Podcasts about Milk

Send us a textFrom Warm to Cold: Feeding Cold Milk to Preterm Infants with Uncoordinated Oral Feeding Patterns.Ferrara-Gonzalez L, Kamity R, Htun Z, Dumpa V, Islam S, Hanna N.Nutrients. 2025 Apr 26;17(9):1457. doi: 10.3390/nu17091457.PMID: 40362766 Free PMC article. Clinical Trial.As always, feel free to send us questions, comments, or suggestions to our email: nicupodcast@gmail.com. You can also contact the show through Instagram or Twitter, @nicupodcast. Or contact Ben and Daphna directly via their Twitter profiles: @drnicu and @doctordaphnamd. The papers discussed in today's episode are listed and timestamped on the webpage linked below. Enjoy!

We discussed and celebrated Juneteenth to open the show. We then discuss Tea Parties and loose teas (we're a bit allover the place during the open). Do you, or would you own a boat? If not a boat, what would be your wild luxury purchase? Legalized recreational cannabis means entrepreneurs are on the scene to creative chronic based good times. Boxtook it down south and visited Columbus, Ohio for good food and cool collectibles. Do y'all negotiate when copping from individual sellers? We also chat coin and precious metals investing. Tee's segment finally has an intro, and he discusses his youngest not knowing how an actual phone (not mobile) works. Tee also hung out with his in-laws which trust, is worth the listen. We then head over to Reddit for AITA and wrap with our entertainment recs and some listener feedback. Thanks for listening/watching. See You Next Time, Team SKiM Tatum | TAYREL713 | Lunchbox | LISTEN | RSS | Apple Podcast | Spotify | TuneIn | Bluesky | Amazon Music | YouTube | Email | Amazon Wish List | Merch | Patreon  PHONE l 216-264-6311 #Cleveland #Ohio #LiveFromThe216 #LeflaurLeflahEshkoshka #TheFab5 #HeltahSkeltah #OGC #Nocturnal #Travel #Columbus #Warios #TacoJohns #SeaFood #Lobster #Crab #MagicTheGathering #Negotiating #SpotFees #PreciousMetals#Investing #Parenthood #Family #InLaws #Reddit #AITA #ProdigalSon #28DaysLater #28WeeksLater #MarioKartWorld #TheLegendofZeldaEchoesofWisdom #AnimaRising #ChristopherMooreAlternative Title – Taco John's es malo LinksBeyond the Bud: How Ohio Entrepreneurs Are Creating Immersive Cannabis ExperiencesRedditAITA - For saying my brother doesn't deserve the switch 2?AITA for refusing to help my roommate move out after they broke our lease early?AITA for telling my colleague i hope he never never finds a girlfriend?

Milk production in the 24 major milk-producing states in the U.S. totaled 19.1 billion pounds, up 1.7 percent from May 2024. NAFB News ServiceSee omnystudio.com/listener for privacy information.

Welcome back to Triple Feature, where we don't do pious canonization or mindless culture war dunking—we do critical conversations. And tonight, we're closing out Pride Month with a look at three biographical films that give us not only a window into LGBTQ history but also force us to confront the messy, complicated truth behind some of its most iconic figures: Milk (2008), Kinsey (2004), and Lizzy (2018). These are not feel-good hero narratives. Nor should they be. All three subjects—Harvey Milk, Alfred Kinsey, and Lizzie Borden—occupy liminal, even controversial, spaces in both queer history and American memory. And while these films do the Hollywood work of dramatizing personal struggle and cultural impact, what makes them worth watching—and discussing together—is that none of them give us easy protagonists. These are portraits of disruption, not sainthood. And maybe that's exactly what Pride Month needs: less sanitized inspiration and more uncomfortable honesty. Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network. Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Send us a textBeverage Digest Editor & Publisher Duane Stanford and industry expert & regular podcast contributor John Sicher are joined by Ross Colbert - Managing Director of food & beverage investment banking for Carter Morse & Goodrich. They discuss M&A strategy, acquisitions, and changing business models for 2025 and beyond.

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In small towns and quiet places, dairy farmers contribute more than just a fresh milk supply to the nation's consumers.

Stuck avoiding farm marketing like it's poison?

This powerful episode draws a chilling line from the days when a single missing child like Adam Walsh could captivate the nation, to today's heartbreaking reality: 300,000 migrant children unaccounted for under the Biden administration. With searing testimony from RFK Jr. and insights from Tom Homan, Tara exposes how lax vetting, halted DNA testing, and political expediency have enabled a sprawling child trafficking crisis. The conversation then pivots to the political earthquake in New York City as self-declared socialist Zoran Mamdani defeats Andrew Cuomo in a mayoral primary, backed by AOC and other far-left insurgents. From abused children in strip clubs to Marxist mayors idolizing communist enforcers, this episode paints a grim but urgent portrait of cultural decay, failed leadership, and a Democrat Party shifting from covert progressivism to open radicalism.

Hour 2 of A&G features... Socialist mayor of NYC& his background Katy Perry & Orlando Bloom split & the Big Beautiful Bill Atlantic's article on Jaw's 50th anniversary Religious cults & the "4 AM Club" See omnystudio.com/listener for privacy information.

This is such an episode, so full of information that you will not believe it!  This week, our second of 2 PRIDE episodes this month, we discuss the life and times of Harvey Milk.  We will look into the history of this young gay man who will grow up in the fifties and sixties before becoming a popular merchant and politician in the Castro Street area of San Francisco.  We cover his political career and his murder in this special, let this bullet destroy every closet door episode of the Family Plot Podcast!!!Become a supporter of this podcast: https://www.spreaker.com/podcast/family-plot--4670465/support.

Hour 2 of A&G features... Socialist mayor of NYC& his background Katy Perry & Orlando Bloom split & the Big Beautiful Bill Atlantic's article on Jaw's 50th anniversary Religious cults & the "4 AM Club" See omnystudio.com/listener for privacy information.

PART ONE - THE LOVE HOUSE LOCKDOWN   Movin In (Nu Disco Mix) - Richard Grey My Old Piano (Nu Disco Mix) - Jackers Revenge Jump In The Disco (Angelo Ferreri 'Traxsource Exclusive' Mix) - Angelo Ferreri, FDF (Italy) Believe (Extended Mix) - Rowetta, Brown Sneakers I'm Here For This (Groove Assassin Dub) - Dave Lee ZR, ARIA LYRIC, Destiny II CHERRY (Mousse T. Club Vocal Dub Remix) - Mousse T., Jules Liesl Around The World (Nu Disco Mix)- Block & Crown The Beginning (Vocal Mix) - Crazibiza, House of Prayers The Form Of Sampling - Delgado Free Your Soul (Extended Mix) - HP Vince Fallin In Love (Butch Extended Remix) - Armand Van Helden, A-Trak, Duck Sauce People Dancing (Extended Mix) - Alex Preston, Mo'Funk, Secret Weapons (AU) Up Front - Paul Parsons, Bronx Cheer Promises (Extended Mix) - Weiss (UK), Louise Marshall Celebration (Extended Mix) - Ron Carroll   PART TWO - THE SESSION   My Way (Extended Mix) - Flashmob Waste my time - CamelPhat, Kolsch Nirvana (Hot Since 82 Remix) - Vintage Culture, Max Milner, Layla Benitez Kiki (Extended Mix) - Crusy Lose Control (Extended Mix) - Roland Clark, Milk & Sugar, James Hurr Natural Blues (Extended Mix) - Moby, BLONDISH, Kiko Franco La Fiesta (Extended Mix) - David Penn, Wh0 Walk On Air - Camden Cox, Patrick Topping Warrior (Extended Mix) - The Deepshakerz, Xander Pratt I Was Made For Lovin' You (Extended Mix) - Wade Dance All Night - Dale Howard Tivoli (KREAM Remix) - Steve Angello, KREAM Let Go - Ose, Max Styler My Love Is Deep (Eats Everything Extended Reebeef) - Eats Everything, Sara Parker  

(NFHS - 5), 2019–21: https://dhsprogram.com/pubs/pdf/FR375/FR375.pdfStudies: https://www.business-standard.com/article/current-affairs/women-have-more-sex-partners-than-men-in-11-states-uts-nfh-survey-2019-21-122081900362_1.htmlhttps://www.indiatoday.in/lifestyle/relationship/story/55-of-indians-are-left-wanting-more-sex-survey-2664085-2025-01-13Guest Suggestion Form: ⁠https://forms.gle/bnaeY3FpoFU9ZjA47⁠Disclaimer: This podcast episode contains discussions on sensitive topics, including bestiality, for the sole purpose of spreading awareness, fostering informed dialogue, and promoting compassion toward animals. We do not endorse or condone any form of animal abuse. Listener discretion is advised. The views expressed are solely those of the guest and do not reflect the views of the podcast or its creators.Subscribe To Our Other YouTube Channels:-⁠https://www.youtube.com/@rajshamaniclips⁠⁠https://www.youtube.com/@RajShamani.Shorts⁠(00:00) - Intro (02:23) - Weird Sexual Disorders (10:40) - Sexual Suppression & Outburst (13:09) - Who Are Sexologists (14:16) - How to Get Orgasm (21:24) - What Is Good Sex (23:29) - Missionary Position(25:57) - Dark Side of Supplements & Condoms (38:05) - Masturbation (46:52) – Great Sex (49:35) – Beast in Bed (54:09) - Studies About Women & Partners (1:06:07) - Kegel Exercise (1:09:33) - States & Problems (1:10:46) - Sugar Daddies & India (1:14:08) - Sexless Marriages (1:18:07) - Compatibility & Marriages (1:22:14) - Positions & Sex Toys (1:25:19) - Performance Anxiety (1:29:03) - Paid Sex & Safety (1:31:06) – Penis Size (1:32:25) – Are Sexual Fantasies Inherited? (1:34:25) – Gut Health & Sexual Performance (1:38:54) – Increase Testosterone (1:43:16) – Sex Before Gym(1:44:50) – Fertility(1:48:05) – Milk, Lactose & Sex Drive (1:56:48) – OutroIn today's episode we have Dr. Sankalp Jain, Certified Sexologist and Founder of AskDrJain, Arunveda, ErectiCare Pro & Fertimacy. With clinical experience, he discusses how suppression, misinformation, and unrealistic expectations are shaping sexual behaviour today.He discusses premature ejaculation, erectile dysfunction, masturbation limits, overuse of enhancement sprays, and the psychological roots behind disorders like paedophilia and aphrodisiac imbalance. He also addresses issues like performance anxiety, sexless marriages, and compatibility questions in arranged marriages.In the final segment, he talks about the rise of paid sex, insecurity around size, hormonal myths, and the impact of tech habits on fertility. The episode closes with practical advice on pelvic exercises, nutrition, and the one sex tip everyone should know. Subscribe for more such conversations!Follow Dr. Sankalp Jain Here: Instagram: https://www.instagram.com/dr_sankalp_jainYouTube: https://youtube.com/@askdrjain?si=14mRN_6rNJYbV9CdFacebok: https://www.facebook.com/AskdrjainDrSankalpErectiCare Pro: https://askdrjain.in/erecticarepro/Check Out Arunveda:https://arunveda.com/products/arunveda-kondrion-kithttps://arunveda.in/product/gut-health-kit/About Raj ShamaniRaj Shamani is an Entrepreneur at heart that explains his expertise in Business Content Creation & Public Speaking. He has delivered 200+ speeches in 26+ countries. Besides that, Raj is also an Angel Investor interested in crazy minds who are creating a sensation in the Fintech, FMCG, & passion economy space.To Know More,Follow Raj Shamani On ⤵︎Instagram @RajShamani: ⁠https://www.instagram.com/rajshamani/⁠Twitter @RajShamani: ⁠https://twitter.com/rajshamani⁠Facebook @ShamaniRaj: ⁠https://www.facebook.com/shamaniraj⁠LinkedIn - Raj Shamani: ⁠https://www.linkedin.com/in/rajshamani/

Happy Wednesday, Christmas Fanatics! And Happy Leon Day! That's right! As of today, we are *officially* halfway to Christmas 2025!  To celebrate the occasion, Julia, Thom, and Anthony gather to discuss fifteen of their favorite Christmas commercials from the eighties! Done "Round Robin" style, allowing each elf to discuss the five that they picked, this is one festive and warm conversation filled with holiday cheer - and tons of eighties throwbacks! - that's sure to put you in the Christmas mood on this hot June day! So settle back, blast that air conditioning to simulate winter, and enjoy! And get excited because as of tomorrow, we are *officially* closer to this upcoming Christmas than we are last Christmas!  As always, thanks for your love and support, y'all!

Jane and Fi acknowledge that there may be a period of light adjustment to the LTLFTE jingles. They also discuss (and judge) midflight refreshment orders… two bags of nuts and a Bloody Mary anyone?? Plus, Fi speaks to Florence Knapp about her debut novel, “Names”. If you want to come and see us at Fringe by the Sea, you can buy tickets here: www.fringebythesea.com/fi-jane-and-judy-murray/And if you fancy sending us a postcard, the address is:Jane and FiTimes Radio, News UK1 London Bridge StreetLondonSE1 9GFIf you want to contact the show to ask a question and get involved in the conversation then please email us: janeandfi@times.radioThe next book club pick has been announced! We'll be reading Leonard and Hungry Paul by Rónán Hession.Follow us on Instagram! @janeandfiAssistant Producer: Hannah QuinnPodcast Producer: Eve SalusburyExecutive Producer: Rosie Cutler Hosted on Acast. See acast.com/privacy for more information.

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In this episode of Talk Local to Me, host Heather Alto brings together a vibrant mix of conversation around business, beauty, and community. Guests Taryn from Milk & Honey Skin Studio and Terry with The Pampered Chef share their experiences as local entrepreneurs, offering insights into the beauty industry and home cooking made simple. From skincare tips to kitchen must-haves, they highlight the value of self-care in all its forms. The episode also spotlights upcoming summer events, celebrates the impact of community volunteers, and shares ways to connect through local networking opportunities. It's a great reminder to support small businesses, show up for your community, and make space for wellness—both inside and out.

06-24-25 - BR - TUE - Milk Is A Better Hydrator Than Water - People Who Have Nightmares Die Early - 80yo Woman Leaves Estate To Escort Prompting Our Broadway Show Idea Renting DickSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Milk and Other Ways to Beat the Heat by Maine's Coast 93.1

This was meant to be a half-hour interview with Caity Simmers about her new film Milk & Honey— it turned into a 90-minute cosmic swirl on surfing, individuality, and life. Please enjoy the reigning world champ in her raw, unfiltered film.

This episode was recorded at the 2025 Florida Ruminant Nutrition Symposium. Microbial protein has always been Dr. Frikins' main interest. It's the most important and consistent source of protein for the cow, with a very high amino acid content. Histidine is the only exception, but bypass protein sources high in histidine complement microbial protein well. Our assessment of microbial protein is all based on prediction models. In his presentation, Dr. Firkins talked about what we can do to have consistently high microbial protein production and how to make the best use of the models. He touched on starch and fat content as two areas of focus, emphasizing a balanced diet to achieve a balanced supply of microbial protein. (5:36)Dr. Firkins notes that about 90% of the bacteria in the rumen can't be cultured, and there is great diversity in the rumen. There's a core group of bacteria that almost every cow has that are really good at their job because they've been co-selected along with the cow for fiber digestion. The panel discusses how much the microbiome changes over time, host interactions with the microbial population, and inoculation of calves at birth and weaning. (8:47)Dr. De Souza and Dr. Faciola talk about starch associative effects and their impacts on fiber digestibility, how sugars impact the rumen and butyrate production, and the importance of butyrate in de novo milk fat synthesis. Dr. Frikins hypothesizes that when sugars improve fiber digestibility, the sugar stimulates how fiber digesters do their job. Some studies have shown an increase in rumen pH when sugars are supplemented, which may be part of the mechanism of improved fiber digestibility. However, he doesn't recommend using sugars when there is a lot of starch in the diet. (13:38)Dr. Faciola and Dr. Firkins discuss some of the finer points of the dietary starch and fiber digestibility relationship. What are you replacing when you add more starch? What is the proper amount of effective fiber in higher-starch diets? On the other hand, if you decrease starch a little bit, there might be more room for fat. Well-managed cows with adequate effective fiber can probably handle more starch. Dr. Firkins underlines that starch is more digestible than fiber and thus supports microbial protein, but an optimum level is desirable, perhaps 28-20%. (20:37)The panel talks about microbial growth efficiency and the energy-spilling mechanisms some bacteria have. Some models suggest that starch-digesting bacteria have higher maintenance energy requirements. The group then pivots to methane production and available feed additives marketed to reduce methane. Dr. Firkins notes that there is quite a bit of variability in the additives. He emphasizes that if we're using these products, we need to know and measure what's in them and have them be consistent. This is challenging due not only to variability in product, but also rumen adaptation. Dr. Firkins also reminds the audience that improving the cow's efficiency in general in a variety of ways will lead to a smaller environmental footprint. This can range from improving reproductive efficiency to understanding differences in the microbiome of cows who emit more or less methane and trying to shift microbial populations to those with lower emissions. (23:12)Dr. De Souza and Dr. Firkins discuss fatty acid supplementation and fiber digestion relationships. Dr. Firkins explains that in the microbiology literature, it's common to culture bacteria in a simple or complex medium, then add yeast culture. Interestingly, the yeast culture contains a lot of palmitic acid, which has been shown to improve fiber digestibility. He suggests the cell membrane of the bacteria is very critical. When fat supplementation depresses fiber digestibility, he suspects it's disrupting the bacterial membrane. Dr. De Souza recommends 1-2% palmitic acid in the diet for optimal results. (33:58)The panel touches on the importance and relevance of in vitro fermentation work, why histidine is the limiting amino acid in microbial protein, and Dr. Firkins' passion for protozoa. (43:08)Panelists share their take-home thoughts. (53:40)Please subscribe and share with your industry friends to invite more people to join us at the Real Science Exchange virtual pub table.  If you want one of our Real Science Exchange t-shirts, screenshot your rating, review, or subscription, and email a picture to anh.marketing@balchem.com. Include your size and mailing address, and we'll mail you a shirt.

This week's show began with Kelsey Timmerman and his new book which focuses on regenerative agriculture, where they discussed his journey from anthropology to author, and the different farming practices around the world. The show continued with Melanie Ganzman from Fluffy Farms, who shared her success with a USDA grant for their silvopasture system and sustainable farming operations in New Jersey. The show ended with Lee Leung, the Regional General Manager of the Fearless Restaurant Group. Lee discussed all the latest trends for hosting a private party or event, the new European-based menu at Autograph Brasserie, and the full capacity of what Triple Crown (their newest restaurant and event space) can offer!Related Links:https://kelseytimmerman.comhttps://www.patagonia.com/home/https://fluffyfarms.grazecart.comhttps://www.triplecrownradnor.comhttps://www.autographbrasserie.com

06-24-25 - BR - TUE - Milk Is A Better Hydrator Than Water - People Who Have Nightmares Die Early - 80yo Woman Leaves Estate To Escort Prompting Our Broadway Show Idea Renting DickSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

RCC | Milk to Maturity - Part 2 | PG | 6 22 25 by Remnant Christian Center

TUESDAY HR 3 Monsters Sports - NBA draft and trades. The concept of regulaton in American sports. Tress Leches tshirts. Having the difficult conversations. Russ checks out the Ohio State documentary.

Kris Fade does the full show in a Scottish accent and people are not happy about it + Chat GPT insults Big Rossi + We talk 'has your ex stolen your hoodies?'See omnystudio.com/listener for privacy information.

On today's show: Bill's wife Paula made cookies for Alyssa. Maroon 5 announced a show this fall at Rocket Arena. Nick Cannon can't remember the names of all of his kids. Alyssa has the list of everywhere Gordon Ramsay was spotted while he was in Northeast Ohio. Hot Take Tuesday: Stephanie thinks girls under the age of 18 should cover up while they're at the community pool. Alyssa's College of Knowledge! It's the perfect drink for you during a heatwave?!? Plus, are you doing anything unusual to stay cool? And why would A.I. want to blackmail you?!?

Milk prices, performance horses and budget breaks for farmers.

Jim takes some of the weirdest calls you’ll hear this summer. Plus – Should governments be helping churches more financially?

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

Submit your question and we'll answer it in a future episode!Join our Patreon Community!https://www.patreon.com/badassbreastfeedingpodcastToday's episode is brought to you by Cimilre Breast Pumps! Cimilre breast pumps range in size from ultra tiny pumps as small as a sticky note, to fully adjustable pumps with 85 setting combinations. Use code BADASS for 15% off at www.cimilrebreastpumps.com.Did someone tell you that you should have your baby on a schedule?  Do you feel like your baby needs a schedule?  Today Dianne and Abby talk about schedules and why they can be troublesome-especially in the beginning.  If you are a new listener, we would love to hear from you.  Please consider leaving us a review on iTunes or sending us an email with your suggestions and comments to badassbreastfeedingpodcast@gmail.com.  You can also add your email to our list and have episodes sent right to your inbox!Things we talked about:Question about supply when pregnant [3:56]Baby schedules! [9:10]Newborn feeding patterns [11:56]Milk supply issues [15:49]The books [20:08]Hard to make the baby do something they are not designed to do [22:02]Returning to work [24:00]What are the cues for feeding on demand? [26:00]Breast storage capacity [28:34]Watch your baby and follow the cues [31:55]Links to information we discussed or episodes you should check out!https://badassbreastfeedingpodcast.com/episode/breastfeeding-while-pregnant/https://badassbreastfeedingpodcast.com/episode/schedules-and-routines/Set up your consultation with Diannehttps://badassbreastfeedingpodcast.com/consultations/     Check out Dianne's blog here:https://diannecassidyconsulting.com/milklytheblog/Follow our Podcast:https://badassbreastfeedingpodcast.comHere is how you can connect with Dianne and Abby:AbbyTheuring ,https://www.thebadassbreastfeeder.comDianne Cassidy @diannecassidyibclc, http://www.diannecassidyconsulting.comMusic we use:Music: "Levels of Greatness" from "We Used to Paint Stars in the Sky (2012)" courtesy of Scott Holmes at freemusicarchive.org/music/Scott Holmes

El consejo del Sótano ha elegido su “Disco Subterráneo del Verano”. Y el galardón recae en “Git up and go!” (Hi-Tide Recordings), el álbum de regreso de The Untamed Youth tras cuarto de siglo de silencio discográfico. Dieciséis canciones sobre coches, olas, chicas y cerveza donde la banda de Missouri comandada por Deke Dickerson mantiene intacto el espíritu que los convirtió en la gran banda de surf garage frat rock’n’roll de los años 90. El segundo tramo del programa lo pasamos acompañados por Spencer Evoy, Zig y Dan Criscuolo del combo británico MFC Chicken. La banda más fiestera del gallinero baja a presentarnos su nuevo disco “Milk Chicken” (Folc records).Playlist;(sintonía) THE UNTAMED YOUTH “Reverb bum” (Git up and go)THE UNTAMED YOUTH “Party goin down the street” (Git up and go)THE UNTAMED YOUTH “Beer” (Git up and go)THE UNTAMED YOUTH “Don’t fight it” (Git up and go)THE UNTAMED YOUTH “Roaches” (Git up and go)THE UNTAMED YOUTH “What do I get” (Grit and go)CHARLIE HALLORAN and THE TROPICALES feat ÁNGELA FLECHA “Sol tropical” (Jump up)LOS FRENÉTICOS “Cinerama” (Cinerama)MFC CHICKEN “Chicken is the answer” (Milk chicken)MFC CHICKEN “Milk chicken” (Milk chicken)MFC CHICKEN “Who-ba-dee-how” (Milk chicken)MFC CHICKEN “Take me back out and shoot me” (Milk chicken)MFC CHICKEN “What a life” (Milk chicken)Escuchar audio

01. D. Ramirez - Ride That Beat 02. Astrohertz - Back On You 03. Nicolas Lacaille - Think About You 04. Charly - Yes Bassline 05. Luuk Van Dijk, Kolter - Good 4 U 06. Tobtok, Farfetch'D, Sto Cultr - Signals 07. Nicolass, Sean Finn - Without You 08. Pawsa - Rendezvous 09. Jackard - Squeeze 10. Eleganto, Zadquiel - Nintend 11. Banana Groovz, Jackie - Life Jacked 12. Bingil - No Reason 13. Sir Styles - Nrg 14. Hector Couto, Alejandro Paz - El House 15. David Cueto (Es), Andonut - The One That You 16. Murphy'S Law (Uk), Ki Creighton - Rewind It Back 17. The Cube Guys, Albert Marzinotto - Que Rico 18. Steve Robinson (Uk) - Keep On Me 19. Sade, Richie Rozex - Smooth Operator 20. Steve Bug, Huxley - Come On 21. Brock Edwards - Better 22. Silque - Talk That Way 23. Manu Chao, Red Effects, Souler - Bongo Bong (Chao Chao) 24. Juan Valencia, Prey Hunter, Santiago Moreno - Up 25. Frivolous Jackson - Comin' Up 26. Marian, Lowderz - Swing Bom 27. Mattei & Omich - That's Right 28. Fickry - OVERCAPACITY 29. Sugarstarr, Maex - Back Into Time 30. Mph - Spend The Night 31. Denis Rublev, Dj Anton - Rock This 32. Marsolo - What You Say 33. Diplo, Hugel, Xairun - Stay High feat. Julia Church 34. Marix Green - Always Tech House 35. Will Amato - Time After Time 36. Cashew - All My Life 37. Kevin Mckay, Eppers - In My Dreams 38. Techouzer - Breakdonw 39. Angelo Ferreri, Max Millan, Wild Joker - Sun Is Shining 40. Crusy - Sound Of The Underground 41. Kerri Chandler - Turn off the Lights (Who's Afraid of the Dark) 42. Dj Christian B - Rising 43. Sanny X - Feeling Good 44. Milk & Sugar, Andrey Exx - Riding High 45. Julian Rhodes - Febrile 46. Rick Marshall - Get Enuff 47. Tommy Trash, Dave Winnel - That Accordion Song 48. Wh0, Zirretta - Show Me Your Love 49. Deeper Purpose, Guz - Don't Waste My Time 50. Angelo Ferreri, Alessio Cala' - Filler Jack 51. Markus Graf, Renoa - Apathie 52. Wza - U Know Somethin' 53. Zav, Sebb Junior, Larry Houl, Axelle Maga - The Truth 54. Maickel Telussa - U Can't Hide Your Love 55. Obscure Shape, Urban Cc, Traumer Stop - Mana 56. Butter - Miss U 57. D35 - Let Me Tell Ya 58. L.P. Rhythm - I'm Here 59. Francesco Bianco - Everynight 60. Testone, 88 Birds - Catch You 61. Fdf - Feel Alive 62. Carl The Jackal - Sun Comes Up 63. Thorne - Call On Me 64. Qubiko - U Must Try 65. Burnr - The Middle 66. Ramin Rezaie - What I Want 67. Dj Minx, Prunk - Another One 68. Dusky - Endless Sky 69. Dennis Quin - The Liberation 70. Bruno Martini, Novak - Bad 71. The Cube Guys - I Can Feel It 72. Dan, Andrea Serra - Queen Of Underground 73. Kamino - Call On Me 74. Steve Robinson - Pick Em' Up 75. Dj Mes - For Tha People 76. Mat Zo, Olan, Fred Falke - Colours 77. Paco Caniza - That Simple

01. D. Ramirez - Ride That Beat 02. Astrohertz - Back On You 03. Nicolas Lacaille - Think About You 04. Charly - Yes Bassline 05. Luuk Van Dijk, Kolter - Good 4 U 06. Tobtok, Farfetch'D, Sto Cultr - Signals 07. Nicolass, Sean Finn - Without You 08. Pawsa - Rendezvous 09. Jackard - Squeeze 10. Eleganto, Zadquiel - Nintend 11. Banana Groovz, Jackie - Life Jacked 12. Bingil - No Reason 13. Sir Styles - Nrg 14. Hector Couto, Alejandro Paz - El House 15. David Cueto (Es), Andonut - The One That You 16. Murphy'S Law (Uk), Ki Creighton - Rewind It Back 17. The Cube Guys, Albert Marzinotto - Que Rico 18. Steve Robinson (Uk) - Keep On Me 19. Sade, Richie Rozex - Smooth Operator 20. Steve Bug, Huxley - Come On 21. Brock Edwards - Better 22. Silque - Talk That Way 23. Manu Chao, Red Effects, Souler - Bongo Bong (Chao Chao) 24. Juan Valencia, Prey Hunter, Santiago Moreno - Up 25. Frivolous Jackson - Comin' Up 26. Marian, Lowderz - Swing Bom 27. Mattei & Omich - That's Right 28. Fickry - OVERCAPACITY 29. Sugarstarr, Maex - Back Into Time 30. Mph - Spend The Night 31. Denis Rublev, Dj Anton - Rock This 32. Marsolo - What You Say 33. Diplo, Hugel, Xairun - Stay High feat. Julia Church 34. Marix Green - Always Tech House 35. Will Amato - Time After Time 36. Cashew - All My Life 37. Kevin Mckay, Eppers - In My Dreams 38. Techouzer - Breakdonw 39. Angelo Ferreri, Max Millan, Wild Joker - Sun Is Shining 40. Crusy - Sound Of The Underground 41. Kerri Chandler - Turn off the Lights (Who's Afraid of the Dark) 42. Dj Christian B - Rising 43. Sanny X - Feeling Good 44. Milk & Sugar, Andrey Exx - Riding High 45. Julian Rhodes - Febrile 46. Rick Marshall - Get Enuff 47. Tommy Trash, Dave Winnel - That Accordion Song 48. Wh0, Zirretta - Show Me Your Love 49. Deeper Purpose, Guz - Don't Waste My Time 50. Angelo Ferreri, Alessio Cala' - Filler Jack 51. Markus Graf, Renoa - Apathie 52. Wza - U Know Somethin' 53. Zav, Sebb Junior, Larry Houl, Axelle Maga - The Truth 54. Maickel Telussa - U Can't Hide Your Love 55. Obscure Shape, Urban Cc, Traumer Stop - Mana 56. Butter - Miss U 57. D35 - Let Me Tell Ya 58. L.P. Rhythm - I'm Here 59. Francesco Bianco - Everynight 60. Testone, 88 Birds - Catch You 61. Fdf - Feel Alive 62. Carl The Jackal - Sun Comes Up 63. Thorne - Call On Me 64. Qubiko - U Must Try 65. Burnr - The Middle 66. Ramin Rezaie - What I Want 67. Dj Minx, Prunk - Another One 68. Dusky - Endless Sky 69. Dennis Quin - The Liberation 70. Bruno Martini, Novak - Bad 71. The Cube Guys - I Can Feel It 72. Dan, Andrea Serra - Queen Of Underground 73. Kamino - Call On Me 74. Steve Robinson - Pick Em' Up 75. Dj Mes - For Tha People 76. Mat Zo, Olan, Fred Falke - Colours 77. Paco Caniza - That Simple

Part of the A Land of Milk & Honey – Abraham to David series. Sermon by Pastor Nathan Alley The post Jacob Wrestles with God – Genesis 32:22-32 first appeared on Applewood Community Church.

I'm a be real with you, I'm tired and have been busy so doing a full run of notes is just not happening this go round. That being said, here's your basic overview of the ep. The Bungles of Cincinnati are living up their nickname. Brooklyn Ohio's mayor and three of its city council members are wild pussy and be voted out as soon as they can be. The Ohio legislature is trying a novel, though wack way to fund a billionaire's stadium. Box went suit shopping, ahead of schedule. Tee's kid graduated, he got a Nintendo Switch 2 and had a family reunion and share's tale of his travel adventures.  We do some AITA, tell you about our entertainment choices and head on out. Now, to come up with a title.See You Next Time, Team SKiM Tatum | TAYREL713 | Lunchbox | LISTEN | RSS | Apple Podcast | Spotify | TuneIn | Bluesky | Amazon Music | YouTube | Email | Amazon Wish List | Merch | Patreon PHONE l 216-264-6311 #Cleveland #Ohio #LiveFromThe216 #AceTrumpets Clipse#LetGodSortEmOut #CincinnatiBengals #ShemarStewart #TreyHendrickson #PrideMonth #OhioUnclaimedFunds #TailoredSuits #Graduation #NintendoSwitch2 #Travel #Memphis #FamilyReunion #JungleJims #Bucees #BassProShop #Pyramid #MarioKartWorld #FastFusion #TheLegendofZeldaBreathoftheWildNintendoSwitch2Edition Alternative Title – And by “Hello” we mean “Fuck Brooklyn,OH” LinksBrooklyn City Council Passes Pride Month Resolution in Close Vote; Mayor Declines to SignCan they do that? Ohio Senators propose novel, if questionable, Browns stadium funding planRedditAITA for confronting my mom for asking my best friend about hiring me a prostitute?AITAH For making my friend buy me a whole new bathing suit after it was returned with a shit stain?AITA for telling my husband I don't want him spending so much time with his friend anymore?

You may have heard of a SCIF, but there are some war terms being thrown around here that are important to the Iran conversations. Pay attention and you just might learn something.

Is There Really Pus in Milk? What does the “milk pus test” tell us about the U.S. milk supply? Dairy cows might normally live for about 20 years, but they are typically slaughtered for hamburger after they're just a few years old when they produce less milk and their profitability drops. But another leading cause of cow culling is mastitis––udder inflammation and infections––which affects 99.7 percent of all dairy operations in the United States. Listen to today's episode written by Dr. Michael Greger at NutritionFacts.org. #vegan #plantbased #plantbasedbriefing #dairy #pus #organicdairy #ditchdairy #mastitis #milkpustest ============================ Original post: https://nutritionfacts.org/video/is-there-really-pus-in-milk/  ========================== Related Episodes Use Search Field where you listen (or at PlantBasedBriefing.com/episodes) and enter ‘dairy' or ‘pus' PubMed Article About Organic Dairy: https://pmc.ncbi.nlm.nih.gov/articles/PMC9311922/  ============================ Dr. Michael Greger is a physician, New York Times bestselling author, and internationally recognized speaker on nutrition, food safety, and public health issues. A founding member and Fellow of the American College of Lifestyle Medicine, Dr. Greger is licensed as a general practitioner specializing in clinical nutrition. He is a graduate of the Cornell University School of Agriculture and Tufts University School of Medicine. He founded NUTRITIONFACTS.ORG is a non-profit, non-commercial, science-based public service provided by Dr. Michael Greger, providing free updates on the latest in nutrition research via bite-sized videos. There are more than a thousand videos on nearly every aspect of healthy eating, with new videos and articles uploaded every day.   His latest books —How Not to Age, How Not to Die, the How Not to Die Cookbook, and How Not to Diet — became instant New York Times Best Sellers. His two latest books, How to Survive a Pandemic and the How Not to Diet Cookbook were released in 2020.  100% of all proceeds he has ever received from his books, DVDs, and speaking engagements have always and will always be donated to charity. ============================== FOLLOW THE SHOW ON: YouTube: https://www.youtube.com/@plantbasedbriefing     Spotify: https://open.spotify.com/show/2GONW0q2EDJMzqhuwuxdCF?si=2a20c247461d4ad7 Apple Podcasts: https://podcasts.apple.com/us/podcast/plant-based-briefing/id1562925866 Your podcast app of choice: https://pod.link/1562925866 Facebook: https://www.facebook.com/PlantBasedBriefing   LinkedIn: https://www.linkedin.com/company/plant-based-briefing/   Instagram: https://www.instagram.com/plantbasedbriefing/     

We got to spend some time with Josh Brolin, Brian Bowen Smith and friends, riding into our shop and sitting down to talk bikes and life with some incredible stories from over the years.Josh has quite the story and we're grateful that he took the time to ride in and share some of it with us as we kicked back with some cigars.See pictures from the day here - https://2lanelife.com/blogs/news/joshbrolinJosh Brolin (born February 12, 1968) is an American actor known for his intense performances across film and television. The son of actor James Brolin, he began his career in the mid-1980s with a breakout role in The Goonies (1985). After a period of lower-profile projects, Brolin reemerged strongly in the 2000s with acclaimed performances in No Country for Old Men (2007), W. (2008), and Milk (2008), earning an Academy Award nomination for the latter. He became widely recognized for his portrayal of Thanos in the Marvel Cinematic Universe, starting with Guardians of the Galaxy (2014) and culminating in Avengers: Infinity War (2018) and Avengers: Endgame (2019). Brolin has also starred in major films like Sicario (2015) and Deadpool 2 (2018), solidifying his reputation as a versatile and powerful actor. OUR WEBSITE: https://2lanelife.com/ USE CODE: "YOUTUBE" FOR 10% OFF OF PARTS & ACCESSORIES2LANELIFE INSTAGRAM: https://www.instagram.com/2lanelife/GAYLIN'S INSTAGRAM - https://www.instagram.com/xerox57/LANCE'S INSTAGRAM - https://www.instagram.com/biglancec/JOSH'S INSTAGRAM - https://www.instagram.com/imridingplaces/Want to SAVE on EagleRider Rentals? - CLICK HEREABOUT 2LANELIFEWe travel the country on our Harley-Davidson motorcycles, exploring some of the best roads the country has to offer. Our goal is to share all of the neat history and attractions across the back roads, a.k.a. the 2Lanes of America using a cinematic approach unique to our experiences. Along this journey, we meet tons of amazing people, and learn something new every time. We are here to inspire travel!Friends:Thrashin' SupplyLegend SuspensionsCustom Dynamics Motorcycle LightingEagleRider Motorcycle Rentals & Tours Feuling PartsKlock WerksCobra USAMaxima Racing OilsBell HelmetsSaddlem...

This week we talk about Marathon being delayed, Xbox partnering with AMD, rumors of Xbox 360 emulation coming to PC, and more!

In this episode, DuDs and Carl are joined by author Andrew Farago for an interview about his new book "A Minecraft Movie: From Block to Big Screen". Plus, Mending Minecraft, and did A Minecraft Movie reached $1 billion in box office revenue?Buy the Book (Amazon US): https://a.co/d/7Xj1J1zBuy the Book (Amazon UK): https://amzn.to/4k2wjKPThank you to our Milk level Patrons: aubni, FragileRock, Jronman, LOKIOLR, and The Meme Bug.(AD) Do you need a Minecraft server? BisectHosting is recommended by the Podcast Team for easy set-up, 24/7 support with fast response times, and a 3-day money-back guarantee. Interested? Get 25% off your first month of any gaming server at ⁠⁠⁠⁠https://bisecthosting.com/TWE⁠⁠ and use code TWE at checkout. New clients only.Discord: ⁠⁠https://discord.gg/gqnKyeZ⁠⁠Patreon: ⁠⁠⁠⁠https://patreon.com/thewitheringeffect⁠⁠Website: ⁠⁠⁠⁠http://thewitheringeffect.com/⁠⁠E-Mail: ⁠⁠podcast@thewitheringeffect.com⁠⁠X/Twitter: ⁠⁠⁠⁠https://twitter.com/WitheringEffect⁠⁠YouTube: ⁠⁠⁠⁠https://youtube.com/thewitheringeffect⁠⁠Instagram: ⁠⁠⁠⁠https://instagram.com/witheringeffect⁠⁠TikTok: ⁠https://tiktok.com/@witheringeffect⁠GuestAndrew Website: https://andrewfarago.wordpress.com⁠⁠⁠Show HostDuDs YouTube: https://youtube.com/DuDs_vs⁠⁠⁠DuDs X/Twitter: https://twitter.com/DuDs_vs⁠⁠⁠DuDs Twitch: ⁠⁠https://twitch.tv/DuDs_vs⁠⁠Show Host / Digital ProducerCarlRyds YouTube: ⁠⁠⁠https://youtube.com/CarlRydsGamingCarlRyds X/Twitter: ⁠⁠⁠https://twitter.com/CarlRydsCarlRyds Twitch: https://twitch.tv/CarlRydsGamingMusic MasterDiiKoj YouTube: https://youtube.com/DiiKoj⁠⁠⁠DiiKoj X/Twitter: https://twitter.com/DiiKoj

The constant whirlwind of surf comp coverage on the show is joined this month by talk of some incredible new additions to the women's surf film canon, as well as even more change within the WSL, including the surprise resignation of Jessi Miley-Dyer.While covering the most recent events, including Stab High Japan, the Challenger Series kick-off at Newcastle, Margaret River and the Cut and the return of a standard CT to Trestles, we take a look at Bettylou Sakura Johnson's strong resurgence and question whether or not the WSL should leave decisions like running the women at The Box in the hands of the surfers or take charge of the call themselves.Go DeeperBuy Tickets: Maya and the Wave PremieresWatch: Wilson's Home, Milk & HoneyDonate: Willow Hardy's surgeryChapters00:00 - Intro08:43 - Seas the Day11:28 - Fresh Films28:42 - Surf Opinion33:56 - Erin Brooks' Surfer Mag Cover38:04 - WSL Changes51:00 - Stab High Japan58:49 - Challenger Series Kick-Off1:07:34 - Margaret River CT1:23:45 - Trestles CTInfoMusic: Dry Grass, courtesy of Body TypeContact: info@womensurf.netInstagram: @the.double.upWeb: https://www.womensurf.net

We take a break from the International break to discuss the loss to San Diego.

It's Ticked Off Tuesday on and Jared is broadcasting from the “presidential suite” of a Pittsburgh boutique hotel, complete with two shower heads that can't even hit him at the same time. He kicks off the episode with his complaint, then dives into listener gripes: from the Delta One Lounge failing to serve almond milk (the Beyoncé of alt-milks), to flavorless adult medicine that feels like swishing around “diarrhea water.” There's also a burrito shrinking crisis sweeping the nation and a business trip horror story featuring a co-worker's husband who keeps picking up tabs, then demanding repayment like it's a debt. Jared validates, escalates, and hilariously unpacks every minor injustice. If you've ever felt personally offended by a small portion size or a passive-aggressive Venmo request, this one's for you. Tune in! Also, Jared is on the road

The boys discovered that they can make seasoning out of horses and need your help to make it real. Then we can finally afford a suit of armor for Caleb and maybe even find out why Jarred's eyes are always infected.go here to comment on Firecracker Farm's IG so they let us make Hot Horse Hoofs a reality:go here to comment on Firecracker Farm's IG so they let us make Hot Horse Hoofs a reality:https://www.instagram.com/ultrahotpeppers/ and of course if you want ALL FOOD to taste better pick up some HOT SALT from firecracker.farm and use code MILK to save some moneyGet firearm security redesigned and save 10% off @StopBoxUSA with code [PIE] at https://www.stopboxusa.com/PIE #stopboxpod

This episode was recorded in Reno, Nevada, during the 2025 Western Dairy Management Conference. Dr. Hemme begins with a demonstration of three different-sized glasses of milk representing the daily average dairy consumption in China, Europe, and the world as a whole. He explains that when you make predictions, it's good to identify the two main drivers of uncertainty in your industry. In the case of dairy, he cites whether or not people like dairy and whether or not they can afford it. He goes on to describe the four scenarios that can be created from those main drivers: people like dairy and can afford it, people don't like dairy but could afford it, people like dairy but can't afford it, and people don't like dairy and can't afford it.  (4:05)Walt asks Dr. Hemme to give some perspective on what makes a country a reliable exporter built for the global economy. He gives a unique example of how American football versus soccer compares to exporting dairy from the US to the global market. Matt chimes in with his perspective on how DFA is positioning the industry for exports. He notes that we live in the world of VUCA - volatility, uncertainty, complexity, and ambiguity - and that we have a lot of VUCA happening in the US right now. In general, he's very bullish on our natural resources, management skills, and technical capability in the US dairy industry.  (10:17)The panel discusses who in the world is going to be able to meet the building demand for dairy products, and what the US might need to do to be a major player - in essence, moving from playing football to playing soccer. Dr. Hemme gives culture, policy, and relationship building as potential challenges for the US. (16:37)Matt is encouraged by the new investments in processing plants in the US and looks for a “build it and we will grow into it” scenario as we move forward. Dr. Hemme agrees that the processors are on board. But he wonders about the dairy farm side - no growth in cow numbers, not much growth in production, and breeding so many cows with beef semen makes him think the US is not believing in a growing dairy industry. He also talks about changing interest rates over time and impact on capital management. (25:50)The panel discusses the US milk price compared to the world milk price, the cost of production, and exchange rates. (29:45)Matt gives some perspective on beef-on-dairy. As the beef cycle levels back out and more beef heifers are retained, he forecasts fewer dairy cows being bred to beef semen and an increase in the supply and retention of dairy heifers. (34:31)Dr. Hemme talks about dairy demand and global population growth trends and predictions. (39:38)Panelists share their take-home thoughts. (42:02)Please subscribe and share with your industry friends to invite more people to join us at the Real Science Exchange virtual pub table.  If you want one of our Real Science Exchange t-shirts, screenshot your rating, review, or subscription, and email a picture to anh.marketing@balchem.com. Include your size and mailing address, and we'll mail you a shirt.

The NoSleep Podcast finds darkness in the sunlight as we take a break between seasons. Enjoy some stories from our premium episodes. "The Milk of the Lilith Beetle" written by John Elias (Story starts around 00:01:20) Produced by: Phil Michalski Cast: Narrator - David Cummings, Adam - Jeff Clement, Skids - Atticus Jackson, Jenks - Dan Zappulla, Sady - Katabelle Ansari, Frankie - Jesse Cornett, Figure - Peter Lewis "The Laws of Aberrant Motion" written by Michael Winter (Story starts around 00:39:45) Produced by: Jesse Cornett Cast: Dan - Mike DelGaudio, Dustin - Elie Hirschman, Bill - Graham Rowat, Tony - Atticus Jackson This episode is sponsored by: Quince - Get cozy in Quince's high-quality wardrobe essentials highlighted by quality, sustainability, and affordability. Go to Quince.com/nosleep to get free shipping and a 365-day return period. Click here to learn more about The NoSleep Podcast team Click here to learn more about Michael Winter Executive Producer & Host: David Cummings Musical score composed by: Brandon Boone "Summer Hiatus 2025 02" illustration courtesy of Alexandra Cruz Audio program ©2025 - Creative Reason Media Inc. - All Rights Reserved - No reproduction or use of this content is permitted without the express written consent of Creative Reason Media Inc. The copyrights for each story are held by the respective authors.

Sean Penn returns to Club Random for another wild ride with Bill Maher. From kissing James Franco in Milk to drone warfare in Ukraine, the conversation covers it all, politics, war, Hollywood, and even AI going rogue. Sean opens up about his documentary Superpower, Putin's ambitions, America's contradictions, and what it means to live fully in a broken world. Subscribe to the Club Random YouTube channel: https://www.youtube.com/c/clubrandompodcast?sub_confirmation=1 Watch episodes ad-free – subscribe to Bill Maher's Substack: https://billmaher.substack.com Subscribe to the podcast for free wherever you listen: ⁠https://bit.ly/ClubRandom Support our Advertisers: -Go to https://www.zbiotics.com/RANDOM and use RANDOM at checkout for 15% off any first time orders of ZBiotics probiotics -Go to https://www.RadioactiveMedia.com or text RANDOM at 511511 Buy Club Random Merch: https://clubrandom.com Learn more about your ad choices. Visit https://podcastchoices.com/adchoices ABOUT CLUB RANDOM Bill Maher rewrites the rules of podcasting the way he did in television in this series of one on one, hour long conversations with a wide variety of unexpected guests in the undisclosed location called Club Random. There's a whole big world out there that isn't about politics and Bill and his guests—from Bill Burr and Jerry Seinfeld to Jordan Peterson, Quentin Tarantino and Neil DeGrasse Tyson—talk about all of it.  For advertising opportunities please email: PodcastPartnerships@Studio71us.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

Chris Hutchins is the creator and host of All the Hacks, a podcast that helps people upgrade their life, money, and travel. He previously founded Grove (acquired by Wealthfront) and Milk (acquired by Google), led New Product Strategy at Wealthfront, and was a Partner at Google Ventures. Most importantly, he is the person Kevin Rose and I call if we want to figure how to get a better deal on just about anything in the world, or if we just want to learn about his latest hijinks doing things like getting $200 flights to Japan, running gold pseudo-arbitrage at retail, or dirt-cheap trips to Bora Bora. We cover all three and more in this conversation.Sponsors:Shopify global commerce platform, providing tools to start, grow, market, and manage a retail business: https://shopify.com/tim (one-dollar-per-month trial period)Ramp easy-to-use corporate cards, bill payments, accounting, and more: https://ramp.com/tim (Get $250 when you join Ramp)AG1 all-in-one nutritional supplement: https://DrinkAG1.com/Tim (1-year supply of Vitamin D (and 5 free AG1 travel packs) with your first subscription purchase.)*For show notes and past guests on The Tim Ferriss Show, please visit tim.blog/podcast.For deals from sponsors of The Tim Ferriss Show, please visit tim.blog/podcast-sponsorsSign up for Tim's email newsletter (5-Bullet Friday) at tim.blog/friday.For transcripts of episodes, go to tim.blog/transcripts.Discover Tim's books: tim.blog/books.Follow Tim:Twitter: twitter.com/tferriss Instagram: instagram.com/timferrissYouTube: youtube.com/timferrissFacebook: facebook.com/timferriss LinkedIn: linkedin.com/in/timferrissPast guests on The Tim Ferriss Show include Jerry Seinfeld, Hugh Jackman, Dr. Jane Goodall, LeBron James, Kevin Hart, Doris Kearns Goodwin, Jamie Foxx, Matthew McConaughey, Esther Perel, Elizabeth Gilbert, Terry Crews, Sia, Yuval Noah Harari, Malcolm Gladwell, Madeleine Albright, Cheryl Strayed, Jim Collins, Mary Karr, Maria Popova, Sam Harris, Michael Phelps, Bob Iger, Edward Norton, Arnold Schwarzenegger, Neil Strauss, Ken Burns, Maria Sharapova, Marc Andreessen, Neil Gaiman, Neil de Grasse Tyson, Jocko Willink, Daniel Ek, Kelly Slater, Dr. Peter Attia, Seth Godin, Howard Marks, Dr. Brené Brown, Eric Schmidt, Michael Lewis, Joe Gebbia, Michael Pollan, Dr. Jordan Peterson, Vince Vaughn, Brian Koppelman, Ramit Sethi, Dax Shepard, Tony Robbins, Jim Dethmer, Dan Harris, Ray Dalio, Naval Ravikant, Vitalik Buterin, Elizabeth Lesser, Amanda Palmer, Katie Haun, Sir Richard Branson, Chuck Palahniuk, Arianna Huffington, Reid Hoffman, Bill Burr, Whitney Cummings, Rick Rubin, Dr. Vivek Murthy, Darren Aronofsky, Margaret Atwood, Mark Zuckerberg, Peter Thiel, Dr. Gabor Maté, Anne Lamott, Sarah Silverman, Dr. Andrew Huberman, and many more.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.