Podcasts about National Health Service

For all the deeply rewarding moments medicine offers, it is also a profession often intensely challenging on both systemic and personal levels. Our guest in this episode is Dr. Caroline Elton, an occupational psychologist who has devoted her career to counseling doctors and medical trainees in the National Health Service and various medical schools in the UK. She is the author of Also Human: The Inner Lives of Doctors, which discusses the physical, mental, and emotional toll of medical training and practice. Among other issues, she writes about how doctors deal with guilt and shame, gender and racial discrimination in health care training, the erosion of the clinician-patient relationship in modern medicine, and how clinicians can build emotional resilience. Over the course of our conversation, Dr. Elton shares what led her to this work, exposes the many shortcomings in how doctors are trained today, and explores how we can create a more humane path forward.In this episode, you will hear about:What led Dr. Elton to her unique work in counseling physicians - 2:04Reflections on both the compassion and the callousness Dr. Elton witnessed as she observed physicians (her patients) in their working environments - 10:01A review of medical training in the UK versus the US - 15:16A discussion of Also Human: The Inner Lives of Doctors and the concept of moral injury - 19:51The kinds of patients Dr. Elton sees in her present work - 25:00How institutional cultures can come to valorize toxic, brutal expectations placed on physicians - 27:03How Dr. Elton's managed her first patient, a doctor who was planning on quitting medicine just weeks after beginning her postgraduate training - 32:49A discussion of how sexism and other forms of bigotry factors into burnout - 38:20Why the screening process for selecting future doctors should be improved - 43:37How a trainee can prepare themselves for the psychological demands of a medical career - 48:00Advice to administrators and executives of how best to serve the psychological demands of their medical workforce - 50:34Dr. Caroline Elton is the author of Also Human: The Inner Lives of Doctors.Visit our website www.TheDoctorsArt.com where you can find transcripts of all episodes.If you enjoyed this episode, please subscribe, rate, and review our show, available for free on Spotify, Apple Podcasts, or wherever you get your podcasts. If you know of a doctor, patient, or anyone working in health care who would love to explore meaning in medicine with us on the show, feel free to leave a suggestion in the comments or send an email to info@thedoctorsart.com.Copyright The Doctor's Art Podcast 2023

Whistleblower Report with DrLee4America – Today's Report reveals shocking agreements between Gates' Microsoft Teams and the UK government to harvest private patient data from the National Health Service, setting the technology in place for new Digital Prisons planned in the UK based on the Rio de Janeiro 1992 Accords and using “Vaccine IDs” tracked...

A new long term study finds that men with low to intermediate risk from prostate cancer can afford to delay some treatments. A new report finds that the rate of SIDS increased for Black babies in 2020. And, early-career physicians employed by UK's National Health Service went on strike this week. That's coming up on today's episode of Gist Healthcare Daily. Hosted on Acast. See acast.com/privacy for more information.

In part two of our conversation about the Clinical Entrepreneur Programme from England's National Health Service, our host, Dr. Daniel Kraft, continues his discussion with Dr. Tony Young, the program's founder. They talk about a number of innovations brought about through the program, including two aimed at addressing health disparities. CardMedic uses a collection of “digital flashcards” to help improve communication between health care staff and patients across barriers ranging from physical impairment to language to PPE. And Written Medicine's software uses human-generated translations to provide medication labels in 11 languages – and counting. To encourage innovations like these, the entrepreneur program is building a “health inequalities tool” to help potential entrepreneurs answer questions like, “Am I bringing in unconscious bias? Is this going to make health equity worse?” In addition, Dr. Young offers a number of tips for potential physician entrepreneurs, including the importance of persistence and surrounding yourself with like-minded people. He encourages entrepreneurs to be open to change. “Don't fall in love with your solution,” he says. “Too many people go, ‘I've got just the perfect answer for this,' but it's not. Actually, fall in love with the problem and really work that through. And then bring people onboard that share that problem and really want it solved.” Learn moreNHS Clinical Entrepreneur ProgrammeWritten MedicineCardMedic

Long-COVID is defined by The National Health Service as having symptoms that develop during or after a COVID infection which continue for more than 12 weeks. This week I interview Marlee Coldwell, RD on how long COVID presents and ways that it can be managed in our patients. Marlee has been working with patients who have complex digestive health issues and food intolerances for the past 5 years. Marlee specializes in providing nutritional support for digestive disorders including IBS, IBD, SIBO, fatty liver disease, and much more. Marlee is the team lead dietitian for Ignite Nutrition, one of Canada's top digestive health nutrition practices. With her specialized knowledge of gastrointestinal health, she also helps to train and support other dietitians to work with those who have unique and complex food intolerances and GI disorders.  In 2019, Marlee also wrote a cookbook called ‘Insulin Resistance Diet for Beginners', which showcases her other great passion, women's health and PCOS management. We talk about: ·      What long COVID is ·      How many people experience it ·      What the symptoms are ·      How we see it influencing our IBS patients and how nutrition can help ·      The influence of COVID on the GI tract ·      The taste and smell changes, how they influence people's nutrition, and if there is anything to help ·      The inflammatory immune-mediated symptoms like rashes, brain fog, joint pain, chronic fatigue, gut pain, and diarrhea ·      Why people have been curious about a low histamine diet when it comes to long COVID ·      The overlap between MCAS and long covid, and why people are being managed like MCAS patients ·      If using a MCAS approach can ´fix´ long COVID Connect with Coldwell on at ignitenutrition.ca on Instagram here @ignite.nutrition.inc

Martin is pleased to welcome back fan favorite, Dr. Ola Abbas, to the podcast to share her recent trip to Machu Picchu.  Dr. Ola Abbas is a dual accredited Consultant in Critical care and Acute medicine working for the National Health Service in the UK. She was born and raised in Iraq, forced to leave her home country after the turmoil of the war to eventually settle in England. Ola found herself having to re-establish her roots and rebuild herself from the ground up. Ola has ventured into entrepreneurship to enable her to help more people rise to their potential. She runs a successful travel business, coaching and mentoring professionals on how to create their wealth and well-being from travel. She has recently authored an international bestselling book titled Dream Big Do Bigger. Ola is on a mission to build a progressive, diverse, and inclusive community that thrives on empowering peers to attract the Clarity, Confidence, Community & Cash they desire and deserve into their lives. Website: https://elevatewithola.com/ Dream Big Do Bigger Book: https://www.amazon.co.uk/~/e/B0BTMS5X51 Travel Booking Form: https://elevatewithola.com/travel-booking-form/ Instagram: https://instagram.com/elevatewithola Facebook: https://www.facebook.com/Alousha/ To book the train ride to Machu Picchu https://25442.partner.viator.com/tours/Cusco/Machu-Picchu-By-Train-2-Days/d937-176745P7 The Eating Disorder Diaries PodcastIf you have an eating disorder, you are not alone. Host Amy Goeckel shares her experience.Listen on: Apple Podcasts SpotifySupport the showGet outside, have fun and be safe!Martin Armitage, Host of the Papa Bear Hikes Podcasthttps://www.papabearhikes.com/https://podcasts.apple.com/us/podcast/papa-bear-hikes/id1541491746https://www.instagram.com/papabearhikes01/

Like Canada's publicly funded healthcare system, the UK's National Health Service is in crisis. Overcrowded ERs are groaning with patients, there aren't enough hospital beds and people are paying for some elective surgeries at private facilities. Nurses, ambulance workers and junior doctors are striking. Dr. Brian Goldman takes a guided tour of a hospital in Reading, England to hear their lessons for Canada.

Hannah Barnes is Investigations Producer at the BBC's flagship television news and current affairs program, Newsnight. She has spent the last 15 years at the BBC, specializing in investigative and analytical journalism for both television and radio. Hannah led Newsnight's coverage of the care available to young people experiencing gender-related distress at the UK's National Health Service's (NHS) only youth gender clinic in England and Wales, the Gender Identity Development Services (GIDS) at the Tavistock in London.In this episode, Sasha and Stella speak with Hannah about how, although she continued to report and expose questions, nothing changed and she eventually felt compelled to write a book; as she says herself “I knew too much.” In this probing discussion, issues such as puberty blockers, overwhelming caseloads, and the impact of lobby groups, such as Mermaids, are highlighted and explored.Hannah's work at Newsnight ultimately helped precipitate an extensive review by the NHS and unearthed evidence that was later used in several sets of legal proceedings. Newsnight's reporting also led directly to an inspection by England's healthcare regulator, the Care Quality Commission, which branded the services provided by the GIDS clinic “Inadequate.” The service is scheduled to close in spring 2023 following a series of critical reports.Hannah's new book, Time To Think: The Inside Story of the Collapse of the Tavistock's Gender Service for Children, is a meticulously researched account of what went wrong at the Tavistock Clinic, which made headlines around the world on publication. In writing the book, Hannah studied thousands of pages of documents, including internal emails and unpublished reports, and well over a hundred hours of personal testimony from GIDS clinicians, former service users, and senior Tavistock figures, to write a disturbing and gripping parable of our times.Links:Amazon: https://www.amazon.com/Time-Think-Collapse-Tavistocks-Children-ebook/dp/B0BCL1T2XNSwift Press: https://swiftpress.com/book/time-to-think/Waterstones: https://www.waterstones.com/book/time-to-think/hannah-barnes//9781800751118Newsnight coverage of GIDS at the Tavistock: https://www.bayswatersupport.org.uk/bbc-newsnight-coverageIf you liked this episode, more episodes you might find interesting:Episode “27 — Behind the Curtain: Psychotherapy for Gender Dysphoria with Sue and Marcus Evans” https://gender-a-wider-lens.captivate.fm/episode/27-behind-the-curtain-psychotherapy-for-gender-dysphoria-with-sue-and-marcus-evansEpisode “31 — Silencing Thought: A Conversation with Heather Brunskell-Evans”https://gender-a-wider-lens.captivate.fm/episode/31-silencing-thought-a-conversation-with-heather-brunskell-evansEpisode “64 — Pioneers Series: Psychotherapy Pre- and Post-Transition with Az Hakeem”

Are you interested in exploring the often-overlooked connection between Autism and BPD/EUPD? In this episode, Dr. Jay Watts and I dive deep into the topic, discussing the reasons why women and AFAB individuals are less likely to be diagnosed with autism and exploring common autistic traits that are missed in women.Listeners will gain insight into the coping strategies of autistic "masking" and "camouflaging" that are often missed in women and girls, as well as the characteristic "special interests" of women with autism. Together, we also unpack the harmful stigma that arises from the BPD/EUPD labels and how people with these labels are stigmatized in psychiatric settings.Recent events, such as the reversal of the decision to remove BPD and EUPD labels from the ICD-10 due to issues with the American insurance systems, highlight the urgent need for a more nuanced understanding of psychiatric labels. We explore how BPD and cPTSD traits are rooted in trauma and touch on the chronic feelings of emptiness and suicidality experienced by individuals with these labels.Finally, we delve into the potentially harmful effects of DBT (dialectical behavior therapy) and the importance of informed consent in psychiatric treatment when it comes to treatment modalities and psychiatric medications.Join Dr. Watts and me as we unpack the complex intersections of Autism and BPD/EUPD and challenge the stigma surrounding psychiatric labels.ABOUT OUR GUESTDr. Jay Watts is a clinical psychologist, psychotherapist, senior lecturer, and dedicated mental health activist working in London. Dr. Watts has held many senior clinical and managerial roles in academia and the National Health Service in the UK and has taught clinical skills in clinical psychology, counseling psychology, and psychoanalytic training courses.Activism is also a core part of Jay's personal and professional identity. She believes in the importance of highlighting both the helpful and potentially harmful nature of psychology and psychotherapy. Jay is consistently using her own social capital, clinical experience, and research skills to assist grassroots organizations and survivor groups.JAY'S RECOMMENDED RESOURCES■ Follow Jay on Twitter @Shrink_at_Large■ Jay's articles about BPD and trauma can be found here■ Protest letter about removing BPD from the diagnostic manual, ICD11 can be found here■ A Simple Guide To Avoid Receiving A Diagnosis Of ‘Personality Disorder'■ Should CAMH professionals be diagnosing BPD in adolescence?■ Join the campaigns mentioned by Jay on Twitter using:  #TraumaNotPD and #AutismNotPD

Baroness Dido Harding has held high-level leadership roles in the UK's National Health Service and in the private sector, at companies like TalkTalk, Tesco, and Thomas Cook. She was executive chair of the NHS's COVID-19 Test and Trace effort. Dido and Auren break down what we've learned about data and public health during the pandemic. Dido explains how publicly accessible data helped leaders and the general public make decisions, and outlines what we should be doing to prepare for the next pandemic. Auren and Dido also talk about running large organizations, staying productive, and what the public and private sectors have in common. World of DaaS is brought to you by SafeGraph. For more episodes, visit safegraph.com/podcasts.You can find Auren Hoffman on Twitter at @auren and Dido Harding on Twitter at @didoharding.

North Carolina could become the latest state to expand Medicaid. Minnesota lawmakers weigh opening its state-run insurance plan to all residents. And, National Health Service nurses and ambulance service staff strike in the United Kingdom. That's coming up on today's episode of Gist Healthcare Daily. Hosted on Acast. See acast.com/privacy for more information.

For more than a decade, the British government has run its National Health Service, the world's largest government-run healthcare system, on a tight budget. Now, hospitals are so full they are turning patients away, and thousands of paramedics and nurses have walked out over pay. WSJ's Max Colchester explains how budget cuts, Covid delays and an aging population are stressing the system. Further Reading: -The U.K.'s Government-Run Healthcare Service Is in Crisis -U.K. Nurses Stage Biggest Ever Strike as Health System Strains Learn more about your ad choices. Visit megaphone.fm/adchoices

A.M. Edition for Feb. 7. Strikes, budget cuts, and the effects of the Covid-19 pandemic have left Britain's NHS on the brink of collapse. WSJ London bureau chief David Lunhow explains how a crisis in public health care is leading to unnecessary deaths in the United Kingdom. Plus, the spat over American incentives for electric vehicle batteries. Peter Granitz hosts. Learn more about your ad choices. Visit megaphone.fm/adchoices

As another round of strikes loom, a GP joins The New European podcast to lay bare the scale of the problems facing healthcare workers and to answer the big question: Is a quality, free-to-all National Health Service still possible? Plus: Liz Truss on the comeback trail, Ann Widdecombe goes too far and Nigel Farage sees the light. With Steve Anglesey, Eleanor Longman-Rood and Matt Withers. Producer: John Dakin.

The chair, Kate Charlesworth opens by explaining that the healthcare system has a big problem – we are, in effect, producing our own patients. We use huge amounts of resources; produce vast amounts of waste and have a big carbon footprint. Globally, if the healthcare system was a country, it would be the fifth biggest polluter on the planet. The irony is then of course that we're therefore contributing towards the climate crisis which is harming human health. We've seen that with storms, fires, floods, and all the associated impact they're having on our health. We have a huge job ahead of us – to decarbonise or to get to a net zero health system. Nick Watts, doctor, and chief sustainability office for the National Health Service in England says that he wants to discuss three things: why the NHS cares about climate change, what we can do about it and exactly what that change needs to looks like. He then goes on to explain the steps that the NHS is taking to reach net zero by 2045, and the exact steps that we need to take in order to do the same. His three key messages are: The climate crisis is a health care crisis. The time for talking about stuff is over, the only thing that matters is what we are going to do about it. Don't listen to anyone that tells you that it can't be done. For more head to our podcast page #CodaPodcast

The conservatives and Labour party appear to be agreed on one issue on the political agenda – that is childcare. Both parties realise it will be a key battleground in the general election with polling suggesting it is of particular concern in some of the red wall seat which the conservatives need to hold onto if they are to stay in government. The UK's childcare system is one of the most expensive in the world and ranked one of the least effective according to a recent report by UNICEF. Shadow Education Secretary Bridget Phillipson joins Nuala McGovern in the studio to discuss her party's plans for reform which she says will compare with Aneurin Bevan's creation of the National Health Service. What is the role of a best friend at a deathbed? ‘We All Want Impossible Things' a new novel by Catherine Newman is funny and rude as well as very sad and it's a celebration of all sorts of love. Ash's best friend is dying and her heart is breaking but life does go on, until it stops. Catherine Newman joins Nuala to explain what inspired the book When she was 19, Chanel Contos was playing a drinking game with friends. Someone asked ‘what's the kinkiest thing you like to do during sex? Her 17-year-old friend replied, ‘It's not really that kinky, but I guess choking.' Now 24, and listed as one of the BBC's 100 Women, Chanel wants to challenge the normalisation of sexual choking (and other acts such as spitting or slapping). She's joined on the programme by writer Rachel Thompson, author of Rough: How Violence Has Found Its Way Into the Bedroom and what We Can Do about it. They discuss why these acts are so prevalent, and whether women and girls are feeling pressured into them. Could the state pension age be raised again from 67 to 68 and what would it mean for women? We talk to the former pensions minister and conserative peer Baroness Ros Altmann. And we hear the latest about female nominations at the Oscars with film critic Karen Krizanovich. Presenter: Nuala McGovern Producer: Lisa Jenkinson Studio Manager: Donald McDonald

As Britain's NHS turns 75, author Henry Marsh, who worked as a surgeon and is now a cancer patient of the National Health Service, discusses his book "And Finally" which looks back at changes in the NHS over 40 years and the role reversal of being a patient in the service. Marsh was one of Britain's foremost neurosurgeons and his conversation roams from operating room tales to philosophy to the very different experience of being on the other side of the consultant's desk. Give us 39:50 to tell you all about the difference between being an NHS surgeon and an NHS patient.

Hour 3 -  Good Wednesday morning! Here's what Nick Reed covers this hour: The percentage of Americans who postponed medical care payments due to cost has grown in the past year, according to a new Gallup poll. The poll found that 38% of respondents said they have put off scheduled medical care payments due to cost, a 12-point increase from the past two years. After weeks of speculation, the Brits have discovered the shameful truth: Prime Minister Rishi Sunak uses private health care. The problem with this? Sunak promotes the National Health Service. Right now, 1 in 8 Brits are on a wait list to receive medical care through the NHS. Wait times can be up to ONE YEAR. Our weekend producer, Katie, joins us this morning to give us an update on her citizenship journey. Katie is originally from Russia and has been working on her pathway to becoming an American citizen. She just received a test time and date. Nick recommends the move, The Menu. The Menu is currently streaming on HBO Max.

Striking ambulance drivers and four-hour ER waits are prompting calls to reform Britain's National Health Service, as Prime Minister Rishi Sunak acknowledges that he has sometimes gone outside the system for his own medical care. Plus, China's population falls for the first time in decades, after its old one-child policy succeeded all too well. Learn more about your ad choices. Visit megaphone.fm/adchoices

"Jaak Panksepp was the first and only neuroscientist who focused squarely on the emotional brain. There followed a lengthy and instructive series of emails between Jack and Lucy that ultimately resulted in the publication of this book" Jaak Panksepp and Lucy Biven, authors of the famous book that is often required reading for those studying an Introduction to the Field of Neuroscience, The Archeology of Mind. Watch our interview on YouTube here https://www.youtube.com/watch?v=wH3j5WDXvEk   On today's Episode #270 we will cover ✔  An introduction to Lucy Biven, who co-authored the well-known book, The Archeology of Mind, with Jaak Panksepp. ✔ How Lucy went from being the Head of Psychotherapy at the Child and Adolescent Mental Health Service in England, to writing a leading resource in the field of Neuroscience, with Jaak Panksepp. ✔ How neuroscience gave her answers to a court case she was asked to advise, that 19 experts in the field of child development couldn't solve, without an understanding of how our brain works. ✔ How an understanding of our brain can help us to be better parents, teachers, coaches and managers. ✔ Where Jaak Panksepp's work filled in the missing gaps for Lucy, opening doors with this new understanding of our brain, and emotions. ✔ 3 often discussed Theories about Emotions and Affect (Feedback Theory, Brainstem Theory and Conceptual Act Theory, or Theory of Constructed Emotion and which one Lucy believes in today. ✔ Lucy makes a case for Panksepp's Brainstem Theory, as well as Damasio's work. ✔ Lucy and Andrea discuss the hard question of consciousness and why all traditional attempts to answer this complex question, has failed. ✔ Lucy shares how she uses Panksepp's Brainstem Theory to help 2 boys knowing when to take the role of a coach, versus a traditional therapist, to help them to overcome mental blocks that were holding them back from living a successful life.  I'm so grateful to have this opportunity today to speak with Lucy Biven, who co-authored The Archeology of Mind, with the one and only, Jaak Panksepp. Those who study the field of neuroscience will know his name, and if you haven't heard of him, I hope this episode sheds some light on his work, combined with Lucy's as pioneer researchers in the field of Affective Neuroscience. Welcome back to The Neuroscience Meets Social and Emotional Learning Podcast where we bridge the gap between theory and practice, with strategies, tools and ideas we can all use immediately, applied to the most current brain research to heighten productivity in our schools, sports environments and modern workplaces. I'm Andrea Samadi and launched this podcast almost 4 years ago, to share how important an understanding of our brain is for our everyday life and results. This season (Season 9) we will be focused on Neuroscience: Going Back to the Basics for the next few months, as we welcome some phenomenal pioneers in the field of Neuroscience, paving a pathway for all of us to navigate our lives with more understanding with our brain in mind. My goal with this next season (that will run until the end of June) is that going back to the basics will help us to strengthen our understanding of the brain, and our mind, to our results, and provide us with a springboard to propel us forward in 2023, with this solid backbone of science. With some new and exciting responsibilities on my end, we will be doing one episode a week, going back to the basics each week, that I know will be helpful for all of us. For today's guest and EPISODE #270, we will be speaking with someone who many of you who study in the field of neuroscience will recognize. There are those who I would call “rockstar” researchers, whose work has revolutionized the field. If you take a neuroscience course, or like I did, a Neuroscience Certification Program, you are a clinician, a psychotherapist, you will have come across her first book as required reading. Metapsychology Online Review thinks this book should be “essential reading not only for mind professionals, but for teachers, parents, personal and physical trainers and coaches.” So when I had an email from this next guest, one of the rockstar authors we come across and highlight in our notebooks, letting me know she has recently published a new book, and that her first book she co-authored with Jaak Panksepp, I almost fell off my chair in my office. She could have been Mick Jagger emailing me, as that would be the equivalent in this field of neuroscience research. Her first book The Archaeology of Mind[i] that she co-authored with Jaak Panksepp “describes the new scientific discipline called affective neuroscience, which seeks to illuminate how our most powerful emotional feelings—the primal emotional affects—arise from ancient neural networks situated in brain regions below the neo-cortical thinking cap.” "An exhaustive work, covering a neglected and often misunderstood field . . . . Nowhere else will you really find due diligence done on the non-conscious biases of humans and animals . . . . Essential reading, not only to us as mind professionals, but to teachers, parents, personal and physical trainers and coaches. Emotions are still everything, and vital to understanding why we are what we are, and why we do and have done, everything in the past and now. An amazing buy." ― Metapsychology Online Reviews "Panksepp's perspective on the continuity of animal and human minds has not received the attention it deserves. Here are the collected facts and the reasoning behind that compelling view. An indispensable volume." ― Antonio Damasio, author, Self Comes to Mind; David Dornsife Professor of Neuroscience and Director, Brain and Creativity Institute, University of Southern California "This book has the capacity to integrate affective neuroscience into the consciousness of not only therapists, but also those interested in understanding depth motivation that sustains or pathologizes our every action and thought. It is a truly pioneering effort. Its deep truths about the origins of mind and feeling, and the implications for altering how we see ourselves over evolutionary time, connected to our fellow social mammals and birds, also has implications for how we treat our fellow travelers on this planet." ― Stuart Brown, MD, Founder and President, The National Institute for Play   Our next guest, Lucy Biven, who co-authored The Archeology of Mind with Jaak Panksepp,  is the former Head of the Department of Psychotherapy at the Child and Adolescent Mental Health Service, part of the National Health Service in Leicestershire, England.  She became interested in neuroscience about 20 years ago when she was appointed by the Michigan Supreme Court to devise and implement a protocol for the transfer of custody of a 2½ year old girl from the home of a couple whom the child regarded as her parents, to the home of her biological parents. Like most of her colleagues, Lucy worried about the little girl's psychological development, yet the child progressed well and today is an emotionally healthy young woman. Where did it all go right?  She looked towards neuroscience for the answers she was looking for and found that, along with meeting Jaak Panksepp who coined the term “affective neuroscience” (a field that studies the neural mechanisms of emotions and how consciousness emerges from strong emotional stimuli). My goal with this next interview is learn directly from Lucy Biven, how an understanding of our emotions and our brain can help us to be better teachers in the classroom, coaches in the field of sports, or improve our effectiveness in the modern workplace.  Her most recent book A Short-Cut to Understanding Affective Neuroscience was released last summer, and I look forward to learning what this rockstar from the field of psychology and neuroscience can teach us with her work, research and experience. Welcome Lucy, thank you very much for reaching out to me when you did, it was perfect timing for the direction we are going with the podcast, and going back to the basics to start our year. Welcome. INTRO Q: To start off with, I must ask, what type of reaction do you typically get from people when you reach out to them, like you did to me. Have most people read The Archeology of Mind? The reason I ask this, is that Antonio Damasio mentioned that "Panksepp's perspective on the continuity of animal and human minds has not received the attention it deserves” and I had heard that before, so I wonder were you surprised when I knew exactly who you were, with the massive amounts of respect that go along with those who spearhead a field? Q1: I always like to know what brought people to where they are now, and you explain what brought you to this field in the Introduction of your book A Short-Cut to Understanding Affective Neuroscience[ii]. Can you give a snapshot of your career path (so I don't think I was crazy that you were in England)? What did your work entail as Head of the Department of Psychotherapy at the Child and Adolescent Mental Health Service (in England) and why were you appointed that case by the Michigan Supreme Court? Q1B: The book opens with an incredible example of how neuroscience helped to inform the outcomes of those cases involving children and their caregivers that dated back to 1993. Can you explain how neuroscience explained the outcomes that 19 experts in child development couldn't see without understanding how the brain works? I'm asking from the point of view not of a researcher who has a sound understanding of how our brain works, but for of those of us who have a thirst to understand this information, that we were never taught. Q2: The introduction of your book is interesting as neuroscience proved something that 19 experts in child development couldn't see, even from the point of view of a parent. I always wondered if I had made a mistake when I moved from Canada to the US (only AFTER I had children) but it was with the difference we see with maternity leave in the US where we have about 12 weeks compared to a full year in Canada. I always wondered if I was doing something wrong when I dropped my daughter off at daycare and drove off to work. I was shocked when I learned that “The hippocampus creates enduring personal memories, but it does not begin to function until a child is about four years old (Newcombe et al. 2000; Gleitman et al. 2007). Babies and young children can retain short-term memories, but the neural pathways that encode these memories dissolve after a few weeks or months and the children forget” (Fivush and Hamond 1990). So, for all those parents out there who feel guilty dropping their kids off at daycare, or leaving them for a few hours with a caregiver, this bit of research could really have helped me back then to not stress so much about that, right? How else can you see an understanding of our brain, helping us beyond your Supreme Court Case, or for young parents raising their children? Do you have any other neuroscience tips that surprised you? Q3: What was it about Jaak Panksepp's work that filled in the missing gaps for you, and for lay people like me and others listening who want to understand the important workings of the brain (for improved results in our schools, sports environments or modern workplaces?) Q4: The first 3 chapters discusses different schools of thought about emotion and effect. Can we talk about each one and give an example of how something like a gunshot would be experienced with each theory? Feedback Theory-affects emerge from cognitive parts of the cortex or cortex creates all forms of consciousness (Kawkabani, 2018) We hear a gunshot, and freeze but why according to FBT are we not afraid? Brainstem Theory-maintains that all mammalian brains contain genetically programmed emotional systems). I've seen Panksepp's 7 Emotional Systems written out in many places but didn't realize there was a reason behind the ALL CAPS of each system. What did he want to show with the all caps? Panksepp's 7 core emotions: ALL mammalian brains have these 7 emotions? Why do you think these 7 emotions have been overlooked by psychologists and neuroscientists if they appear in the upper brainstem, indicating they evolved a long time ago? With brainstem theory, we hear a gunshot, what happens? We feel fear that originates from the brainstem?   3. Conceptual Act Theory (CAT)-claims that emotional systems do not exist and that emotions do not emanate from any brain region. Affects depend on concepts we construct largely on the basis of social experience. (Lisa Feldman Barrett-Theory of Constructed Emotion-explains the experience and perception of emotion). Her research shows emotions are invented using our memory and imagination (Waldman). With a gunshot, how would you explain your reaction if emotions don't exist in the brain? Did my brain create a fearful affect based on what I watched on TV, my memory and imagination?   Q5: In chapter 5 and 6 you dive deeper into brainstem theory by looking at 2 different hypothesis—Jaak Pankseep and Antonio Damasio, explaining how affects might be created.  Both are similar, involving the brainstem, but they explain different mechanisms for how this happens. What is Damasio's view involving homeostasis/consciousness? What is Panksepp's major contribution to affective neuroscience? Q6: All the research in the first 7 chapters show how the brain creates conscious affective feelings. In chapter 7, you evaluate Damasio and Panksepp's Hypothesis. You mention that both Damasio and Panksepp maintain that all consciousness includes a conscious unified sense of self (Ramachandran, 2009) who we've come across on this podcast as he inspired the work of Dr. Baland Jalal EPISODE #211.[iii] Ramachandran sites that people with male bodies feel like men, and people with female bodies feel like women. What does neuroscience research say about our sense of self and our consciousness and what was the point with Ramachandran's research? Q7: Chapter 8 we have the hard question of consciousness. On EPISODE #251, I looked at “Exploring Consciousness” and learned that “consciousness is the most astonishing act our big, complex, interconnected brains pull off and scientists are only just beginning to understand it.”[xiv] (National Geographic, The Brain). I learned that “Some scholars reckon the puzzle of consciousness is something the human mind is incapable of solving” (National Geographic) but that Daniel Dennett, Philospher and Cognitive Scientist from Tufts University (MA) says that this line of thinking is “culpably wrong. It isn't impossible at all. It's just that we have to buckle down and do it.”[iv] Why do all traditional attempts to answer the hard questions of consciousness fail? Which brain structures and functions correlate with consciousness? How does the physical brain create nonphysical conscious experiences (like seeing colors, tasting flavors, feeling joy and sorrow, anticipating the future, and remembering the past? What makes us happy, lonely, caring or curious? (no one knows how this happens Greenfield 2000). Q8: In chapter 10, you show how neuroscience helped you to treat 2 boys using the SEEKING system. How did you help each boy differently by knowing when to act like a coach, or like a traditional therapist and identifying the 7 emotional sytems that needed help? NOTE: Lucy wanted to be sure we included a distinction between emotion and affect in the show notes. Neuroscientists see emotion as purely physical reactions that occur inside the body (influx of stress or calming chemicals) and behavior (smiling, grimacing, approaching, running away). Affects, on the other hand, are private conscious experiences that cannot be directly observed - you can only deduce affects from behavior and verbal reports.   How could others use this system to help students, or athletes, who've gone off track somehow, or even managers and supervisors in the corporate world who might be having a challenge with their employees? Lucy, I want to thank you very much for first of all sending me that note before the holidays. For those of us who spend a lot of time learning, someone who can understand these difficult concepts, and explain them in a way that we can all use them, really are rockstars in my eyes. Like Dr. Daniel Siegel[v], who wrote the foreword to The Archeology of Mind and suggested that scientists or researchers would be interested in “the abundance of academic references” but for clinicians, educators or general readers, he suggests to read the pages of that book like a fascinating nonfictional story, and let the words sink in over time. Thank you for joining the rockstar researchers who have come on our podcast, like Dr. Daniel Siegel and those who have helped us to embrace a world where neuroscience can provide us with answers to move us forward, if we can take the time to stop, think, and understand the research that you've gathered, and then see how we can implement your last tip, to impact change in our worlds, backed by science. Thank you for all you have shared today. If people want to reach you, what is the best way?  Email Lucy at LucyBiven@gmail.com  If people want to purchase your books, what is the best way? A Short-Cut to Understanding Affective Neuroscience by Lucy Biven Published July 6, 2022 https://www.amazon.com/Short-Cut-Understanding-Affective-Neuroscience-ebook/dp/B0B69SSNXV/ref=tmm_kin_swatch_0?_encoding=UTF8&qid=&sr= RESOURCES: Palaces of Memory by George Johnson https://www.thriftbooks.com/w/in-the-palaces-of-memory-how-we-build-the-worlds-inside-our-heads_george-johnson/572819/item/3589928/?gclid=Cj0KCQiAiJSeBhCCARIsAHnAzT-NyFHlqgUK_OySTM5OHSRM3Ic-W9ocGM_kDYtAqd4dUnj8SIp0kecaAuMREALw_wcB#idiq=3589928&edition=1903120 The Emotional Brain by Joseph LeDoux Published September 22, 201We https://www.amazon.com/Emotional-Brain-Mysterious-Underpinnings-Life-ebook/dp/B00AK78PDC/ref=tmm_kin_swatch_0?_encoding=UTF8&qid=&sr=   Who's in Charge by Michael Gazzaniga Published November 15, 2011 https://www.amazon.com/Whos-Charge-Free-Science-Brain-ebook/dp/B005UD1EVG/ref=sr_1_1?gclid=Cj0KCQiAiJSeBhCCARIsAHnAzT_G3h7DHS5KOnaE-oZBRaqInCY5h6x_azxOw6cDettoKFu73XQ2Om0aAvU3EALw_wcB&hvadid=295460754701&hvdev=c&hvlocphy=9030091&hvnetw=g&hvqmt=e&hvrand=9467293520721770679&hvtargid=kwd-564030166002&hydadcr=22594_10348222&keywords=who%27s+in+charge+michael+gazzaniga&qid=1673931510&sr=8-1     REFERENCES: [i] The Archeology of Mind: Neuroevolutionary Origins of Human Emotion by Jaak Panksepp and Lucy Biven Published September 17, 2012 https://www.amazon.com/Archaeology-Mind-Neuroevolutionary-Interpersonal-Neurobiology/dp/0393705315 [ii] A Short-Cut to Understanding Affective Neuroscience by Lucy Biven Published July 6, 2022 https://www.amazon.com/Short-Cut-Understanding-Affective-Neuroscience-ebook/dp/B0B69SSNXV/ref=tmm_kin_swatch_0?_encoding=UTF8&qid=&sr= [iii]Neuroscience Meets Social and Emotional Learning Podcast EPISODE #211 with Dr. Baland Jalal on “Sleep Paralysis”  https://andreasamadi.podbean.com/e/harvard-neuroscientist-drbaland-jalalexplainssleepparalysislucid-dreaming-andpremonitionsexpandingour-awareness-into-the-mysteries-ofourbrainduring-sl/ [iv] What is Consciousness Published on YouTube Sept. 10, 2015 https://www.youtube.com/watch?v=ir8XITVmeY4 TIME STAMP 1:31/12:42 [v] Neuroscience Meets Social and Emotional Learning Podcast EPISODE #28 with Dr. Daniel J Siegel on “Mindsight: The Basis for Social and Emotional Intelligence” https://andreasamadi.podbean.com/e/clinical-professor-of-psychiatry-at-the-ucla-school-of-medicine-dr-daniel-siegel-on-mindsight-the-basis-for-social-and-emotional-intelligence/  

Soaring Covid and seasonal infections like flu and RSV have compounded long-term problems at the NHS. Long wait times for treatment and a chronically understaffed and burned out workforce have raised a contentious debate about whether the U.K. should move away from its single-payer system. Helen Collis talks with Lauren Gardner about what the changes could look like.

“If it ain't broke, don't fix it.” It's a saying you've probably heard before, but today's episode puts a spin on it and places it in the context of mental health: “If it's not ‘wrong,' don't try to fix it as if it is.” Tune in to discover: How and why psychiatric diagnoses have become more like labels that act as consumer brands rather than scientifically-based medical diagnoses The power of labeling and its effect on self-perception and perception of others The definition of meta-emotions and how people experience them How developmental expectations of adolescents and young adults differ between cultures, and the conflict they can create within the person who is held to those expectations The critical difference between ordinary, understandable emotions and clinical conditions perceived as “wrong” and in need of medical treatment Dr. Sami Timimi is a consultant child and adolescent psychiatrist who has worked at National Health Service in the UK his entire working life. He's been involved with several research projects involving mental health and cross-cultural issues, and has contributed to the publication of a dozen books, in addition to many papers and journal articles. He frequently appears in national and international conferences on matters of mental health, and teaches and trains others in his area of expertise. In the early 90s during his medical training, Dr. Timimi completed a placement in child and adolescent psychiatry, a field that at the time saw children and young people as connected to their history and broader environment (e.g., their parents, peer groups, cultural ideas). It was nothing like what he'd seen in general psychiatric wards, which he describes as dominated by a narrow medicalized approach as opposed to a truly therapeutic approach that embraces a broader understanding of how mental health problems are identified, characterized, and addressed. For over two decades now, Dr. Timimi has immersed himself in this field as a practicing child and adolescent psychiatrist. In this episode, he discusses everything from the way cultural and societal expectations and assumptions shape the way we perceive our own experience and the experience of others, to how ideas popularized by many in the psychiatric profession actually contribute to increased rates of distress and feelings of alienation in young adults (especially in the context of the current virus situation). He also explains how certain treatments given for a short-term problem can actually cause it to become a long-term problem.   But it's not all bad. Tune in to learn about some extremely successful models for addressing even the most serious mental issues; chances are, you've never heard of them before. Visit  https://www.madinamerica.com/ for more information and resources. Episode also available on Apple Podcasts: http://apple.co/30PvU9C

Britain's National Health Service is in crisis. Wait times are rising, nurses and paramedics are striking, and doctors are overworked—leading to hundreds of excess deaths each week. We visit the front line: a stretched GP's surgery in Wales. We ask why Germany and Poland love to hate each other. And what America's army is doing to slim down its overweight recruits.For full access to print, digital and audio editions of The Economist, subscribe here www.economist.com/intelligenceoffer Hosted on Acast. See acast.com/privacy for more information.

Britain's National Health Service is in crisis. Wait times are rising, nurses and paramedics are striking, and doctors are overworked—leading to hundreds of excess deaths each week. We visit the front line: a stretched GP's surgery in Wales. We ask why Germany and Poland love to hate each other. And what America's army is doing to slim down its overweight recruits.For full access to print, digital and audio editions of The Economist, subscribe here www.economist.com/intelligenceoffer Hosted on Acast. See acast.com/privacy for more information.

Holistic doctor Lucie Wilk joins me to talk allopathic medicine, functional medicine, the evolutional mismatch, agency, questioning medical authority, lifestyle medicine, Gabor Mate, trauma and medicine, social health, tech, and more. Website: https://momentummedicine.care Lucie Wilk is an author, TEDx speaker, holistic doctor and consultant rheumatologist within the UK's National Health Service. In her holistic and integrative practice, she uses a combination of functional medicine, herbalism, craniosacral therapy and embodied inquiry to help guide people on their pathway to healing. She studied medicine at the University of Ottawa in Canada before qualifying in both Internal Medicine and Rheumatology with the University of British Columbia where she also completed her MFA in creative writing. She worked as a consultant rheumatologist and lupus specialist in Vancouver General Hospital before moving to the UK in 2010 where she has worked in a number of hospital Trusts. Over the years, she has explored the beauty and mystery of the human body through gymnastics, dance, visual art and writing. After struggling through years of hospital medicine, she became deeply disillusioned with the mechanistic allopathic approach which led her back to the body, first through learning energy bodywork and then other forms of embodied trauma therapy. She now understands that true healing can only occur if we answer the body's call and follow our symptoms to the true source of our dis-ease. Other episodes you may enjoy : https://podcasts.apple.com/gb/podcast/the-embodiment-podcast/id1284562064?i=1000585855482 https://podcasts.apple.com/gb/podcast/the-embodiment-podcast/id1284562064?i=1000581777967    

England's National Health Service is reaching its limit, with dramatic impacts on patients. Politicians are being blamed for the lack of funding, but the government answers that shortages are due to a backlog after the pandemic

This episode is brought to you by National Medical Billing Services, the ASC revenue cycle experts. This is a special episode with Ukrainian born and bred orthopedic surgeon, Dr. Vladyslav Kozanchuk with specialties in hip, knee and shoulder arthroplasty. This is one of our most impactful episodes being in the trenches of war in Ukraine. It was a challenge getting Dr. Kozanchuk on for this episode in-between the blackouts and having good cell service to call in. Dr. Kozanchuk showed up to the recording with a smile on his face and immense pride for his country. He says "We won't surrender. Russia won't win. We will win." He discusses the pride for all the soldiers on the front lines and support Ukraine receives globally. Topics include: -On our recording day, there are 267 injured soldiers in the ward with a train of another 100 wounded soldiers coming in later that night. With a curfew from 11p-5a, there are some nights Dr. Kozanchuk doesn't make it home and needs to wait until the curfew is lifted in the morning. In addition to the wounded soldiers, there are ongoing elective surgeries within their National Health Service. - Dr. Kozanchuk provides a shout out to Dr. Kenji Inaba from Keck Medicine and Dr. Gregory Beilman from University of Minnesota for traveling to his hospital and providing their services during the war. Find out more about Dr. Vladyslav Kozanchuk here.

*) US January 6 committee unveils report, says Trump engaged in ‘conspiracy' The US House committee probing the January 6th Capitol Hill riots has released its final report after an 18-month investigation into the insurrection two years ago. The report asserts that former President Donald Trump criminally engaged in a “multi-part conspiracy” to overturn the lawful results of the 2020 presidential election and failed to act to stop his supporters from attacking the Capitol. The panel voted unanimously to adopt the report and refer Trump to the Department of Justice. *) Mali armed groups withdraw from 2015 peace deal A coalition of armed groups in Mali have pulled out of long-running peace talks based on a major 2015 agreement that restored peace after the groups sought to break away from the country. The armed groups said the decision was due to a lack of political will on the part of the country's military government. The coalition said in a statement that it would only come back to the table if talks were held in a neutral country under international mediation. *) Afghan women protest in Kabul against Taliban's university ban A small group of Afghan women have staged a defiant protest in Kabul against a Taliban order banning them from universities. Around two dozen women could be seen raising their hands and chanting slogans as they marched through the streets. The ban announced earlier this week is the latest restriction on human rights in Afghanistan ordered by the Taliban since their return to power in August last year. *) England reports almost a hundred deaths due to scarlet fever England has reported nearly a hundred deaths, including those of 21 children, from scarlet fever and invasive strep A infections. The British government said last week that it was enacting protocols to ease shortages of penicillin medicines used to treat strep A infections. The National Health Service has been under intense pressure this winter, with thousands of ambulance workers in England and Wales walking out over pay on Wednesday, a day after nurses went on strike. *) Black Italian rugby player blasts racism after rotten banana Christmas gift A Black Italian rugby player has accused his teammates of racism after they gave him a rotten banana as a Christmas gift. Cherif Traore said he would no longer stay silent about the racism he has suffered on the club team, and said he was speaking up to ensure such incidents didn't happen again. There have been numerous incidents of Black athletes in Italy suffering racist abuse, including in football and volleyball teams.

Episode 160 of A History of Rock Music in Five Hundred Songs looks at “Flowers in the Rain" by the Move, their transition into ELO, and the career of Roy Wood. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "The Chipmunk Song" by Canned Heat. Tilt Araiza has assisted invaluably by doing a first-pass edit, 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/ Note I say "And on its first broadcast, as George Martin's theme tune for the new station faded, Tony Blackburn reached for a record." -- I should point out that after Martin's theme fades, Blackburn talks over a brief snatch of a piece by Johnny Dankworth. Resources As so many of the episodes recently have had no Mixcloud due to the number of songs by one artist, I've decided to start splitting the mixes of the recordings excerpted in the podcasts into two parts. Here's part one . I had problems uploading part two, but will attempt to get that up shortly. There are not many books about Roy Wood, and I referred to both of the two that seem to exist -- this biography by John van der Kiste, and this album guide by James R Turner.  I also referred to this biography of Jeff Lynne by van der Kiste, The Electric Light Orchestra Story by Bev Bevan, and Mr Big by Don Arden with Mick Wall.  Most of the more comprehensive compilations of the Move's material are out of print, but this single-CD-plus-DVD anthology is the best compilation that's in print. This is the one collection of Wood's solo and Wizzard hits that seems currently in print, and for those who want to investigate further, this cheap box set has the last Move album, the first ELO album, the first Wizzard album, Wood's solo Boulders, and a later Wood solo album, for the price of a single CD. Transcript Before I start, a brief note. This episode deals with organised crime, and so contains some mild descriptions of violence, and also has some mention of mental illness and drug use, though not much of any of those things. And it's probably also important to warn people that towards the end there's some Christmas music, including excerpts of a song that is inescapable at this time of year in the UK, so those who work in retail environments and the like may want to listen to this later, at a point when they're not totally sick of hearing Christmas records. Most of the time, the identity of the party in government doesn't make that much of a difference to people's everyday lives.  At least in Britain, there tends to be a consensus ideology within the limits of which governments of both main parties tend to work. They will make a difference at the margins, and be more or less competent, and more or less conservative or left-wing, more or less liberal or authoritarian, but life will, broadly speaking, continue along much as before for most people. Some will be a little better or worse off, but in general steering the ship of state is a matter of a lot of tiny incremental changes, not of sudden u-turns. But there have been a handful of governments that have made big, noticeable, changes to the structure of society, reforms that for better or worse affect the lives of every person in the country. Since the end of the Second World War there have been two UK governments that made economic changes of this nature. The Labour government under Clement Atlee which came into power in 1945, and which dramatically expanded the welfare state, introduced the National Health Service, and nationalised huge swathes of major industries, created the post-war social democratic consensus which would be kept to with only minor changes by successive governments of both major parties for decades. The next government to make changes to the economy of such a radical nature was the Conservative government which came to power under Margaret Thatcher in 1979, which started the process of unravelling that social democratic consensus and replacing it with a far more hypercapitalist economic paradigm, which would last for the next several decades. It's entirely possible that the current Conservative government, in leaving the EU, has made a similarly huge change, but we won't know that until we have enough distance from the event to know what long-term changes it's caused. Those are economic changes. Arguably at least as impactful was the Labour government led by Harold Wilson that came to power in 1964, which did not do much to alter the economic consensus, but revolutionised the social order at least as much. Largely because of the influence of Roy Jenkins, the Home Secretary for much of that time, between 1964 and the end of the sixties, Britain abolished the death penalty for murder, decriminalised some sex acts between men in private, abolished corporal punishment in prisons, legalised abortion in certain circumstances, and got rid of censorship in the theatre. They also vastly increased spending on education, and made many other changes. By the end of their term, Britain had gone from being a country with laws reflecting a largely conservative, authoritarian, worldview to one whose laws were some of the most liberal in Europe, and society had started changing to match. There were exceptions, though, and that government did make some changes that were illiberal. They brought in increased restrictions on immigration, starting a worrying trend that continues to this day of governments getting ever crueler to immigrants, and they added LSD to the list of illegal drugs. And they brought in the Marine Broadcasting Offences Act, banning the pirate stations. We've mentioned pirate radio stations very briefly, but never properly explained them. In Britain, at this point, there was a legal monopoly on broadcasting. Only the BBC could run a radio station in the UK, and thanks to agreements with the Musicians' Union, the BBC could only play a very small amount of recorded music, with everything else having to be live performances or spoken word. And because it had a legal obligation to provide something for everyone, that meant the tiny amount of recorded music that was played on the radio had to cover all genres, meaning that even while Britain was going through the most important changes in its musical history, pop records were limited to an hour or two a week on British radio. Obviously, that wasn't going to last while there was money to be made, and the record companies in particular wanted to have somewhere to showcase their latest releases. At the start of the sixties, Radio Luxembourg had become popular, broadcasting from continental Europe but largely playing shows that had been pre-recorded in London. But of course, that was far enough away that it made listening to the transmissions difficult. But a solution presented itself: [Excerpt: The Fortunes, "Caroline"] Radio Caroline still continues to this day, largely as an Internet-based radio station, but in the mid-sixties it was something rather different. It was one of a handful of radio stations -- the pirate stations -- that broadcast from ships in international waters. The ships would stay three miles off the coast of Britain, close enough for their broadcasts to be clearly heard in much of the country, but outside Britain's territorial waters. They soon became hugely popular, with Radio Caroline and Radio London the two most popular, and introduced DJs like Tony Blackburn, Dave Lee Travis, Kenny Everett, and John Peel to the airwaves of Britain. The stations ran on bribery and advertising, and if you wanted a record to get into the charts one of the things you had to do was bribe one of the big pirate stations to playlist it, and with this corruption came violence, which came to a head when as we heard in the episode on “Here Comes the Night”, in 1966 Major Oliver Smedley, a failed right-wing politician and one of the directors of Radio Caroline, got a gang of people to board an abandoned sea fort from which a rival station was broadcasting and retrieve some equipment he claimed belonged to him. The next day, Reginald Calvert, the owner of the rival station, went to Smedley's home to confront him, and Smedley shot him dead, claiming self-defence. The jury in Smedley's subsequent trial took only a minute to find him not guilty and award him two hundred and fifty guineas to cover his costs. This was the last straw for the government, which was already concerned that the pirates' transmitters were interfering with emergency services transmissions, and that proper royalties weren't being paid for the music broadcast (though since much of the music was only on there because of payola, this seems a little bit of a moot point).  They introduced legislation which banned anyone in the UK from supplying the pirate ships with records or other supplies, or advertising on the stations. They couldn't do anything about the ships themselves, because they were outside British jurisdiction, but they could make sure that nobody could associate with them while remaining in the UK. The BBC was to regain its monopoly (though in later years some commercial radio stations were allowed to operate). But as well as the stick, they needed the carrot. The pirate stations *had* been filling a real need, and the biggest of them were getting millions of listeners every day. So the arrangements with the Musicians' Union and the record labels were changed, and certain BBC stations were now allowed to play a lot more recorded music per day. I haven't been able to find accurate figures anywhere -- a lot of these things were confidential agreements -- but it seems to have been that the so-called "needle time" rules were substantially relaxed, allowing the BBC to separate what had previously been the Light Programme -- a single radio station that played all kinds of popular music, much of it live performances -- into two radio stations that were each allowed to play as much as twelve hours of recorded music per day, which along with live performances and between-track commentary from DJs was enough to allow a full broadcast schedule. One of these stations, Radio 2, was aimed at older listeners, and to start with mostly had programmes of what we would now refer to as Muzak, mixed in with the pop music of an older generation -- crooners and performers like Englebert Humperdinck. But another, Radio 1, was aimed at a younger audience and explicitly modelled on the pirate stations, and featured many of the DJs who had made their names on those stations. And on its first broadcast, as George Martin's theme tune for the new station faded, Tony Blackburn reached for a record. At different times Blackburn has said either that he was just desperately reaching for whatever record came to hand or that he made a deliberate choice because the record he chose had such a striking opening that it would be the perfect way to start a new station: [Excerpt: Tony Blackburn first radio show into "Flowers in the Rain" by the Move] You may remember me talking in the episode on "Here Comes the Night" about how in 1964 Dick Rowe of Decca, the manager Larry Page, and the publicist and co-owner of Radio Caroline Phil Solomon were all trying to promote something called Brumbeat as the answer to Merseybeat – Brummies, for those who don't know, are people from Birmingham. Brumbeat never took off the way Merseybeat did, but several bands did get a chance to make records, among them Gerry Levene and the Avengers: [Excerpt: Gerry Levene and the Avengers, "Dr. Feelgood"] That was the only single the Avengers made, and the B-side wasn't even them playing, but a bunch of session musicians under the direction of Bert Berns, and the group split up soon afterwards, but several of the members would go on to have rather important careers. According to some sources, one of their early drummers was John Bohnam, who you can be pretty sure will be turning up later in the story, while the drummer on that track was Graeme Edge, who would later go on to co-found the Moody Blues.  But today it's the guitarist we'll be looking at. Roy Wood had started playing music when he was very young -- he'd had drum lessons when he was five years old, the only formal musical tuition he ever had, and he'd played harmonica around working men's clubs as a kid. And as a small child he'd loved classical music, particularly Tchaikovsky and Elgar. But it wasn't until he was twelve that he decided that he wanted to be a guitarist. He went to see the Shadows play live, and was inspired by the sound of Hank Marvin's guitar, which he later described as sounding "like it had been dipped in Dettol or something": [Excerpt: The Shadows, "Apache"] He started begging his parents for a guitar, and got one for his thirteenth birthday -- and by the time he was fourteen he was already in a band, the Falcons, whose members were otherwise eighteen to twenty years old, but who needed a lead guitarist who could play like Marvin. Wood had picked up the guitar almost preternaturally quickly, as he would later pick up every instrument he turned his hand to, and he'd also got the equipment. His friend Jeff Lynne later said "I first saw Roy playing in a church hall in Birmingham and I think his group was called the Falcons. And I could tell he was dead posh because he had a Fender Stratocaster and a Vox AC30 amplifier. The business at the time. I mean, if you've got those, that's it, you're made." It was in the Falcons that Wood had first started trying to write songs, at first instrumentals in the style of the Shadows, but then after the Beatles hit the charts he realised it was possible for band members to write their own material, and started hesitantly trying to write a few actual songs. Wood had moved on from the Falcons to Gerry Levene's band, one of the biggest local bands in Birmingham, when he was sixteen, which is also when he left formal education, dropping out from art school -- he's later said that he wasn't expelled as such, but that he and the school came to a mutual agreement that he wouldn't go back there. And when Gerry Levene and the Avengers fell apart after their one chance at success hadn't worked out, he moved on again to an even bigger band. Mike Sheridan and the Night Riders had had two singles out already, both produced by Cliff Richard's producer Norrie Paramor, and while they hadn't charted they were clearly going places. They needed a new guitarist, and Wood was by far the best of the dozen or so people who auditioned, even though Sheridan was very hesitant at first -- the Night Riders were playing cabaret, and all dressed smartly at all times, and this sixteen-year-old guitarist had turned up wearing clothes made by his sister and ludicrous pointy shoes. He was the odd man out, but he was so good that none of the other players could hold a candle to him, and he was in the Night Riders by the time of their third single, "What a Sweet Thing That Was": [Excerpt: Mike Sheridan and the Night Riders, "What a Sweet Thing That Was"] Sheridan later said "Roy was and still is, in my opinion, an unbelievable talent. As stubborn as a mule and a complete extrovert. Roy changed the group by getting us into harmonies and made us realize there was better material around with more than three chords to play. This was our turning point and we became a group's group and a bigger name." -- though there are few other people who would describe Wood as extroverted, most people describing him as painfully shy off-stage. "What a  Sweet Thing That Was" didn't have any success, and nor did its follow-up, "Here I Stand", which came out in January 1965. But by that point, Wood had got enough of a reputation that he was already starting to guest on records by other bands on the Birmingham scene, like "Pretty Things" by Danny King and the Mayfair Set: [Excerpt: Danny King and the Mayfair Set, "Pretty Things"] After their fourth single was a flop, Mike Sheridan and the Night Riders changed their name to Mike Sheridan's Lot, and the B-side of their first single under the new name was a Roy Wood song, the first time one of his songs was recorded. Unfortunately the song, modelled on "It's Not Unusual" by Tom Jones, didn't come off very well, and Sheridan blamed himself for what everyone was agreed was a lousy sounding record: [Excerpt: Mike Sheridan's Lot, "Make Them Understand"] Mike Sheridan's Lot put out one final single, but the writing was on the wall for the group. Wood left, and soon after so did Sheridan himself. The remaining members regrouped under the name The Idle Race, with Wood's friend Jeff Lynne as their new singer and guitarist. But Wood wouldn't remain without a band for long. He'd recently started hanging out with another band, Carl Wayne and the Vikings, who had also released a couple of singles, on Pye: [Excerpt: Carl Wayne and the Vikings, "What's the Matter Baby"] But like almost every band from Birmingham up to this point, the Vikings' records had done very little, and their drummer had quit, and been replaced by Bev Bevan, who had been in yet another band that had gone nowhere, Denny Laine and the Diplomats, who had released one single under the name of their lead singer Nicky James, featuring the Breakaways, the girl group who would later sing on "Hey Joe", on backing vocals: [Excerpt: Nicky James, "My Colour is Blue"] Bevan had joined Carl Wayne's group, and they'd recorded one track together, a cover version of "My Girl", which was only released in the US, and which sank without a trace: [Excerpt: Carl Wayne and the Vikings, "My Girl"] It was around this time that Wood started hanging around with the Vikings, and they would all complain about how if you were playing the Birmingham circuit you were stuck just playing cover versions, and couldn't do anything more interesting.  They were also becoming more acutely aware of how successful they *could* have been, because one of the Brumbeat bands had become really big. The Moody Blues, a supergroup of players from the best bands in Birmingham who featured Bev Bevan's old bandmate Denny Laine and Wood's old colleague Graeme Edge, had just hit number one with their version of "Go Now": [Excerpt: The Moody Blues, "Go Now"] So they knew the potential for success was there, but they were all feeling trapped. But then Ace Kefford, the bass player for the Vikings, went to see Davy Jones and the Lower Third playing a gig: [Excerpt: Davy Jones and the Lower Third, "You've Got a Habit of Leaving"] Also at the gig was Trevor Burton, the guitarist for Danny King and the Mayfair Set. The two of them got chatting to Davy Jones after the gig, and eventually the future David Bowie told them that the two of them should form their own band if they were feeling constricted in their current groups. They decided to do just that, and they persuaded Carl Wayne from Kefford's band to join them, and got in Wood.  Now they just needed a drummer. Their first choice was John Bonham, the former drummer for Gerry Levene and the Avengers who was now drumming in a band with Kefford's uncle and Nicky James from the Diplomats. But Bonham and Wayne didn't get on, and so Bonham decided to remain in the group he was in, and instead they turned to Bev Bevan, the Vikings' new drummer.  (Of the other two members of the Vikings, one went on to join Mike Sheridan's Lot in place of Wood, before leaving at the same time as Sheridan and being replaced by Lynne, while the other went on to join Mike Sheridan's New Lot, the group Sheridan formed after leaving his old group. The Birmingham beat group scene seems to have only had about as many people as there were bands, with everyone ending up a member of twenty different groups). The new group called themselves the Move, because they were all moving on from other groups, and it was a big move for all of them. Many people advised them not to get together, saying they were better off where they were, or taking on offers they'd got from more successful groups -- Carl Wayne had had an offer from a group called the Spectres, who would later become famous as Status Quo, while Wood had been tempted by Tony Rivers and the Castaways, a group who at the time were signed to Immediate Records, and who did Beach Boys soundalikes and covers: [Excerpt: Tony Rivers and the Castaways, "Girl Don't Tell Me"] Wood was a huge fan of the Beach Boys and would have fit in with Rivers, but decided he'd rather try something truly new. After their first gig, most of the people who had warned against the group changed their minds. Bevan's best friend, Bobby Davis, told Bevan that while he'd disliked all the other groups Bevan had played in, he liked this one. (Davis would later become a famous comedian, and have a top five single himself in the seventies, produced by Jeff Lynne and with Bevan on the drums, under his stage name Jasper Carrott): [Excerpt: Jasper Carrott, "Funky Moped"] Most of their early sets were cover versions, usually of soul and Motown songs, but reworked in the group's unique style. All five of the band could sing, four of them well enough to be lead vocalists in their own right (Bevan would add occasional harmonies or sing novelty numbers) and so they became known for their harmonies -- Wood talked at the time about how he wanted the band to have Beach Boys harmonies but over instruments that sounded like the Who. And while they were mostly doing cover versions live, Wood was busily writing songs. Their first recording session was for local radio, and at that session they did cover versions of songs by Brenda Lee, the Isley Brothers, the Orlons, the Marvelettes, and Betty Everett, but they also performed four songs written by Wood, with each member of the front line taking a lead vocal, like this one with Kefford singing: [Excerpt: The Move, "You're the One I Need"] The group were soon signed by Tony Secunda, the manager of the Moody Blues, who set about trying to get the group as much publicity as possible. While Carl Wayne, as the only member who didn't play an instrument, ended up the lead singer on most of the group's early records, Secunda started promoting Kefford, who was younger and more conventionally attractive than Wayne, and who had originally put the group together, as the face of the group, while Wood was doing most of the heavy lifting with the music. Wood quickly came to dislike performing live, and to wish he could take the same option as Brian Wilson and stay home and write songs and make records while the other four went out and performed, so Kefford and Wayne taking the spotlight from him didn't bother him at the time, but it set the group up for constant conflicts about who was actually the leader of the group. Wood was also uncomfortable with the image that Secunda set up for the group. Secunda decided that the group needed to be promoted as "bad boys", and so he got them to dress up as 1930s gangsters, and got them to do things like smash busts of Hitler, or the Rhodesian dictator Ian Smith, on stage. He got them to smash TVs on stage too, and in one publicity stunt he got them to smash up a car, while strippers took their clothes off nearby -- claiming that this was to show that people were more interested in violence than in sex. Wood, who was a very quiet, unassuming, introvert, didn't like this sort of thing, but went along with it. Secunda got the group a regular slot at the Marquee club, which lasted several months until, in one of Secunda's ideas for publicity, Carl Wayne let off smoke bombs on stage which set fire to the stage. The manager came up to try to stop the fire, and Wayne tossed the manager's wig into the flames, and the group were banned from the club (though the ban was later lifted). In another publicity stunt, at the time of the 1966 General Election, the group were photographed with "Vote Tory" posters, and issued an invitation to Edward Heath, the leader of the Conservative Party and a keen amateur musician, to join them on stage on keyboards. Sir Edward didn't respond to the invitation. All this publicity led to record company interest. Joe Boyd tried to sign the group to Elektra Records, but much as with The Pink Floyd around the same time, Jac Holzman wasn't interested. Instead they signed with a new production company set up by Denny Cordell, the producer of the Moody Blues' hits. The contract they signed was written on the back of a nude model, as yet another of Secunda's publicity schemes. The group's first single, "Night of Fear" was written by Wood and an early sign of his interest in incorporating classical music into rock: [Excerpt: The Move, "Night of Fear"] Secunda claimed in the publicity that that song was inspired by taking bad acid and having a bad trip, but in truth Wood was more inspired by brown ale than by brown acid -- he and Bev Bevan would never do any drugs other than alcohol. Wayne did take acid once, but didn't like it, though Burton and Kefford would become regular users of most drugs that were going. In truth, the song was not about anything more than being woken up in the middle of the night by an unexpected sound and then being unable to get back to sleep because you're scared of what might be out there. The track reached number two on the charts in the UK, being kept off the top by "I'm a Believer" by the Monkees, and was soon followed up by another song which again led to assumptions of drug use. "I Can Hear the Grass Grow" wasn't about grass the substance, but was inspired by a letter to Health and Efficiency, a magazine which claimed to be about the nudist lifestyle as an excuse for printing photos of naked people at a time before pornography laws were liberalised. The letter was from a reader saying that he listened to pop music on the radio because "where I live it's so quiet I can hear the grass grow!" Wood took that line and turned it into the group's next single, which reached number five: [Excerpt: The Move, "I Can Hear the Grass Grow"] Shortly after that, the group played two big gigs at Alexandra Palace. The first was the Fourteen-Hour Technicolor Dream, which we talked about in the Pink Floyd episode. There Wood had one of the biggest thrills of his life when he walked past John Lennon, who saluted him and then turned to a friend and said "He's brilliant!" -- in the seventies Lennon would talk about how Wood was one of his two favourite British songwriters, and would call the Move "the Hollies with balls". The other gig they played at Alexandra Palace was a "Free the Pirates" benefit show, sponsored by Radio Caroline, to protest the imposition of the Marine Broadcasting (Offences) Act.  Despite that, it was, of course, the group's next single that was the first one to be played on Radio One. And that single was also the one which kickstarted Roy Wood's musical ambitions.  The catalyst for this was Tony Visconti. Visconti was a twenty-three-year-old American who had been in the music business since he was sixteen, working the typical kind of jobs that working musicians do, like being for a time a member of a latter-day incarnation of the Crew-Cuts, the white vocal group who had had hits in the fifties with covers of "Sh'Boom" and “Earth Angel”. He'd also recorded two singles as a duo with his wife Siegrid, which had gone nowhere: [Excerpt: Tony and Siegrid, "Up Here"] Visconti had been working for the Richmond Organisation as a staff songwriter when he'd met the Move's producer Denny Cordell. Cordell was in the US to promote a new single he had released with a group called Procol Harum, "A Whiter Shade of Pale", and Visconti became the first American to hear the record, which of course soon became a massive hit: [Excerpt: Procol Harum, "A Whiter Shade of Pale"] While he was in New York, Cordell also wanted to record a backing track for one of his other hit acts, Georgie Fame. He told Visconti that he'd booked several of the best session players around, like the jazz trumpet legend Clark Terry, and thought it would be a fun session. Visconti asked to look at the charts for the song, out of professional interest, and Cordell was confused -- what charts? The musicians would just make up an arrangement, wouldn't they? Visconti asked what he was talking about, and Cordell talked about how you made records -- you just got the musicians to come into the studio, hung around while they smoked a few joints and worked out what they were going to play, and then got on with it. It wouldn't take more than about twelve hours to get a single recorded that way. Visconti was horrified, and explained that that might be how they did things in London, but if Cordell tried to make a record that way in New York, with an eight-piece group of session musicians who charged union scale, and would charge double scale for arranging work on top, then he'd bankrupt himself. Cordell went pale and said that the session was in an hour, what was he going to do? Luckily, Cordell had a copy of the demo with him, and Visconti, who unlike Cordell was a trained musician, quickly sat down and wrote an arrangement for him, sketching out parts for guitar, bass, drums, piano, sax, and trumpets. The resulting arrangement wasn't perfect -- Visconti had to write the whole thing in less than an hour with no piano to hand -- but it was good enough that Cordell's production assistant on the track, Harvey Brooks of the group Electric Flag, who also played bass on the track, could tweak it in the studio, and the track was recorded quickly, saving Cordell a fortune: [Excerpt: Georgie Fame, "Because I Love You"] One of the other reasons Cordell had been in the US was that he was looking for a production assistant to work with him in the UK to help translate his ideas into language the musicians could understand. According to Visconti he said that he was going to try asking Phil Spector to be his assistant, and Artie Butler if Spector said no.  Astonishingly, assuming he did ask them, neither Phil Spector nor Artie Butler (who was the arranger for records like "Leader of the Pack" and "I'm a Believer" among many, many, others, and who around this time was the one who suggested to Louis Armstrong that he should record "What a Wonderful World") wanted to fly over to the UK to work as Denny Cordell's assistant, and so Cordell turned back to Visconti and invited him to come over to the UK. The main reason Cordell needed an assistant was that he had too much work on his hands -- he was currently in the middle of recording albums for three major hit groups -- Procol Harum, The Move, and Manfred Mann -- and he physically couldn't be in multiple studios at once. Visconti's first work for him was on a Manfred Mann session, where they were recording the Randy Newman song "So Long Dad" for their next single. Cordell produced the rhythm track then left for a Procol Harum session, leaving Visconti to guide the group through the overdubs, including all the vocal parts and the lead instruments: [Excerpt: Manfred Mann, "So Long Dad"] The next Move single, "Flowers in the Rain", was the first one to benefit from Visconti's arrangement ideas. The band had recorded the track, and Cordell had been unhappy with both the song and performance, thinking it was very weak compared to their earlier singles -- not the first time that Cordell would have a difference of opinion with the band, who he thought of as a mediocre pop group, while they thought of themselves as a heavy rock band who were being neutered in the studio by their producer.  In particular, Cordell didn't like that the band fell slightly out of time in the middle eight of the track. He decided to scrap it, and get the band to record something else. Visconti, though, thought the track could be saved. He told Cordell that what they needed to do was to beat the Beatles, by using a combination of instruments they hadn't thought of. He scored for a quartet of wind instruments -- oboe, flute, clarinet, and French horn, in imitation of Mendelssohn: [Excerpt: The Move, "Flowers in the Rain"] And then, to cover up the slight sloppiness on the middle eight, Visconti had the wind instruments on that section recorded at half speed, so when played back at normal speed they'd sound like pixies and distract from the rhythm section: [Excerpt: The Move, "Flowers in the Rain"] Visconti's instincts were right. The single went to number two, kept off the top spot by Englebert Humperdinck, who spent 1967 keeping pretty much every major British band off number one, and thanks in part to it being the first track played on Radio 1, but also because it was one of the biggest hits of 1967, it's been the single of the Move's that's had the most airplay over the years. Unfortunately, none of the band ever saw a penny in royalties from it. It was because of another of Tony Secunda's bright ideas. Harold Wilson, the Prime Minister at the time, was very close to his advisor Marcia Williams, who started out as his secretary, rose to be his main political advisor, and ended up being elevated to the peerage as Baroness Falkender. There were many, many rumours that Williams was corrupt -- rumours that were squashed by both Wilson and Williams frequently issuing libel writs against newspapers that mentioned them -- though it later turned out that at least some of these were the work of Britain's security services, who believed Wilson to be working for the KGB (and indeed Williams had first met Wilson at a dinner with Khrushchev, though Wilson was very much not a Communist) and were trying to destabilise his government as a result. Their personal closeness also led to persistent rumours that Wilson and Williams were having an affair. And Tony Secunda decided that the best way to promote "Flowers in the Rain" was to print a postcard with a cartoon of Wilson and Williams on it, and send it out. Including sticking a copy through the door of ten Downing St, the Prime Minister's official residence. This backfired *spectacularly*. Wilson sued the Move for libel, even though none of them had known of their manager's plans, and as a result of the settlement it became illegal for any publication to print the offending image (though it can easily be found on the Internet now of course), everyone involved with the record was placed under a permanent legal injunction to never discuss the details of the case, and every penny in performance or songwriting royalties the track earned would go to charities of Harold Wilson's choice. In the 1990s newspaper reports said that the group had up to that point lost out on two hundred thousand pounds in royalties as a result of Secunda's stunt, and given the track's status as a perennial favourite, it's likely they've missed out on a similar amount in the decades since. Incidentally, while every member of the band was banned from ever describing the postcard, I'm not, and since Wilson and Williams are now both dead it's unlikely they'll ever sue me. The postcard is a cartoon in the style of Aubrey Beardsley, and shows Wilson as a grotesque naked homunculus sat on a bed, with Williams naked save for a diaphonous nightgown through which can clearly be seen her breasts and genitals, wearing a Marie Antoinette style wig and eyemask and holding a fan coquettishly, while Wilson's wife peers at them through a gap in the curtains. The text reads "Disgusting Depraved Despicable, though Harold maybe is the only way to describe "Flowers in the Rain" The Move, released Aug 23" The stunt caused huge animosity between the group and Secunda, not only because of the money they lost but also because despite Secunda's attempts to associate them with the Conservative party the previous year, Ace Kefford was upset at an attack on the Labour leader -- his grandfather was a lifelong member of the Labour party and Kefford didn't like the idea of upsetting him. The record also had a knock-on effect on another band. Wood had given the song "Here We Go Round the Lemon Tree" to his friends in The Idle Race, the band that had previously been Mike Sheridan and the Night Riders, and they'd planned to use their version as their first single: [Excerpt: The Idle Race, "Here We Go Round the Lemon Tree"] But the Move had also used the song as the B-side for their own single, and "Flowers in the Rain" was so popular that the B-side also got a lot of airplay. The Idle Race didn't want to be thought of as a covers act, and so "Lemon Tree" was pulled at the last minute and replaced by "Impostors of Life's Magazine", by the group's guitarist Jeff Lynne: [Excerpt: The Idle Race, "Impostors of Life's Magazine"] Before the problems arose, the Move had been working on another single. The A-side, "Cherry Blossom Clinic", was a song about being in a psychiatric hospital, and again had an arrangement by Visconti, who this time conducted a twelve-piece string section: [Excerpt: The Move, "Cherry Blossom Clinic"] The B-side, meanwhile, was a rocker about politics: [Excerpt: The Move, "Vote For Me"] Given the amount of controversy they'd caused, the idea of a song about mental illness backed with one about politics seemed a bad idea, and so "Cherry Blossom Clinic" was kept back as an album track while "Vote For Me" was left unreleased until future compilations. The first Wood knew about "Cherry Blossom Clinic" not being released was when after a gig in London someone -- different sources have it as Carl Wayne or Tony Secunda -- told him that they had a recording session the next morning for their next single and asked what song he planned on recording. When he said he didn't have one, he was sent up to his hotel room with a bottle of Scotch and told not to come down until he had a new song. He had one by 8:30 the next morning, and was so drunk and tired that he had to be held upright by his bandmates in the studio while singing his lead vocal on the track. The song was inspired by "Somethin' Else", a track by Eddie Cochran, one of Wood's idols: [Excerpt: Eddie Cochran, "Somethin' Else"] Wood took the bass riff from that and used it as the basis for what was the Move's most straight-ahead rock track to date. As 1967 was turning into 1968, almost universally every band was going back to basics, recording stripped down rock and roll tracks, and the Move were no exception. Early takes of "Fire Brigade" featured Matthew Fisher of Procol Harum on piano, but the final version featured just guitar, bass, drums and vocals, plus a few sound effects: [Excerpt: The Move, "Fire Brigade"] While Carl Wayne had sung lead or co-lead on all the Move's previous singles, he was slowly being relegated into the background, and for this one Wood takes the lead vocal on everything except the brief bridge, which Wayne sings: [Excerpt: The Move, "Fire Brigade"] The track went to number three, and while it's not as well-remembered as a couple of other Move singles, it was one of the most influential. Glen Matlock of the Sex Pistols has often said that the riff for "God Save the Queen" is inspired by "Fire Brigade": [Excerpt: The Sex Pistols, "God Save the Queen"] The reversion to a heavier style of rock on "Fire Brigade" was largely inspired by the group's new friend Jimi Hendrix. The group had gone on a package tour with The Pink Floyd (who were at the bottom of the bill), Amen Corner, The Nice, and the Jimi Hendrix Experience, and had become good friends with Hendrix, often jamming with him backstage. Burton and Kefford had become so enamoured of Hendrix that they'd both permed their hair in imitation of his Afro, though Burton regretted it -- his hair started falling out in huge chunks as a result of the perm, and it took him a full two years to grow it out and back into a more natural style. Burton had started sharing a flat with Noel Redding of the Jimi Hendrix Experience, and Burton and Wood had also sung backing vocals with Graham Nash of the Hollies on Hendrix's "You Got Me Floatin'", from his Axis: Bold as Love album: [Excerpt: The Jimi Hendrix Experience, "You Got Me Floatin'"] In early 1968, the group's first album came out. In retrospect it's arguably their best, but at the time it felt a little dated -- it was a compilation of tracks recorded between late 1966 and late 1967, and by early 1968 that might as well have been the nineteenth century. The album included their two most recent singles, a few more songs arranged by Visconti, and three cover versions -- versions of Eddie Cochran's "Weekend", Moby Grape's "Hey Grandma", and the old standard "Zing! Went the Strings of My Heart", done copying the Coasters' arrangement with Bev Bevan taking a rare lead vocal. By this time there was a lot of dissatisfaction among the group. Most vocal -- or least vocal, because by this point he was no longer speaking to any of the other members, had been Ace Kefford. Kefford felt he was being sidelined in a band he'd formed and where he was the designated face of the group. He'd tried writing songs, but the only one he'd brought to the group, "William Chalker's Time Machine", had been rejected, and was eventually recorded by a group called The Lemon Tree, whose recording of it was co-produced by Burton and Andy Fairweather-Low of Amen Corner: [Excerpt: The Lemon Tree, "William Chalker's Time Machine"] He was also, though the rest of the group didn't realise it at the time, in the middle of a mental breakdown, which he later attributed to his overuse of acid. By the time the album, titled Move, came out, he'd quit the group. He formed a new group, The Ace Kefford Stand, with Cozy Powell on drums, and they released one single, a cover version of the Yardbirds' "For Your Love", which didn't chart: [Excerpt: The Ace Kefford Stand, "For Your Love"] Kefford recorded a solo album in 1968, but it wasn't released until an archival release in 2003, and he spent most of the next few decades dealing with mental health problems. The group continued on as a four-piece, with Burton moving over to bass. While they thought about what to do -- they were unhappy with Secunda's management, and with the sound that Cordell was getting from their recordings, which they considered far wimpier than their live sound -- they released a live EP of cover versions, recorded at the Marquee. The choice of songs for the EP showed their range of musical influences at the time, going from fifties rockabilly to the burgeoning progressive rock scene, with versions of Cochran's "Somethin' Else", Jerry Lee Lewis' "It'll Be Me", "So You Want to Be a Rock and Roll Star" by the Byrds, "Sunshine Help Me" by Spooky Tooth, and "Stephanie Knows Who" by Love: [Excerpt: The Move, "Stephanie Knows Who"] Incidentally, later that year they headlined a gig at the Royal Albert Hall with the Byrds as the support act, and Gram Parsons, who by that time was playing guitar for the Byrds, said that the Move did "So You Want to Be a Rock and Roll Star" better than the Byrds did. The EP, titled "Something Else From the Move", didn't do well commercially, but it did do something that the band thought important -- Trevor Burton in particular had been complaining that Denny Cordell's productions "took the toughness out" of the band's sound, and was worried that the group were being perceived as a pop band, not as a rock group like his friends in the Jimi Hendrix Experience or Cream. There was an increasing tension between Burton, who wanted to be a heavy rocker, and the older Wayne, who thought there was nothing at all wrong with being a pop band. The next single, "Wild Tiger Woman", was much more in the direction that Burton wanted their music to go. It was ostensibly produced by Cordell, but for the most part he left it to the band, and as a result it ended up as a much heavier track than normal. Roy Wood had only intended the song as an album track, and Bevan and Wayne were hesitant about it being a single, but Burton was insistent -- "Wild Tiger Woman" was going to be the group's first number one record: [Excerpt: The Move, "Wild Tiger Woman"] In fact, it turned out to be the group's first single not to chart at all, after four top ten singles in a row.  The group were now in crisis. They'd lost Ace Kefford, Burton and Wayne were at odds, and they were no longer guaranteed hitmakers. They decided to stop working with Cordell and Secunda, and made a commitment that if the next single was a flop, they would split up. In any case, Roy Wood was already thinking about another project. Even though the group's recent records had gone in a guitar-rock direction, he thought maybe you could do something more interesting. Ever since seeing Tony Visconti conduct orchestral instruments playing his music, he'd been thinking about it. As he later put it "I thought 'Well, wouldn't it be great to get a band together, and rather than advertising for a guitarist how about advertising for a cellist or a French horn player or something? There must be lots of young musicians around who play the... instruments that would like to play in a rock kind of band.' That was the start of it, it really was, and I think after those tracks had been recorded with Tony doing the orchestral arrangement, that's when I started to get bored with the Move, with the band, because I thought 'there's something more to it'". He'd started sketching out plans for an expanded lineup of the group, drawing pictures of what it would look like on stage if Carl Wayne was playing timpani while there were cello and French horn players on stage with them. He'd even come up with a name for the new group -- a multi-layered pun. The group would be a light orchestra, like the BBC Light Orchestra, but they would be playing electrical instruments, and also they would have a light show when they performed live, and so he thought "the Electric Light Orchestra" would be a good name for such a group. The other band members thought this was a daft idea, but Wood kept on plotting. But in the meantime, the group needed some new management. The person they chose was Don Arden. We talked about Arden quite a bit in the last episode, but he's someone who is going to turn up a lot in future episodes, and so it's best if I give a little bit more background about him. Arden was a manager of the old school, and like several of the older people in the music business at the time, like Dick James or Larry Page, he had started out as a performer, doing an Al Jolson tribute act, and he was absolutely steeped in showbusiness -- his wife had been a circus contortionist before they got married, and when he moved from Manchester to London their first home had been owned by Winifred Atwell, a boogie piano player who became the first Black person to have a UK number one -- and who is *still* the only female solo instrumentalist to have a UK number one -- with her 1954 hit "Let's Have Another Party": [Excerpt: WInifred Atwell, "Let's Have Another Party"] That was only Atwell's biggest in a long line of hits, and she'd put all her royalties into buying properties in London, one of which became the Ardens' home. Arden had been considered quite a promising singer, and had made a few records in the early 1950s. His first recordings, of material in Yiddish aimed at the Jewish market, are sadly not findable online, but he also apparently recorded as a session singer for Embassy Records. I can't find a reliable source for what records he sang on for that label, which put out budget rerecordings of hits for sale exclusively through Woolworths, but according to Wikipedia one of them was Embassy's version of "Blue Suede Shoes", put out under the group name "The Canadians", and the lead vocal on that track certainly sounds like it could be him: [Excerpt: The Canadians, "Blue Suede Shoes"] As you can tell, rock and roll didn't really suit Arden's style, and he wisely decided to get out of performance and into behind-the-scenes work, though he would still try on occasion to make records of his own -- an acetate exists from 1967 of him singing "Sunrise, Sunset": [Excerpt: Don Arden, "Sunrise, Sunset"] But he'd moved first into promotion -- he'd been the promoter who had put together tours of the UK for Gene Vincent, Little Richard, Brenda Lee and others which we mentioned in the second year of the podcast -- and then into management. He'd first come into management with the Animals -- apparently acting at that point as the money man for Mike Jeffries, who was the manager the group themselves dealt with. According to Arden -- though his story differs from the version of the story told by others involved -- the group at some point ditched Arden for Allen Klein, and when they did, Arden's assistant Peter Grant, another person we'll be hearing a lot more of, went with them.  Arden, by his own account, flew over to see Klein and threatened to throw him out of the window of his office, which was several stories up. This was a threat he regularly made to people he believed had crossed him -- he made a similar threat to one of the Nashville Teens, the first group he managed after the Animals, after the musician asked what was happening to the group's money. And as we heard last episode, he threatened Robert Stigwood that way when Stigwood tried to get the Small Faces off him. One of the reasons he'd signed the Small Faces was that Steve Marriott had gone to the Italia Conti school, where Arden had sent his own children, Sharon and David, and David had said that Marriott was talented. And David was also a big reason the Move came over to Arden. After the Small Faces had left him, Arden had bought Galaxy Entertaimnent, the booking agency that handled bookings for Amen Corner and the Move, among many other acts. Arden had taken over management of Amen Corner himself, and had put his son David in charge of liaising with Tony Secunda about the Move.  But David Arden was sure that the Move could be an albums act, not just a singles act, and was convinced the group had more potential than they were showing, and when they left Secunda, Don Arden took them on as his clients, at least for the moment. Secunda, according to Arden (who is not the most reliable of witnesses, but is unfortunately the only one we have for a lot of this stuff) tried to hire someone to assassinate Arden, but Arden quickly let Secunda know that if anything happened to Arden, Secunda himself would be dead within the hour. As "Wild Tiger Woman" hadn't been a hit, the group decided to go back to their earlier "Flowers in the Rain" style, with "Blackberry Way": [Excerpt: The Move, "Blackberry Way"] That track was produced by Jimmy Miller, who was producing the Rolling Stones and Traffic around this time, and featured the group's friend Richard Tandy on harpsichord. It's also an example of the maxim "Good artists copy, great artists steal". There are very few more blatant examples of plagiarism in pop music than the middle eight of "Blackberry Way". Compare Harry Nilsson's "Good Old Desk": [Excerpt: Nilsson, "Good Old Desk"] to the middle eight of "Blackberry Way": [Excerpt: The Move, "Blackberry Way"] "Blackberry Way" went to number one, but that was the last straw for Trevor Burton -- it was precisely the kind of thing he *didn't* want to be doing,. He was so sick of playing what he thought of as cheesy pop music that at one show he attacked Bev Bevan on stage with his bass, while Bevan retaliated with his cymbals. He stormed off stage, saying he was "tired of playing this crap". After leaving the group, he almost joined Blind Faith, a new supergroup that members of Cream and Traffic were forming, but instead formed his own supergroup, Balls. Balls had a revolving lineup which at various times included Denny Laine, formerly of the Moody Blues, Jackie Lomax, a singer-songwriter who was an associate of the Beatles, Richard Tandy who had played on "Blackberry Way", and Alan White, who would go on to drum with the band Yes. Balls only released one single, "Fight for My Country", which was later reissued as a Trevor Burton solo single: [Excerpt: Balls, "Fight For My Country"] Balls went through many lineup changes, and eventually seemed to merge with a later lineup of the Idle Race to become the Steve Gibbons Band, who were moderately successful in the seventies and eighties. Richard Tandy covered on bass for a short while, until Rick Price came in as a permanent replacement. Before Price, though, the group tried to get Hank Marvin to join, as the Shadows had then split up, and Wood was willing to move over to bass and let Marvin play lead guitar. Marvin turned down the offer though. But even though "Blackberry Way" had been the group's biggest hit to date, it marked a sharp decline in the group's fortunes.  Its success led Peter Walsh, the manager of Marmalade and the Tremeloes, to poach the group from Arden, and even though Arden took his usual heavy-handed approach -- he describes going and torturing Walsh's associate, Clifford Davis, the manager of Fleetwood Mac, in his autobiography -- he couldn't stop Walsh from taking over. Unfortunately, Walsh put the group on the chicken-in-a-basket cabaret circuit, and in the next year they only released one record, the single "Curly", which nobody was happy with. It was ostensibly produced by Mike Hurst, but Hurst didn't turn up to the final sessions and Wood did most of the production work himself, while in the next studio over Jimmy Miller, who'd produced "Blackberry Way", was producing "Honky Tonk Women" by the Rolling Stones. The group were getting pigeonholed as a singles group, at a time when album artists were the in thing. In a three-year career they'd only released one album, though they were working on their second. Wood was by this point convinced that the Move was unsalvageable as a band, and told the others that the group was now just going to be a launchpad for his Electric Light Orchestra project. The band would continue working the chicken-in-a-basket circuit and releasing hit singles, but that would be just to fund the new project -- which they could all be involved in if they wanted, of course. Carl Wayne, on the other hand, was very, very, happy playing cabaret, and didn't see the need to be doing anything else. He made a counter-suggestion to Wood -- keep The Move together indefinitely, but let Wood do the Brian Wilson thing and stay home and write songs. Wayne would even try to get Burton and Kefford back into the band. But Wood wasn't interested. Increasingly his songs weren't even going to the Move at all. He was writing songs for people like Cliff Bennett and the Casuals. He wrote "Dance Round the Maypole" for Acid Gallery: [Excerpt: Acid Gallery, "Dance Round the Maypole"] On that, Wood and Jeff Lynne sang backing vocals. Wood and Lynne had been getting closer since Lynne had bought a home tape recorder which could do multi-tracking -- Wood had wanted to buy one of his own after "Flowers in the Rain", but even though he'd written three hit singles at that point his publishing company wouldn't give him an advance to buy one, and so he'd started using Lynne's. The two have often talked about how they'd recorded the demo for "Blackberry Way" at Lynne's parents' house, recording Wood's vocal on the demo with pillows and cushions around his head so that his singing wouldn't wake Lynne's parents. Lynne had been another person that Wood had asked to join the group when Burton left, but Lynne was happy with The Idle Race, where he was the main singer and songwriter, though their records weren't having any success: [Excerpt: The Idle Race, "I Like My Toys"] While Wood was writing material for other people, the only one of those songs to become a hit was "Hello Suzie", written for Amen Corner, which became a top five single on Immediate Records: [Excerpt: Amen Corner, "Hello Suzie"] While the Move were playing venues like Batley Variety Club in Britain, when they went on their first US tour they were able to play for a very different audience. They were unknown in the US, and so were able to do shows for hippie audiences that had no preconceptions about them, and did things like stretch "Cherry Blossom Clinic" into an eight-minute-long extended progressive rock jam that incorporated bits of "Jesu, Joy of Man's Desiring", the Nutcracker Suite, and the Sorcerer's Apprentice: [Excerpt: The Move, "Cherry Blossom Clinic Revisited (live at the Fillmore West)"] All the group were agreed that those shows were the highlight of the group's career. Even Carl Wayne, the band member most comfortable with them playing the cabaret circuit, was so proud of the show at the Fillmore West which that performance is taken from that when the tapes proved unusable he kept hold of them, hoping all his life that technology would progress to the point where they could be released and show what a good live band they'd been, though as things turned out they didn't get released until after his death. But when they got back to the UK it was back to the chicken-in-a-basket circuit, and back to work on their much-delayed second album. That album, Shazam!, was the group's attempt at compromise between their different visions. With the exception of one song, it's all heavy rock music, but Wayne, Wood, and Price all co-produced, and Wayne had the most creative involvement he'd ever had. Side two of the album was all cover versions, chosen by Wayne, and Wayne also went out onto the street and did several vox pops, asking members of the public what they thought of pop music: [Excerpt: Vox Pops from "Don't Make My Baby Blue"] There were only six songs on the album, because they were mostly extended jams. Other than the three cover versions chosen by Wayne, there was a sludge-metal remake of "Hello Suzie", the new arrangement of "Cherry Blossom Clinic" they'd been performing live, retitled "Cherry Blossom Clinic Revisited", and only one new original, "Beautiful Daughter", which featured a string arrangement by Visconti, who also played bass: [Excerpt: The Move, "Beautiful Daughter"] And Carl Wayne sang lead on five of the six tracks, which given that one of the reasons Wayne was getting unhappy with the band was that Wood was increasingly becoming the lead singer, must have been some comfort. But it wasn't enough. By the time Shazam! came out, with a cover drawn by Mike Sheridan showing the four band members as superheroes, the band was down to three -- Carl Wayne had quit the group, for a solo career. He continued playing the cabaret circuit, and made records, but never had another hit, but he managed to have a very successful career as an all-round entertainer, acting on TV and in the theatre, including a six-year run as the narrator in the musical Blood Brothers, and replacing Alan Clarke as the lead singer of the Hollies. He died in 2004. As soon as Wayne left the group, the three remaining band members quit their management and went back to Arden. And to replace Wayne, Wood once again asked Jeff Lynne to join the group. But this time the proposition was different -- Lynne wouldn't just be joining the Move, but he would be joining the Electric Light Orchestra. They would continue putting out Move records and touring for the moment, and Lynne would be welcome to write songs for the Move so that Wood wouldn't have to be the only writer, but they'd be doing it while they were planning their new group.  Lynne was in, and the first single from the new lineup was a return to the heavy riff rock style of "Wild Tiger Woman", "Brontosaurus": [Excerpt: The Move, "Brontosaurus"] But Wayne leaving the group had put Wood in a difficult position. He was now the frontman, and he hated that responsibility -- he said later "if you look at me in photos of the early days, I'm always the one hanging back with my head down, more the musician than the frontman." So he started wearing makeup, painting his face with triangles and stars, so he would be able to hide his shyness. And it worked -- and "Brontosaurus" returned the group to the top ten. But the next single, "When Alice Comes Back to the Farm", didn't chart at all. The first album for the new Move lineup, Looking On, was to finish their contract with their current record label. Many regard it as the group's "Heavy metal album", and it's often considered the worst of their four albums, with Bev Bevan calling it "plodding", but that's as much to do with Bevan's feeling about the sessions as anything else -- increasingly, after the basic rhythm tracks had been recorded, Wood and Lynne would get to work without the other two members of the band, doing immense amounts of overdubbing.  And that continued after Looking On was finished. The group signed a new contract with EMI's new progressive rock label, Harvest, and the contract stated that they were signing as "the Move performing as The Electric Light Orchestra". They started work on two albums' worth of material, with the idea that anything with orchestral instruments would be put aside for the first Electric Light Orchestra album, while anything with just guitar, bass, drums, keyboard, and horns would be for the Move. The first Electric Light Orchestra track, indeed, was intended as a Move B-side. Lynne came in with a song based around a guitar riff, and with lyrics vaguely inspired by the TV show The Prisoner, about someone with a number instead of a name running, trying to escape, and then eventually dying.  But then Wood decided that what the track really needed was cello. But not cello played in the standard orchestral manner, but something closer to what the Beatles had done on "I am the Walrus". He'd bought a cheap cello himself, and started playing Jimi Hendrix riffs on it, and Lynne loved the sound of it, so onto the Move's basic rhythm track they overdubbed fifteen cello tracks by Wood, and also two French horns, also by Wood: [Excerpt: The Electric Light Orchestra, "10538 Overture"] The track was named "10538 Overture", after they saw the serial number 1053 on the console they were using to mix the track, and added the number 8 at the end, making 10538 the number of the character in the song. Wood and Lynne were so enamoured with the sound of their new track that they eventually got told by the other two members of the group that they had to sit in the back when the Move were driving to gigs, so they couldn't reach the tape player, because they'd just keep playing the track over and over again. So they got a portable tape player and took that into the back seat with them to play it there. After finishing some pre-existing touring commitments, the Move and Electric Light Orchestra became a purely studio group, and Rick Price quit the bands -- he needed steady touring work to feed his family, and went off to form another band, Mongrel. Around this time, Wood also took part in another strange project. After Immediate Records collapsed, Andrew Oldham needed some fast money, so he and Don Arden put together a fake group they could sign to EMI for ten thousand pounds.  The photo of the band Grunt Futtock was of some random students, and that was who Arden and Oldham told EMI was on the track, but the actual performers on the single included Roy Wood, Steve Marriott, Peter Frampton, and Andy Bown, the former keyboard player of the Herd: [Excerpt: Grunt Futtock, "Rock 'n' Roll Christian"] Nobody knows who wrote the song, although it's credited to Bernard Webb, which is a pseudonym Paul McCartney had previously used -- but everyone knew he'd used the pseudonym, so it could very easily be a nod to that. The last Move album, Message From The Country, didn't chart -- just like the previous two hadn't. But Wood's song "Tonight" made number eleven, the follow-up, "Chinatown", made number twenty-three, and then the final Move single, "California Man", a fifties rock and roll pastiche, made the top ten: [Excerpt: The Move, "California Man"] In the US, that single was flipped, and the B-side, Lynne's song "Do Ya", became the only Move song ever to make the Hot One Hundred, reaching number ninety-nine: [Excerpt: The Move, "Do Ya"] By the time "California Man" was released, the Electric Light Orchestra were well underway. They'd recorded their first album, whose biggest highlights were Lynne's "10538 Overture" and Wood's "Whisper in the Night": [Excerpt: The Electric Light Orchestra, "Whisper in the Night"] And they'd formed a touring lineup, including Richard Tandy on keyboards and several orchestral instrumentalists. Unfortunately, there were problems developing between Wood and Lynne. When the Electric Light Orchestra toured, interviewers only wanted to speak to Wood, thinking of him as the band leader, even though Wood insisted that he and Lynne were the joint leaders. And both men had started arguing a lot, to the extent that at some shows they would refuse to go on stage because of arguments as to which of them should go on first. Wood has since said that he thinks most of the problems between Lynne and himself were actually caused by Don Arden, who realised that if he split the two of them into separate acts he could have two hit groups, not one. If that was the plan, it worked, because by the time "10538 Overture" was released as the Electric Light Orchestra's first single, and made the top ten -- while "California Man" was also still in the charts -- it was announced that Roy Wood was now leaving the Electric Light Orchestra, as were keyboard playe

Walkouts by healthcare workers threaten to disrupt the lives of millions of people in the UK.The standoff between public service employees and the government shows no sign of abating.So, what's gone wrong with the UK's National Health Service? Join host Nastasya Tay. Guests: Oksana Pyzik - Pharmacist and Lecturer at UCL School of Pharmacy Jeff Lazarus -  Barcelona Institute for Global Health Jonathan Portes - Department of Political Economy at King's College London

For the first time in history, nurses who work for Britain's National Health Service went on strike last week. They're demanding a 19% pay increase, to make up for current inflation as well as the “20 per cent that has been eroded” from pay over the past decade, according to union leader Pat Cullen. Nurses […]

Alfred Batalla, shares his story of nursing on the frontline during the Covid pandemic in the UK.  At a time when the UK is experiencing the largest strike in the history of the National Health Service, as nursing staff in England, Northern Ireland and Wales demand fair pay and patient safety, this insightful story of hardwork, bravery, mental health and frustrations associated with the job helps to put things into perspective.Links:https://www.samaritans.orghttps://www.mind.org.ukhttps://www.sane.org.ukhttps://www.who.int/health-topics/coronavirus#tab=tab_1debbiewilliamspodcast.comTitle Music: Bouncy-Spongy by Ketsa,  licensed under an Attribution-NonCommercial-NoDerivatives 4.0 International License.Support the show

In the UK, some Nurses in the Government-funded National Health Service are the latest group to take action over pay. The Royal College of Nursing wants a 19 percent pay rise and says below inflation increases are compromising care by making it hard to attract and retain nurses. But the government says that's not affordable. It's the latest in a series of strikes and we look at how the public and private sectors across the world are tackling the issue of fair pay. Elsewhere we hear from Qatar, and ask what the World Cup has meant for the country's future. Plus Avatar - which opens this weekend in cinemas around the globe. Just how important is it for the future of cinema? Devina Gupta is joined by James Mayger in Beijing and Gaby Castro in Uruguay. Photo credit: Stefan Rousseau/PA Wire

Former Real Madrid President Ramon Calderon speaks to Roger Hearing after Uefa and Fifa receive significant backing in their battle to block the creation of a European Super League. The European Court of Justice's Advocate General said the rules of football's European and world governing bodies were "compatible with EU competition law". A final ruling will be made by a 15-member Grand Chamber next spring. Tens of thousands of nurses in the state-run National Health Service are staging a strike in Northern Ireland, Wales and England in a dispute about pay. We find out why and whether there's a wider difference between public and private sector pay deals. Plus airports close in Peru as a result of the protests there.

In this episode we debunk 5 key myths about sciatica. Luke walks us through each of these myths and how they have impacted his own clinical practice as well as referencing new research to support these claims.Much of the info from this episode is drawn from Paul Ingraham's fantastic 100 chapter e-book on low back pain. You can get your hands on this book for free as part of our Christmas special offer! Learn more here - https://www.physio-network.com/promo/christmas-masterclass/Don't miss out - this offer ends soon!Luke is a Specialist Musculoskeletal and Sports Physiotherapist working with Arsenal Football Club, London Irish Rugby Club & the general public in the National Health Service. Luke was a Strength & Conditioning intern at Chiefs Super Rugby & Rowing New Zealand throughout the 2014 season and he has a BSc in Sport and Exercise Science from University of Limerick in Ireland and MSc in Physiotherapy at the University of Brighton in England.Finally, a big welcome to our new co-host James Armstrong in his first ever episode hosting the podcast!If you like the podcast, it would mean the world if you're happy to leave us a rating or a review. It really helps!

A'lo, guv'nor! Grab a steaming cup of PG Tips, take your place in the queue, stuff your face with bangers & mash, and use the trusty National Health Service to check up on that rash that simply won't go away! Come and join Trixie and Katya as they travel to merry 'ol England for a live show at the historic Troxy theater! From insulting the locals for their consumption of blood sausage to detailed stories of hand-based romantic acts, this episode has it all! Happy Holidays to one and all! Head to SquareSpace.com for a free trial, and when you're ready to launch, go to https://Squarespace.com/BALD to save 10% off your first purchase of a website or domain! Alexa customers can listen to A Christmas Carol narrated by Hugh Grant on Alexa for free the entire month of December. Just say, “Alexa, read A Christmas Carol…” Offer only available in the U.S. Cancel unnecessary subscriptions with Rocket Money today. Go to https://www.RocketMoney.com/BALD Seriously, it could save you HUNDREDS per year! Sign up at Firstleaf today and you'll get your first 6 bottles for $39.95 plus free shipping. Go to https://TryFirstleaf.com/BALD This episode is sponsored by BetterHelp. Learn more about BetterHelp online therapy and save 10% off your first month at https://www.BetterHelp.com/BALD Collaborate with Canva for Teams today! Right now, you can get a FREE 45-day extended trial when you go to https://Canva.Me/BALD Visit https://www.Rakuten.com or download the app to earn cash back when you shop at thousands of stores! You can start saving today! Follow Trixie: @TrixieMattel Follow Katya: @Katya_Zamo To watch the podcast on YouTube: http://bit.ly/TrixieKatyaYT Don't forget to subscribe to the podcast for free wherever you're listening or by using this link: http://bit.ly/baldandthebeautifulpodcast If you want to support the show, and get all the episodes ad-free go to https://thebaldandthebeautiful.supercast.com/ If you like the show, telling a friend about it would be amazing! You can text, email, Tweet, or send this link to a friend: http://bit.ly/baldandthebeautifulpodcast To check out the Trixie and Katya Live Tour, go to: https://trixieandkatya.com To pre-order your copy of our new book, "Working Girls", go to: workinggirlsbook.com To check out the Trixie Motel in Palm Springs, CA: https://www.trixiemotel.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

GUEST OVERVIEW: Fran Adamson is an experienced nurse from Aberdeen describes how disrespect of her within the National Health Service for having questions about Covid policy gave way to ridicule, nastiness and isolation until she had to resign for the sake of her conscience.

Roy Lilley started his first enterprise from scratch over half a century ago. In 1989, his multi-million pound business was sold to fellow directors and managers. As a policy advisor and visiting fellow at Imperial College, London, he helped start the Health Services Management School at Nottingham University and was founder of the Federation of NHS Trusts, which became today's NHS Confederation. For over ten years now, Roy has written an e-letter (a bitesize podcast series) that reaches 300,000 health and care managers in the UK and overseas. A former chairman of Homewood NHS Trust in Surrey and former mayor of his borough council there, Roy Lilley has a wealth of public administration experience and has written for the Guardian, the Sunday Times, the Daily Telegraph and a number of other newspapers and periodicals. He is also a regular columnist in Pharmaceutical Marketing Magazine. He is a refreshingly honest and open man and willing to debate issues thoroughly. His enthusiasm and passion for the National Health Service is clear for all to see, and his comparative knowledge of healthcare systems is instructive; for example, he points out that Britain has proportionally far less management in healthcare than France or the USA. In a relaxed and frank interview, UK Column Nursing Correspondent Debi Evans talks to Roy about the current crisis in the NHS. Debi, a retired State Registered Nurse and a self-described old-school Ward Sister, also served for five years as a UK Government Advisor at the Department of Health and Social Care. Her conversation with Roy goes back to the days when hospitals were places full of flowers, nurses attended the sick in starched uniforms, and relatives were the real ‘regulators'; and when smiles, reassurance and tender loving care was a given, free at the point of contact. Fast forward to 2022 and digitisation, artificial intelligence and data gathering appears to have taken over from good old healthcare. Gone are the days when a nurse would hold your hand and take your pulse; today, you're likely to be scanned with an iPad. What is the state of the health of the NHS? Will the NHS Long Term Plan work? Is the NHS in a terminal condition, or can it be saved? If it can be saved, who will save it? This is the first of a series of interviews with Roy Lilley. UK Column looks forward to the next instalment of the Roy and Debi's common-sense NHS conversations. 

Three times voted the top speaker on NHS topics, Roy Lilley visits more than 20 NHS establishments a year and travels the UK and the world talking about healthcare, management and policy.

 He says, "Healthcare is my interest, my challenge, my passion and I am lucky to be involved with the professionals who make our lives healthier, our families safer and each of us proud of what we do."

Health leaders from Network Health, Health Net, Priority Health, and Health.io discuss how top health plans improve risk assessment and quality measures through innovations and at-home testing.    Topics include: Strategies for deploying novel solutions to drive member engagement and reduce costs for members, especially among traditionally unengaged populations Why removing barriers to testing with at-home solutions is a boon to health equity How accurate staging improves health outcomes for members with chronic conditions Working with provider networks for better management of members' health   Panelists: Pooja Mittal, MD, Vice President, Chief Health Equity Officer, Health Net, Inc.; Megan Schmidt, Sr. Vice President, Employer Solutions, Priority Health; Mushir Hassan, MD, Chief Medical Officer, Network Health; Jonah Mink, MD, Medical Director, Healthy.io   This episode is sponsored by Healthy.io Healthy.io is the global leader in turning the smartphone camera into a clinical-grade medical device for an at-home urinalysis and digital wound management.    Their at-home kidney test, Minuteful Kidney, aids in the early detection of chronic kidney disease and helps close gaps in access and care for over 500,000 patients worldwide. It is the first and only smartphone-powered home kidney test to receive FDA clearance and the first digital health test to obtain FDA clearance across all smartphone devices.    Healthy IO is partnered with some of the nation's leading health plans and the National Health Service in the United Kingdom b/c of the test's ease of use, high completion rates, and huge potential savings.   They are the first company to convert your smartphone into a clinical-grade medical device to allow patients to take the test – and receive results – in the comfort of their homes.  

In this podcast we talk with Steven Adjei, the founding partner of BlueCloud Health, a United Kingdom-based healthcare firm that helps health businesses in sub-Saharan Africa by facilitating investment and financing for viable African healthcare projects and companies. Steven shares with us the struggles BlueCloud faced in its early years and what it took to rejuvenate the business. We also hear about Steven's unique perspective on legacy as well as how he views business partnerships. It's a fascinating and valuable discussion for entrepreneurs and anyone concerned about leaving a legacy.So if you want to know:– About what can go wrong with an entrepreneurial endeavor and the lessons you can learn from these struggles– The three kinds of partnerships and the role each can play in your business– The four kinds of legacies and the one you want to avoid– The phases you need to be prepared for when you start a business– About “red flag” and other types of pain entrepreneurs may face About Steven AdjeiSteven is a British-Ghanaian author, poet, healthcare consultant and entrepreneur. He is the founding partner of BlueCloud Health, which works to form profitable and returnable investments by fostering open, long-term and trustworthy partnerships between prospective investors and bankable African healthcare businesses. Steven is also the author of Pay The Price, Creating Ethical Entrepreneurial Success Through Passion, Pain and Purpose and an award-winning consulting pharmacist who has worked with Britain's National Health Service. Information about Steven, his book and the work his company is doing in Africa and the Middle East is available at www.stevenadjei.com. At this website, our podcast listeners who subscribe to Steven's newsletter can get a free copy of his book, From Gory to Glory, A Collection of Poems, Contemporary African Art, and Photography. About Lois Sonstegard, PhDWorking with business leaders for more than 30 years, Lois has learned that successful leaders have a passion to leave a meaningful legacy. Leaders often ask: When does one begin to think about legacy? Is there a “best” approach? Is there a process or steps one should follow?Lois is dedicated not only to developing leaders but to helping them build a meaningful legacy. Learn more about how Lois can help your organization with Leadership Consulting and Executive Coaching:https://build2morrow.com/Thanks for Tuning In!Thanks so much for being with us this week. Have some feedback you'd like to share? Please leave a note in the comments section below!If you enjoyed this episode, please share it with your friends by using the social media buttons you see at the bottom of the post.Don't forget to subscribe to the show on iTunes to get automatic episode updates.And, finally, please take a minute to leave us an honest review and rating on iTunes. They really help us out when it comes to the ranking of the show, and I make it a point to read every single one of the reviews we get.Please leave a review right now. Thanks for listening!Building My Legacyhttps://businessinnovatorsradio.com/building-my-legacy/Source: https://businessinnovatorsradio.com/episode-244-steven-adjei-on-the-struggles-of-entrepreneurship-and-the-importance-of-leaving-a-legacy-with-lois-sonstegardphd

In this podcast we talk with Steven Adjei, the founding partner of BlueCloud Health, a United Kingdom-based healthcare firm that helps health businesses in sub-Saharan Africa by facilitating investment and financing for viable African healthcare projects and companies. Steven shares with us the struggles BlueCloud faced in its early years and what it took to rejuvenate the business. We also hear about Steven's unique perspective on legacy as well as how he views business partnerships. It's a fascinating and valuable discussion for entrepreneurs and anyone concerned about leaving a legacy.So if you want to know:– About what can go wrong with an entrepreneurial endeavor and the lessons you can learn from these struggles– The three kinds of partnerships and the role each can play in your business– The four kinds of legacies and the one you want to avoid– The phases you need to be prepared for when you start a business– About “red flag” and other types of pain entrepreneurs may face About Steven AdjeiSteven is a British-Ghanaian author, poet, healthcare consultant and entrepreneur. He is the founding partner of BlueCloud Health, which works to form profitable and returnable investments by fostering open, long-term and trustworthy partnerships between prospective investors and bankable African healthcare businesses. Steven is also the author of Pay The Price, Creating Ethical Entrepreneurial Success Through Passion, Pain and Purpose and an award-winning consulting pharmacist who has worked with Britain's National Health Service. Information about Steven, his book and the work his company is doing in Africa and the Middle East is available at www.stevenadjei.com. At this website, our podcast listeners who subscribe to Steven's newsletter can get a free copy of his book, From Gory to Glory, A Collection of Poems, Contemporary African Art, and Photography. About Lois Sonstegard, PhDWorking with business leaders for more than 30 years, Lois has learned that successful leaders have a passion to leave a meaningful legacy. Leaders often ask: When does one begin to think about legacy? Is there a “best” approach? Is there a process or steps one should follow?Lois is dedicated not only to developing leaders but to helping them build a meaningful legacy. Learn more about how Lois can help your organization with Leadership Consulting and Executive Coaching:https://build2morrow.com/Thanks for Tuning In!Thanks so much for being with us this week. Have some feedback you'd like to share? Please leave a note in the comments section below!If you enjoyed this episode, please share it with your friends by using the social media buttons you see at the bottom of the post.Don't forget to subscribe to the show on iTunes to get automatic episode updates.And, finally, please take a minute to leave us an honest review and rating on iTunes. They really help us out when it comes to the ranking of the show, and I make it a point to read every single one of the reviews we get.Please leave a review right now. Thanks for listening!Building My Legacyhttps://businessinnovatorsradio.com/building-my-legacy/Source: https://businessinnovatorsradio.com/episode-244-steven-adjei-on-the-struggles-of-entrepreneurship-and-the-importance-of-leaving-a-legacy-with-lois-sonstegardphd

From the BBC World Service: Giorgia Meloni and her cabinet have approved a series of spending measures for next year. One of Ukraine’s largest energy companies has warned that rolling blackouts might last until the end of March. And the U.K.’s National Health Service is trialing a program to allow doctors to prescribe heating for some patients who can’t afford their energy bills.

From the BBC World Service: Giorgia Meloni and her cabinet have approved a series of spending measures for next year. One of Ukraine’s largest energy companies has warned that rolling blackouts might last until the end of March. And the U.K.’s National Health Service is trialing a program to allow doctors to prescribe heating for some patients who can’t afford their energy bills.

This week I'm rambling on about the National Health Service and other stuff such as pirate radio, BBC radio, the good old days and... Join me if you will!

The weather, the dentist, the National Health Service... Join me for a quick midweek chat.

When our host, Kira Dineen, began her career as a genetic counselor she was mostly starting from scratch because the private practice she works at hadn't had a genetic counselor in two years. So she met with a bunch of labs to ask them about their tests so she could decide who she would be ordering from. As a brand new genetic counselor, it was hard for Kira to figure out what the important aspects of genetic testing were, so she wanted to dive into what makes a quality genetic test in this episode. We're joined by two experts from Blueprint Genetics, Dr. Kirsty Wells and Rachel Goldberg, MS, CGC for this episode!Dr. Wells is a Senior Geneticist and Team Lead at Blueprint Genetics where she specializes in interpretation of ophthalmology panels and whole exome sequencing data. She has a background in both research and diagnostics. Before joining Blueprint in 2018, she completed PhD and postdoctoral research fellowships, and undertook in-depth training in genetic diagnostics in the UK's National Health Service. Rachel Goldberg is a Genetics Services Consultant at Blueprint Genetics. She previously worked as a pediatric, adult, and laboratory genetic counselor in both direct and non-direct patient care roles. She attended graduate school at Long Island University. On This Episode We Discuss:Defining a quality genetic testTop-notch sequencersDepth of sequencingAI programs, tools, and techniques for analyzing quality data Acceptable turnaround times for gene panels, exomes, and genomesHow labs can achieve a patient-first mindsetThings that healthcare providers can do to provide a quality experienceHow often patients that do not receive results of a causative pathogenic variant for their symptoms should check back with labs to see if any VUSs were reclassifiedHead over to blueprintgenetics.com and follow Blueprint on Twitter, Facebook, and LinkedIn. Stay tuned for the next new episode of DNA Today on November 11th where we explore reproductive medicine with Dr. Tristan Hardy! New episodes are released on Fridays. In the meantime, you can binge over 205 other episodes on Apple Podcasts, Spotify, streaming on the website, or any other podcast player by searching, “DNA Today”. Episodes since 2021 are also recorded with video which you can watch on our YouTube channel. DNA Today is hosted and produced by Kira Dineen. Our social media lead is Corinne Merlino. Our video lead is Amanda Andreoli. See what else we are up to on Twitter, Instagram, Facebook, YouTube and our website, DNApodcast.com. Questions/inquiries can be sent to info@DNApodcast.com. TrakGene has designed a genetics electronic health record. Here's what it features: pedigrees, demographic data, genetics information, risk tools, and sophisticated reporting, all within a clinician designed workflow. It integrates within other clinical genetic software, databases, and hospital information systems to maintain accurate patient records. Go check it out at Trakgene.com. Be sure to check out Episode 208 and Episode 210 of DNA Today featuring Trakgene. [Sponsored]

The UK's National Health Service issued new draft guidelines to doctors on dealing with transgender youth: “Gender incongruence” is a phase that most children grow out of if left alone. 5) Joe Biden has drained the Strategic Petroleum Reserve to lowest level in 40 years; 4) Border Patrol made record number of arrests at US-Mexican border in September; 3) New study finds less than 1 in 100 million chance that SARS-CoV-2 originated outside a lab; 2) UK's new NHS guidelines on transgender youth runs counter to culture; 1) Leader of defund-the-police movement in Seattle upset cops won't investigate bags of human excrement thrown into her yard.