritora de El circulo azul) Hernán Vieytes (Miembro Fundador de Cartero Futbol Club) Graciela Fatala (Directora de la Asociación Abre tus Brazos) Luisa Camerata (Integrante de Hilvan de Belén)

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.

Nel paese del Sol Levante esiste una curiosa realtà: l'ospedale dei giocattoli. Ce ne parla in TuttoLibri Laura Imai Messina

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

NADA PERSONAL con Anabella Messina 30-08-2025 Entrevistas a: Vanesa Astore (Directora Ejecutiva en Programa Conservación Cóndor Andino) Florencia Cahn (Directora de la Unidad de Vacunas de Fundación Huésped y presidenta de la Sociedad Argentina de Vacunología y Epidemiología - SAVE) Mercedes Frassia (Presidenta de la Fundación CasaSan) Lucas Manjon @LucasManjon (Coordinador de Bien Restituido)

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

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

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

Meloni contro i giudici, ‘un disegno politico'.

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.

Salmos 32: 1 - 11¡Cuán bienaventurado es aquel cuya transgresión es perdonada, cuyo pecado es cubierto! ¡Cuán bienaventurado es el hombre a quien el Señor no culpa de iniquidad, y en cuyo espíritu no hay engaño! Mientras callé mi pecado, mi cuerpo se consumiócon mi gemir durante todo el día.Porque día y noche tu mano pesaba sobre mí; mi vitalidad se desvanecía con el calor del verano. Te manifesté mi pecado, y no encubrí mi iniquidad.Dije: Confesaré mis transgresiones al Señor; y tú perdonaste la culpa de mi pecado.Por eso, que todo santo ore a ti en el tiempo en que puedas ser hallado; ciertamente, en la inundación de muchas aguas, no llegarán estas a él.Tú eres mi escondedero; de la angustia me preservarás;con cánticos de liberación me rodearás.Yo te haré saber y te enseñaré el camino en que debes andar;te aconsejaré con mis ojos puestos en ti.No seas como el caballo o como el mulo, que no tienen entendimiento;cuyos arreos incluyen brida y freno para sujetarlos,porque si no, no se acercan a ti.Muchos son los dolores del impío,pero al que confía en el Señor, la misericordia lo rodeará.Alegraos en el Señor y regocijaos, justos;dad voces de júbilo, todos los rectos de corazón.

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/

Today's program features tuneage from Patti Smith, Jimmy Buffet, Sugarloaf, Lou Reed, John Lennon, Peter Frampton, Roxy Music, Nilsson, Elton John, Simon & Garfunkel, Spanky & Our Gang, Steve Miller Band, Emerson, Lake & Palmer, Lee Michaels, Queen, Paul & Linda McCartney, voy Brown, B.B. King, Flying Burrito Brothers, Little Feat, New Riders Of The Purple Sage, Loggins & Messina, & NRBQ.  

Leaders at River Spring Living in New York are on the verge of flipping the “on” switch for a “rehab model for the future” that aims to revolutionize the way therapy is delivered. Featuring robotic elements, its goal is to shrink the length-of-stay for short-term patients and employ numerous kinds of newer technology. THe Hauser Rehab Center of Excellence has been built with the input of not only clinicians but also the housekeeping, food service and activities departments, says RiverSpring COO Deborah Messina in this McKnight's Newsmakers podcast. Hear how this innovative life plan community has converted parts of three existing buildings to bring the vision to reality. An October start date is racing up, but comfortably so, Messina tells McKnight's Executive Editor James M. Berklan.

Guiri al Aire, lunes 14 de julio del 2025

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

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

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

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

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

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

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

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