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In advance of our Ger Graus season which will be based on his book Through a Different Lens - Lessons from a Life in Education I have created a summary podcast of our previous conversation (Ep 439) using NotebookLM. This is as - described on it's website - 'the AI research tool and thinking partner that can analyze your sources, turn complexity into clarity and transform your content'.You will hear 2 AI voices discuss and summarise our conversation about Ger's book. Why do this? Partly as a quick recap before we start the Ger Graus season but also to help me understand what is currently possible with AI in advance of our Education on Fire LIVE Stream shows that will focus on AI in education.To keep up to date with everything we are doing and download our FREE top 10 resources pdf please visit https://www.educationonfire.com/

Hello everyone and welcome to the WDW Mainstreet podcast. Pull up your stool with John and Doug as they discuss all of the latest news from around Walt Disney World and their worlds. The guys kick the show off with the NFL opening weekend and Doug talks about his Eagles beating the stinking Cowboys. In the news, new seating might be coming to Toy Story Land, Bibbidi Bobbidi Boutique updates coming. Monsters Inc construction under way plus so much more from around the world. So grab yourself a cold one, sit back, relax and enjoy the show!

Geoff and Marie's Good Life: Part 7Quiet Little OrgyA retired couple invite some new friends home.Based on posts by Only In My Mind, in 15 parts. Listen to the Podcast at Explicit Novels.Eventually, by nine o'clock that Saturday morning, we had all showered and made our way downstairs for breakfast. I was last into the kitchen as I'd graciously allowed the women to go first. The dressing gowns that we'd bought for our Wednesday sessions came in useful in that Sue and Margie weren't faced with wearing their dancing dresses to eat in.I think they were both surprised at how relaxed the atmosphere was, I mean they had both fucked their hostess's husband the night before. Angie broke a comfortable silence as we ate. "Geoff. You know what you promised?" She meant the anal bareback that she'd been harping on about for a while."Yes my love?""Well," It was unusual for Angie to hesitate; if anything, her life would be much simpler if she did think more before speaking. "The thing is, would you mind if Sue and Margie came shopping to the naughty store and, maybe?" She looked at me as shyly as I'd ever seen her. "Could they watch while you sort of; do me? You know? Up the bum?" Marie snorted at the look on my face.I turned back to Angie. "Are you seriously suggesting that we take two women, who we've barely known for twelve hours, take them shopping in a sex store and then bring them back her to watch you and me having anal sex without a condom?""That pretty much sums it up," she conceded."Okay. As long as we're on the same page. It's fine by me."And so it was agreed. The two 'new girls' would go home in Sue's car, grab an overnight bag each and re-join us at our house for another evening of sexual exploration, including Angie's loss of her last virginity, and then they would go home on Sunday morning.This wasn't quite the weekend I'd imagined!Anyway, the five of us set off about twelve thirty and stopped at the little bistro we'd found on the way to the adult store. Margie and Sue insisted it was their treat to repay us for our hospitality. My clam linguini in white wine and cream sauce was excellent and the women seemed content with their meals too, so it was a contented crew who breezed into the store about an hour or so later.I left the girls to browse at their leisure as there was a particular item that I was interested in. Angie, very much a woman who was happy to get 'in your face' if you pissed her off, also had a well concealed submissive side that we had found by accident. I had resolved that, as a treat, I would buy her a collar that she could wear when she, and only she, decided she wanted to be dominated. I was aware from some basic research that there was an entire sub-culture around this behavior but, in our case, my only interest was to give my lover another way to express herself sexually. When we had experimented before, Marie was happy to play along but got no actual satisfaction from being submissive. With Angie though, as long as we were careful, she could use the experience to deal with some issues from way back.I found the relevant display and, satisfied that the girls were giggling together over something obviously particularly intriguing and probably disturbing from my point of view two aisles over, I made my choice and took it to the counter. The shop assistant approved of my choice. "So sir, for one of your ladies?" He enquired. I nodded. "Not S and M?""No. Just something she can wear to signal when she wants to be more, erm, passive," I explained."Perfect choice in that case," he replied.I took the collar and the receipt and put them in my pocket. I'd decide later when to give them to Angie. There was something else bothering me too, but I needed to speak to Marie first; a proper conversation that would have to wait until this weekend was over. I had an idea, and I hoped that she'd approve, but it was too important to risk getting it wrong.We left, not quite as laden as last time we visited, each of us carrying something designed to make sex even better. Isn't it sad that we're conditioned to find that somehow shameful? Marie regards me as a work in progress to break that conditioning. Ironic really, that it was her reaction to some sexy underwear that led us to where we found ourselves that day.We arrived back home a little after three and, while Marie took Angie upstairs to prepare, I led Margie and Sue into the kitchen to help make a brew while I checked the fridge to make sure that we had something to snack on later, having already had one substantial meal that day. I took Marie and Angie a cup of tea and a plate of chocolate biscuits and left them in the bedroom. I had no wish to be part of whatever they were doing in the bathroom with the bags, tubes and whatnot they had bought that afternoon.While I chatted with our new girls I diced a red onion, prepped some chorizo and sliced some Brie and Blue Wensleydale cheeses. I took a bag of ciabatta rolls out of the freezer to defrost and put a bottle of New Zealand Sauvignon Blanc in the fridge to chill. Okay, so it wasn't a fine vintage wine but it was going to pair with onion, blue cheese and spiced sausage: why the Hell would I use an expensive wine to wash that down?Our prep done we retired to the living room and chatted about, well, sex while we waited for Angie to make herself ready. I confess that I was a little concerned that she'd invested a lot of anticipation in what we were about to do. It would be her first time and only my second. What if it all went wrong? What if she hated it?I had a thought and dashed to the kitchen. When I returned a minute later both girls looked at me enquiringly."ED22," I explained, rather unhelpfully. The look on their faces made it clear that this was not only insufficient but actually demanded a more detailed explanation than if I had just said that I'd forgotten something. I reminded them of my sexual performance the previous evening and pointed out this would have been remarkable for a man in his twenties, let alone someone of my vintage.I told how I was now in a user trial of a new generation of drug for erectile dysfunction which allowed me, with no particular clinical need, not to put too fine a point on it, to fuck like a steam train for hours. We chatted about that for a while until my wife shouted downstairs. "Geoffrey, ladies, if you're ready, the ceremony is about to begin. Please join us upstairs, remove your clothing and take your seats." It seemed like an excellent idea so that's exactly what we did.Somehow, between helping Angie with her 'purges', my wife had managed to get another couple of chairs into our bedroom though admittedly one was a folding chair from IKEA that we kept for situations where the six seats that came with our dining room suite weren't sufficient. I stood in my dressing gown, waiting for Angie to emerge from the bathroom, feeling like a nervous groom at the altar. Sue and Margie sat in the seats behind me wearing only their bras and panties.Marie, acting as mistress of ceremonies also dressed for effect in a pale blue Basque and, well, that was it actually, waited for the tension to rise before she opened the bathroom door with a theatrical flourish. "Angie," she announced, in her most sultry voice. "Your lover is here to rid you of your last virginity. Do you willingly surrender to him?"Angie stepped naked into the bedroom and stood before me. She looked at her friends assembled to witness something that seemed to be really important to her and smiled. "I surrender my body totally to him. I ask that he takes my anal virginity in the knowledge that no man has had my ass before him and nor will any other man after him."If I hadn't realized before, it was out there now. Angie was making a point here, she was giving herself, pledging herself, to me! Fighting the urge to, yes, panic is probably the most appropriate word, I looked to Marie. My wife seemed not just content but actually happily engaged with this small but weird ceremony. I had really wanted to talk to Marie before I took this step but the situation seemed to have arisen before I had the chance, so I decided to take the risk.Stepping to my bedside drawer, I took out a small gift box. It was a generic necklace box I'd found in the loft but it was fine for my purposes. "Angela," she stiffened at my using her full name: that reminded her the time I had hypnotized her and left some interesting legacy imperatives in her subconscious. "Angela, I accept the honor you bestow upon me. It would please me if you would wear this collar as a sign that your body is mine to take, use and bestow at my pleasure."We all watched entranced as she swayed slightly as she comprehended what I'd said. Almost before she could react I was in front of her. "Angela, will you wear my collar?" She looked at me wide eyed and nodded fervently. I continued before she could speak. "You may wear or remove it as you wish but, when you wear it, You. Are. Mine and mine alone. Do you understand?"Angie looked beseechingly at her best friend in the world, my wife, Marie. How would she respond to her husband claiming her best friend's body? With obvious delight was the honest answer. Marie ran to Angie and gave her a massive hug. "Oh, sweetheart," Marie sobbed, tears running down her cheeks. "You'll be like my Sister-Wife. I love you so much."Then Marie turned to me. "God! I love you so fucking much too! When you've finished with Angie, me and the girls are going to fuck you so hard we're all going to be sitting on soft cushions for the rest of the week. Fuck! But you're amazing, you wonderful old softie."While Marie was kissing and hugging me, the other girls descended on Angie. They helped her to put her collar on. Oh! I suppose I ought to describe my gift; The description in the store's on-line catalogue was, 'A discreet, rose gold, slave day-collar for submissives'. It was a fetching circlet of engine-turned pinkish-gold with a small ring, presumably for a leash, at the throat.When the women all settled down, Angie finally replied. "I understand. When I wear your collar my body and mind are yours, and I give them willingly." She thought for a moment. "How shall I address you? Do I call you Sir? Are you my Master?"I'd given that question some thought, even as I was deciding whether to buy the collar in the shop. "I'm still Geoff, and you are my lover, not my slave. You will obey me, though, and I will discipline you if you don't." I looked around the room. The other women seemed content with my approach. Now for the big moment."Angela. Lay on the bed and expose yourself."She took a deep breath. "Yes Geoff."She settled on the side of our bed, sitting upright, facing our little congregation. Slowly she parted her thighs to display a tiny jewel decorating the anal plug that her little ring of muscle was already accommodating to.I looked at the new girls. "Ladies. How would you like to share my new toy?" Without waiting for them to even consider how to reply, I turned to Angie and gazed into her eyes. She knew we were connecting and quivered as her body anticipated my next words. "Angela. Your master commands you. Go to your happy place and come."Sue and Margie were stunned when, at my words, Angie clenched her thighs together and slumped back on the bed giving every sign of climaxing. Margie spoke. "I am definitely asking if I can have whatever Angie's got, for Christmas.""Go on girls," I entreated them. "Before she comes down. Get her prepared. The more aroused she is the less discomfort she'll feel."Marie crossed to stand beside me. "That was lovely what you did for her, just now," she said, hugging me.I kissed the top of her head. "I actually wanted to talk to you first but when I saw how important this was to Angie, I just decided it was too perfect a moment to miss. Did I do right?""You did very well dear," she smiled.We stood like that for a couple of minutes watching two women we'd only met practice their newly discovered lesbian skills on our best friend. "Marie?" I began."Yes dear?""What are we? I mean you, me and Angie? Are we a;” I hesitated to even say the word. "Are we a throuple?""Geoffrey, I adore you but, if you ever use that word again, you and I are going to have a problem.""I know, I felt dirty just saying it. But seemingly not as dirty as Sue." We stopped our conversation and watched, fascinated, as Sue appeared to make Margie and Angie simultaneously shriek with delight. I shook my head to clear it. "Anyway." I tried to maintain my train of thought. "I was going to ask you about Angie's status; you know? Your friend, our lover. What is she? Is she part of our relationship? Or is she just a woman we have sex with? Will you think about it anyway? In the meantime, I think it's time to claim my thrall's last virginity."At some point, Sue and Margie had got naked and I managed to grab some delectable handfuls of flesh as I gently peeled them off Angie's body. I had red somewhere that anal sex in the doggy position is less comfortable for novices than when done prone. It looked like I may be on the way to having enough experience to comment but, for now, I decided missionary would do just fine.Again, research suggested that we should have vaginal sex first to relax my partner; this time, local knowledge, that is my Dom's command to his Sub, emphasized by a post hypnotic suggestion to orgasm followed by a two pronged lesbian assault, suggested to me that she would be about as sexed up as a woman can get without actually having three cocks inside her at the same time.And so, after Angie's lovely ceremony gifting me her last virginity, the moment arrived. Marie stepped up with the dispenser of lube and delicately applied it along little Geoff's length. She stood on tiptoe and kissed me. "Try not to hurt her, Geoff. She's been looking forward to this so much." I nodded. I knew that only too well.I knelt between Angie's thighs and felt rather than saw Marie, Margie and Sue draw close behind me. Angie looked up at me pleadingly. I smiled down at her and gently pulled out the tapered stainless steel plug that she'd inserted to ready her sphincter for penetration. Marie took it from me. Before the ring of muscle could recover its usual resting state I pushed forward as firmly as I could without hurting her.Angie gasped as this new intruder made its way inside her bowels. I paused. "Are you okay, babe?" I asked."It's so; It's such a strange feeling," she murmured. "It's not like anything I've felt before. Let me just get used to it for a moment."I paused. I was about two thirds inside her and I didn't seem to be causing her actual pain. I have to admit that I was having to get used to some odd sensations myself. The ass plug made my penetration less awkward than I'd expected, but her ring was tighter around my shaft than a cunt would have been. It was odd too, knowing that the skin on my cock was directly touching her bowel walls. Like Angie said, "such a strange feeling.""Go on. A bit more. I think I'm ready." She tensed, waiting for me to push."No babe. Relax," I told her. "We're nearly all the way there. A bit more lube please." That last comment aimed at Marie.How strange is my life that I can casually ask my wife to lube the part of my cock between my balls and her best friend's backside so that I can take her friend's anal virginity? How strange is her life that she did it anyway with a smile and another kiss for me. I pressed forward again and marveled at the sensation."Oh fuck!" Angie moaned as I bottomed out (Sorry, but I couldn't resist). "Fuck me Geoff. Do it now. Do it hard and fast."So I began, slowly at first, and not my favorite long strokes as I didn't want to pull out accidentally. Another time it might not matter, today it had to be right. So, gradually speeding up, I began to thrust in and out, each time as deep as I could get. I looked wordlessly at Marie and saw that she understood. The bowel doesn't have the same nerve endings as a cunt. We'd discussed this earlier, so Marie and the others began to use their hands on Angie's cunt and clit and their tongues on her tits.I could tell that she was getting close, Hell, so was I, but she wasn't able to keep focus on anything. Her body was just searching for that position, any position that would enhance the pleasure she was striving for. Her hands clutched at the sheets, the heads of the women suckling her tits, her own hair, as if she was trying to contain the sensations in her head. And then, she reached the peak. She seemed to freeze, as if movement would break the spell, and then she cried out, "O fuck! Yes! Yes! Yes!" And then, trembling, she began to relax.It was a relief when she blew, because I was so close myself. I wasn't sure if she even realized I'd come. As we all relaxed, my cock finally softened and slipped out of her bum and I sloped off to the bathroom to clean up. A surreptitious look on the way confirmed the effectiveness of the girls' preparation. I looked clean anyway. Regardless, little Geoff was getting a good wash.When I came out of the bathroom, Angie was sitting up on the bed, excitedly comparing notes with Marie, who'd had anal sex with me once before, although with a condom, and describing the sensation to the new girls who hadn't. From their conversation their attitude could more properly be described as, 'hadn't yet'. My alternate Friday nights for the next few weeks could end up being 'bareback bottom nights', particularly as Marie still wanted to try bareback too, at least once.What about me? Let's be clear, I'm not selfless, but I get pleasure from giving pleasure. I can't understand a man who would pump and dump in a woman in five minutes and think that was fun. I'd rather spend ten minutes loving her tits and at least the same again between her legs, knowing that when I actually enter her the resulting sex will be spectacular. So did I enjoy it? Yes. Would I do it again. Yes, if one or more of the girls wants to. Would it ruin my life I didn't? No. I have a wife and her permission to screw eight mature but attractive sex partners. I'm not going to moan about a shortage of anal sex. It's fun but I sometimes wonder if it's worth the attendant preparation and fuss.Sorry, got a bit introspective there. I went and sat next to Angie. She surprised me when she slipped off the bed and knelt in front of me. "Did I please you, Geoff? " She asked. Good girl. She's remembered she was wearing her collar."You did well," I reassured her. "Even when you wear your collar, I'll keep my promises to you. I was concerned that you were too invested in doing this for the first time. Was it what you hoped for?"She looked serious. "It was amazing and it was something I'd never done and I wanted the experience. But." She looked up at me. "Just as important, I wanted to do something with you that I'd not done with another man; and I knew Marie would be part of it.""Thank you, sweetheart, that was a lovely and special gesture." I bent down to kiss her. "Love you, Angie."As I sat back up I caught Marie's eye. She smiled and inclined her head slightly in acknowledgement of our previous conversation. She'd think about it and then we'd talk.Again, Sue and Margie joined me downstairs while Marie helped Angie clean up. They were only ten or fifteen minutes and when they came down Angie had taken her collar off. Good. I only wanted her to be submissive in the bedroom, anything else might be a step too far.By the time they got downstairs our filled ciabatta were already in the oven and the wine was open and ready to be poured. We sat at the dining table, the five of us just chatting and getting to know each other. Marie explained how our sexual reawakening happened and how it spread to include her friends and then Sue and Margie.When she got to the episode where we made a dirty video they insisted on seeing it so I went into the living room and set up the TV so that I could cast from my phone onto the big screen. When the girls had finished eating, they carried their drinks in to join me and I pressed play.I sat on one sofa with Marie and Angie while Margie and Sue sat together on the other. By the time the video finished I was in the presence of four rather horny women. Marie took charge. "Geoff, you promised Angie that your cock was hers today. So you take her to our room and I'll entertain our guests in the other. See you in a couple of hours." She gave me a huge kiss and herded Sue and Margie upstairs.I turned to Angie. "I'm all yours, sweetheart. What do you want to do?"She looked shyly at me. "You'll think I'm weird.""That ship disappeared over the horizon a long time ago, babe," I replied."Then; Then can we just go to bed and cuddle? I feel, I dunno, overwhelmed? I loved what you did for me but now I think I just want someone to hold me until the world settles again. See? Weird.""Not at all. You feel how you feel. If you need comfort and affection instead of sex, that's fine. I will warn you now though that if we both doze off there's a fair chance you'll wake up with little Geoff wedged into your bum crack."

Lots of talk these days about ultra-processed foods (UPFs). Along with confusion about what in the heck they are or what they're not, how bad they are for us, and what ought to be done about them. A landmark in the discussion of ultra-processed foods has been the publication of a book entitled Ultra-processed People, Why We Can't Stop Eating Food That Isn't Food. The author of that book, Dr. Chris van Tulleken, joins us today. Dr. van Tulleken is a physician and is professor of Infection and Global Health at University College London. He also has a PhD in molecular virology and is an award-winning broadcaster on the BBC. His book on Ultra-processed People is a bestseller. Interview Summary Chris, sometimes somebody comes along that takes a complicated topic and makes it accessible and understandable and brings it to lots of people. You're a very fine scientist and scholar and academic, but you also have that ability to communicate effectively with lots of people, which I very much admire. So, thanks for doing that, and thank you for joining us. Oh, Kelly, it's such a pleasure. You know, I begin some of my talks now with a clipping from the New York Times. And it's a picture of you and an interview you gave in 1995. So exactly three decades ago. And in this article, you just beautifully communicate everything that 30 years later I'm still saying. So, yeah. I wonder if communication, it's necessary, but insufficient. I think we are needing to think of other means to bring about change. I totally agree. Well, thank you by the way. And I hope I've learned something over those 30 years. Tell us, please, what are ultra-processed foods? People hear the term a lot, but I don't think a lot of people know exactly what it means. The most important thing to know, I think, is that it's not a casual term. It's not like 'junk food' or 'fast food.' It is a formal scientific definition. It's been used in hundreds of research studies. The definition is very long. It's 11 paragraphs long. And I would urge anyone who's really interested in this topic, go to the United Nations Food and Agricultural Organization website. You can type in NFAO Ultra and you'll get the full 11 paragraph definition. It's an incredibly sophisticated piece of science. But it boils down to if you as a consumer, someone listening to this podcast, want to know if the thing you are eating right now is ultra-processed, look at the ingredients list. If there are ingredients on that list that you do not normally find in a domestic kitchen like an emulsifier, a coloring, a flavoring, a non-nutritive sweetener, then that product will be ultra-processed. And it's a way of describing this huge range of foods that kind of has taken over the American and the British and in fact diets all over the world. How come the food companies put this stuff in the foods? And the reason I ask is in talks I give I'll show an ingredient list from a food that most people would recognize. And ask people if they can guess what the food is from the ingredient list. And almost nobody can. There are 35 things on the ingredient list. Sugar is in there, four different forms. And then there are all kinds of things that are hard to pronounce. There are lots of strange things in there. They get in there through loopholes and government regulation. Why are they there in the first place? So, when I started looking at this I also noticed this long list of fancy sounding ingredients. And even things like peanut butter will have palm oil and emulsifiers. Cream cheese will have xanthum gum and emulsifiers. And you think, well, wouldn't it just be cheaper to make your peanut butter out of peanuts. In fact, every ingredient is in there to make money in one of two ways. Either it drives down the cost of production or storage. If you imagine using a real strawberry in your strawberry ice cream. Strawberries are expensive. They're not always in season. They rot. You've got to have a whole supply chain. Why would you use a strawberry if you could use ethyl methylphenylglycidate and pink dye and it'll taste the same. It'll look great. You could then put in a little chunky bit of modified corn starch that'll be chewy if you get it in the right gel mix. And there you go. You've got strawberries and you haven't had to deal with strawberry farmers or any supply chain. It's just you just buy bags and bottles of white powder and liquids. The other way is to extend the shelf life. Strawberries as I say, or fresh food, real food - food we might call it rots on shelves. It decays very quickly. If you can store something at room temperature in a warehouse for months and months, that saves enormous amounts of money. So, one thing is production, but the other thing is the additives allow us to consume to excess or encourage us to consume ultra-processed food to excess. So, I interviewed a scientist who was a food industry development scientist. And they said, you know, most ultra-processed food would be gray if it wasn't dyed, for example. So, if you want to make cheap food using these pastes and powders, unless you dye it and you flavor it, it will be inedible. But if you dye it and flavor it and add just the right amount of salt, sugar, flavor enhancers, then you can make these very addictive products. So that's the logic of UPF. Its purpose is to make money. And that's part of the definition. Right. So, a consumer might decide that there's, you know, beneficial trade-off for them at the end of the day. That they get things that have long shelf life. The price goes down because of the companies don't have to deal with the strawberry farmers and things like that. But if there's harm coming in waves from these things, then it changes the equation. And you found out some of that on your own. So as an experiment you did with a single person - you, you ate ultra-processed foods for a month. What did you eat and how did it affect your body, your mood, your sleep? What happened when you did this? So, what's really exciting, actually Kelly, is while it was an n=1, you know, one participant experiment, I was actually the pilot participant in a much larger study that we have published in Nature Medicine. One of the most reputable and high impact scientific journals there is. So, I was the first participant in a randomized control trial. I allowed us to gather the data about what we would then measure in a much larger number. Now we'll come back and talk about that study, which I think was really important. It was great to see it published. So, I was a bit skeptical. Partly it was with my research team at UCL, but we were also filming it for a BBC documentary. And I went into this going I'm going to eat a diet of 80% of my calories will come from ultra-processed food for four weeks. And this is a normal diet. A lifelong diet for a British teenager. We know around 20% of people in the UK and the US eat this as their normal food. They get 80% of their calories from ultra-processed products. I thought, well, nothing is going to happen to me, a middle-aged man, doing this for four weeks. But anyway, we did it kind of as a bit of fun. And we thought, well, if nothing happens, we don't have to do a bigger study. We can just publish this as a case report, and we'll leave it out of the documentary. Three big things happened. I gained a massive amount of weight, so six kilos. And I wasn't force feeding myself. I was just eating when I wanted. In American terms, that's about 15 pounds in four weeks. And that's very consistent with the other published trials that have been done on ultra-processed food. There have been two other RCTs (randomized control trials); ours is the third. There is one in Japan, one done at the NIH. So, people gain a lot of weight. I ate massively more calories. So much so that if I'd continued on the diet, I would've almost doubled my body weight in a year. And that may sound absurd, but I have an identical twin brother who did this natural experiment. He went to Harvard for a year. He did his masters there. During his year at Harvard he gained, let's see, 26 kilos, so almost 60 pounds just living in Cambridge, Massachusetts. But how did you decide how much of it to eat? Did you eat until you just kind of felt naturally full? I did what most people do most of the time, which is I just ate what I wanted when I felt like it. Which actually for me as a physician, I probably took the breaks off a bit because I don't normally have cocoa pops for breakfast. But I ate cocoa pops and if I felt like two bowls, I'd have two bowls. It turned out what I felt like a lot of mornings was four bowls and that was fine. I was barely full. So, I wasn't force feeding myself. It wasn't 'supersize' me. I was eating to appetite, which is how these experiments run. And then what we've done in the trials. So, I gained weight, then we measured my hormone response to a meal. When you eat, I mean, it's absurd to explain this to YOU. But when you eat, you have fullness hormones that go up and hunger hormones that go down, so you feel full and less hungry. And we measured my response to a standard meal at the beginning and at the end of this four-week diet. What we found is that I had a normal response to eating a big meal at the beginning of the diet. At the end of eating ultra-processed foods, the same meal caused a very blunted rise in the satiety hormones. In the 'fullness' hormones. So, I didn't feel as full. And my hunger hormones remained high. And so, the food is altering our response to all meals, not merely within the meal that we're eating. Then we did some MRI scans and again, I thought this would be a huge waste of time. But we saw at four weeks, and then again eight weeks later, very robust changes in the communication between the habit-forming bits at the back of the brain. So, the automatic behavior bits, the cerebellum. Very conscious I'm talking to YOU about this, Kelly. And the kind of addiction reward bits in the middle. Now these changes were physiological, not structural. They're about the two bits of the brain talking to each other. There's not really a new wire going between them. But we think if this kind of communication is happening a lot, that maybe a new pathway would form. And I think no one, I mean we did this with very expert neuroscientists at our National Center for Neuroscience and Neurosurgery, no one really knows what it means. But the general feeling was these are the kind of changes we might expect if we'd given someone, or a person or an animal, an addictive substance for four weeks. They're consistent with, you know, habit formation and addiction. And the fact that they happened so quickly, and they were so robust - they remained the same eight weeks after I stopped the diet, I think is really worrying from a kid's perspective. So, in a period of four weeks, it re-altered the way your brain works. It affected the way your hunger and satiety were working. And then you ended up with this massive weight. And heaven knows what sort of cardiovascular effects or other things like that might have been going on or had the early signs of that over time could have been really pretty severe, I imagine. I think one of the main effects was that I became very empathetic with my patients. Because we did actually a lot of, sort of, psychological testing as well. And there's an experience where, obviously in clinic, I mainly treat patients with infections. But many of my patients are living with other, sort of, disorders of modern life. They live with excess weight and cardiovascular disease and type two diabetes and metabolic problems and so on. And I felt in four weeks like I'd gone from being in my early 30, early 40s at the time, I felt like I'd just gone to my early 50s or 60s. I ached. I felt terrible. My sleep was bad. And it was like, oh! So many of the problems of modern life: waking up to pee in the middle of the night is because you've eaten so much sodium with your dinner. You've drunk all this water, and then you're trying to get rid of it all night. Then you're constipated. It's a low fiber diet, so you develop piles. Pain in your bum. The sleep deprivation then makes you eat more. And so, you get in this vicious cycle where the problem didn't feel like the food until I stopped and I went cold turkey. I virtually have not touched it since. It cured me of wanting UPF. That was the other amazing bit of the experience that I write about in the book is it eating it and understanding it made me not want it. It was like being told to smoke. You know, you get caught smoking as a kid and your parents are like, hey, now you finish the pack. It was that. It was an aversion experience. So, it gave me a lot of empathy with my patients that many of those kinds of things we regard as being normal aging, those symptoms are often to do with the way we are living our lives. Chris, I've talked to a lot of people about ultra-processed foods. You're the first one who's mentioned pain in the bum as one of the problems, so thank you. When I first became a physician, I trained as a surgeon, and I did a year doing colorectal surgery. So, I have a wealth of experience of where a low fiber diet leaves you. And many people listening to this podcast, I mean, look, we're all going to get piles. Everyone gets these, you know, anal fishes and so on. And bum pain it's funny to talk about it. No, not the... it destroys people's lives, so, you know, anyway. Right. I didn't want to make light of it. No, no. Okay. So, your own experiment would suggest that these foods are really bad actors and having this broad range of highly negative effects. But what does research say about these things beyond your own personal experience, including your own research? So, the food industry has been very skillful at portraying this as a kind of fad issue. As ultra-processed food is this sort of niche thing. Or it's a snobby thing. It's not a real classification. I want to be absolutely clear. UPF, the definition is used by the World Health Organization and the United Nations Food and Agricultural Organization to monitor global diet quality, okay? It's a legitimate way of thinking about food. The last time I looked, there are more than 30 meta-analyses - that is reviews of big studies. And the kind of high-quality studies that we use to say cigarettes cause lung cancer. So, we've got this what we call epidemiological evidence, population data. We now have probably more than a hundred of these prospective cohort studies. And they're really powerful tools. They need to be used in conjunction with other evidence, but they now link ultra-processed food to this very wide range of what we euphemistically call negative health outcomes. You know, problems that cause human suffering, mental health problems, anxiety, depression, multiple forms of cancer, inflammatory diseases like Crohn's disease and ulcerative colitis, metabolic disease, cardiovascular disease, Alzheimer's and dementia. Of course, weight gain and obesity. And all cause mortality so you die earlier of all causes. And there are others too. So, the epidemiological evidence is strong and that's very plausible. So, we take that epidemiological evidence, as you well know, and we go, well look, association and causation are different things. You know, do matches cause cancer or does cigarettes cause cancer? Because people who buy lots of matches are also getting the lung cancer. And obviously epidemiologists are very sophisticated at teasing all this out. But we look at it in the context then of other evidence. My group published the third randomized control trial where we put a group of people, in a very controlled way, on a diet of either minimally processed food or ultra-processed food and looked at health outcomes. And we found what the other two trials did. We looked at weight gain as a primary outcome. It was a short trial, eight weeks. And we saw people just eat more calories on the ultra-processed food. This is food that is engineered to be consumed to excess. That's its purpose. So maybe to really understand the effect of it, you have to imagine if you are a food development engineer working in product design at a big food company - if you develop a food that's cheap to make and people will just eat loads of it and enjoy it, and then come back for it again and again and again, and eat it every day and almost become addicted to it, you are going to get promoted. That product is going to do well on the shelves. If you invent a food that's not addictive, it's very healthy, it's very satisfying, people eat it and then they're done for the day. And they don't consume it to excess. You are not going to keep your job. So that's a really important way of understanding the development process of the foods. So let me ask a question about industry and intent. Because one could say that the industry engineers these things to have long shelf life and nice physical properties and the right colors and things like this. And these effects on metabolism and appetite and stuff are unpleasant and difficult side effects, but the foods weren't made to produce those things. They weren't made to produce over consumption and then in turn produce those negative consequences. You're saying something different. That you think that they're intentionally designed to promote over consumption. And in some ways, how could the industry do otherwise? I mean, every industry in the world wants people to over consume or consume as much of their product as they can. The food industry is no different. That is exactly right. The food industry behaves like every other corporation. In my view, they commit evil acts sometimes, but they're not institutionally evil. And I have dear friends who work in big food, who work in big pharma. I have friends who work in tobacco. These are not evil people. They're constrained by commercial incentives, right? So, when I say I think the food is engineered, I don't think it. I know it because I've gone and interviewed loads of people in product development at big food companies. I put some of these interviewees in a BBC documentary called Irresistible. So rather than me in the documentary going, oh, ultra-processed food is bad. And everyone going, well, you are, you're a public health bore. I just got industry insiders to say, yes, this is how we make the food. And going back to Howard Moskovitz, in the 1970s, I think he was working for the Campbell Soup Company. And Howard, who was a psychologist by training, outlined the development process. And what he said was then underlined by many other people I've spoken to. You develop two different products. This one's a little bit saltier than the next, and you test them on a bunch of people. People like the saltier ones. So now you keep the saltier one and you develop a third product and this one's got a bit more sugar in it. And if this one does better, well you keep this one and you keep AB testing until you get people buying and eating lots. And one of the crucial things that food companies measure in product development is how fast do people eat and how quickly do they eat. And these kind of development tools were pioneered by the tobacco industry. I mean, Laura Schmidt has done a huge amount of the work on this. She's at University of California, San Francisco (UCSF), in California. And we know the tobacco industry bought the food industry and for a while in the '80s and '90s, the biggest food companies in the world were also the biggest tobacco companies in the world. And they used their flavor molecules and their marketing techniques and their distribution systems. You know, they've got a set of convenience tools selling cigarettes all over the country. Well, why don't we sell long shelf-life food marketed in the same way? And one thing that the tobacco industry was extremely good at was figuring out how to get the most rapid delivery of the drug possible into the human body when people smoke. Do you think that some of that same thing is true for food, rapid delivery of sugar, let's say? How close does the drug parallel fit, do you think? So, that's part of the reason the speed of consumption is important. Now, I think Ashley Gearhardt has done some of the most incredible work on this. And what Ashley says is we think of addictive drugs as like it's the molecule that's addictive. It's nicotine, it's caffeine, cocaine, diamorphine, heroin, the amphetamines. What we get addicted to is the molecule. And that Ashley says no. The processing of that molecule is crucially important. If you have slow-release nicotine in a chewing gum, that can actually treat your nicotine addiction. It's not very addictive. Slow-release amphetamine we use to treat children with attention and behavioral problems. Slow-release cocaine is an anesthetic. You use it for dentistry. No one ever gets addicted to dental anesthetics. And the food is the same. The rewarding molecules in the food we think are mainly the fat and the sugar. And food that requires a lot of chewing and is slow eaten slowly, you don't deliver the reward as quickly. And it tends not to be very addictive. Very soft foods or liquid foods with particular fat sugar ratios, if you deliver the nutrients into the gut fast, that seems to be really important for driving excessive consumption. And I think the growing evidence around addiction is very persuasive. I mean, my patients report feeling addicted to the food. And I don't feel it's legitimate to question their experience. Chris, a little interesting story about that concept of food and addiction. So going back several decades I was a professor at Yale, and I was teaching a graduate course. Ashley Gerhardt was a student in that course. And, she was there to study addiction, not in the context of food, but I brought up the issue of, you know, could food be addictive? There's some interesting research on this. It's consistent with what we're hearing from people, and that seems a really interesting topic. And Ashley, I give her credit, took this on as her life's work and now she's like the leading expert in the world on this very important topic. And what's nice for me to recall that story is that how fast the science on this is developed. And now something's coming out on this almost every day. It's some new research on the neuroscience of food and addiction and how the food is hijacking in the brain. And that whole concept of addiction seems really important in this context. And I know you've talked a lot about that yourself. She has reframed, I think, this idea about the way that addictive substances and behaviors really work. I mean it turns everything on its head to go the processing is important. The thing the food companies have always been able to say is, look, you can't say food is addictive. It doesn't contain any addictive molecules. And with Ashley's work you go, no, but the thing is it contains rewarding molecules and actually the spectrum of molecules that we can find rewarding and we can deliver fast is much, much broader than the traditionally addictive substances. For policy, it's vital because part of regulating the tobacco industry was about showing they know they are making addictive products. And I think this is where Ashley's work and Laura Schmidt's work are coming together. With Laura's digging in the tobacco archive, Ashley's doing the science on addiction, and I think these two things are going to come together. And I think it's just going to be a really exciting space to watch. I completely agree. You know when most people think about the word addiction, they basically kind of default to thinking about how much you want something. How much, you know, you desire something. But there are other parts of it that are really relevant here too. I mean one is how do you feel if you don't have it and sort of classic withdrawal. And people talk about, for example, being on high sugar drinks and stopping them and having withdrawal symptoms and things like that. And the other part of it that I think is really interesting here is tolerance. You know whether you need more of the substance over time in order to get the same reward benefit. And that hasn't been studied as much as the other part of addiction. But there's a lot to the picture other than just kind of craving things. And I would say that the thing I like about this is it chimes with my. Personal experience, which is, I have tried alcohol and cigarettes and I should probably end that list there. But I've never had any real desire for more of them. They aren't the things that tickle my brain. Whereas the food is a thing that I continue to struggle with. I would say in some senses, although I no longer like ultra-processed food at some level, I still want it. And I think of myself to some degree, without trivializing anyone's experience, to some degree I think I'm in sort of recovery from it. And it remains that tussle. I mean I don't know what you think about the difference between the kind of wanting and liking of different substances. Some scientists think those two things are quite, quite different. That you can like things you don't want, and you can want things you don't like. Well, that's exactly right. In the context of food and traditional substances of abuse, for many of them, people start consuming because they produce some sort of desired effect. But that pretty quickly goes away, and people then need the substance because if they don't have it, they feel terrible. So, you know, morphine or heroin or something like that always produces positive effects. But that initial part of the equation where you just take it because you like it turns into this needing it and having to have it. And whether that same thing exists with food is an interesting topic. I think the other really important part of the addiction argument in policy terms is that one counterargument by industrial scientists and advocates is by raising awareness around ultra-processed food we are at risk of driving, eating disorders. You know? The phenomenon of orthorexia, food avoidance, anorexia. Because all food is good food. There should be no moral value attached to food and we mustn't drive any food anxiety. And I think there are some really strong voices in the United Kingdom Eating Disorder scientists. People like Agnes Ayton, who are starting to say, look, when food is engineered, using brain scanners and using scientific development techniques to be consumed to excess, is it any wonder that people develop a disordered relationship with the food? And there may be a way of thinking about the rise of eating disorders, which is parallel to the rise of our consumption of ultra-processed food, that eating disorders are a reasonable response to a disordered food environment. And I think that's where I say all that somewhat tentatively. I feel like this is a safe space where you will correct me if I go off piste. But I think it's important to at least explore that question and go, you know, this is food with which it is very hard, I would say, to have a healthy relationship. That's my experience. And I think the early research is bearing that out. Tell us how these foods affect your hunger, how full you feel, your microbiome. That whole sort of interactive set of signals that might put people in harmony with food in a normal environment but gets thrown off when the foods get processed like this. Oh, I love that question. At some level as I'm understanding that question, one way of trying to answer that question is to go, well, what is the normal physiological response to food? Or maybe how do wild animals find, consume, and then interpret metabolically the food that they eat. And it is staggering how little we know about how we learn what food is safe and what food nourishes us. What's very clear is that wild mammals, and in fact all wild animals, are able to maintain near perfect energy balance. Obesity is basically unheard of in the wild. And, perfect nutritional intake, I mean, obviously there are famines in wild animals, but broadly, animals can do this without being literate, without being given packaging, without any nutritional advice at all. So, if you imagine an ungulate, an herbivore on the plains of the Serengeti, it has a huge difficulty. The carnivore turning herbivore into carnivore is fairly easy. They're made of the same stuff. Turning plant material into mammal is really complicated. And somehow the herbivore can do this without gaining weight, whilst maintaining total precision over its selenium intake, its manganese, its cobalt, its iron, all of which are terrible if you have too little and also terrible if you have too much. We understand there's some work done in a few wild animals, goats, and rats about how this works. Clearly, we have an ability to sense the nutrition we want. What we understand much more about is the sort of quantities needed. And so, we've ended up with a system of nutritional advice that says, well, just eat these numbers. And if you can stick to the numbers, 2,500 calories a day, 2300 milligrams of sodium, no more than 5% of your calories from free sugar or 10%, whatever it is, you know, you stick to these numbers, you'll be okay. And also, these many milligrams of cobalt, manganese, selenium, iron, zinc, all the rest of it. And obviously people can't really do that even with the packaging. This is a very long-winded answer. So, there's this system that is exquisitely sensitive at regulating micronutrient and energy intake. And what we understand, what the Academy understands about how ultra-processed food subverts this is, I would say there are sort of three or four big things that ultra-processed does that real food doesn't. It's generally very soft. And it's generally very energy dense. And that is true of even the foods that we think of as being healthy. That's like your supermarket whole grain bread. It's incredibly energy dense. It's incredibly soft. You eat calories very fast, and this research was done in the '90s, you know we've known that that kind of food promotes excessive intake. I guess in simple terms, and you would finesse this, you consume calories before your body has time to go, well, you've eaten enough. You can consume an excess. Then there's the ratios of fat, salt, and sugar and the way you can balance them, and any good cook knows if you can get the acid, fat, salt, sugar ratios right, you can make incredibly delicious food. That's kind of what I would call hyper palatability. And a lot of that work's being done in the states (US) by some incredible people. Then the food may be that because it's low in fiber and low in protein, quite often it's not satiating. And there may be, because it's also low in micronutrients and general nutrition, it may be that, and this is a little bit theoretical, but there's some evidence for this. Part of what drives the excess consumption is you're kind of searching for the nutrients. The nutrients are so dilute that you have to eat loads of it in order to get enough. Do you think, does that, is that how you understand it? It does, it makes perfect sense. In fact, I'm glad you brought up one particular issue because part of the ultra-processing that makes foods difficult for the body to deal with involves what gets put in, but also what gets taken out. And there was a study that got published recently that I think you and I might have discussed earlier on American breakfast cereals. And this study looked at how the formulation of them had changed over a period of about 20 years. And what they found is that the industry had systematically removed the protein and the fiber and then put in more things like sugar. So there, there's both what goes in and what gets taken out of foods that affects the body in this way. You know, what I hear you saying, and what I, you know, believe myself from the science, is the body's pretty capable of handling the food environment if food comes from the natural environment. You know, if you sit down to a meal of baked chicken and some beans and some leafy greens and maybe a little fruit or something, you're not going to overdo it. Over time you'd end up with the right mix of nutrients and things like that and you'd be pretty healthy. But all bets are off when these foods get processed and engineered, so you over consume them. You found that out in the experiment that you did on yourself. And then that's what science shows too. So, it's not like these things are sort of benign. People overeat them and they ought to just push away from the table. There's a lot more going on here in terms of hijacking the brain chemistry. Overriding the body signals. Really thwarting normal biology. Do you think it's important to add that we think of obesity as being the kind of dominant public health problem? That's the thing we all worry about. But the obesity is going hand in hand with stunting, for example. So, height as you reach adulthood in the US, at 19 US adults are something like eight or nine centimeters shorter than their counterparts in Northern Europe, Scandinavia, where people still eat more whole food. And we should come back to that evidence around harms, because I think the really important thing to say around the evidence is it has now reached the threshold for causality. So, we can say a dietary pattern high in ultra-processed food causes all of these negative health outcomes. That doesn't mean that any one product is going to kill you. It just means if this is the way you get your food, it's going to be harmful. And if all the evidence says, I mean, we've known this for decades. If you can cook the kind of meal, you just described at home, which is more or less the way that high income people eat, you are likely to have way better health outcomes across the board. Let me ask you about the title of your book. So, the subtitle of your book is Why We Can't Stop Eating Food That Isn't Food. So, what is it? The ultra-processed definition is something I want to pay credit for. It's really important to pay a bit of credit here. Carlos Montero was the scientist in Brazil who led a team who together came up with this definition. And, I was speaking to Fernanda Rauber who was on that team, and we were trying to discuss some research we were doing. And every time I said food, she'd correct me and go, it is not, it's not food, Chris. It's an industrially produced edible substance. And that was a really helpful thing for me personally, it's something it went into my brain, and I sat down that night. I was actually on the UPF diet, and I sat down to eat some fried chicken wings from a popular chain that many people will know. And was unable to finish them. I think our shared understanding of the purpose of food is surely that its purpose is to nourish us. Whether it's, you know, sold by someone for this purpose, or whether it's made by someone at home. You know it should nourish us spiritually, socially, culturally, and of course physically and mentally. And ultra-processed food nourishes us in no dimension whatsoever. It destroys traditional knowledge, traditional land, food culture. You don't sit down with your family and break, you know, ultra-processed, you know, crisps together. You know, you break bread. To me that's a kind of very obvious distortion of what it's become. So, I don't think it is food. You know, I think it's not too hard of a stretch to see a time when people might consider these things non-food. Because if you think of food, what's edible and whether it's food or not is completely socially constructed. I mean, some parts of the world, people eat cockroaches or ants or other insects. And in other parts of the world that's considered non-food. So just because something's edible doesn't mean that it's food. And I wonder if at some point we might start to think of these things as, oh my God, these are awful. They're really bad for us. The companies are preying on us, and it's just not food. And yeah, totally your book helps push us in that direction. I love your optimism. The consumer facing marketing budget of a big food company is often in excess of $10 billion a year. And depends how you calculate it. I'll give you a quick quiz on this. So, for a while, the Robert Wood Johnson Foundation was by far the biggest funder of research in the world on childhood obesity. And they were spending $500 million a year to address this problem. Just by which day of the year the food industry has already spent $500 million just advertising just junk food just to children. Okay, so the Robert V. Wood Foundation is spending it and they were spending that annually. Annually, right. So, what's, by what day of the year is the food industry already spent that amount? Just junk food advertising just to kids. I'm going to say by somewhere in early spring. No. January 4th. I mean, it's hysterical, but it's also horrifying. So, this is the genius of ultra-processed food, of the definition and the science, is that it creates this category which is discretionary. And so at least in theory, of course, for many people in the US it's not discretionary at all. It's the only stuff they can afford. But this is why the food industry hate it so much is because it offers the possibility of going, we can redefine food. And there is all this real food over there. And there is this UPF stuff that isn't food over here. But industry's very sophisticated, you know. I mean, they push back very hard against me in many different ways and forms. And they're very good at going, well, you're a snob. How dare you say that families with low incomes, that they're not eating food. Are you calling them dupes? Are you calling them stupid? You know, they're very, very sophisticated at positioning. Isn't it nice how concerned they are about the wellbeing of people without means? I mean they have created a pricing structure and a food subsidy environment and a tax environment where essentially people with low incomes in your country, in my country, are forced to eat food that harms them. So, one of the tells I think is if you're hearing someone criticize ultra-processed food, and you'll read them in the New York Times. And often their conflicts of interest won't be reported. They may be quite hidden. The clue is, are they demanding to seriously improve the food environment in a very clear way, or are they only criticizing the evidence around ultra-processed food? And if they're only criticizing that evidence? I'll bet you a pound to a pinch of salt they'll be food-industry funded. Let's talk about that. Let's talk about that a little more. So, there's a clear pattern of scientists who take money from industry finding things that favor industry. Otherwise, industry wouldn't pay that money. They're not stupid in the way they invest. And, you and I have talked about this before, but we did a study some years ago where we looked at industry and non-industry funded study on the health effects of consuming sugar sweetened beverages. And it's like the ocean parted. It's one of my favorites. And it was something like 98 or 99% of the independently funded studies found that sugar sweetened beverages do cause harm. And 98 or 99% of the industry funded studies funded by Snapple and Coke and a whole bunch of other companies found that they did not cause harm. It was that stark, was it? It was. And so you and I pay attention to the little print in these scientific studies about who's funded them and who might have conflicts of interest. And maybe you and I and other people who follow science closely might be able to dismiss those conflicted studies. But they have a big impact out there in the world, don't they? I had a meeting in London with someone recently, that they themselves were conflicted and they said, look, if a health study's funded by a big sugary drink company, if it's good science, that's fine. We should publish it and we should take it at face value. And in the discussion with them, I kind of accepted that, we were talking about other things. And afterwards I was like, no. If a study on human health is funded by a sugary drink corporation, in my opinion, we could just tear that up. None of that should be published. No journals should publish those studies and scientists should not really call themselves scientists who are doing it. It is better thought of as marketing and food industry-funded scientists who study human health, in my opinion, are better thought of as really an extension of the marketing division of the companies. You know, it's interesting when you talk to scientists, and you ask them do people who take money from industry is their work influenced by that money? They'll say yes. Yeah, but if you say, but if you take money from industry, will your work be influenced? They'll always say no. Oh yeah. There's this tremendous arrogance, blind spot, whatever it is that. I can remain untarnished. I can remain objective, and I can help change the industry from within. In the meantime, I'm having enough money to buy a house in the mountains, you know, from what they're paying me, and it's really pretty striking. Well, the money is a huge issue. You know, science, modern science it's not a very lucrative career compared to if someone like you went and worked in industry, you would add a zero to the end of your salary, possibly more. And the same is true of me. I think one of the things that adds real heft to the independent science is that the scientists are taking a pay cut to do it. So how do children figure in? Do you think children are being groomed by the industry to eat these foods? A senator, I think in Chile, got in hot water for comparing big food companies to kind of sex offenders. He made, in my view, a fairly legitimate comparison. I mean, the companies are knowingly selling harmful products that have addictive properties using the language of addiction to children who even if they could read warning labels, the warning labels aren't on the packs. So, I mean, we have breakfast cereals called Crave. We have slogans like, once you stop, once you pop, you can't stop. Bet you can't just eat one. Yeah, I think it is predatory and children are the most vulnerable group in our society. And you can't just blame the parents. Once kids get to 10, they have a little bit of money. They get their pocket money, they're walking to school, they walk past stores. You know, you have to rely on them making decisions. And at the moment, they're in a very poor environment to make good decisions. Perhaps the most important question of all what can be done. So, I'm speaking to you at a kind of funny moment because I've been feeling that a lot of my research and advocacy, broadcasting... you know, I've made documentaries, podcasts, I've written a book, I've published these papers. I've been in most of the major newspapers and during the time I've been doing this, you know, a little under 10 years I've been really focused on food. Much less time than you. Everything has got worse. Everything I've done has really failed totally. And I think this is a discussion about power, about unregulated corporate power. And the one glimmer of hope is this complaint that's been filed in Pennsylvania by a big US law firm. It's a very detailed complaint and some lawyers on behalf of a young person called Bryce Martinez are suing the food industry for causing kidney problems and type two diabetes. And I think that in the end is what's going to be needed. Strategic litigation. That's the only thing that worked with tobacco. All of the science, it eventually was useful, but the science on its own and the advocacy and the campaigning and all of it did no good until the lawyers said we would like billions and billions of dollars in compensation please. You know, this is an exciting moment, but there were a great many failed lawsuits for tobacco before the master settlement agreement in the '90s really sort of changed the game. You know, I agree with you. Are you, are you optimistic? I mean, what do you think? I am, and for exactly the same reason you are. You know, the poor people that worked on public health and tobacco labored for decades without anything happening long, long after the health consequences of cigarette smoking were well known. And we've done the same thing. I mean, those us who have been working in the field for all these years have seen precious little in the ways of policy advances. Now tobacco has undergone a complete transformation with high taxes on cigarettes, and marketing restrictions, and non-smoking in public places, laws, and things like that, that really have completely driven down the consumption of cigarettes, which has been a great public health victory. But what made those policies possible was the litigation that occurred by the state attorneys general, less so the private litigating attorneys. But the state attorneys general in the US that had discovery documents released. People began to understand more fully the duplicity of the tobacco companies. That gave cover for the politicians to start passing the policies that ultimately made the big difference. I think that same history is playing out here. The state attorneys general, as we both know, are starting to get interested in this. I say hurray to that. There is the private lawsuit that you mentioned, and there's some others in the mix as well. I think those things will bring a lot of propel the release of internal documents that will show people what the industry has been doing and how much of this they've known all along. And then all of a sudden some of these policy things like taxes, for example, on sugared beverages, might come in and really make a difference. That's my hope. But it makes me optimistic. Well, I'm really pleased to hear that because I think in your position it would be possible. You know, I'm still, two decades behind where I might be in my pessimism. One of the kind of engines of this problem to me is these conflicts of interest where people who say, I'm a physician, I'm a scientist, I believe all this. And they're quietly paid by the food industry. This was the major way the tobacco industry had a kind of social license. They were respectable. And I do hope the lawsuits, one of their functions is it becomes a little bit embarrassing to say my research institute is funded [by a company that keeps making headlines every day because more documents are coming out in court, and they're being sued by more and more people. So, I hope that this will diminish the conflict, particularly between scientists and physicians in the food industry. Because that to me, those are my biggest opponents. The food industry is really nice. They throw money at me. But it's the conflicted scientists that are really hard to argue with because they appear so respectable. Bio Dr. Chris van Tulleken is a physician and a professor of Infection and Global Health at University College London. He trained at Oxford and earned his PhD in molecular virology from University College London. His research focuses on how corporations affect human health especially in the context of child nutrition and he works with UNICEF and The World Health Organization on this area. He is the author of a book entitled Ultraprocessed People: Why We Can't Stop Eating Food That Isn't Food. As one of the BBC's leading broadcasters for children and adults his work has won two BAFTAs. He lives in London with his wife and two children.

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Grace Van Patten has one word to describe having the opportunity to portray Amanda Knox in Hulu's The Twisted Tale of Amanda Knox—grateful. “I was really, really grateful to be a part of something that was giving Amanda a chance to reclaim her story,” she told Newsweek's H. Alan Scott. To capture Knox's mindset, Van Patten leaned into the confusion of the case itself. “Playing the confusion was truthful. I was so confused by what happened when I was learning about it that it was very easy to be present in those moments.” The role also showed her the impact of public perception. “I learned a lot about how easy it is for women, but all people, to be so easily scrutinized and villainized in the press.” Partly because there's money in the shock value. “It sells. It's so much about money. And we're all guilty of buying into it because it's enticing, and it's in big font. It taught me a lot to work harder on not buying into that type of thing.” Ultimately, she is eager to see if the series can shift long-held beliefs. “I'm really curious to see if it does change their opinion at the end of it.” You can watch the full chat at https://www.newsweek.com/2025/09/12/grace-van-patten-reclaiming-amanda-knoxs-true-story-hulu-2119585.html Subscribe to my newsletter: https://www.newsweek.com/newsletter/the-culture/ Follow me: https://linktr.ee/halanscott Subscribe to Newsweek's YouTube: https://www.youtube.com/newsweek See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Syria's upcoming parliamentary election will not include Sweida, Hasakah or Raqqa. The Norwegian Refugee Council has called for investment into Syria. Iranian security forces reportedly killed six Israel-linked militants. On this episode of Trending Middle East: Syria delays parliamentary vote in Sweida and two Kurdish-held areas World needs to do more to help Syrians rebuild lives, says Norwegian Refugee Council chief Iranian forces kill six militants linked to Israel, report says This episode features Khaled Yacoub Oweis, Jordan Correspondent. Editor's note: We want to hear from you! Help us improve our podcasts by taking our 2-minute listener survey. Click here.

CBS47/FOX30 FIRST ALERT FORECAST – FRIDAY, AUGUST 22, 2025 First Alert Meteorologist Garrett Bedenbaugh WOKV RADIO The WOKV Weather Meter for Today: 7 TODAY: Partly sunny. A few afternoon storms. High: 91 TONIGHT: Shower and storm early. Partly cloudy Low: 74 SATURDAY: Partly cloudy with afternoon storms. High: 90 SUNDAY: Partly cloudy with scattered showers and storms. High: 91 MONDAY: Partly sunny. Isolated afternoon storm. High: 93 TUESDAY: Mostly sunny. Isolated afternoon shower/storm. High: 92

Today in 1961, a news report in the Santa Cruz Sentinel about a strange bird event along the coast of California that ended up shaping an iconic movie about a strange bird event. Plus: this week in Carmichaels, Pennsylvania, the King Coal Show. Here's the real story behind Alfred Hitchcock's ‘The Birds' (Popular Science)King Coal Association Back our show today on Patreon and keep the shows about weird bird happenings coming

Duncan Greive is joined by Phil Eastwood, GM of JCDecaux NZ, and Paul Maher, chair of OOHMAA, to discuss the rise and rise of out-of-home media. Once a backwater of the industry, it's now the only locally operated sector showing robust growth. Partly a result of digital screens, partly a response to the hyper-saturation of ads in digital contexts, out-of-home has become what Eastwood calls “the last true broadcast medium”. This episode is in partnership with JCDecaux. Learn more about your ad choices. Visit megaphone.fm/adchoices

Who better to break down menopause than Adam Carter? Adam shares a news story about the impact menopause and perimenopause may be having on the divorce rate and whether he buys the theories offered in the story.

Send us a text and chime in!Take a break and check out the weekend weather for Prescott Valley, Prescott, Chino Valley, and Dewey-Humboldt. Thursday: Showers likely and possibly a thunderstorm between 11am and 2pm, then showers and thunderstorms likely after 2pm. Partly sunny, with a high near 94. Light and variable wind becoming southwest 6 to 11 mph in the morning. Winds could gust as high as 18 mph. Chance of precipitation is 70%. Thursday Night: Showers likely and possibly a thunderstorm before 11pm, then a chance of showers and thunderstorms after 11pm. Mostly cloudy, with a low around 69. Southwest wind 3 to 7 mph.... For the written story, read here >> https://www.signalsaz.com/articles/weekend-weather-for-prescott-valley-prescott-for-aug-14-18-2025/Check out the CAST11.com Website at: https://CAST11.com Follow the CAST11 Podcast Network on Facebook at: https://Facebook.com/CAST11AZFollow Cast11 Instagram at: https://www.instagram.com/cast11_podcast_network

Smiling is a universal way to show happiness. But not all smiles are happy. In reality, we smile less for happiness than for social reasons that have nothing to do with happiness. That said, few things are more ingratiating and calming as another person's genuinely warm smile. But, maybe it's because a genuine smile is such a great thing that we're always looking for the false one. But we shouldn't assume that a smile that reflects something other than unadulterated joy is always a bad thing. Smiling has an evolutionary function, helping to ensure our survival after birth. Babies first smile while still in the womb and deliberately smile at us shortly thereafter less because they're thrilled to have us as parents and more to keep us happy with them. There's a reason for this. Smiling has high social benefits: those who smile are considered more social, more accessible, more helpful, and more attractive. But, what happens when you can't smile? The absence of a smile is life-changing, yet until we lose it, we take it for granted. There are many illnesses that make it difficult to smile including Parkinson's Disease, Bell's Palsy, and Moebius Syndrome, a particularly devastating illness that afflicts babies. Today, we talk to Jonathan Kalb, a professor of Theatre at Hunter College who spent three years recovering his smile after developing what he thought was a temporary bout of Bell's Palsy. He wrote this thoughtful essay on his experience for The New Yorker. Beyond the inability to smile, what happens you just don't want to smile? The social customs for smiling vary between countries, with many countries feeling we Americans simply smile too much. Partly, it depends on whether you're a woman. As a result, women may smile more, even when they don't want to. GUESTS: Jonathan Kalb: Professor of Theatre at Hunter College CUNY and the author of multiple books on theatre Marianne LaFrance: Professor of Psychology and Women’s Gender and Sexuality Studies at Yale University and the author of Why Smile: The Science Behind Facial Expressions Margaret Livingstone: Professor of Neurobiology at Harvard University, and author of Vision and Art: The Biology of Seeing The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode! Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. Colin McEnroe and Chion Wolf contributed to this show, which originally aired on March 31, 2015.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Trick Daddy says he wont date a woman who is over 35 years old. Partly because he believes their standards are too high.

The Art of Value host JJ breaks down the news that Tesla has lost its Autopilot fatal crash wrongful death case in Florida, as the jury decided Tesla was partly to blame, and says Tesla has to pay the victims up to $243 million. The verdict will be appealed by Tesla Disclaimer: I am not a financial adviser and nothing in this content is financial advice. This content is for general education and entertainment purposes only. Do your own analysis and seek professional financial advice before making any investment decision.

The Art of Value host JJ breaks down the news that Tesla has lost its Autopilot fatal crash wrongful death case in Florida, as the jury decided Tesla was partly to blame, and says Tesla has to pay the victims up to $243 million. The verdict will be appealed by Tesla Disclaimer: I am not a financial adviser and nothing in this content is financial advice. This content is for general education and entertainment purposes only. Do your own analysis and seek professional financial advice before making any investment decision.

UCLA is the latest college to settle an antisemitism case, and it will give several million to Jewish organizations. A lawsuit by pro-Palestinian activists remains pending.   6.6% of college-educated 20 to 24-year-olds are unemployed and actively job-hunting, according to the Labor Department. Why are they struggling to launch? Employers in coveted fields are turning to AI instead of hiring recent college graduates. The white-collar sector is threatened.  ‘It's Always Sunny in Philadelphia’ is the defining American sitcom because it satirizes the dark side of human nature, argues M.H. Miller.

UCLA is the latest college to settle an antisemitism case, and it will give several million to Jewish organizations. A lawsuit by pro-Palestinian activists remains pending.   6.6% of college-educated 20 to 24-year-olds are unemployed and actively job-hunting, according to the Labor Department. Why are they struggling to launch? Employers in coveted fields are turning to AI instead of hiring recent college graduates. The white-collar sector is threatened.  ‘It's Always Sunny in Philadelphia' is the defining American sitcom because it satirizes the dark side of human nature, argues M.H. Miller.

What does it take to write in the health and wellness niche? I asked copywriter Kristen Driscoll about that on this 457th episode of The Copywriter Club Podcast. The wellness niche is booming and now is the time for good copywriters to jump in. Want to know why? Click the play button below, or scroll down for a full transcript.   Stuff to check out: Kristen's LinkedIn The Copywriter Club Facebook Group The Copywriter Underground Full Transcript: Rob Marsh: Writing for the health and wellness industry takes a special set of skills. And that's what we talking about today on The Copywriter Club Podcast. One of the questions I get asked the most as a copywriting coach is which niche pays the most. I'm on the record as a big proponent of niching… our own research which you'll find published on our blog shows that copywriters who write in a single niche make almost two times more than copywriters without a niche. And copywriters who are focused on 2-3 niches make 30% more than writers without a niche. But not all niches are equal. Some niches pay more than others… the financial niche is one of those and we've published several episodes in the past talking about that niche… look for our interviews with Clayton Makepeace, Kyle Milligan, Jake Hoffberg and Ridge Abraham. Most of those episode are a few years old. Partly because of its reputation as a profitable niche, it's hard to break into work with the high-paying financial publishers. Another niche that is generally thought of as high-paying is the health and wellness niche, especially writers who work with supplement makers, fat loss products and medtech. So what do you need to know to break into this lucrative niche? I asked Kristen Driscoll, a health copywriter, to talk a bit about how she broke in and the work that she does. It's a roadmap for your own path to success with wellness clients if you choose to follow it. We talked about how Kristen found her first client in the niche, why she chose health as the industry she wanted to work in, and why wellness is a such a massive opportunity for writers today. I think you'll like this discussion that Kristen and I had so stick around. Before we get to my interview with Kristen, this episode is brought to you by The Copywriter Underground. The Underground includes monthly coaching and expert workshops, an accountability group to keep you moving toward your goals, and more than 70 different workshops  to help you gain the skills and strategies you need to build your business. Recently I asked a new member why she joined the Underground and she said she did it for the copy reviews. She wanted feedback on her work to help her improve her writing. And where many writing coaches charge as much as $1500 to look at a single sales page, you can get unlimited reviews in The Underground for less than $90 a month. Honestly this just might be the best value in the copywriting world. You can learn more by visiting thecopywriterclub.com/tcu-2. And now, my interview with Kristen Driscoll… Hey, Kristen, welcome to the podcast. I am really excited to talk to you about how you became marketing strategist and a direct response copywriter for health and wellness brands and all of the things. So tell us your story. Kristen Driscoll:  Well, thank you so much for having me on. I think, like many direct cop direct response copywriters and marketing folks... so that was my first career, and then I was a full time yoga teacher for 14 years, and still teach yoga. And also a lot of kind of some similarities there that I could draw upon with copywriting and getting started. So from moving on from copywriting or moving on from full time yoga teaching, is when I discovered copywriting and went full off the deep end and kind of immersed myself in in learning the craft, because it really is a craft, you know, some getting those principles down, I think, is key for a longevity of a career.

There's a secret app for influencers to get anything for free… and now we know about it.The reason the Late Show industry is getting canceled? Partly business, partly politics… and partly podcasts.“Crypto Week” passed America's 1st three Bitcoin laws… and it reminds us of Julius Caesar.The newest trend in coffee… is serving it in giant plastic buckets.$PARA $NFLX $BTCWant more business storytelling from us? Check out the latest episode of our new weekly deepdive show: The untold origin story of… Michelin Star Ratings ⭐Subscribe to The Best Idea Yet: Wondery.fm/TheBestIdeaYetLinks to listen.TBOY Live Show Tickets to Chicago on sale NOW: https://www.axs.com/events/949346/the-best-one-yet-podcast-ticketsAbout Us: The daily pop-biz news show making today's top stories your business. Formerly known as Robinhood Snacks, TBOY Lite is hosted by Jack Crivici-Kramer & Nick Martell.GET ON THE POD: Submit a shoutout or fact: https://tboypod.com/shoutouts NEWSLETTER:https://tboypod.com/newsletter SOCIALS:Instagram: https://www.instagram.com/tboypod TikTok: https://www.tiktok.com/@tboypodYouTube: https://www.youtube.com/@tboypod Anything else: https://tboypod.com/ Our 2nd show… The Best Idea Yet: Wondery.fm/TheBestIdeaYetLinksEpisodes drop weekly.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

What is the message we would bring back to our families and friends if we survived a near-death experience? It's the kind of event that could change our lives in a big way. What would we most want the people closest to us to realize from our close encounter with the veil?Such close encounters reveal profound insights and perceptions that can change a life's direction, or bring new understanding about the human's larger universal purpose and potential.Being brought back “online” from an unexpected near-departure also highlights a view of human life as the integration of many different systems in a unified, harmonious whole — physical, mental, and spiritual. An illness or other struggle can be seen as a form of dis-integration, while weaving to reintegrate the parts back together, physical and energetic, enables a larger healing. It brings a clearer vision of the river of life flowing seamlessly within a stream of universal possibility.Longtime Portals friend David Price Francis recently survived a very close call: a scheduled heart surgery did not go as planned. In the latest chapter of the Current Openings series, he talks with Aviv Shahar about the perceptions and meaning the experience unlocked, and the message he'd like us to contemplate. Among their insights:That's how I think of human beings: we're not finished, we're not completed. We're here to learn, to grow, to develop. We're in an embryonic state, which is why planet Earth is so messy.Make the most of life while we're here; pay attention, try to understand how the universe works. Partly why we're here is to read God's signature in the world around us.We can't have the evolutionary stream without being in the river of life; we need to love both. Not trying to be in the realm of consciousness and leaving behind regular life.Instructing and talking to our soul is part of wellbeing and healing. We talk with our intention, our consciousness; we speak to our brain, our body, our soul about what's happening in our life.We might see life in the universe and on Earth as random. Yet the distance from the sun to Earth is exact. In life there is often an exactness to a fraction of a degree. What does this mean for how we live?This conversation is part of the continuing Portals discovery into what is emerging on the frontiers of human experience in this time of profound change. Information about upcoming special events can be found on the Events page. Also visit and subscribe to our YouTube channel. TWEETABLE QUOTES “We don't want to go to Nirvana, we want Nirvana to come to us - whilst we're doing the washing up - like that idea of chop wood, carry water, that one is actually engaged in the river of life, but one has, at the same time, a higher consciousness and a higher awareness that's active. So both things are happening at once. It's very easy though to get carried along in the river of life and lose consciousness within it; we become automated, we become auto responsive.” (David)“Pay attention to the river of life, the codings, the understandings, you could say the signature of creation, it's all there. And so we don't take our consciousness and seek to separate it and go into some other domain and become blank. It's actually more like, everything is interesting, everything is worth looking at and exploring and trying to understand it. What are the actual laws by which this place works? And what are the connections through which it works? And we've been given this chance to research God through the river of life, because that tells us something about the design of creation.” (David) RESOURCES MENTIONED Portals of Perception WebsiteAviv's LinkedIn Aviv's TwitterAviv's WebsiteThe Open-Heart Conversation: Current Openings #18

In this episode of Bring the Pain, I reviewed last night's UFC Nashville, which featured Lewis vs. Teixeira at the main event. After a pretty good card, the zany ending to that match took a little out of our pockets, but in the end, we had an amazing week of content for the Fight ClubofPain. Of course, the Five-tastic Picks smashed it again, and DFS wise, I have out a lineup that would have put you on the top five percent of most slates this weekend. Partly because I went 11-1 for my picks and the fight theory Dan discussed with me on the Fight Club. Well, that's enough talk for now, so let's get to it. Have a great day, everyone, and may the fights be with you.Thank you for the support and contributions all of you make for my podcasts and articles each week. Y'all the real #Painbringers!Follow me at....*Facebookhttps://www.facebook.com/Bring...*Twitterhttps://twitter.com/HeatOverid...*Spreaker Podcastshttps://spreaker.page.link/VS5...*Dr Roto Sports Websitehttps://drroto.com/author/robe...*You Tubehttps://youtube.com/@Heat00veride05?si=cVb49FjQD-Y6fKjT*Apple Podcastshttps://podcasts.apple.com/us/...*Spotify Podcastshttps://open.spotify.com/show/...*Podchaser Podcastshttps://www.podchaser.com/podc...*Iheart Podcastshttps://www.iheart.com/podcast...Become a supporter of this podcast: https://www.spreaker.com/podcast/bring-the-pain--3659369/support.

This podcast is part of the Money Reckoning series.THE IMPACT. Kazu Haga:Is a trainer, educator, student and practitioner with over 25 years of experience in nonviolence and restorative justice. Weaves in lessons from decades of Buddhist practice and trauma healing work to advance social change and collective healing. Is a core member of the Fierce Vulnerability Network, a founding member of the Ahimsa Collective, a Jam facilitator and author of the books Healing Resistance and Fierce Vulnerability. Teaches nonviolence, conflict reconciliation, restorative justice, organizing and mindfulness in prisons and jails, schools, faith communities and activist movements.Has worked on the gift economy for over 15 years. I particularly recommend his Substack, and the article about how the “gift economy is not free.” THE JOURNEY. In our conversation, we explore:Early influences”Depending on the causes and conditions in our lives, we could be so many different people. We could be Trump supporters, we could be prison guards, we could be an incarcerated person… just based on just the factors in our lives.“Big questions “The point isn't to figure it out. The point is to just be with the question, and have faith that at some point, if we listen deep enough, we'll be guided to the most skillful next step. And that's perhaps all we need to know.”The healing work of nonviolence“ What would happen if, in a nonviolent direct action, instead of yelling and chanting, we held a public grief ritual for everyone to witness? What would happen if, instead of leading with our anger, we led with our heartbreak?”Fierce vulnerability“Can we have the spiritual maturity and the capacity to really see the world for what it is and to not collapse under the weight of it?”“The amount of spiritual energy that it takes to constantly suppress a deeper truth that I think all of us are feeling that something is so deeply wrong with our society … it is sapping us. You see the impact, the mental health epidemics, the depression, the sense of isolation. We're constantly using our energy to, to live in this delusion of everything's fine. Don't look, don't look.” Spaces safe enough to look at the reality of this moment“ In a lot of the spaces that I facilitate, we do this activity where we do like check-ins and the first prompt is, how are you doing? And then the second prompt is, how are you really doing? And then the third prompt is, how are you really, really doing? We so rarely have an opportunity to slow down enough, just to say, how am I actually doing, in the midst of post pandemic and war and genocide and polarization and the rise of authoritarianism, and ecological collapse?”Reckoning with capitalism ”People are slowly realizing more and more how unsustainable the capitalist system is. Those are scary moments. Because capitalism is all we've ever known. A lot of us believe that if capitalism fails, there'll be complete lawlessness. So just to create space for people to be with that fear, let them know that the fear is real, it's legitimate. And at some point I think there'll be openness to hear that there are other ways that we can organize society.”The gift economy“The gift economy is one way to really imagine: how do we share resources, distribute resources, manage our shared resources in a way that understands that we are a communal species. It's not through individualism and competition and hoarding that we thrive. We are at our best when we are communal.”“It's  not about how do I make more money so that I can thrive, but how do I make less money so that I have time to invest in the relationships that will really help me thrive?”Running an organization on the gift economy“ I started a nonprofit. We barely did any fundraising. We barely worked with foundations and somehow managed to become sustainable. Partly because we're committed to simple living. But so many things happened that gave me a sense this could work.”

**SURVEY TIME** We need more info on our listeners and viewers to help improve the show. It takes 2mins and one lucky applicant will win a £50 John Lewis voucher. Take part as you listen...When the ad money leaves, what do you do to keep your publication going? Tag Warner, CEO of the Gay Times, joins us to discuss their adventures in a readership share scheme.Partly fuelling that is Google's AI Overview: Charlotte Tobitt of Press Gazette takes us through the legal challenge publishers have just launched.All that plus: Gregg Wallace isn't giving up without a fight, are we heading for a world with just two public service broadcasters? And, in the Audio Network Media Quiz, Matt consults the Club's crystal ball.The Media Quiz is sponsored by Audio Network who select the music to score each episode - they can do it for you too at audionetwork.comBecome a member for FREE when you sign up for our newsletter at themediaclub.comA Rethink Audio production, produced by Matt Hill with post-production from Podcast Discovery.We record at Podshop Studios - for 25% off your first booking, use the code MEDIA CLUB at podshoponline.co.ukWhat The Media Club has been reading this week:The Gay Times' readers share schemePeter Bazelgette: only two PSBs will exist in a decadeGreg Wallace preempts BBC reportBBC Clause in Gaza Doc contractAudio UK's petition to DCMSGoogle AI Overview overview updateGiant Ball format in developmentAvalon reboot Spitting Image for YouTubeFirst AI ad launched on Channel 4 Hosted on Acast. See acast.com/privacy for more information.

The Deputy Prime Minister believes the Government would be better off with the part-privatisation of Interislander ferries. A Treasury paper presented to Cabinet by the Minister for Rail, Winston Peters, says the Government can consider private investment to reduce costs. David Seymour agrees with the idea and says the Government has been far too relaxed with capital. He told Mike Hosking the Government is not a good operator of commercial enterprises, and there's no shortage of evidence for that. Seymour says you have to balance the books, and at the moment the Government owns too many underperforming assets. LISTEN ABOVE See omnystudio.com/listener for privacy information.

Secretary of Health and Human Services Robert F. Kennedy, Jr. has spent years spreading doubt about the safety of vaccines and linking them to autism. Dozens of studies have debunked the theory, but it has nevertheless persisted for years. Part of the reason why may be that autism diagnoses have soared over the last few decades.Dr. Allen Frances is psychiatrist who led the task force that created the fourth edition of the Diagnostic and Statistical Manual of Mental Disorders, which expanded the definition of Autism. Frances says that expanded definition played a role in the increase.Rates of autism have exploded in recent decades. Could the clinical definition of autism itself be partly to blame? For sponsor-free episodes of Consider This, sign up for Consider This+ via Apple Podcasts or at plus.npr.org. Email us at considerthis@npr.org.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

In this episode, Eric Hsu and Louis Everuss take the elevator to the severed floor of where they work so that their innies can talk about the sociological aspects of a television show they both really like, Apple TV+'s Severance. Partly drawing from a chapter written by Palmer and Schueths in the edited volume, Reintegrating Severance, Eric and Louis explore how ideas found in classical sociology can be used to ‘illumonate' aspects of what we see unfolding in the show's first two seasons. Eric and Louis warn listeners that spoilers for the show are aplenty, so if you haven't watched Seasons 1 and 2 of the show, you might want to sit this one out.Music and sound effects for this episode come from various sources and is licensed under the Creative Commons 0 License, the Creative Commons Attribution License 3.0, EFF Open Audio License, or is covered by a SFX (Multi-Use) License or a Commercial License from Epidemic Sound (www.epidemicsound.com). Tracks include:https://freesound.org/people/Tuben/sounds/272044/https://www.epidemicsound.com/track/yrihocqESJ/https://www.epidemicsound.com/sound-effects/tracks/aa2f842f-1dc6-487c-b35d-932422721468/https://www.epidemicsound.com/track/OcH616ujET/https://freesound.org/people/djlprojects/sounds/413641/https://www.epidemicsound.com/track/49eBs9LhPB/https://www.epidemicsound.com/track/7pXD5Vw3m9/https://www.epidemicsound.com/track/Ge4zoQrQS6/https://www.epidemicsound.com/track/A2V5xRtt5S/The opinions expressed in the Sociology of Everything podcast are that of the hosts and/or guest speakers. They do not necessarily reflect the opinions of anyone else at UniSA or the institution at large.The Sociology of Everything podcast | www.sociologypodcast.com

For those who haven't heard the announcement I posted, songs from this point on will sometimes be split among multiple episodes, so this is the second part of a two-episode look at the song “Who Knows Where The Time Goes?” by Fairport Convention, and the intertwining careers of Joe Boyd, Sandy Denny, and Richard Thompson. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-one-minute bonus episode available, on Judy Collins’ version of this song. Tilt Araiza has assisted invaluably by editing, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum For about an hour this was uploaded with the wrong Elton John clip in place of “Saturday Sun”. This has now been fixed. Resources Because of the increasing problems with Mixcloud’s restrictions, I have decided to start sharing streaming playlists of the songs used in episodes instead of Mixcloud ones. This Tunemymusic link will let you listen to the playlist I created on your streaming platform of choice — however please note that not all the songs excerpted are currently available on streaming. The songs missing from the Tidal version are “Shanten Bells” by the Ian Campbell Folk Group, “Tom’s Gone to Hilo” by A.L. Lloyd, two by Paul McNeill and Linda Peters, three by Elton John & Linda Peters, “What Will I Do With Tomorrow” by Sandy Denny and “You Never Know” by Charlie Drake, but the other fifty-nine are there. Other songs may be missing from other services. The main books I used on Fairport Convention as a whole were Patrick Humphries' Meet On The Ledge, Clinton Heylin's What We Did Instead of Holidays, and Kevan Furbank's Fairport Convention on Track. Rob Young's Electric Eden is the most important book on the British folk-rock movement. Information on Richard Thompson comes from Patrick Humphries' Richard Thompson: Strange Affair and Thompson's own autobiography Beeswing.  Information on Sandy Denny comes from Clinton Heylin's No More Sad Refrains and Mick Houghton's I've Always Kept a Unicorn. I also used Joe Boyd's autobiography White Bicycles and Chris Blackwell's The Islander.  And this three-CD set is the best introduction to Fairport's music currently in print. Transcript Before we begin, this episode contains reference to alcohol and cocaine abuse and medical neglect leading to death. It also starts with some discussion of the fatal car accident that ended last episode. There’s also some mention of child neglect and spousal violence. If that’s likely to upset you, you might want to skip this episode or read the transcript. One of the inspirations for this podcast when I started it back in 2018 was a project by Richard Thompson, which appears (like many things in Thompson’s life) to have started out of sheer bloody-mindedness. In 1999 Playboy magazine asked various people to list their “songs of the Millennium”, and most of them, understanding the brief, chose a handful of songs from the latter half of the twentieth century. But Thompson determined that he was going to list his favourite songs *of the millennium*. He didn’t quite manage that, but he did cover seven hundred and forty years, and when Playboy chose not to publish it, he decided to turn it into a touring show, in which he covered all his favourite songs from “Sumer Is Icumen In” from 1260: [Excerpt: Richard Thompson, “Sumer is Icumen In”] Through numerous traditional folk songs, union songs like “Blackleg Miner”, pieces by early-modern composers, Victorian and Edwardian music hall songs, and songs by the Beatles, the Ink Spots, the Kinks, and the Who, all the way to “Oops! I Did It Again”: [Excerpt: Richard Thompson, “Oops! I Did it Again”] And to finish the show, and to show how all this music actually ties together, he would play what he described as a “medieval tune from Brittany”, “Marry, Ageyn Hic Hev Donne Yt”: [Excerpt: Richard Thompson, “Marry, Ageyn Hic Hev Donne Yt”] We have said many times in this podcast that there is no first anything, but there’s a reason that Liege and Lief, Fairport Convention’s third album of 1969, and the album other than Unhalfbricking on which their reputation largely rests, was advertised with the slogan “The first (literally) British folk rock album ever”. Folk-rock, as the term had come to be known, and as it is still usually used today, had very little to do with traditional folk music. Rather, the records of bands like The Byrds or Simon and Garfunkel were essentially taking the sounds of British beat groups of the early sixties, particularly the Searchers, and applying those sounds to material by contemporary singer-songwriters. People like Paul Simon and Bob Dylan had come up through folk clubs, and their songs were called folk music because of that, but they weren’t what folk music had meant up to that point — songs that had been collected after being handed down through the folk process, changed by each individual singer, with no single identifiable author. They were authored songs by very idiosyncratic writers. But over their last few albums, Fairport Convention had done one or two tracks per album that weren’t like that, that were instead recordings of traditional folk songs, but arranged with rock instrumentation. They were not necessarily the first band to try traditional folk music with electric instruments — around the same time that Fairport started experimenting with the idea, so did an Irish band named Sweeney’s Men, who brought in a young electric guitarist named Henry McCullough briefly. But they do seem to have been the first to have fully embraced the idea. They had done so to an extent with “A Sailor’s Life” on Unhalfbricking, but now they were going to go much further: [Excerpt: Fairport Convention, “Matty Groves” (from about 4:30)] There had been some doubt as to whether Fairport Convention would even continue to exist — by the time Unhalfbricking, their second album of the year, was released, they had been through the terrible car accident that had killed Martin Lamble, the band’s drummer, and Jeannie Franklyn, Richard Thompson’s girlfriend. Most of the rest of the band had been seriously injured, and they had made a conscious decision not to discuss the future of the band until they were all out of hospital. Ashley Hutchings was hospitalised the longest, and Simon Nicol, Richard Thompson, and Sandy Denny, the other three surviving members of the band, flew over to LA with their producer and manager, Joe Boyd, to recuperate there and get to know the American music scene. When they came back, the group all met up in the flat belonging to Denny’s boyfriend Trevor Lucas, and decided that they were going to continue the band. They made a few decisions then — they needed a new drummer, and as well as a drummer they wanted to get in Dave Swarbrick. Swarbrick had played violin on several tracks on Unhalfbricking as a session player, and they had all been thrilled to work with him. Swarbrick was one of the most experienced musicians on the British folk circuit. He had started out in the fifties playing guitar with Beryl Marriott’s Ceilidh Band before switching to fiddle, and in 1963, long before Fairport had formed, he had already appeared on TV with the Ian Campbell Folk Group, led by Ian Campbell, the father of Ali and Robin Campbell, later of UB40: [Excerpt: The Ian Campbell Folk Group, “Shanten Bells (medley on Hullaballoo!)”] He’d sung with Ewan MacColl and A.L. Lloyd: [Excerpt: A.L. Lloyd, “Tom’s Gone to Hilo” ] And he’d formed his hugely successful duo with Martin Carthy, releasing records like “Byker Hill” which are often considered among the best British folk music of all time: [Excerpt: Martin Carthy and Dave Swarbrick, “Byker Hill”] By the time Fairport had invited him to play on Unhalfbricking, Swarbrick had already performed on twenty albums as a core band member, plus dozens more EPs, singles, and odd tracks on compilations. They had no reason to think they could actually get him to join their band. But they had three advantages. The first was that Swarbrick was sick of the traditional folk scene at the time, saying later “I didn’t like seven-eighths of the people involved in it, and it was extremely opportune to leave. I was suddenly presented with the possibilities of exploring the dramatic content of the songs to the full.” The second was that he was hugely excited to be playing with Richard Thompson, who was one of the most innovative guitarists of his generation, and Martin Carthy remembers him raving about Thompson after their initial sessions. (Carthy himself was and is no slouch on the guitar of course, and there was even talk of getting him to join the band at this point, though they decided against it — much to the relief of rhythm guitarist Simon Nicol, who is a perfectly fine player himself but didn’t want to be outclassed by *two* of the best guitarists in Britain at the same time). And the third was that Joe Boyd told him that Fairport were doing so well — they had a single just about to hit the charts with “Si Tu Dois Partir” — that he would only have to play a dozen gigs with Fairport in order to retire. As it turned out, Swarbrick would play with the group for a decade, and would never retire — I saw him on his last tour in 2015, only eight months before he died. The drummer the group picked was also a far more experienced musician than any of the rest, though in a very different genre. Dave Mattacks had no knowledge at all of the kind of music they played, having previously been a player in dance bands. When asked by Hutchings if he wanted to join the band, Mattacks’ response was “I don’t know anything about the music. I don’t understand it… I can’t tell one tune from another, they all sound the same… but if you want me to join the group, fine, because I really like it. I’m enjoying myself musically.” Mattacks brought a new level of professionalism to the band, thanks to his different background. Nicol said of him later “He was dilligent, clean, used to taking three white shirts to a gig… The application he could bring to his playing was amazing. With us, you only played well when you were feeling well.” This distinction applied to his playing as well. Nicol would later describe the difference between Mattacks’ drumming and Lamble’s by saying “Martin’s strength was as an imaginative drummer. DM came in with a strongly developed sense of rhythm, through keeping a big band of drunken saxophone players in order. A great time-keeper.” With this new line-up and a new sense of purpose, the group did as many of their contemporaries were doing and “got their heads together in the country”. Joe Boyd rented the group a mansion, Farley House, in Farley Chamberlayne, Hampshire, and they stayed there together for three months. At the start, the group seem to have thought that they were going to make another record like Unhalfbricking, with some originals, some songs by American songwriters, and a few traditional songs. Even after their stay in Farley Chamberlayne, in fact, they recorded a few of the American songs they’d rehearsed at the start of the process, Richard Farina’s “Quiet Joys of Brotherhood” and Bob Dylan and Roger McGuinn’s “Ballad of Easy Rider”: [Excerpt: Fairport Convention, “Ballad of Easy Rider”] Indeed, the whole idea of “getting our heads together in the country” (as the cliche quickly became in the late sixties as half of the bands in Britain went through much the same kind of process as Fairport were doing — but usually for reasons more to do with drug burnout or trend following than recovering from serious life-changing trauma) seems to have been inspired by Bob Dylan and the Band getting together in Big Pink. But very quickly they decided to follow the lead of Ashley Hutchings, who had had something of a Damascene conversion to the cause of traditional English folk music. They were listening mostly to Music From Big Pink by the Band, and to the first album by Sweeney’s Men: [Excerpt: Sweeney’s Men, “The Handsome Cabin Boy”] And they decided that they were going to make something that was as English as those records were North American and Irish (though in the event there were also a few Scottish songs included on the record). Hutchings in particular was becoming something of a scholar of traditional music, regularly visiting Cecil Sharp House and having long conversations with A.L. Lloyd, discovering versions of different traditional songs he’d never encountered before. This was both amusing and bemusing Sandy Denny, who had joined a rock group in part to get away from traditional music; but she was comfortable singing the material, and knew a lot of it and could make a lot of suggestions herself. Swarbrick obviously knew the repertoire intimately, and Nicol was amenable, while Mattacks was utterly clueless about the folk tradition at this point but knew this was the music he wanted to make. Thompson knew very little about traditional music, and of all the band members except Denny he was the one who has shown the least interest in the genre in his subsequent career — but as we heard at the beginning, showing the least interest in the genre is a relative thing, and while Thompson was not hugely familiar with the genre, he *was* able to work with it, and was also more than capable of writing songs that fit in with the genre. Of the eleven songs on the album, which was titled Liege and Lief (which means, roughly, Lord and Loyalty), there were no cover versions of singer-songwriters. Eight were traditional songs, and three were originals, all written in the style of traditional songs. The album opened with “Come All Ye”, an introduction written by Denny and Hutchings (the only time the two would ever write together): [Excerpt: Fairport Convention, “Come All Ye”] The other two originals were songs where Thompson had written new lyrics to traditional melodies. On “Crazy Man Michael”, Swarbrick had said to Thompson that the tune to which he had set his new words was weaker than the lyrics, to which Thompson had replied that if Swarbrick felt that way he should feel free to write a new melody. He did, and it became the first of the small number of Thompson/Swarbrick collaborations: [Excerpt: Fairport Convention, “Crazy Man Michael”] Thompson and Swarbrick would become a brief songwriting team, but as much as anything else it was down to proximity — the two respected each other as musicians, but never got on very well. In 1981 Swarbrick would say “Richard and I never got on in the early days of FC… we thought we did, but we never did. We composed some bloody good songs together, but it was purely on a basis of “you write that and I’ll write this, and we’ll put it together.” But we never sat down and had real good chats.” The third original on the album, and by far the most affecting, is another song where Thompson put lyrics to a traditional tune. In this case he thought he was putting the lyrics to the tune of “Willie O'Winsbury”, but he was basing it on a recording by Sweeney’s Men. The problem was that Sweeney’s Men had accidentally sung the lyrics of “Willie O'Winsbury'” to the tune of a totally different song, “Fause Foodrage”: [Excerpt: Sweeney’s Men, “Willie O’Winsbury”] Thompson took that melody, and set to it lyrics about loss and separation. Thompson has never been one to discuss the meanings of his lyrics in any great detail, and in the case of this one has said “I really don't know what it means. This song came out of a dream, and I pretty much wrote it as I dreamt it (it was the sixties), and didn't spend very long analyzing it. So interpret as you wish – or replace with your own lines.” But in the context of the traffic accident that had killed his tailor girlfriend and a bandmate, and injured most of his other bandmates, the lyrics about lonely travellers, the winding road, bruised and beaten sons, saying goodbye, and never cutting cloth, seem fairly self-explanatory: [Excerpt: Fairport Convention, “Farewell, Farewell”] The rest of the album, though, was taken up by traditional tunes. There was a long medley of four different fiddle reels; a version of “Reynardine” (a song about a seductive man — or is he a fox? Or perhaps both — which had been recorded by Swarbrick and Carthy on their most recent album); a 19th century song about a deserter saved from the firing squad by Prince Albert; and a long take on “Tam Lin”, one of the most famous pieces in the Scottish folk music canon, a song that has been adapted in different ways by everyone from the experimental noise band Current 93 to the dub poet Benjamin Zephaniah to the comics writer Grant Morrison: [Excerpt: Fairport Convention, “Tam Lin”] And “Matty Groves”, a song about a man killing his cheating wife and her lover, which actually has a surprisingly similar story to that of “1921” from another great concept album from that year, the Who’s Tommy. “Matty Groves” became an excuse for long solos and shows of instrumental virtuosity: [Excerpt: Fairport Convention, “Matty Groves”] The album was recorded in September 1969, after their return from their break in the country and a triumphal performance at the Royal Festival Hall, headlining over fellow Witchseason artists John and Beverly Martyn and Nick Drake. It became a classic of the traditional folk genre — arguably *the* classic of the traditional folk genre. In 2007 BBC Radio 2’s Folk Music Awards gave it an award for most influential folk album of all time, and while such things are hard to measure, I doubt there’s anyone with even the most cursory knowledge of British folk and folk-rock music who would not at least consider that a reasonable claim. But once again, by the time the album came out in November, the band had changed lineups yet again. There was a fundamental split in the band – on one side were Sandy Denny and Richard Thompson, whose stance was, roughly, that Liege and Lief was a great experiment and a fun thing to do once, but really the band had two first-rate songwriters in themselves, and that they should be concentrating on their own new material, not doing these old songs, good as they were. They wanted to take the form of the traditional songs and use that form for new material — they wanted to make British folk-rock, but with the emphasis on the rock side of things. Hutchings, on the other hand, was equally sure that he wanted to make traditional music and go further down the rabbit hole of antiquity. With the zeal of the convert he had gone in a couple of years from being the leader of a band who were labelled “the British Jefferson Airplane” to becoming a serious scholar of traditional folk music. Denny was tired of touring, as well — she wanted to spend more time at home with Trevor Lucas, who was sleeping with other women when she was away and making her insecure. When the time came for the group to go on a tour of Denmark, Denny decided she couldn’t make it, and Hutchings was jubilant — he decided he was going to get A.L. Lloyd into the band in her place and become a *real* folk group. Then Denny reconsidered, and Hutchings was crushed. He realised that while he had always been the leader, he wasn’t going to be able to lead the band any further in the traditionalist direction, and quit the group — but not before he was delegated by the other band members to fire Denny. Until the publication of Richard Thompson’s autobiography in 2022, every book on the group or its members said that Denny quit the band again, which was presumably a polite fiction that the band agreed, but according to Thompson “Before we flew home, we decided to fire Sandy. I don't remember who asked her to leave – it was probably Ashley, who usually did the dirty work. She was reportedly shocked that we would take that step. She may have been fragile beneath the confident facade, but she still knew her worth.” Thompson goes on to explain that the reasons for kicking her out were that “I suppose we felt that in her mind she had already left” and that “We were probably suffering from post-traumatic stress disorder, though there wasn't a name for it back then.” They had considered inviting Trevor Lucas to join the band to make Denny more comfortable, but came to the (probably correct) conclusion that while he was someone they got on well with personally, he would be another big ego in a band that already had several, and that being around Denny and Lucas’ volatile relationship would, in Thompson’s phrasing, “have not always given one a feeling of peace and stability.” Hutchings originally decided he was going to join Sweeney’s Men, but that group were falling apart, and their first rehearsal with Hutchings would also be their last as a group, with only Hutchings and guitarist and mandolin player Terry Woods left in the band. They added Woods’ wife Gay, and another couple, Tim Hart and Maddy Prior, and formed a group called Steeleye Span, a name given them by Martin Carthy. That group, like Fairport, went to “get their heads together in the country” for three months and recorded an album of electric versions of traditional songs, Hark the Village Wait, on which Mattacks and another drummer, Gerry Conway, guested as Steeleye Span didn’t at the time have their own drummer: [Excerpt: Steeleye Span, “Blackleg Miner”] Steeleye Span would go on to have a moderately successful chart career in the seventies, but by that time most of the original lineup, including Hutchings, had left — Hutchings stayed with them for a few albums, then went on to form the first of a series of bands, all called the Albion Band or variations on that name, which continue to this day. And this is something that needs to be pointed out at this point — it is impossible to follow every single individual in this narrative as they move between bands. There is enough material in the history of the British folk-rock scene that someone could do a 500 Songs-style podcast just on that, and every time someone left Fairport, or Steeleye Span, or the Albion Band, or Matthews’ Southern Comfort, or any of the other bands we have mentioned or will mention, they would go off and form another band which would then fission, and some of its members would often join one of those other bands. There was a point in the mid-1970s where the Albion Band had two original members of Fairport Convention while Fairport Convention had none. So just in order to keep the narrative anything like wieldy, I’m going to keep the narrative concentrated on the two figures from Fairport — Sandy Denny and Richard Thompson — whose work outside the group has had the most influence on the wider world of rock music more broadly, and only deal with the other members when, as they often did, their careers intersected with those two. That doesn’t mean the other members are not themselves hugely important musicians, just that their importance has been primarily to the folk side of the folk-rock genre, and so somewhat outside the scope of this podcast. While Hutchings decided to form a band that would allow him to go deeper and deeper into traditional folk music, Sandy Denny’s next venture was rather different. For a long time she had been writing far more songs than she had ever played for her bandmates, like “Nothing More”, a song that many have suggested is about Thompson: [Excerpt: Fotheringay, “Nothing More”] When Joe Boyd heard that Denny was leaving Fairport Convention, he was at first elated. Fairport’s records were being distributed by A&M in the US at that point, but Island Records was in the process of opening up a new US subsidiary which would then release all future Fairport product — *but*, as far as A&M were concerned, Sandy Denny *was* Fairport Convention. They were only interested in her. Boyd, on the other hand, loved Denny’s work intensely, but from his point of view *Richard Thompson* was Fairport Convention. If he could get Denny signed directly to A&M as a solo artist before Island started its US operations, Witchseason could get a huge advance on her first solo record, while Fairport could continue making records for Island — he’d have two lucrative acts, on different labels. Boyd went over and spoke to A&M and got an agreement in principle that they would give Denny a forty-thousand-dollar advance on her first solo album — twice what they were paying for Fairport albums. The problem was that Denny didn’t want to be a solo act. She wanted to be the lead singer of a band. She gave many reasons for this — the one she gave to many journalists was that she had seen a Judy Collins show and been impressed, but noticed that Collins’ band were definitely a “backing group”, and as she put it “But that's all they were – a backing group. I suddenly thought, If you're playing together on a stage you might as well be TOGETHER.” Most other people in her life, though, say that the main reason for her wanting to be in a band was her desire to be with her boyfriend, Trevor Lucas. Partly this was due to a genuine desire to spend more time with someone with whom she was very much in love, partly it was a fear that he would cheat on her if she was away from him for long periods of time, and part of it seems to have been Lucas’ dislike of being *too* overshadowed by his talented girlfriend — he didn’t mind acknowledging that she was a major talent, but he wanted to be thought of as at least a minor one. So instead of going solo, Denny formed Fotheringay, named after the song she had written for Fairport. This new band consisted at first of Denny on vocals and occasional piano, Lucas on vocals and rhythm guitar, and Lucas’ old Eclection bandmate Gerry Conway on drums. For a lead guitarist, they asked Richard Thompson who the best guitarist in Britain was, and he told them Albert Lee. Lee in turn brought in bass player Pat Donaldson, but this lineup of the band barely survived a fortnight. Lee *was* arguably the best guitarist in Britain, certainly a reasonable candidate if you could ever have a singular best (as indeed was Thompson himself), but he was the best *country* guitarist in Britain, and his style simply didn’t fit with Fotheringay’s folk-influenced songs. He was replaced by American guitarist Jerry Donahue, who was not anything like as proficient as Lee, but who was still very good, and fit the band’s style much better. The new group rehearsed together for a few weeks, did a quick tour, and then went into the recording studio to record their debut, self-titled, album. Joe Boyd produced the album, but admitted himself that he only paid attention to those songs he considered worthwhile — the album contained one song by Lucas, “The Ballad of Ned Kelly”, and two cover versions of American singer-songwriter material with Lucas singing lead. But everyone knew that the songs that actually *mattered* were Sandy Denny’s, and Boyd was far more interested in them, particularly the songs “The Sea” and “The Pond and the Stream”: [Excerpt: Fotheringay, “The Pond and the Stream”] Fotheringay almost immediately hit financial problems, though. While other Witchseason acts were used to touring on the cheap, all packed together in the back of a Transit van with inexpensive equipment, Trevor Lucas had ambitions of being a rock star and wanted to put together a touring production to match, with expensive transport and equipment, including a speaker system that got nicknamed “Stonehenge” — but at the same time, Denny was unhappy being on the road, and didn’t play many gigs. As well as the band itself, the Fotheringay album also featured backing vocals from a couple of other people, including Denny’s friend Linda Peters. Peters was another singer from the folk clubs, and a good one, though less well-known than Denny — at this point she had only released a couple of singles, and those singles seemed to have been as much as anything else released as a novelty. The first of those, a version of Dylan’s “You Ain’t Goin’ Nowhere” had been released as by “Paul McNeill and Linda Peters”: [Excerpt: Paul McNeill and Linda Peters, “You Ain’t Goin’ Nowhere”] But their second single, a version of John D. Loudermilk’s “You’re Taking My Bag”, was released on the tiny Page One label, owned by Larry Page, and was released under the name “Paul and Linda”, clearly with the intent of confusing particularly gullible members of the record-buying public into thinking this was the McCartneys: [Excerpt: Paul and Linda, “You’re Taking My Bag”] Peters was though more financially successful than almost anyone else in this story, as she was making a great deal of money as a session singer. She actually did another session involving most of Fotheringay around this time. Witchseason had a number of excellent songwriters on its roster, and had had some success getting covers by people like Judy Collins, but Joe Boyd thought that they might possibly do better at getting cover versions if they were performed in less idiosyncratic arrangements. Donahue, Donaldson, and Conway went into the studio to record backing tracks, and vocals were added by Peters and another session singer, who according to some sources also provided piano. They cut songs by Mike Heron of the Incredible String Band: [Excerpt: Linda Peters, “You Get Brighter”] Ed Carter, formerly of The New Nadir but by this time firmly ensconced in the Beach Boys’ touring band where he would remain for the next quarter-century: [Excerpt: Linda Peters, “I Don’t Mind”] John and Beverly Martyn, and Nick Drake: [Excerpt: Elton John, “Saturday Sun”] There are different lineups of musicians credited for those sessions in different sources, but I tend to believe that it’s mostly Fotheringay for the simple reason that Donahue says it was him, Donaldson and Conway who talked Lucas and Denny into the mistake that destroyed Fotheringay because of these sessions. Fotheringay were in financial trouble already, spending far more money than they were bringing in, but their album made the top twenty and they were getting respect both from critics and from the public — in September, Sandy Denny was voted best British female singer by the readers of Melody Maker in their annual poll, which led to shocked headlines in the tabloids about how this “unknown” could have beaten such big names as Dusty Springfield and Cilla Black. Only a couple of weeks after that, they were due to headline at the Albert Hall. It should have been a triumph. But Donahue, Donaldson, and Conway had asked that singing pianist to be their support act. As Donahue said later “That was a terrible miscast. It was our fault. He asked if [he] could do it. Actually Pat, Gerry and I had to talk Sandy and Trevor into [it]… We'd done these demos and the way he was playing – he was a wonderful piano player – he was sensitive enough. We knew very little about his stage-show. We thought he'd be a really good opener for us.” Unfortunately, Elton John was rather *too* good. As Donahue continued “we had no idea what he had in mind, that he was going to do the most incredible rock & roll show ever. He pretty much blew us off the stage before we even got on the stage.” To make matters worse, Fotheringay’s set, which was mostly comprised of new material, was underrehearsed and sloppy, and from that point on no matter what they did people were counting the hours until the band split up. They struggled along for a while though, and started working on a second record, with Boyd again producing, though as Boyd later said “I probably shouldn't have been producing the record. My lack of respect for the group was clear, and couldn't have helped the atmosphere. We'd put out a record that had sold disappointingly, A&M was unhappy. Sandy's tracks on the first record are among the best things she ever did – the rest of it, who cares? And the artwork, Trevor's sister, was terrible. It would have been one thing if I'd been unhappy with it and it sold, and the group was working all the time, making money, but that wasn't the case … I knew what Sandy was capable of, and it was very upsetting to me.” The record would not be released for thirty-eight years: [Excerpt: Fotheringay, “Wild Mountain Thyme”] Witchseason was going badly into debt. Given all the fissioning of bands that we’ve already been talking about, Boyd had been stretched thin — he produced sixteen albums in 1970, and almost all of them lost money for the company. And he was getting more and more disillusioned with the people he was producing. He loved Beverly Martyn’s work, but had little time for her abusive husband John, who was dominating her recording and life more and more and would soon become a solo artist while making her stay at home (and stealing her ideas without giving her songwriting credit). The Incredible String Band were great, but they had recently converted to Scientology, which Boyd found annoying, and while he was working with all sorts of exciting artists like Vashti Bunyan and Nico, he was finding himself less and less important to the artists he mentored. Fairport Convention were a good example of this. After Denny and Hutchings had left the group, they’d decided to carry on as an electric folk group, performing an equal mix of originals by the Swarbrick and Thompson songwriting team and arrangements of traditional songs. The group were now far enough away from the “British Jefferson Airplane” label that they decided they didn’t need a female vocalist — and more realistically, while they’d been able to replace Judy Dyble, nobody was going to replace Sandy Denny. Though it’s rather surprising when one considers Thompson’s subsequent career that nobody seems to have thought of bringing in Denny’s friend Linda Peters, who was dating Joe Boyd at the time (as Denny had been before she met Lucas) as Denny’s replacement. Instead, they decided that Swarbrick and Thompson were going to share the vocals between them. They did, though, need a bass player to replace Hutchings. Swarbrick wanted to bring in Dave Pegg, with whom he had played in the Ian Campbell Folk Group, but the other band members initially thought the idea was a bad one. At the time, while they respected Swarbrick as a musician, they didn’t think he fully understood rock and roll yet, and they thought the idea of getting in a folkie who had played double bass rather than an electric rock bassist ridiculous. But they auditioned him to mollify Swarbrick, and found that he was exactly what they needed. As Joe Boyd later said “All those bass lines were great, Ashley invented them all, but he never could play them that well. He thought of them, but he was technically not a terrific bass player. He was a very inventive, melodic, bass player, but not a very powerful one technically. But having had the part explained to him once, Pegg was playing it better than Ashley had ever played it… In some rock bands, I think, ultimately, the bands that sound great, you can generally trace it to the bass player… it was at that point they became a great band, when they had Pegg.” The new lineup of Fairport decided to move in together, and found a former pub called the Angel, into which all the band members moved, along with their partners and children (Thompson was the only one who was single at this point) and their roadies. The group lived together quite happily, and one gets the impression that this was the period when they were most comfortable with each other, even though by this point they were a disparate group with disparate tastes, in music as in everything else. Several people have said that the only music all the band members could agree they liked at this point was the first two albums by The Band. With the departure of Hutchings from the band, Swarbrick and Thompson, as the strongest personalities and soloists, became in effect the joint leaders of the group, and they became collaborators as songwriters, trying to write new songs that were inspired by traditional music. Thompson described the process as “let’s take one line of this reel and slow it down and move it up a minor third and see what that does to it; let’s take one line of this ballad and make a whole song out of it. Chopping up the tradition to find new things to do… like a collage.” Generally speaking, Swarbrick and Thompson would sit by the fire and Swarbrick would play a melody he’d been working on, the two would work on it for a while, and Thompson would then go away and write the lyrics. This is how the two came up with songs like the nine-minute “Sloth”, a highlight of the next album, Full House, and one that would remain in Fairport’s live set for much of their career: [Excerpt: Fairport Convention, “Sloth”] “Sloth” was titled that way because Thompson and Swarbrick were working on two tunes, a slow one and a fast one, and they jokingly named them “Sloth” and “Fasth”, but the latter got renamed to “Walk Awhile”, while “Sloth” kept its working title. But by this point, Boyd and Thompson were having a lot of conflict in the studio. Boyd was never the most technical of producers — he was one of those producers whose job is to gently guide the artists in the studio and create a space for the music to flourish, rather than the Joe Meek type with an intimate technical knowledge of the studio — and as the artists he was working with gained confidence in their own work they felt they had less and less need of him. During the making of the Full House album, Thompson and Boyd, according to Boyd, clashed on everything — every time Boyd thought Thompson had done a good solo, Thompson would say to erase it and let him have another go, while every time Boyd thought Thompson could do better, Thompson would say that was the take to keep. One of their biggest clashes was over Thompson’s song “Poor Will and the Jolly Hangman”, which was originally intended for release on the album, and is included in current reissues of it: [Excerpt: Fairport Convention, “Poor Will and the Jolly Hangman”] Thompson had written that song inspired by what he thought was the unjust treatment of Alex Bramham, the driver in Fairport’s fatal car crash, by the courts — Bramham had been given a prison sentence of a few months for dangerous driving, while the group members thought he had not been at fault. Boyd thought it was one of the best things recorded for the album, but Thompson wasn’t happy with his vocal — there was one note at the top of the melody that he couldn’t quite hit — and insisted it be kept off the record, even though that meant it would be a shorter album than normal. He did this at such a late stage that early copies of the album actually had the title printed on the sleeve, but then blacked out. He now says in his autobiography “I could have persevered, double-tracked the voice, warmed up for longer – anything. It was a good track, and the record was lacking without it. When the album was re-released, the track was restored with a more confident vocal, and it has stayed there ever since.” During the sessions for Full House the group also recorded one non-album single, Thompson and Swarbrick’s “Now Be Thankful”: [Excerpt, Fairport Convention, “Now Be Thankful”] The B-side to that was a medley of two traditional tunes plus a Swarbrick original, but was given the deliberately ridiculous title “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”: [Excerpt: Fairport Convention, “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”] The B. McKenzie in the title was a reference to the comic-strip character Barry McKenzie, a stereotype drunk Australian created for Private Eye magazine by the comedian Barry Humphries (later to become better known for his Dame Edna Everage character) but the title was chosen for one reason only — to get into the Guinness Book of Records for the song with the longest title. Which they did, though they were later displaced by the industrial band Test Dept, and their song “Long Live British Democracy Which Flourishes and Is Constantly Perfected Under the Immaculate Guidance of the Great, Honourable, Generous and Correct Margaret Hilda Thatcher. She Is the Blue Sky in the Hearts of All Nations. Our People Pay Homage and Bow in Deep Respect and Gratitude to Her. The Milk of Human Kindness”. Full House got excellent reviews in the music press, with Rolling Stone saying “The music shows that England has finally gotten her own equivalent to The Band… By calling Fairport an English equivalent of the Band, I meant that they have soaked up enough of the tradition of their countryfolk that it begins to show all over, while they maintain their roots in rock.” Off the back of this, the group went on their first US tour, culminating in a series of shows at the Troubadour in LA, on the same bill as Rick Nelson, which were recorded and later released as a live album: [Excerpt: Fairport Convention, “Sloth (live)”] The Troubadour was one of the hippest venues at the time, and over their residency there the group got seen by many celebrities, some of whom joined them on stage. The first was Linda Ronstadt, who initially demurred, saying she didn’t know any of their songs. On being told they knew all of hers, she joined in with a rendition of “Silver Threads and Golden Needles”. Thompson was later asked to join Ronstadt’s backing band, who would go on to become the Eagles, but he said later of this offer “I would have hated it. I’d have hated being on the road with four or five miserable Americans — they always seem miserable. And if you see them now, they still look miserable on stage — like they don’t want to be there and they don’t like each other.” The group were also joined on stage at the Troubadour on one memorable night by some former bandmates of Pegg’s. Before joining the Ian Campbell Folk Group, Pegg had played around the Birmingham beat scene, and had been in bands with John Bonham and Robert Plant, who turned up to the Troubadour with their Led Zeppelin bandmate Jimmy Page (reports differ on whether the fourth member of Zeppelin, John Paul Jones, also came along). They all got up on stage together and jammed on songs like “Hey Joe”, “Louie Louie”, and various old Elvis tunes. The show was recorded, and the tapes are apparently still in the possession of Joe Boyd, who has said he refuses to release them in case he is murdered by the ghost of Peter Grant. According to Thompson, that night ended in a three-way drinking contest between Pegg, Bonham, and Janis Joplin, and it’s testament to how strong the drinking culture is around Fairport and the British folk scene in general that Pegg outdrank both of them. According to Thompson, Bonham was found naked by a swimming pool two days later, having missed two gigs. For all their hard rock image, Led Zeppelin were admirers of a lot of the British folk and folk-rock scene, and a few months later Sandy Denny would become the only outside vocalist ever to appear on a Led Zeppelin record when she duetted with Plant on “The Battle of Evermore” on the group’s fourth album: [Excerpt: Led Zeppelin, “The Battle of Evermore”] Denny would never actually get paid for her appearance on one of the best-selling albums of all time. That was, incidentally, not the only session that Denny was involved in around this time — she also sang on the soundtrack to a soft porn film titled Swedish Fly Girls, whose soundtrack was produced by Manfred Mann: [Excerpt: Sandy Denny, “What Will I Do With Tomorrow?”] Shortly after Fairport’s trip to America, Joe Boyd decided he was giving up on Witchseason. The company was now losing money, and he was finding himself having to produce work for more and more acts as the various bands fissioned. The only ones he really cared about were Richard Thompson, who he was finding it more and more difficult to work with, Nick Drake, who wanted to do his next album with just an acoustic guitar anyway, Sandy Denny, who he felt was wasting her talents in Fotheringay, and Mike Heron of the Incredible String Band, who was more distant since his conversion to Scientology. Boyd did make some attempts to keep the company going. On a trip to Sweden, he negotiated an agreement with the manager and publisher of a Swedish band whose songs he’d found intriguing, the Hep Stars. Boyd was going to publish their songs in the UK, and in return that publisher, Stig Anderson, would get the rights to Witchseason’s catalogue in Scandinavia — a straight swap, with no money changing hands. But before Boyd could get round to signing the paperwork, he got a better offer from Mo Ostin of Warners — Ostin wanted Boyd to come over to LA and head up Warners’ new film music department. Boyd sold Witchseason to Island Records and moved to LA with his fiancee Linda Peters, spending the next few years working on music for films like Deliverance and A Clockwork Orange, as well as making his own documentary about Jimi Hendrix, and thus missed out on getting the UK publishing rights for ABBA, and all the income that would have brought him, for no money. And it was that decision that led to the breakup of Fotheringay. Just before Christmas 1970, Fotheringay were having a difficult session, recording the track “John the Gun”: [Excerpt: Fotheringay, “John the Gun”] Boyd got frustrated and kicked everyone out of the session, and went for a meal and several drinks with Denny. He kept insisting that she should dump the band and just go solo, and then something happened that the two of them would always describe differently. She asked him if he would continue to produce her records if she went solo, and he said he would. According to Boyd’s recollection of the events, he meant that he would fly back from California at some point to produce her records. According to Denny, he told her that if she went solo he would stay in Britain and not take the job in LA. This miscommunication was only discovered after Denny told the rest of Fotheringay after the Christmas break that she was splitting the band. Jerry Donahue has described that as the worst moment of his life, and Denny felt very guilty about breaking up a band with some of her closest friends in — and then when Boyd went over to the US anyway she felt a profound betrayal. Two days before Fotheringay’s final concert, in January 1971, Sandy Denny signed a solo deal with Island records, but her first solo album would not end up produced by Joe Boyd. Instead, The North Star Grassman and the Ravens was co-produced by Denny, John Wood — the engineer who had worked with Boyd on pretty much everything he’d produced, and Richard Thompson, who had just quit Fairport Convention, though he continued living with them at the Angel, at least until a truck crashed into the building in February 1971, destroying its entire front wall and forcing them to relocate. The songs chosen for The North Star Grassman and the Ravens reflected the kind of choices Denny would make on her future albums, and her eclectic taste in music. There was, of course, the obligatory Dylan cover, and the traditional folk ballad “Blackwaterside”, but there was also a cover version of Brenda Lee’s “Let’s Jump the Broomstick”: [Excerpt: Sandy Denny, “Let’s Jump the Broomstick”] Most of the album, though, was made up of originals about various people in Denny’s life, like “Next Time Around”, about her ex-boyfriend Jackson C Frank: [Excerpt: Sandy Denny, “Next Time Around”] The album made the top forty in the UK — Denny’s only solo album to do so — and led to her once again winning the “best female singer” award in Melody Maker’s readers’ poll that year — the male singer award was won by Rod Stewart. Both Stewart and Denny appeared the next year on the London Symphony Orchestra’s all-star version of The Who’s Tommy, which had originally been intended as a vehicle for Stewart before Roger Daltrey got involved. Stewart’s role was reduced to a single song, “Pinball Wizard”, while Denny sang on “It’s a Boy”: [Excerpt: Sandy Denny, “It’s a Boy”] While Fotheringay had split up, all the band members play on The North Star Grassman and the Ravens. Guitarists Donahue and Lucas only play on a couple of the tracks, with Richard Thompson playing most of the guitar on the record. But Fotheringay’s rhythm section of Pat Donaldson and Gerry Conway play on almost every track. Another musician on the album, Ian Whiteman, would possibly have a profound effect on the future direction of Richard Thompson’s career and life. Whiteman was the former keyboard player for the mod band The Action, having joined them just before they became the blues-rock band Mighty Baby. But Mighty Baby had split up when all of the band except the lead singer had converted to Islam. Richard Thompson was on his own spiritual journey at this point, and became a Sufi – the same branch of Islam as Whiteman – soon after the session, though Thompson has said that his conversion was independent of Whiteman’s. The two did become very close and work together a lot in the mid-seventies though. Thompson had supposedly left Fairport because he was writing material that wasn’t suited to the band, but he spent more than a year after quitting the group working on sessions rather than doing anything with his own material, and these sessions tended to involve the same core group of musicians. One of the more unusual was a folk-rock supergroup called The Bunch, put together by Trevor Lucas. Richard Branson had recently bought a recording studio, and wanted a band to test it out before opening it up for commercial customers, so with this free studio time Lucas decided to record a set of fifties rock and roll covers. He gathered together Thompson, Denny, Whiteman, Ashley Hutchings, Dave Mattacks, Pat Donaldson, Gerry Conway, pianist Tony Cox, the horn section that would later form the core of the Average White Band, and Linda Peters, who had now split up with Joe Boyd and returned to the UK, and who had started dating Thompson. They recorded an album of covers of songs by Jerry Lee Lewis, the Everly Brothers, Johnny Otis and others: [Excerpt: The Bunch, “Willie and the Hand Jive”] The early seventies was a hugely productive time for this group of musicians, as they all continued playing on each other’s projects. One notable album was No Roses by Shirley Collins, which featured Thompson, Mattacks, Whiteman, Simon Nicol, Lal and Mike Waterson, and Ashley Hutchings, who was at that point married to Collins, as well as some more unusual musicians like the free jazz saxophonist Lol Coxhill: [Excerpt: Shirley Collins and the Albion Country Band, “Claudy Banks”] Collins was at the time the most respected female singer in British traditional music, and already had a substantial career including a series of important records made with her sister Dolly, work with guitarists like Davey Graham, and time spent in the 1950s collecting folk songs in the Southern US with her then partner Alan Lomax – according to Collins she did much of the actual work, but Lomax only mentioned her in a single sentence in his book on this work. Some of the same group of musicians went on to work on an album of traditional Morris dancing tunes, titled Morris On, credited to “Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield”, with Collins singing lead on two tracks: [Excerpt: Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield with Shirley Collins, “The Willow Tree”] Thompson thought that that album was the best of the various side projects he was involved in at the time, comparing it favourably to Rock On, which he thought was rather slight, saying later “Conceptually, Fairport, Ashley and myself and Sandy were developing a more fragile style of music that nobody else was particularly interested in, a British Folk Rock idea that had a logical development to it, although we all presented it our own way. Morris On was rather more true to what we were doing. Rock On was rather a retro step. I'm not sure it was lasting enough as a record but Sandy did sing really well on the Buddy Holly songs.” Hutchings used the musicians on No Roses and Morris On as the basis for his band the Albion Band, which continues to this day. Simon Nicol and Dave Mattacks both quit Fairport to join the Albion Band, though Mattacks soon returned. Nicol would not return to Fairport for several years, though, and for a long period in the mid-seventies Fairport Convention had no original members. Unfortunately, while Collins was involved in the Albion Band early on, she and Hutchings ended up divorcing, and the stress from the divorce led to Collins developing spasmodic dysphonia, a stress-related illness which makes it impossible for the sufferer to sing. She did eventually regain her vocal ability, but between 1978 and 2016 she was unable to perform at all, and lost decades of her career. Richard Thompson occasionally performed with the Albion Band early on, but he was getting stretched a little thin with all these sessions. Linda Peters said later of him “When I came back from America, he was working in Sandy’s band, and doing sessions by the score. Always with Pat Donaldson and Dave Mattacks. Richard would turn up with his guitar, one day he went along to do a session with one of those folkie lady singers — and there were Pat and DM. They all cracked. Richard smashed his amp and said “Right! No more sessions!” In 1972 he got round to releasing his first solo album, Henry the Human Fly, which featured guest appearances by Linda Peters and Sandy Denny among others: [Excerpt: Richard Thompson, “The Angels Took My Racehorse Away”] Unfortunately, while that album has later become regarded as one of the classics of its genre, at the time it was absolutely slated by the music press. The review in Melody Maker, for example, read in part “Some of Richard Thompson’s ideas sound great – which is really the saving grace of this album, because most of the music doesn’t. The tragedy is that Thompson’s “British rock music” is such an unconvincing concoction… Even the songs that do integrate rock and traditional styles of electric guitar rhythms and accordion and fiddle decoration – and also include explicit, meaningful lyrics are marred by bottle-up vocals, uninspiring guitar phrases and a general lack of conviction in performance.” Henry the Human Fly was released in the US by Warners, who had a reciprocal licensing deal with Island (and for whom Joe Boyd was working at the time, which may have had something to do with that) but according to Thompson it became the lowest-selling record that Warners ever put out (though I’ve also seen that claim made about Van Dyke Parks’ Song Cycle, another album that has later been rediscovered). Thompson was hugely depressed by this reaction, and blamed his own singing. Happily, though, by this point he and Linda had become a couple — they would marry in 1972 — and they started playing folk clubs as a duo, or sometimes in a trio with Simon Nicol. Thompson was also playing with Sandy Denny’s backing band at this point, and played on every track on her second solo album, Sandy. This album was meant to be her big commercial breakthrough, with a glamorous cover photo by David Bailey, and with a more American sound, including steel guitar by Sneaky Pete Kleinow of the Flying Burrito Brothers (whose overdubs were supervised in LA by Joe Boyd): [Excerpt: Sandy Denny, “Tomorrow is a Long Time”] The album was given a big marketing push by Island, and “Listen, Listen” was made single of the week on the Radio 1 Breakfast show: [Excerpt: Sandy Denny, “Listen, Listen”] But it did even worse than the previous album, sending her into something of a depression. Linda Thompson (as the former Linda Peters now was) said of this period “After the Sandy album, it got her down that her popularity didn't suddenly increase in leaps and bounds, and that was the start of her really fretting about the way her career was going. Things only escalated after that. People like me or Martin Carthy or Norma Waterson would think, ‘What are you on about? This is folk music.'” After Sandy’s release, Denny realised she could no longer afford to tour with a band, and so went back to performing just acoustically or on piano. The only new music to be released by either of these ex-members of Fairport Convention in 1973 was, oddly, on an album by the band they were no longer members of. After Thompson had left Fairport, the group had managed to release two whole albums with the same lineup — Swarbrick, Nicol, Pegg, and Mattacks. But then Nicol and Mattacks had both quit the band to join the Albion Band with their former bandmate Ashley Hutchings, leading to a situation where the Albion Band had two original members of Fairport plus their longtime drummer while Fairport Convention itself had no original members and was down to just Swarbrick and Pegg. Needing to fulfil their contracts, they then recruited three former members of Fotheringay — Lucas on vocals and rhythm guitar, Donahue on lead guitar, and Conway on drums. Conway was only a session player at the time, and Mattacks soon returned to the band, but Lucas and Donahue became full-time members. This new lineup of Fairport Convention released two albums in 1973, widely regarded as the group’s most inconsistent records, and on the title track of the first, “Rosie”, Richard Thompson guested on guitar, with Sandy Denny and Linda Thompson on backing vocals: [Excerpt: Fairport Convention, “Rosie”] Neither Sandy Denny nor Richard Thompson released a record themselves in 1973, but in neither case was this through the artists’ choice. The record industry was changing in the early 1970s, as we’ll see in later episodes, and was less inclined to throw good money after bad in the pursuit of art. Island Records prided itself on being a home for great artists, but it was still a business, and needed to make money. We’ll talk about the OPEC oil crisis and its effect on the music industry much more when the podcast gets to 1973, but in brief, the production of oil by the US peaked in 1970 and started to decrease, leading to them importing more and more oil from the Middle East. As a result of this, oil prices rose slowly between 1971 and 1973, then very quickly towards the end of 1973 as a result of the Arab-Israeli conflict that year. As vinyl is made of oil, suddenly producing records became much more expensive, and in this period a lot of labels decided not to release already-completed albums, until what they hoped would be a brief period of shortages passed. Both Denny and Thompson recorded albums at this point that got put to one side by Island. In the case of Thompson, it was the first album by Richard and Linda as a duo, I Want to See the Bright Lights Tonight: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Today, I Want to See the Bright Lights Tonight is widely regarded as one of the greatest albums of all time, and as one of the two masterpieces that bookended Richard and Linda’s career as a duo and their marriage. But when they recorded the album, full of Richard’s dark songs, it was the opposite of commercial. Even a song that’s more or less a boy-girl song, like “Has He Got a Friend for Me?” has lyrics like “He wouldn’t notice me passing by/I could be in the gutter, or dangling down from a tree” [Excerpt: Richard and Linda Thompson, “Has He got a Friend For Me?”] While something like “The Calvary Cross” is oblique and haunted, and seems to cast a pall over the entire album: [Excerpt: Richard and Linda Thompson, “The Calvary Cross”] The album itself had been cheap to make — it had been recorded in only a week, with Thompson bringing in musicians he knew well and had worked with a lot previously to cut the tracks as-live in only a handful of takes — but Island didn’t think it was worth releasing. The record stayed on the shelf for nearly a year after recording, until Island got a new head of A&R, Richard Williams. Williams said of the album’s release “Muff Winwood had been doing A&R, but he was more interested in production… I had a conversation with Muff as soon as I got there, and he said there are a few hangovers, some outstanding problems. And one of them was Richard Thompson. He said there’s this album we gave him the money to make — which was I Want to See the Bright Lights Tonight — and nobody’s very interested in it. Henry the Human Fly had been a bit of a commercial disappointment, and although Island was altruistic and independent and known for only recording good stuff, success was important… Either a record had to do well or somebody had to believe in it a lot. And it seemed as if neither of those things were true at that point of Richard.” Williams, though, was hugely impressed when he listened to the album. He compared Richard Thompson’s guitar playing to John Coltrane’s sax, and called Thompson “the folk poet of the rainy streets”, but also said “Linda brightened it, made it more commercial. and I thought that “Bright Lights” itself seemed a really commercial song.” The rest of the management at Island got caught up in Williams’ enthusiasm, and even decided to release the title track as a single: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Neither single nor album charted — indeed it would not be until 1991 that Richard Thompson would make a record that made the top forty in the UK — but the album got enough critical respect that Richard and Linda released two albums the year after. The first of these, Hokey Pokey, is a much more upbeat record than their previous one — Richard Thompson has called it “quite a music-hall influenced record” and cited the influence of George Formby and Harry Lauder. For once, the claim of music hall influence is audible in the music. Usually when a British musician is claimed to have a music ha

Longtime manager Alan Niven is celebrating his memoir, 'Sound N' Fury: Rock N' Roll Stories,' and dives into it in this exclusive interview.

In the United States, Martin Luther King, Jr., gets a holiday partly because he challenged Americans to live up to their own ideals and extend freedom and equality to people of all races. Partly because he delivered this challenge peacefully, with no violence. Partly because he paid for this cause with his life. And partly because he had a great wife, who stood by him. Coretta Scott King was also an activist, also risked danger, also spoke, protested, and lobbied. And America changed. Racism is not dead, sadly, but African Americans have far more opportunities than Coretta had in her youth, in part due to her efforts. Visit the website (herhalfofhistory.com) for sources, transcripts, and pictures. This show survives on the support of listeners like you. Support the show on my Patreon page for ad-free episodes, bonus episodes, and polls. Or make a one-time donation on Buy Me a Coffee. Your support helps me keep bring the stories of past women into the present. Join Into History for a community of ad-free history podcasts, plus bonus content. Visit Evergreen Podcasts to listen to more great shows. Follow me on Threads as Her Half of History. Learn more about your ad choices. Visit megaphone.fm/adchoices

Partly cloudy with a high of 80° today! Looking like some more rain moving into the area tomorrow afternoon/evening. We let you know what's new on New Release Tuesday this morning and we spoke with our buddy, Grant Bilse, of the Wisco Sports show! In the news this morning, a registered sex offender in Prairie du Chien was arrested after luring a 14 year-old girl into a van, Governor Evers declared June 16th as "Kwik Trip Day" in Wisconsin to celebrate their anniversary, the MyPillow guy was found guilty of defamation, an update on the Vance Boelter story, and Trump warns the citizens of Tehran to get out while they still can. In sports, the Brewers start a 3-game series in Chicago tonight against the Cubs, the Thunder beat the Pacers last night to take a 3-2 series lead in the NBA finals, the NHL Stanley Cup Final continues tonight with game six from Florida, there was a no-hitter in the College World Series yesterday, Team USA announced it's first six hockey players for the 2026 Winter Olympics, and the Kings' Anze Kopitar won the Lady Byng trophy! Elsewhere in sports, a singer decided to perform the National Anthem in Spanish before a recent Dodgers game, and Joey Chestnut is officially coming back for the 4th of July hot dog eating competition! Great video of an elephant saving a gazelle that was drowning, and check out this really old tortoise who just celebrated his first Father's Day! Another heart-warming story out of Texas as a principal hand-wrote personalized letters to all 443 of his graduating students! Had a couple of work-related stories this morning, including the results of a study about working 50 or more hours a week & the impact on your brain, the younger generation is trying to normalize in-office sex, and the Top 10 daily interactions that make us sick of people! And if you're really sick of people and want to live a lonely life in your old age, it might help you live longer! In today's edition of "Bad News with Happy Music", we had stories about a guy who called the cops on his neighbors over 3,000 times this year, a turkey soaked in tequila that nearly burned down an apartment in Madison, and a #FloridaWoman who was petting a gator!See omnystudio.com/listener for privacy information.

President Donald Trump recently revoked California's ability to enforce its nation-leading clean-car rules. But how much is California to blame and what recourse does it have? POLITICO's Debra Kahn breaks down what happened, how a former top California official is responding, and what's next in this saga. Plus, the Trump administration proposed its first biofuel blending mandates on Friday, increasing volumes over the next two years to record levels, but leaving open questions over exemptions from the mandates sought by small refiners. Debra Kahn is the editor of POLITICO's California Climate newsletter and author of Currents, a reported column about the energy, environment and climate debates. Nirmal Mulaikal is the co-host and producer of POLITICO Energy.  Alex Keeney is a senior audio producer at POLITICO.  Gloria Gonzalez is the deputy energy editor for POLITICO.  Matt Daily is the energy editor for POLITICO. For more news on energy and the environment, subscribe to Power Switch, our free evening newsletter: https://www.politico.com/power-switch And for even deeper coverage and analysis, read our Morning Energy newsletter by subscribing to POLITICO Pro: https://subscriber.politicopro.com/newsletter-archive/morning-energy Learn more about your ad choices. Visit megaphone.fm/adchoices

My fellow pro-growth/progress/abundance Up Wingers,America is embarking upon a New Space Age, with companies like SpaceX and Blue Origin ready to partner with NASA to take Americans to a new frontier — possibly as far as Mars. Lately, however, the world is witnessing uncertainty surrounding NASA leadership and even an odd feud between SpaceX boss Elon Musk and the White House. At a critical time for US space competition, let's hope key players can stick the landing.Today on Faster, Please! — The Podcast, I chat with James Meigs about the SLS rocket, NASA reforms, and the evolving private sector landscape.Meigs is a senior fellow at the Manhattan Institute. He is a contributing editor of City Journal and writer of the Tech Commentary column at Commentary magazine. He is also the former editor of Popular Mechanics.Meigs is the author of a recent report from the Manhattan Institute, U.S. Space Policy: The Next Frontier.In This Episode* So long, Jared Isaacman (1:29)* Public sector priorities (5:36)* Supporting the space ecosystem (11:52)* A new role for NASA (17:27)* American space leadership (21:17)Below is a lightly edited transcript of our conversation. So long, Jared Isaacman (1:29)The withdrawal of Jared Isaacman . . . has really been met with total dismay in the space community. Everyone felt like he was the right kind of change agent for the agency that desperately needs reform, but not destruction.Pethokoukis: We're going to talk a lot about your great space policy report, which you wrote before the withdrawal of President Trump's NASA nominee, Jared Isaacman.What do you think of that? Does that change your conclusions? Good move, bad move? Just sort of your general thoughts apart from the surprising nature of it.Meigs: I worked sort of on and off for about a year on this report for the Manhattan Institute about recommendations for space policy, and it just came out a couple of months ago and already it's a different world. So much has happened. The withdrawal of Jared Isaacman — or the yanking of his nomination — has really been met with total dismay in the space community. Everyone felt like he was the right kind of change agent for the agency that desperately needs reform, but not destruction.Now, it remains to be seen what happens in terms of his replacement, but it certainly pulled the rug out from under the idea that NASA could be reformed and yet stay on track for some ambitious goals. I'm trying to be cautiously optimistic that some of these things will happen, but my sense is that the White House is not particularly interested in space.Interestingly, Musk wasn't really that involved in his role of DOGE and stuff. He didn't spend that much time on NASA. He wasn't micromanaging NASA policy, and I don't think Isaacman would've been just a mouthpiece for Musk either. He showed a sense of independence. So it remains to be seen, but my recommendations . . . and I share this with a lot of people advocating reform, is that NASA more or less needs to get out of the rocket-building business, and the Space Launch System, this big overpriced rocket they've been working on for years — we may need to fly it two more times to get us back to the moon, but after that, that thing should be retired. If there's a way to retire it sooner, that would be great. At more than $4 billion a launch, it's simply not affordable, and NASA will not be an agency that can routinely send people into space if we're relying on that white elephant.To me what was exciting about Isaacman was his genuine enthusiasm about space. It seemed like he understood that NASA needed reform and changes to the budget, but that the result would be an agency that still does big things. Is there a fear that his replacement won't be interested in NASA creative destruction, just destruction?We don't know for sure, but the budget that's been proposed is pretty draconian, cutting NASA's funding by about a quarter and recommending particularly heavy cuts in the science missions, which would require cutting short some existing missions that are underway and not moving ahead with other planned missions.There is room for saving in some of these things. I advocate a more nimble approach to NASA's big science missions. Instead of sending one $4 billion rover to Mars every 20 years, once launch costs come down, how about we send ten little ones and if a couple of them don't make it, we could still be getting much more science done for the same price or less. So that's the kind of thing Isaacman was talking about, and that's the kind of thing that will be made possible as launch costs continue to fall, as you've written about, Jim. So it requires a new way of thinking at NASA. It requires a more entrepreneurial spirit and it remains to be seen whether another administrator can bring that along the way. We were hoping that Isaacman would.Public sector priorities (5:36)Congress has never deviated from focusing more on keeping these projects alive than on whether these projects achieve their goals.It seems to me that there are only two reasons, at this point, to be in favor of the SLS rocket. One: There's a political pork jobs aspect. And the other is that it's important to beat China to the moon, which the Artemis program is meant to do. Does that seem accurate?Pretty much, yeah. You can be for beating China the moon and still be against the SLS rocket, you kind of just grit your teeth and say, okay, we've got to fly it two more times because it would be hard to cobble together, in the timeframe available, a different approach — but not impossible. There are other heavy lift rockets. Once you can refuel in orbit and do other things, there's a lot of ways to get a heavy payload into orbit. When I started my report, it looked like SLS was the only game in town, but that's really not the case. There are other options.The Starship has to quit blowing up.I would've loved to have seen the last couple of Starship missions be a little more successful. That's unfortunate. The pork part of SLS just can't be underestimated. From the get go, going way back to when the Space Shuttle was retired in 2011, and even before to when after the Columbia Space Shuttle disaster — that's the second disaster — there was a really big effort to figure out how to replace the space shuttle, what would come next. There was a strong movement in Congress at that time to say, “Well, whatever you build, whatever you do, all the factories that are involved in working on the Space Shuttle, all of the huge workforces in NASA that work on the space shuttle, all of this manpower has to be retained.” And Congress talked a lot about keeping the experience, the expertise, the talent going.I can see some legitimacy to that argument, but if you looked at the world that way, then you would always focus on keeping the jobs of the past viable instead of the jobs of the future: What are we going to do with the blacksmiths who shoe horses? If we lose all this technological capability of shoeing horses . . . we'd better not bring in all these cars! That's an exaggeration, but as a result, first they aim to replace the Space Shuttle with a rocket called Constellation that would recycle some of the Shuttle components. And then eventually they realized that that was just too bloated, too expensive. That got canceled during the Obama administration replaced with the Space Launch System, which is supposed to be cheaper, more efficient, able to be built in a reasonable amount of time.It wound up being just as bloated and also technologically backward. They're still keeping technology from the Shuttle era. The solid fuel engines, which, as we recall from the first Shuttle disaster, were problematic, and the Shuttle main engine design as well. So when SLS flies with humans on board for the first time, supposedly next year, it'll be using technology that was designed before any of the astronauts were even born.In this day and age, that's kind of mind-blowing, and it will retain these enormous workforces in these plants that happen to be located in states with powerful lawmakers. So there's an incredible incentive to just keep it all going, not to let things change, not to let anything be retired, and to keep that money flowing to contractors, to workers and to individual states. Congress has never deviated from focusing more on keeping these projects alive than on whether these projects achieve their goals.I've seen a video of congressional hearings from 15 years ago, and the hostility toward the idea of there being a private-sector alternative to NASA, now it seems almost inexplicable seeing that even some of these people were Republicans from Texas.Seeing where we are now, it's just amazing because now that we have the private sector, we're seeing innovation, we're seeing the drop in launch costs, the reusability — just a completely different world than what existed 15, 16, 17 years ago.I don't think people really realize how revolutionary NASA's commercial programs were. They really sort of snuck them in quietly at first, starting as far back as 2005, a small program to help companies develop their own space transportation systems that could deliver cargo to the International Space Station.SpaceX was initially not necessarily considered a leader in that. It was a little startup company nobody took very seriously, but they wound up doing the best job. Then later they also led the race to be the first to deliver astronauts to the International Space Station, saved NASA billions of dollars, and helped launch this private-industry revolution in space that we're seeing today that's really exciting.It's easy to say, “Oh, NASA's just this old sclerotic bureaucracy,” and there's some truth to that, but NASA has always had a lot of innovative people, and a lot of the pressure of the push to move to this commercial approach where NASA essentially charters a rocket the way you would charter a fishing boat rather than trying to build and own its own equipment. That's the key distinction. You've got to give them credit for that and you also have to give SpaceX enormous credit for endless technological innovation that has brought down these prices.So I totally agree, it's inconceivable to think of trying to run NASA today without their commercial partners. Of course, we'd like to see more than just SpaceX in there. That's been a surprise to people. In a weird way, SpaceX's success is a problem because you want an ecosystem of competitors that NASA can choose from, not just one dominant supplier.Supporting the space ecosystem (11:52)There's a reason that the private space industry is booming in the US much more than elsewhere in the world. But I think they could do better and I'd like to see reform there.Other than the technical difficulty of the task, is there something government could be doing or not doing, perhaps on the regulatory side, to encourage a more sort of a bigger, more vibrant space ecosystem.In my Manhattan Institute report, I recommend some changes, particularly, the FAA needs to continue reforming its launch regulations. They're more restrictive and take longer than they should. I think they're making some progress. They recently authorized more launches of the experimental SpaceX Starship, but it shouldn't take months to go through the paperwork to authorize the launch of a new spacecraft.I think the US, we're currently better than most countries in terms of allowing private space. There's a reason that the private space industry is booming in the US much more than elsewhere in the world. But I think they could do better and I'd like to see reform there.I also think NASA needs to continue its efforts to work with a wide range of vendors in this commercial paradigm and accept that a lot of them might not pan out. We've seen a really neat NASA program to help a lot of different companies, but a lot of startups have been involved in trying to build and land small rovers on the moon. Well, a lot of them have crashed.Not an easy task apparently.No. When I used to be editor of Popular Mechanics magazine, one of the great things I got to do was hang out with Buzz Aldrin, and Buzz Aldrin talking about landing on the moon — now, looking back, you realize just how insanely risky that was. You see all these rovers designed today with all the modern technology failing to land a much smaller, lighter object safely on the moon, and you just think, “Wow, that was an incredible accomplishment.” And you have so much admiration for the guts of the guys who did it.As they always say, space is hard, and I think NASA working with commercial vendors to help them, give them some seed money, help them get started, pay them a set fee for the mission that you're asking for, but also build into your planning — just the way an entrepreneur would — that some product launches aren't going to work, some ideas are going to fail, sometimes you're going to have to start over. That's just part of the process, and if you're not spending ridiculous amounts of money, that's okay.When we talk about vendors, who are we talking about? When we talk about this ecosystem as it currently exists, what do these companies do besides SpaceX?The big one that everybody always mentions first, of course, is Blue Origin, Jeff Bezos's startup that's been around as long as SpaceX, but just moved much more slowly. Partly because when it first started up, it was almost as much of a think tank to explore different ideas about space and less of a scrappy startup trying to just make money by launching satellites for paying customers as soon as possible. That was Musk's model. But they've finally launched. They've launched a bunch of suborbital flights, you've seen where they carry various celebrities and stuff up to the edge of space for a few minutes and they come right back down. That's been a chance for them to test out their engines, which have seemed solid and reliable, but they've finally done one mission with their New Glenn rocket. Like SpaceX, it's a reusable rocket which can launch pretty heavy payloads. Once that gets proven and they've had a few more launches under their belt, should be an important part of this ecosystem.But you've got other companies, you've got Stoke Aerospace, you've got Firefly . . . You've got a few companies that are in the launch business, so they want to compete with SpaceX to launch mostly satellites for paying customers, also cargo for payloads for governments. And then you have a lot of other companies that are doing various kinds of space services and they're not necessarily going to try to be in the launch business per se. We don't need 40 different companies doing launches with different engines, different designs, different fuels, and stuff like that. Eight or 10 might be great, six might be great. We'll see how the market sorts out.But then if you look at the development of the auto industry, it started with probably hundreds of little small shops, hand-building cars, but by the mid-century it had settled down to a few big companies through consolidation. And instead of hundreds of engine designs that were given 1950, there were probably in the US, I don't know, 12 engine designs or something like that. Stuff got standardized — we'll see the same thing happen in space — but you also saw an enormous ecosystem of companies building batteries, tires, transmissions, parts, wipers, all sorts of little things and servicing in an industry to service the automobile. Now, rockets are a lot more centralized and high-tech, but you're going to see something like that in the space economy, and it's already happening.A new role for NASA (17:27)I think NASA should get more ambitious in deep-space flight, both crewed and uncrewed.What do you see NASA should be doing? We don't want them designing rockets anymore, so what should they do? What does that portfolio look like?That's an excellent question. I think that we are in this pivotal time when, because of the success of SpaceX, and hopefully soon other vendors, they can relieve themselves of that responsibility to build their own rockets. That gets out of a lot of the problems of Congress meddling to maximize pork flowing to their states and all of that kind of stuff. So that's a positive in itself.Perhaps a bug rather than a feature for Congress.Right, but it also means that technology will move much, much faster as private companies are innovating and competing with each other. That gives NASA an opportunity. What should they do with it? I think NASA should get more ambitious in deep-space flight, both crewed and uncrewed. Because it'll get much cheaper to get cargo into orbit to get payload up there, as I said, they can launch more science missions, and then when it comes to human missions, I like the overall plan of Artemis. The details were really pulled together during the first Trump administration, which had a really good space policy overall, which is to return to the moon, set up a permanent or long-term habitation on the moon. The way NASA sketches it out, not all the burden is carried by NASA.They envision — or did envision — a kind of ecosystem on the moon where you might have private vendors there providing services. You might have a company that mines ice and makes oxygen, and fuel, and water for the residents of these space stations. You might have somebody else building habitation that could be used by visiting scientists who are not NASA astronauts, but also used by NASA.There's all this possibility to combine what NASA does with the private sector, and what NASA should always do is be focused on the stuff the private sector can't yet do. That would be the deep-space probes. That would be sending astronauts on the most daring non-routine missions. As the private sector develops the ability to do some of those things, then NASA can move on to the next thing. That's one set of goals.Another set of goals is to do the research into technologies, things that are hard for the private sector to undertake. In particular, things like new propulsion for deep-space travel. There's a couple of different designs for nuclear rocket engines that I think are really promising, super efficient. Sadly, under the current budget cuts that are proposed at NASA, that's one of the programs that's being cut, and if you really want to do deep space travel routinely, ultimately, chemical fuels, they're not impossible, but they're not as feasible because you've got to get all that heavy — whatever your fuel is, methane or whatever it is — up into either into orbit or you've got to manufacture it on the moon or somewhere. The energy density of plutonium or uranium is just so much higher and it just allows you to do so much more with lighter weight. So I'd like to see them research those kinds of things that no individual private company could really afford to do at this point, and then when the technology is more mature, hand it off to the private sector.American space leadership (21:17)Exploration's never been totally safe, and if people want to take risks on behalf of a spirit of adventure and on behalf of humanity at large, I say we let them.If things go well —reforms, funding, lower launch costs — what does America's role in space look like in 10 to 15 years, and what's your concern if things go a darker route, like cutting nuclear engine research you were just talking about?I'll sketch out the bright scenario. This is very up your alley, Jim.Yeah, I viewed this as a good thing, so you tell me what it is.In 15 years I would love to see a small permanent colony at the south pole of the moon where you can harvest ice from the craters and maybe you'd have some habitation there, maybe even a little bit of space tourism starting up. People turn up their nose at space tourism, but it's a great way to help fund really important research. Remember the Golden Age of Exploration, James Cook and Darwin, those expeditions were self-funded. They were funded by rich people. If rich people want to go to space, I say I'm all for it.So a little base on the moon, important research going on, we're learning how to have people live on a foreign body, NASA is gathering tons of information and training for the next goal, which I think is even more important: I do agree we should get people to Mars. I don't think we should bypass the moon to get to Mars, I don't think that's feasible, that's what Elon Musk keeps suggesting. I think it's too soon for that. We want to learn about how people handle living off-planet for a long period of time closer to home — and how to mine ice and how to do all these things — closer to home, three or four days away, not months and months away. If something goes wrong, they'll be a lot more accessible.But I'd like to see, by then, some Mars missions and maybe an attempt to start the first long-term habitation of Mars. I don't think we're going to see that in 10 years, but I think that's a great goal, and I don't think it's a goal that taxpayers should be expected to fund 100 percent. I think by then we should see even more partnerships where the private companies that really want to do this — and I'm looking at Elon Musk because he's been talking about it for 20 years — they should shoulder a lot of the costs of that. If they see a benefit in that, they should also bear some of the costs. So that's the bright scenario.Along with that, all kinds of stuff going on in low-earth orbit: manufacturing drugs, seeing if you can harness solar energy, private space stations, better communications, and a robust science program exploring deep space with unmanned spacecraft. I'd like to see all of that. I think that could be done for a reasonable amount of money with the proper planning.The darker scenario is that we've just had too much chaos and indecision in NASA for years. We think of NASA as being this agency of great exploration, but they've done very little for 20 years . . . I take that back — NASA's uncrewed space program has had a lot of successes. It's done some great stuff. But when it comes to manned space flight, it's pretty much just been the International Space Station, and I think we've gotten most of the benefit out of that. They're planning to retire that in 2030. So then what happens? After we retired the Space Shuttle, space practically went into a very low-growth period. We haven't had a human being outside of low-earth orbit since Apollo, and that's embarrassing, frankly. We should be much more ambitious.I'm afraid we're entering a period where, without strong leadership and without a strong focus on really grand goals, then Congress will reassert its desire to use NASA as a piggy bank for their states and districts and aerospace manufacturers will build the stuff they're asked to build, but nothing will move very quickly. That's the worst-case scenario. We'll see, but right now, with all of the kind of disorder in Washington, I think we are in a period where we should be concerned.Can America still call itself the world's space leader if its role is mainly launching things into Earth orbit, with private companies running space stations for activities like drug testing or movie production if, meanwhile, China is building space stations and establishing a presence on the Moon? In that scenario, doesn't it seem like China is the world's leader in space?That's a real issue. China has a coherent nationalistic plan for space, and they are pursuing it, they're pouring a lot of resources into it, and they're making a lot of headway. As always, when China rolls out its new, cutting-edge technology, it usually looks a lot like something originally built in the US, and they're certainly following SpaceX's model as closely as they can in terms of reusable rockets right now.China wants to get to the moon. They see this as a space race the way the Soviets saw a space race. It's a battle for national prestige. One thing that worries me, is under the Artemis plan during the first Trump administration, there was also something called the Artemis Accords — it still exists — which is an international agreement among countries to A) join in where they can if they want, with various American initiatives. So we've got partners that we're planning to build different parts of the Artemis program, including a space station around the moon called Gateway, which actually isn't the greatest idea, but the European Space Agency and others were involved in helping build it.But also, all these countries, more than 50 countries have signed on to these aspirational goals of the Artemis Accords, which are: freedom of navigation, shared use of space, going for purposes of peaceful exploration, being transparent about what you're doing in space so that other countries can see it, avoiding generating more space junk, space debris, which is a huge problem with all the stuff we've got up there now, including a lot of old decrepit satellites and rocket bodies. So committing to not just leaving your upper-stage rocket bodies drifting around in space. A lot of different good goals, and the fact that all these countries wanted to join in on this shows America's preeminence. But if we back away, or become chaotic, or start disrespecting those allies who've signed on, they're going to look for another partner in space and China is going to roll out the red carpet for them.You get a phone call from SpaceX. They've made some great leap forwards. That Starship, it's ready to go to Mars. They're going to create a human habitation out there. They need a journalist. By the way, it's a one-way trip. Do you go?I don't go to Mars. I've got family here. That comes first for me. But I know some people want to do that, and I think that we should celebrate that. The space journalist Rand Simberg wrote a book years ago called Safe Is Not An Option — that we should not be too hung up on trying to make space exploration totally safe. Exploration's never been totally safe, and if people want to take risks on behalf of a spirit of adventure and on behalf of humanity at large, I say we let them. So maybe that first trip to Mars is a one-way trip, or at least a one-way for a couple of years until more flights become feasible and more back-and-forth return flights become something that can be done routinely. It doesn't really appeal to me, but it'll appeal to somebody, and I'm glad we have those kinds of people in our society.On sale everywhere The Conservative Futurist: How To Create the Sci-Fi World We Were PromisedMicro Reads▶ Economics* Trump economy shows surprising resilience despite tariff impacts - Wapo* Supply Chains Become New Battleground in the Global Trade War - WSJ* This A.I. Company Wants to Take Your Job - NYT* The Mirage of Geoeconomics - PS* Japan urged to use gloomier population forecasts after plunge in births - FT* Europe's nuclear fusion potential draws record investment round - FT▶ Business* How Disney's AI lawsuit could shift the future of entertainment - Wapo* Meta plans big bet on AI's secret ingredient: human brains - FT* Nvidia and Perplexity Team Up in European AI Push - WSJ* CRMArena-Pro: Holistic Assessment of LLM Agents Across Diverse Business Scenarios and Interactions - Arxiv* Fervo Snags $206 Million for Cape Station Geothermal - Heatmap* BYD launches cut-price EVs in Europe amid global price war - Semafor▶ Policy/Politics* The right refuses to take AI seriously - Vox* The Gig Economy Benefits Freelance Workers—Until Regulation Steps In - AEI* The war is on for Congress' AI law ban - The Verge* Disney and Universal Sue AI Company Midjourney for Copyright Infringement - Wired* Big Tech Is Finally Losing - NYT Opinion* American Science's Culture Has Contributed to the Grave Threat It Now Faces - Real Clear Science▶ AI/Digital* New Apple study challenges whether AI models truly “reason” through problems - Ars* The problem of AI chatbots telling people what they want to hear - FT* With the launch of o3-pro, let's talk about what AI “reasoning” actually does - Ars* ‘This is coming for everyone': A new kind of AI bot takes over the web - Wapo* Europe's AI computing shortage ‘will be resolved' soon, says Nvidia chief - FT* We're Not Ready for the AI Power Surge - Free Press▶ Biotech/Health* Pancreatic cancer vaccine eradicates trace of disease in early trials - New Atlas* World first: brain implant lets man speak with expression — and sing - Nature* The Alzheimer's drug pipeline is healthier than you might think - The Economist▶ Clean Energy/Climate* Big Tech Cares About Clean Energy Tax Credits — But Maybe Not Enough - Heatmap* Nvidia ‘Climate in a Bottle' Opens a View Into Earth's Future. What Will We Do With It? - WSJ* Oil's Lost Decade Is About to Be Repeated - Bberg Opinion* How the Pentagon Secretly Sparked America's Clean Energy Boom - The Debrief▶ Space/Transportation* Musk-Trump feud is a wake-up call on space - FT* Trump's 2026 budget cuts would force the world's most powerful solar telescope to close - Space▶ Up Wing/Down Wing* ‘Invasive Species'? Japan's Growing Pains on Immigration - Bberg Opinion* Incredible Testimonies - Aeon* How and When Was the Wheel Invented? - Real Clear Science▶ Substacks/Newsletters* Trump's "beautiful" bill wrecks our energy future - Slow Boring* DOGE Looked Broken Before the Trump-Musk Breakup - The Dispatch* Steve Teles on abundance: prehistory, present, and future - The Permanent Problem* Is Macroeconomics a Mature Science? - Conversable EconomistFaster, Please! is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. 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 Ah, Aragon! They used to shoot westerns here, you know. The wide empty desert was the perfect backdrop for spaghetti western action. Cowboy versus cowboy, gunslingers living dying by the grace of their hair-trigger fingers and lightning-quick reflexes. And maybe the spirit of those films never really went away, because now we've got some old-fashioned drama like rival brothers and the return of a rider who was really fighting some technical difficulties. But was that really all there was to it? Does the tech tell a more complicated story? Or is it all mental?Live from the aftermath of Aragon, it's the Oxley Bom MotoGP Podcast. Cheers!Want more? Visit our website or support us on Patreon. With big thanks as always to Brad Baloo from The Next Men and Gentleman's Dub Club for writing our theme song. Check out The Nextmen for more great music!  

This is the AI discussion of my article:  The Quiet Power Of Knowing Who You Are.  This discussion is stunning!  Partly because this article is deeply personal, but the way the drill into the ideas, capturing the essence of what I was trying to say.   Be sure to take the time to listen. Here is the link to the original article:  https://partnersinexcellenceblog.com/the-quiet-power-of-knowing-who-you-are/

AUTOMATED GRAPHIC FORECAST LINK http://www.fcst-office.com/DAWS/WXSIM/graphic-fcst.php   Wednesday (Jun 4): Mostly cloudy to cloudy in the morning, becoming partly cloudy in the afternoon. Patchy light fog in the morning. High 75. The wind will be from the north around 5 mph in the morning, becoming east-northeast in the afternoon.   Wednesday night: Partly cloudy in the evening, becoming clear to partly cloudy after midnight. Low 55. The wind will be from the east-southeast around 2 mph in the evening, becoming northwest after midnight.   Thursday (Jun 5): Partly to mostly sunny in the morning, becoming partly cloudy in the afternoon. High 77. The wind will be from the northeast around 6 mph.   Thursday night: Partly to mostly cloudy in the evening, becoming mostly cloudy to cloudy after midnight. Low 56. The wind will be from the northeast around 4 mph.   Friday (Jun 6): Partly to mostly cloudy. High 75. The wind will be from the east-northeast around 5 mph in the morning, becoming east-southeast in the afternoon.   Friday night: Clear to partly cloudy in the evening, becoming mostly cloudy after midnight. Low 55. The wind will be from the east-southeast around 4 mph in the evening, becoming east-northeast after midnight.   Saturday (Jun 7): Mostly cloudy in the morning, becoming mostly cloudy to cloudy in the afternoon. A 30% chance of rain. Precipitation showery or intermittent. High 70. The wind will be from the northeast around 5 mph in the morning, becoming east-southeast in the afternoon. Precipitation mostly less than a tenth of an inch.   Saturday night: Partly to mostly cloudy in the evening, becoming partly cloudy after midnight. Low 55. The wind will be from the east-southeast around 3 mph in the evening, becoming southwest after midnight.   Sunday (Jun 8): Cloudy in the morning, becoming partly cloudy in the afternoon. A 60% chance of rain. Scattered thundershowers possible. High 75. The wind will be from the southwest around 11 mph, gusting to 21 mph, in the morning, becoming west in the afternoon. Precipitation mostly around a quarter of an inch.   Sunday night: Partly to mostly cloudy in the evening, becoming clear to partly cloudy after midnight. A 30% chance of rain. Scattered thundershowers possible. Low 53. The wind will be from the west around 7 mph, gusting to 17 mph. Chance of precipitation 30 percent. Precipitation mostly less than a tenth of an inch.   Monday (Jun 9): Mostly cloudy to cloudy. An 80% chance of rain. Thunderstorms very likely, some possibly severe. High 67. The wind will be from the west-southwest around 5 mph. Precipitation mostly around half an inch.   Monday night: Mostly cloudy in the evening, becoming clear to partly cloudy after midnight. Patchy light fog after midnight. Low 53. The wind will be from the west-northwest around 7 mph. Tuesday (Jun 10): Sunny. High 75. The wind will be from the west-northwest around 9 mph, gusting to 18 mph.   Tuesday night: Clear to partly cloudy in the evening, becoming mostly clear after midnight. Low 58. The wind will be from the west-northwest around 7 mph.   KASICA

The steady hand behind the last four Mission: Impossible films is back on the Filmmaker Toolkit, but this Mission brings a different tone than before. Partly due to the attempt to tie the entire nearly three decade old series into the story, but also to allow enough budget and time to execute the two most impressive and dangerous sequences we've yet seen. Learn more about your ad choices. Visit megaphone.fm/adchoices

We have long lacked a biography of Erving Goffman. Partly this can be explained by Goffman's direction for his papers not to be opened to researchers after his death. This meant those who may wish to write Goffman's biography had a lack of material to draw upon. Dmirti Shalin, author of Erving Manuel Goffman: Biographical Sources of Sociological Imagination (2025, Routledge), has overcome this by developing the Erving Goffman Archives, a collection of correspondence, family histories, syllabi and reminisces which allows for this book to exist as the first true biography of the great scholar. In providing the details of Goffman's life, Shalin has provided new ways of looking at Goffman, showing how factors like his upbringing in a family of Russian Jewish immigrants, his relationship with, and the sad suicide of, his wife, his interactions with colleagues and his everyday interactions shaped his sociology. Along the way we are encouraged to look anew at Goffman's work on topics such as the presentation of self, mental health, gambling and gender. In doing so, we learn much about Goffman not just as a scholar, but as a man. In our conversation we cover the whole of Goffman's life, moving from his youth and onto the significant points in his career and their impact upon his sociology. We also discuss the archive and how it came to be and discuss what Goffman's legacy maybe for the future of democratic politics. Your host, Matt Dawson is Professor of Sociology at the University of Glasgow and the author of G.D.H. Cole and British Sociology: A Study in Semi-Alienation (2024, Palgrave Macmillan), along with other texts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

We have long lacked a biography of Erving Goffman. Partly this can be explained by Goffman's direction for his papers not to be opened to researchers after his death. This meant those who may wish to write Goffman's biography had a lack of material to draw upon. Dmirti Shalin, author of Erving Manuel Goffman: Biographical Sources of Sociological Imagination (2025, Routledge), has overcome this by developing the Erving Goffman Archives, a collection of correspondence, family histories, syllabi and reminisces which allows for this book to exist as the first true biography of the great scholar. In providing the details of Goffman's life, Shalin has provided new ways of looking at Goffman, showing how factors like his upbringing in a family of Russian Jewish immigrants, his relationship with, and the sad suicide of, his wife, his interactions with colleagues and his everyday interactions shaped his sociology. Along the way we are encouraged to look anew at Goffman's work on topics such as the presentation of self, mental health, gambling and gender. In doing so, we learn much about Goffman not just as a scholar, but as a man. In our conversation we cover the whole of Goffman's life, moving from his youth and onto the significant points in his career and their impact upon his sociology. We also discuss the archive and how it came to be and discuss what Goffman's legacy maybe for the future of democratic politics. Your host, Matt Dawson is Professor of Sociology at the University of Glasgow and the author of G.D.H. Cole and British Sociology: A Study in Semi-Alienation (2024, Palgrave Macmillan), along with other texts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

We have long lacked a biography of Erving Goffman. Partly this can be explained by Goffman's direction for his papers not to be opened to researchers after his death. This meant those who may wish to write Goffman's biography had a lack of material to draw upon. Dmirti Shalin, author of Erving Manuel Goffman: Biographical Sources of Sociological Imagination (2025, Routledge), has overcome this by developing the Erving Goffman Archives, a collection of correspondence, family histories, syllabi and reminisces which allows for this book to exist as the first true biography of the great scholar. In providing the details of Goffman's life, Shalin has provided new ways of looking at Goffman, showing how factors like his upbringing in a family of Russian Jewish immigrants, his relationship with, and the sad suicide of, his wife, his interactions with colleagues and his everyday interactions shaped his sociology. Along the way we are encouraged to look anew at Goffman's work on topics such as the presentation of self, mental health, gambling and gender. In doing so, we learn much about Goffman not just as a scholar, but as a man. In our conversation we cover the whole of Goffman's life, moving from his youth and onto the significant points in his career and their impact upon his sociology. We also discuss the archive and how it came to be and discuss what Goffman's legacy maybe for the future of democratic politics. Your host, Matt Dawson is Professor of Sociology at the University of Glasgow and the author of G.D.H. Cole and British Sociology: A Study in Semi-Alienation (2024, Palgrave Macmillan), along with other texts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

We have long lacked a biography of Erving Goffman. Partly this can be explained by Goffman's direction for his papers not to be opened to researchers after his death. This meant those who may wish to write Goffman's biography had a lack of material to draw upon. Dmirti Shalin, author of Erving Manuel Goffman: Biographical Sources of Sociological Imagination (2025, Routledge), has overcome this by developing the Erving Goffman Archives, a collection of correspondence, family histories, syllabi and reminisces which allows for this book to exist as the first true biography of the great scholar. In providing the details of Goffman's life, Shalin has provided new ways of looking at Goffman, showing how factors like his upbringing in a family of Russian Jewish immigrants, his relationship with, and the sad suicide of, his wife, his interactions with colleagues and his everyday interactions shaped his sociology. Along the way we are encouraged to look anew at Goffman's work on topics such as the presentation of self, mental health, gambling and gender. In doing so, we learn much about Goffman not just as a scholar, but as a man. In our conversation we cover the whole of Goffman's life, moving from his youth and onto the significant points in his career and their impact upon his sociology. We also discuss the archive and how it came to be and discuss what Goffman's legacy maybe for the future of democratic politics. Your host, Matt Dawson is Professor of Sociology at the University of Glasgow and the author of G.D.H. Cole and British Sociology: A Study in Semi-Alienation (2024, Palgrave Macmillan), along with other texts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Mythical flying horses couldn't possibly be real; but there is one that we all may meet in our most vulnerable hours. Genre: Mythology, Fantasy, Fairy Tale   Excerpt: They emerge from the shadow-light of the moon mist. I resist the urge to reach out.  I gasp and shiver.  The room has grown cold.  Not the crisp cold of winter.  Not the numbing cold of ice.  Not even the cold of night.  It is a bracing but fortifying cold.  A vast cold.   What story or stories am I revisiting in this episode? Each Season 8 episode is a standalone story, but it's connected to or inspired by a previous story through a character, a place, an object, a concept, a continuation of events (ahem, sequel), and so on. When I was a kid, I desperately wanted unicorns and flying horses to be real. Revisiting a childhood desire in adulthood can be…unnerving. So, why do I keep doing it? This episode was inspired by “A Gildenfaere's Gift.”     MERCH!Interested in merch, like mugs and notebooks, featuring my artwork? Please visit my Store page for updated info on where you can buy: STORYFEATHER STORE   MY FIRST BOOK (yay)Ever wonder how I've gotten all these hundreds of stories written?  I have a method. And I talk all about it in my book called Fictioneer's Field Guide: A Game Plan for Writing Short Stories. It's now available as an eBook, paperback, and hardcover. The book title takes you straight to the book on Amazon. Or you can visit my Store page: STORYFEATHER STORE The Store page has a sign-up form for my email newsletters. Fictioneering mischief and writing tips. Choose what you want. (Either way, you're choosing high jinks.)   CREDITSStory: “Noctemfaere” Copyright © 2021 by Nila L. Patel Narration, Episode Art, Editing, and Production:  Nila L. Patel   Music: “Magic Within” by ANDREW SITKOV (Intro and Outro) “Abstract Vision #5” by ANDREW SITKOV (Outro)   Music by ANDREW SITKOV (MuzStation Game Music)* “Ice and Fire (peaceful part)” “Magic Within”   Music by NICHOLAS JEUDY (Dark Fantasy Studio)* “Compass” “In the shadows” “Oinions (second part)” “Oinions” “Don't move” “Winterheart (seamless)” “Stars above”   *These tracks were part of a music and sound effects bundles I purchased from Humble Bundle and sourced from GameDev Market.   Music by Nicholas Jeudy and Andrew Sitkov is licensed from GameDev Market Sound effects from AudioJungle, and GameDevMarket Changes made to the musical tracks? Just cropping of some to align with my narration. Find more music by Nicholas Jeudy and Andrew Sitkov at gamedevmarket.net Find more stories by Nila at storyfeather.com   Episode Art Description: Digital drawing. Center, a winged horse facing viewer, seen from chest up, mane falling to its right. Partly extended right wing is shadowy and hazy. The left wing is raised and stretched out, and the feathers are defined, some turning dark. Emerging from the horse's sides under its wings are two more flying horses whose forms are translucent. The horse on the left flank extends a wing and raise a leg. The horse on the right flank extends a wing and raise's two legs. A glowing mist streams down from center top. At bottom beside the figures are bright sparks in the fog. Watermark of “Storyfeather” along main horse's right wing. Top and bottom borders depicting dark fog and glowing mist make the image square.

Wx Headline: Days turn to Summer with more humidity and some rain • It's a very pleasant morning to start Friday • Friday morning & Saturday morning may be the coolest & nicest until October • Today's another sunny & warm day but it won't be humid • Saturday's very similar but the humidity starts to build in on Sunday • An isolated shower/storm may try to pop Sunday afternoon, but that won't be much • Memorial Day will be a typical NE FL summer day • Partly sunny, hot & humid with a few afternoon storms • Memorial Day does not look like a washout, but keep an eye to the sky in the afternoon • Weather pattern turns wetter mid to late week next week TODAY: Mostly Sunny & Hot. High: 92 TONIGHT: Pleasant. Low: 65 SAT: Mostly Sunny. 65/90 SUN: Mostly to Partly Sunny, Isolated PM Storm. 68/91 MEMORIAL DAY: Partly Sunny, A Few Afternoon Storms. TUE: Partly Cloudy, Afternoon Storm. 70/91 WED: Partly Sunny, Afternoon Storm. 71/91 THU: Partly Cloudy, Afternoon Storm. 71/90

The year's most anticipated book in Washington has finally arrived: Jake Tapper and Alex Thompson's “Original Sin” dropped overnight, just as Joe Biden's physical and cognitive health as president is the topic dominating the D.C. discourse. And the din of that conversation is likely to only grow louder. Partly, that's because the Biden story isn't going away. But it's also because Republicans are eager to keep the focus there rather than the politically risky proposed cuts to Medicaid that have now taken center stage in the debate over the House GOP's Big Beautiful Bill. President Donald Trump heads to Capitol Hill this morning to try and win over Republican holdouts. Playbook contributing author Adam Wren joins managing editor and author Jack Blanchard to unpack it all. 

It's entirely possible that we would not know the name of Johannes Brahms very well if Brahms hadn't met Joseph Joachim as a very young man. Joachim, who was one of the greatest violinists of all time, had already established himself as touring soloist and recitalist, and he happened to know the musical power couple of Robert and Clara Schumann quite well. Joachim encouraged Brahms to go to Dusseldorf to meet the Schumann's, and the rest is history. I've talked about the Brahms-Schumann relationship dozens of times on the show before, but to keep it very brief, Robert Schumann's rhapsodic article Neue Bahnen(new paths) launched Brahms' career, and until Schumann's deterioration from mental illness he acted as a valued friend and mentor for Brahms. Clara Schumann, as a performer, was a powerful advocate for Brahms' music as well as a devoted and loving friend throughout the rest of their lives. Almost constantly present in this relationship was the sound of Joseph Joachim's violin. Brahms did not have a huge circle of friends, but for the often difficult to get along with composer, Joachim was a musical and spiritual companion. Brahms' legendary violin concerto was written for him, and the two collaborated closely for the entire course of their musical lives, except for one significant break. Brahms and Joachim were estranged for 7 years, until Brahms reached out with a remarkable conciliatory gesture: a concerto for Violin and Cello and that would be dedicated to Joachim. Brahms and Joachim(as well as Brahms and Clara Schumann) had often resolved disputes through music, and this was no exception. Clara Schumann gleefully wrote in her diary after Joachim had read through the piece with cellist Robert Hausmann: "This concerto is a work of reconciliation - Joachim and Brahms have spoken to each other again for the first time in years.” One would expect that a work like this would be beloved, but the Double Concerto has had a checkered history, which we'll also get into later. Clara herself wrote that it lacked "the warmth and freshness which are so often found to be in his works,” It would turn out to be Brahms' last work for orchestra, and one of the few in his later style, which makes It fascinating to look at from a compositional perspective. Partly because of the cool reception it got in its first few performances, and the practical challenges of finding two spectacular soloists who can meet its challenges, the piece is not performed all that often, though I have always adored this piece and am very grateful to Avi who sponsored this week's show from my fundraiser last year before the US election. So let's dive into this gorgeous concerto, discussing the reasons for Joachim and Brahms' break, their reconciliation, the reception this piece got, and then of course, the music itself! Join us!

AP's Lisa Dwyer reports that infant death rates are down.

Niall Sargent, Current Affairs Correspondent with The Currency, discusses how RTÉ has written down a figure of €3.6 million on a partly failed IT system.

Princeton University said several dozen of its federal grants have been halted. It's just the latest Trump administration move targeting colleges. Partly in response, Yale philosophy professor Jason Stanley announced he’s leaving not only his school, but the country, to teach at the University of Toronto. Stanley joined Amna Nawaz to discuss his decision. PBS News is supported by - https://www.pbs.org/newshour/about/funders

Partly because of the courts and partly because the White House keeps stepping on rakes or trying to break everything, the Dems who were too chill about Trump pre- and post-election have fully moved into 'threat to the Republic' mode. Meanwhile, angry bureaucrats, particularly at the FBI, are digging in. But don't be sanguine because the administration is still trying to take a wrecking ball to the civil service— anything that goes wrong that involves the government though (like that measles outbreak in Texas) they're going to own from here on out. Plus, Trump's dirty energy policy, the challenge of getting his tax cuts through Congress, and Kanye goes all in on Hitler. Ezra Klein joins Tim on the weekend pod. show notes Ezra's forthcoming book with Derek Thompson, "Abundance" Ezra's show on YouTube Measles Outbreak Mounts Among Children in One of Texas' Least Vaccinated Counties Tim's playlist