POPULARITY
Categories
459 episodes with Peters
368 episodes with Peters
170 episodes with Peters
31 episodes with Peters
41 episodes with Peters
98 episodes with Peters
42 episodes with Peters
50 episodes with Peters
12 episodes with Peters
54 episodes with Peters
26 episodes with Peters
20 episodes with Peters
41 episodes with Peters
57 episodes with Peters
32 episodes with Peters
55 episodes with Peters
9 episodes with Peters
23 episodes with Peters
21 episodes with Peters
16 episodes with Peters
31 episodes with Peters
15 episodes with Peters
45 episodes with Peters
50 episodes with Peters
36 episodes with Peters
21 episodes with Peters
23 episodes with Peters
18 episodes with Peters
22 episodes with Peters
44 episodes with Peters
17 episodes with Peters
20 episodes with Peters
36 episodes with Peters
24 episodes with Peters
10 episodes with Peters
55 episodes with Peters
12 episodes with Peters
9 episodes with Peters
10 episodes with Peters
18 episodes with Peters
16 episodes with Peters
13 episodes with Peters
14 episodes with Peters
17 episodes with Peters
10 episodes with Peters
10 episodes with Peters
12 episodes with Peters
11 episodes with Peters
10 episodes with Peters
11 episodes with Peters
9 episodes with Peters
26 episodes with Peters
11 episodes with Peters
9 episodes with Peters
Hver fredag henover sommerferien kigger vi tilbage på de mest opsigtsvækkende, oversete og væsentligste historier over det sidste halvår. I denne sommerudgave er det chefredaktør Niels Lunde, der har udvalgt to virksomhedshistorier, der har domineret nyhedsbilledet, og en enkelt som er blevet overset. Vært er Børsens nyhedsdirektør, Peter Søndergaard. På fredag er det Børsens perspektivredaktør Kasper Kildegaard, som er i studiet med hans tre udvalgte udlandshistorier. Podcasten er produceret d. 11. juni.
In this two-part episode of the Brain & Life Podcast, co-host Dr. Katy Peters is joined by Elizabeth Ansell, founder and director of #NotJustFatigue. #NotJustFatigue is a nonprofit organization shining a light on myalgic encephalomyelitis/chronic fatigue syndrome, also known as ME/CFS, and educates patients, clinicians, and health organizations about the condition. Elizabeth shares how raising awareness, and furthering research really improves the everyday lives of people living with ME/CFS. Dr. Peters is then joined by Dr. W. Ian Lipkin, who is known internationally for his research and is the John Snow Professor of Epidemiology, Professor of Neurology, and Professor of Pathology and Cell Biology at Columbia University Irving Medical Center, Mailman School of Public Health. Dr. Lipkin discusses what's next in ME/CFS research and what the future could hold. Additional Resources #NotJustFatigue How to Fight Fatigue Understanding the Impact of Invisible Illnesses on Daily Life How Families Are Leading the Charge in Rare Disease Advocacy Other Brain & Life Podcast Episodes on Similar Topics Rare Thoughts on a Rarer Neurologic Condition Shedding Light and Love on a Rare Genetic Condition with Deborah Vauclare Neurofibromatosis Advocacy and Community Building with the Gilbert Family Foundation We want to hear from you! Have a question or want to hear a topic featured on the Brain & Life Podcast? Record a voicemail at 612-928-6206 Email us at BLpodcast@brainandlife.org Social Media: Elizabeth Ansell @notjustfatigue; Dr. W. Ian Lipkin @columbiapublichealth Guests: Hosts: Dr. Daniel Correa @neurodrcorrea; Dr. Katy Peters @KatyPetersMDPhD
What if the C-suite wasn't the destination—but a stop on the way to something more fulfilling?In this heartfelt episode of Women Leaders on the Move, host Natalie Benamou sits down with Jennifer Peters, a visionary Life Sciences Executive and an author to the upcoming anthology Power of Next: Bold Moves by Design. Jennifer shares her deeply personal journey, one shaped by resilience, reinvention, and the power of saying “yes” to unexpected turns.From starting over in a new city as a single mom to launching a successful business during the 2008 recession, Jennifer reveals how nonlinear paths often lead to the most meaningful destinations. She opens up about navigating ageism, redefining success, and why letting go of titles can be the ultimate power move.✨ In this episode, you'll hear:How to reframe "overqualified" into a leadership strengthWhy embracing change—at any age—can be your greatest advantageA moving story of courage, legacy, and finding silver linings in unexpected moments"I realized I've accomplished more than I thought I did—and I'm proud of the decisions I've made, even the ones that didn't go as planned. There's always a silver lining." – Jennifer PetersWhether you're navigating a career pivot or redefining what's next, Jennifer's story will leave you feeling empowered to make bold moves—by your own design.
Else Peters delade med sig av sin bakgrund i utbildning, personlig utveckling och andliga upplevelser, inklusive att kanalisera utomjordiska varelser och skriva en bok om mantisvarelser. Diskussionen omfattade olika ämnen som utmaningar som tonåringar står inför, global omvandling, yngre generationers roll i omformningen av samhället och vikten av personlig tillväxt och visdom. Else diskuterade också sitt pågående arbete med kanalisering, fjärrläkning och införande av andlighet och personlig utveckling för gymnasieelever, och betonade behovet av balans och stöd för att skapa en bättre värld för kommande generationer.Innehållet och samtalen i podden är tänkta som inspiration och inbjudan till egen reflektion - inte som medicinsk, terapeutisk eller annan form av professionell rådgivning. Vi uppmuntrar dig att använda ditt omdöme och vid behov söka stöd från legitimerad vårdpersonal eller annan relevant, vedertagen expertis. Vi tar inte ansvar för effekterna av råd, metoder eller behandlingar som nämns av våra gäster.Medverkar: Else Peters, Maria Dupal, Helene Carlind Hosted on Acast. See acast.com/privacy for more information.
Listen to Willie Peters as he talks the squad for Catalans, Danny Richardson's injury and Frankie Dearlove's inclusion in the Yorkshire Origin Squad.
LifeBlood: We talked about the benefits of psychoanalysis, what it is, how it works, and who benefits, why you don't need to have suffered major trauma to benefit from the work, why it's hard for people to be vulnerable and face their fears, and how to finally get to the root cause of your problems, with Joan Peters, PhD, Professor Emeritus, and author. Listen to learn why our minds may be the last truly undiscovered country! You can learn more about Joan at UntanglingJoan.com, and Facebook. Get your copy of Untangling here: https://amzn.to/4mTapw3 Thanks, as always for listening! If you got some value and enjoyed the show, please leave us a review here: https://ratethispodcast.com/lifebloodpodcast You can learn more about us at LifeBlood.Live, Twitter, LinkedIn, Instagram, YouTube and Facebook or you'd like to be a guest on the show, contact us at contact@LifeBlood.Live. Stay up to date by getting our monthly updates. Want to say “Thanks!” You can buy us a cup of coffee. https://www.buymeacoffee.com/lifeblood Copyright LifeBlood 2025.
Danny Peters on witnissing SVG dominate Sonoma + Frontstretch.com colleague article by Ed Lane
The San Jose Hockey Now Podcast is sponsored by Bring Hockey Back! What does long-time NHL video coach Steve Peters think of the revamped San Jose Sharks? Peters breaks down ideal lines, shares his dark horse Shark this coming season, and more. (45:07) But before we get to Peters, Sheng discusses his thoughts about the Ryan Reaves trade. Why might this deal make sense from the San Jose Sharks' perspective? (3:37) Why did the Sharks land on free agent sniper Jeff Skinner? (25:24) How were these moves part of GM Mike Grier's possible grand plan for 2027-28? The Sharks are doing something different than the Chicago Blackhawks and Philadelphia Flyers' rebuilds. (34:16) And now, Steve Peters! (45:07) How does Peters see the Sharks forward lines? (51:42) Who is Peters's sleeper Shark this year? (55:40) Peters thinks it could still be a challenge to find the winger to play with Smith at center. (1:04:31) Where does Reaves fit in? (1:10:45) Speaking up for Collin Graf. (1:13:18) There are a lot of bottom-six guys! (1:18:04) What about Michael Misa? Why might Penn State not be the best option for him? (1:19:33) How would Peters put together the San Jose Sharks' defense? (1:28:38) How much game do Dmitry Orlov and John Klingberg have left in the tank? (1:32:22) Can Sam Dickinson stick in the San Jose Sharks' line-up? (1:40:15) Let's talk goaltending! Why does Peters like the addition of Alex Nedeljkovic? (1:45:39) Will the Sharks' special teams get better? (1:48:03) What does Peters think about the different neutral zone forecheck that Ryan Warsofsky instituted late last year? (1:49:54) Does Peters think this Sharks team is better than last year's opening night group? (1:55:20) Finally, I ask Peters about his experience as video coach for Team North America at the 2016 World Cup.
Vem var Bruce Springsteen innan arenorna, innan myten, innan han blev “The Boss”? I det här avsnittet kartlägger vi livet som format honom – från småstadens grå kanter till ett kompromisslöst sökande efter mening i musiken. Vi dyker ner i barndomens slitningar, de rastlösa åren i Asbury Parks musikscen, karriärens uppgångar och bakslag, och de val som skapat Bruce både som artist och människa.Musikpodden finns även på:Instagram: Musik_poddenSpotify: Musikpodden med Arvid BranderApple podcast: Musikpodden med Arvid BranderKontakt: podcastarvid@gmail.comKällor:Springsteen, B. (2016). Born to Run. New York: Simon & Schuster.En av arbetets viktigaste källor, med djupa personliga insikter i Springsteens liv, psykologi och kreativa process.Carlin, P. (2012). Bruce. New York: Touchstone.En grundläggande biografi som bidragit med viktig kronologi, kontext och detaljrika beskrivningar.Marsh, D. (1987). Glory Days: Bruce Springsteen in the 1980s. New York: Pantheon Books.Cross, C. R. (2005). Backstreets: Springsteen: The Man and His Music. New York: Harmony Books.Cullen, J. (2005). Born in the U.S.A.: Bruce Springsteen and the American Tradition. Middletown: Wesleyan University Press.Springsteen, B. (2003). Songs. New York: HarperCollins.Greene, A. (2020, 2023). Rolling Stone intervjuer med Bruce Springsteen.Axelrod, J. (2023, December 3). CBS Sunday Morning: Bruce Springsteen återbesöker inspelningsplatsen för Nebraska.Zanes, W. (2023). Deliver Me from Nowhere: The Making of Bruce Springsteen's Nebraska. New York: Crown Publishing.Crouch, I. (2012, March 5). The Original Wrecking Ball: Springsteen's Nebraska. The New Yorker.Nelson, E. (2022, September 27). 40 Years of Nebraska. The Ringer.Greene, A. (2023). Bruce Springsteen Reflects on His Most Personal Album. Rolling Stone.NPR / WHYY (2024). Bruce Springsteen's Nebraska: Celebration in Words and Music.Peters, C. (2023). Warren Zanes Talks Nebraska. Rock and Roll Globe.Pitchfork (2022). Bruce Springsteen: Nebraska Album Review.AllMusic (2000-talet). Bruce Springsteen: Nebraska Review.Kirschbaum, E. (2012). Buckling Under: Reagan's America in Nebraska.Greasy Lake (greasylake.org).Backstreets Magazine (backstreets.com).Badlands: A Tribute to Bruce Springsteen's Nebraska (2000).American Songwriter (2024). Nyhetsartikel om den kommande filmatiseringen av Nebraska. Hosted on Acast. See acast.com/privacy for more information.
In diesem Vortrag erklärt Jonas Peters anhand von Kolosser 2 eindrucksvoll, wie falsche Lehren – etwa durch Philosophie, Gesetzlichkeit oder Mystik – die zentrale Botschaft von Jesus Christus verfälschen können. Er vergleicht das gefährliche Abweichen von der biblischen Wahrheit mit realen Situationen im Alltag und motiviert dazu, stets in Demut und mit der Bibel als einzigem Maßstab das eigene Glaubensfundament zu prüfen. Abschließend fordert er dazu auf, sich nicht vom Zeitgeist, sondern allein vom Heiligen Geist leiten zu lassen, um authentisch im Glauben zu leben. FÜR JESUS ENTSCHIEDEN | Wir wollen mit dir feiern SPENDEN | Vielen Dank für deine Unterstützung GEBET & HILFE | Wir sind für dich da PRAISE REPORT | Wie hat Gott in deinem leben gewirkt?
WhoRon Schmalzle, President, Co-Owner, and General Manager of Ski Big Bear operator Recreation Management Corp; and Lori Phillips, General Manager of Ski Big Bear at Masthope Mountain, PennsylvaniaRecorded onApril 22, 2025About Ski Big BearClick here for a mountain stats overviewOwned by: Property owners of Masthope Mountain Community; operated by Recreation Management CorporationLocated in: Lackawaxen, PennsylvaniaYear founded: 1976 as “Masthope Mountain”; changed name to “Ski Big Bear” in 1993Pass affiliations:* Indy Pass – 2 days, select blackouts* Indy+ Pass – 2 days, no blackoutsClosest neighboring ski areas: Villa Roma (:44), Holiday Mountain (:52), Shawnee Mountain (1:04)Base elevation: 550 feetSummit elevation: 1,200 feetVertical drop: 650 feetSkiable acres: 26Average annual snowfall: 50 inchesTrail count: 18 (1 expert, 5 advanced, 6 intermediate, 6 beginner)Lift count: 7 (4 doubles, 3 carpets – view Lift Blog's inventory of Ski Big Bear's lift fleet)Why I interviewed themThis isn't really why I interviewed them, but have you ever noticed how the internet ruined everything? Sure, it made our lives easier, but it made our world worse. Yes I can now pay my credit card bill four seconds before it's due and reconnect with my best friend Bill who moved away after fourth grade. But it also turns out that Bill believes seahorses are a hoax and that Jesus spoke English because the internet socializes bad ideas in a way that the 45 people who Bill knew in 1986 would have shut down by saying “Bill you're an idiot.”Bill, fortunately, is not real. Nor, as far as I'm aware, is a seahorse hoax narrative (though I'd like to start one). But here's something that is real: When Schmalzle renamed Masthope Mountain to “Ski Big Bear” in 1993, in honor of the region's endemic black bears, he had little reason to believe anyone, anywhere, would ever confuse his 550-vertical-foot Pennsylvania ski area with Big Bear Mountain, California, a 39-hour, 2,697-mile drive west.Well, no one used the internet in 1993 except weird proto-gamers and genius movie programmers like the fat evil dude in Jurassic Park. Honestly I didn't even think the “Information Superhighway” was real until I figured email out sometime in 1996. Like time travel or a human changing into a cat, I thought the internet was some Hollywood gimmick, imagined because wouldn't it be cool if we could?Well, we can. The internet is real, and it follows us around like oxygen, the invisible scaffolding of existence. And it tricks us into being dumb by making us feel smart. So much information, so immediately and insistently, that we lack a motive to fact check. Thus, a skier in Lackawaxen, Pennsylvania (let's call him “Bill 2”), can Google “Big Bear season pass” and end up with an Ikon Pass, believing this is his season pass not just to the bump five miles up the road, but a mid-winter vacation passport to Sugarbush, Copper Mountain, and Snowbird.Well Bill 2 I'm sorry but you are as dumb as my imaginary friend Bill 1 from elementary school. Because your Ikon Pass will not work at Ski Big Bear, Pennsylvania. And I'm sorry Bill 3 who lives in Riverside, California, but your Ski Big Bear, Pennsylvania season pass will not work at Big Bear Mountain Resort in California.At this point, you're probably wondering if I have nothing better to do but sit around inventing problems to grumble about. But Phillips tells me that product mix-ups with Big Bear, California happen all the time. I had a similar conversation a few months ago with the owners of Magic Mountain, Idaho, who frequently sell tubing tickets to folks headed to Magic Mountain, Vermont, which has no tubing. Upon discovering this, typically at the hour assigned on their vouchers, these would-be customers call Idaho for a refund, which the owners grant. But since Magic Mountain, Idaho can only sell a limited number of tickets for each tubing timeslot, this internet misfire, impossible in 1993, means the mountain may have forfeited revenue from a different customer who understands how ZIP codes work.Sixty-seven years after the Giants baseball franchise moved from Manhattan to San Francisco, NFL commentators still frequently refer to the “New York football Giants,” a semantic relic of what must have been a confusing three-decade cohabitation of two sports teams using the same name in the same city. Because no one could possibly confuse a West Coast baseball team with an East Coast football team, right?But the internet put everything with a similar name right next to each other. I frequently field media requests for a fellow names Stuart Winchester, who, like me, lives in New York City and, unlike me, is some sort of founder tech genius. When I reached out to Mr. Winchester to ask where I could forward such requests, he informed me that he had recently disappointed someone asking for ski recommendations at a party. So the internet made us all dumb? Is that my point? No. Though it's kind of hilarious that advanced technology has enabled new kinds of human error like mixing up ski areas that are thousands of miles apart, this forced contrast of two entities that have nothing in common other than their name and their reason for existence asks us to consider how such timeline cohabitation is possible. Isn't the existence of Alterra-owned, Ikon Pass staple Big Bear, with its hundreds of thousands of annual skier visits and high-speed lifts, at odds with the notion of hokey, low-speed, independent, Boondocks-situated Ski Big Bear simultaneously offering a simpler version of the same thing on the opposite side of the continent? Isn't this like a brontosaurus and a wooly mammoth appearing on the same timeline? Doesn't technology move ever upward, pinching out the obsolete as it goes? Isn't Ski Big Bear the skiing equivalent of a tube TV or a rotary phone or skin-tight hip-high basketball shorts or, hell, beartrap ski bindings? Things no one uses anymore because we invented better versions of them?Well, it's not so simple. Let's jump out of normal podcast-article sequence here and move the “why now” section up, so we can expand upon the “why” of our Ski Big Bear interview.Why now was a good time for this interviewEvery ski region offers some version of Ski Big Bear, of a Little Engine That Keeps Coulding, unapologetically existent even as it's out-gunned, out-lifted, out-marketed, out-mega-passed, and out-locationed: Plattekill in the Catskills, Black Mountain in New Hampshire's White Mountains, Middlebury Snowbowl in Vermont's Greens, Ski Cooper in Colorado's I-70 paper shredder, Nordic Valley in the Wasatch, Tahoe Donner on the North Shore, Grand Geneva in Milwaukee's skiing asteroid belt.When interviewing small ski area operators who thrive in the midst of such conditions, I'll often ask some version of this question: why, and how, do you still exist? Because frankly, from the point of view of evolutionary biologist studying your ecosystem, you should have been eaten by a tiger sometime around 1985.And that is almost what happened to Ski Big Bear AKA Masthope Mountain, and what happened to most of the dozens of ski areas that once dotted northeast Pennsylvania. You can spend days doomsday touring lost ski area shipwrecks across the Poconos and adjacent ranges. A very partial list: Alpine Mountain, Split Rock, Tanglwood, Kahkout, Mount Tone, Mount Airy, Fernwood - all time-capsuled in various states of decay. Alpine, slopes mowed, side-by-side quad chairs climbing 550 vertical feet, base lodge sealed, shrink-wrapped like a winter-stowed boat, looks like a buy-and-revive would-be ski area savior's dream (the entrance off PA 147 is fence-sealed, but you can enter through the housing development at the summit). Kahkout's paint-flecked double chair, dormant since 2008, still rollercoasters through forest and field on a surprisingly long line. Nothing remains at Tanglwood but concrete tower pads.Why did they all die? Why didn't Ski Big Bear? Seven other public, chairlift-served ski areas survive in the region: Big Boulder, Blue Mountain, Camelback, Elk, Jack Frost, Montage, and Shawnee. Of these eight, Ski Big Bear has the smallest skiable footprint, the lowest-capacity lift fleet, and the third-shortest vertical drop. It is the only northeast Pennsylvania ski area that still relies entirely on double chairs, off kilter in a region spinning six high-speed lifts and 10 fixed quads. Ski Big Bear sits the farthest of these eight from an interstate, lodged at the top of a steep and confusing access road nearly two dozen backwoods miles off I-84. Unlike Jack Frost and Big Boulder, Ski Big Bear has not leaned into terrain parks or been handed an Epic Pass assist to vacuum in the youth and the masses.So that's the somewhat rude premise of this interview: um, why are you still here? Yes, the gigantic attached housing development helps, but Phillips distills Ski Big Bear's resilience into what is probably one of the 10 best operator quotes in the 209 episodes of this podcast. “Treat everyone as if they just paid a million dollars to do what you're going to share with them,” she says.Skiing, like nature, can accommodate considerable complexity. If the tigers kill everything, eventually they'll run out of food and die. Nature also needs large numbers of less interesting and less charismatic animals, lots of buffalo and wapiti and wild boar and porcupines, most of which the tiger will never eat. Vail Mountain and Big Sky also need lots of Ski Big Bears and Mt. Peters and Perfect Norths and Lee Canyons. We all understand this. But saying “we need buffalo so don't die” is harder than being the buffalo that doesn't get eaten. “Just be nice” probably won't work in the jungle, but so far, it seems to be working on the eastern edge of PA.What we talked aboutUtah!; creating a West-ready skier assembly line in northeast PA; how – and why – Ski Big Bear has added “two or three weeks” to its ski season over the decades; missing Christmas; why the snowmaking window is creeping earlier into the calendar; “there has never been a year … where we haven't improved our snowmaking”; why the owners still groom all season long; will the computerized machine era compromise the DIY spirit of independent ski areas buying used equipment; why it's unlikely Ski Big Bear would ever install a high-speed lift; why Ski Big Bear's snowmaking fleet mixes so many makes and models of machines; “treat everyone as if they just paid a million dollars to do what you're going to share with them”; why RFID; why skiers who know and could move to Utah don't; the founding of Ski Big Bear; how the ski area is able to offer free skiing to all homeowners and extended family members; why Ski Big Bear is the only housing development-specific ski area in Pennsylvania that's open to the public; surviving in a tough and crowded ski area neighborhood; the impact of short-term rentals; the future of Ski Big Bear management, what could be changing, and when; changing the name from Masthope Mountain and how the advent of the internet complicated that decision; why Ski Big Bear built maybe the last double-double chairlift in America, rather than a fixed-grip quad; thoughts on the Grizzly and Little Bear lifts; Indy Pass; and an affordable season pass.What I got wrongOn U.S. migration into cities: For decades, America's youth have flowed from rural areas into cities, and I assumed, when I asked Schmalzle why he'd stayed in rural PA, that this was still the case. Turns out that migration has flipped since Covid, with the majority of growth in the 25-to-44 age bracket changing from 90 percent large metros in the 2010s to two-thirds smaller cities and rural areas in this decade, according to a Cooper Center report.Why you should ski Ski Big BearOK, I spent several paragraphs above outlining what Ski Big Bear doesn't have, which makes it sound as though the bump succeeds in spite of itself. But here's what the hill does have: a skis-bigger-than-it-is network of narrow, gentle, wood-canyoned trails; one of the best snowmaking systems anywhere; lots of conveyors right at the top; a cheapo season pass; and an extremely nice and modern lodge (a bit of an accident, after a 2005 fire torched the original).A ski area's FAQ page can tell you a lot about the sort of clientele they're built to attract. The first two questions on Ski Big Bear's are “Do I need to purchase a lift ticket?” and “Do I need rental equipment?” These are not questions you will find on the website for, say, Snowbird.So mostly I'm going to tell you to ski here if you have kids to ski with, or a friend who wants to learn. Ski Big Bear will also be fine if you have an Indy Pass and can ski midweek and don't care about glades or steeps, or you're like me and you just enjoy novelty and exploration. On the weekends, well, this is still PA, and PA skiing is demented. The state is skiing's version of Hanoi, Vietnam, which has declined to add traffic-management devices of any kind even as cheap motorbikes have nearly broken the formerly sleepy pedestrian city's spine:Hanoi, Vietnam, January 2016. Video by Stuart Winchester. There are no stop signs or traffic signals, for vehicles or pedestrians, at this (or most), four-way intersections in old-town Hanoi.Compare that to Camelback:Camelback, Pennsylvania, January 2024. Video by Stuart Winchester.Same thing, right? So it may seem weird for me to say you should consider taking your kids to Ski Big Bear. But just about every ski area within a two-hour drive of New York City resembles some version of this during peak hours. Ski Big Bear, however, is a gentler beast than its competitors. Fewer steeps, fewer weird intersections, fewer places to meet your fellow skiers via high-speed collision. No reason to release the little chipmunks into the Pamplona chutes of Hunter or Blue, steep and peopled and wild. Just take them to this nice little ski area where families can #FamOut. Podcast NotesOn smaller Utah ski areasStep off the Utah mainline, and you'll find most of the pow with fewer of the peak Wasatch crowds:I've featured both Sundance and Beaver Mountain on the podcast:On Plattekill and Berkshire EastBoth Plattekill, New York and Berkshire East, Massachusetts punched their way into the modern era by repurposing other ski areas' junkyard discards. The owners of both have each been on the pod a couple of times to tell their stories:On small Michigan ski areas closingI didn't ski for the first time until I was 14, but I grew up within an hour of three different ski areas, each of which had one chairlift and several surface lifts. Two of these ski areas are now permanently closed. My first day ever was at Mott Mountain in Farwell, Michigan, which closed around 2000:Day two was later that winter at what was then called “Bintz Apple Mountain” in Freeland, which hasn't spun lifts in about a decade:Snow Snake, in Harrison, managed to survive:The Storm Skiing Journal and Podcast is a sustainable small business directly because of my paid subscribers. To upgrade, please click through below. Thank you for your support of independent ski journalism. Get full access to The Storm Skiing Journal and Podcast at www.stormskiing.com/subscribe
Beşiktaş are on the verge of two huge signings!
Proud Torres Strait Island woman Jasmine Peters has the next generation in mind with everything she does but it still shocks her when little girls come up to her and want to play footy like Peters.Chatting to Declan Byrne on 'The Saturday Sledge' after debuting for QLD in State of Origin as well as playing in the Indigenous All Stars for the third time in 2025, Peters talks about her cultural journey, the hopes for the Cowboys this season and the most ridiculous first game of footy in history.
Solid Gold Saturday with Kenny Peters
Entre vie et mort : récit d'une greffe et d'un ange gardien Bonjour mes amis, Avec ce 22ème épisode, on fête les 2 ans du podcast. Merci pour votre soutien sans faille et votre écoute. Saviez-vous que près de 10 % des patients ayant frôlé la mort rapportent des expériences dites « de mort imminente » ? Flottement hors du corps, tunnel de lumière, voix mystérieuses… Certains y voient un bug du cerveau, d'autres une porte entrouverte sur l'au-delà. Parfois, la vie nous réserve des surprises… mais franchement mon héroïne aurait préféré gagner au Loto plutôt que de se retrouver à l'hôpital de Seattle avec des poumons en grève. Ellen, Ellen, 26 ans, bosse dans l'événementiel et collectionne les galères médicales. Elle se sent vieille avant l'âge. Mais la vraie loterie, c'est celle du don d'organes : un matin, coup de fil du docteur Peters, et elle obtient une greffe inespérée ! Encore faut-il survivre à l'opération… et au personnage du chirurgien, prototype du golden boy misogyne, obsédé par son image et par l'idée de dominer tout ce qui porte une blouse (spéciale dédicace à Nancy, la jeune infirmière harcelée sous couvert de hiérarchie). Mais la vraie aventure commence quand Ellen, entre deux mondes sur la table d'opération, fait une expérience de mort imminente. Flottant au-dessus de son corps, elle assiste à la scène, découvre l'envers du décor hospitalier et croise une mystérieuse présence lumineuse : ange gardien, fantôme, ou… un peu des deux ? À son réveil, rien ne sera plus comme avant : nouveaux goûts, nouvelles envies, et surtout, la sensation persistante qu'elle n'est plus seule dans sa poitrine. Impossible de parler de cet épisode sans évoquer le Dr Peters : chirurgien star, sourire ultra-bright, ego surdimensionné et… comportement de prédateur. Sous ses airs de sauveur, il profite de sa position pour harceler la jeune Nancy, tout juste débarquée dans le service. Il est la caricature même du médecin qui pense que tout lui est dû, y compris le respect et le silence de ses collègues féminines. Heureusement, Ellen – même à moitié anesthésiée – ne compte pas se laisser faire, et l'équipe va enfin oser lever le voile sur ses agissements. Cet épisode est un hommage à toutes celles et ceux qui traversent l'épreuve de la maladie, mais aussi à celles qui osent briser le silence face à l'injustice. Et si, parfois, la vie (ou la mort) nous met sur la route d'anges gardiens insoupçonnés, il ne tient qu'à nous d'écouter les signes… et de nous autoriser à vivre, pleinement. Pour bien terminer ce voyage en ma compagnie, je vous propose une reprise d'une chanson que j'adore : Le tunnel d'or - AaRON Casting : Callie Hope : Ellen Watson Rodolphe Campeggia : Dr Peters Charlotte Jardat : Gillian Delphine Lidove : Patricia Betty Scouarnec : Infirmière au réveil d'Ellen Margaux Rinaldi : Nancy Écriture, composition, montage et réalisation sonore par Juliette Dargand, tous droits réservés Membre du Label Tout Savoir. Régies publicitaires : PodK et Ketil Media Soutenez le podcast et choisissez votre contrepartie originale sur https://fr.tipeee.com/rencontres-surnaturelles-juliette-dargand Soutenez-nous sur Tipeee !
Kea is a longtime B-105 listener and has her grandparents to thank for that! Kea is a phlebotomist and says she got hooked on sticking it to you in high school. For her Country Club induction song, Kea wanted to hear Jelly Roll's "Save Me" in memory of her brother. Welcome to the B-105 Country Club, Kea!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Hver fredag henover sommerferien kigger vi tilbage på de mest opsigtsvækkende, oversete og væsentligste historier over det sidste halvår. I denne sommerudgave er det Børsens investorredaktør Simon Kirketerp, der har udvalgt to historier, som har domineret nyhedsbilledet, og en enkelt som er blevet overset. Vært er Børsens nyhedsdirektør, Peter Søndergaard. På fredag er det chefredaktør Niels Lunde, som er i studiet med hans tre udvalgte historier. Podcasten er produceret d. 11. juni.
In this two-part episode of the Brain & Life Podcast, co-host Dr. Katy Peters is joined by Elizabeth Ansell, founder and director of #NotJustFatigue. #NotJustFatigue is a nonprofit organization shining a light on myalgic encephalomyelitis/chronic fatigue syndrome, also known as ME/CFS, and educates patients, clinicians, and health organizations about the condition. Elizabeth shares her diagnosis journey and explains why education around ME/CFS is so vital. Dr. Peters is then joined by Dr. W. Ian Lipkin, who is known internationally for his research and is the John Snow Professor of Epidemiology, Professor of Neurology, and Professor of Pathology and Cell Biology at Columbia University Irving Medical Center, Mailman School of Public Health. Dr. Lipkin explains what ME/CFS is and how it differs from other conditions with similar symptoms, like long COVID. Make sure to tune in next week for part two to hear about what's next in ME/CFS research and the importance of care partners. Additional Resources #NotJustFatigue How to Fight Fatigue Understanding the Impact of Invisible Illnesses on Daily Life How Families Are Leading the Charge in Rare Disease Advocacy Other Brain & Life Podcast Episodes on Similar Topics Rare Thoughts on a Rarer Neurologic Condition Shedding Light and Love on a Rare Genetic Condition with Deborah Vauclare Neurofibromatosis Advocacy and Community Building with the Gilbert Family Foundation We want to hear from you! Have a question or want to hear a topic featured on the Brain & Life Podcast? Record a voicemail at 612-928-6206 Email us at BLpodcast@brainandlife.org Social Media: Elizabeth Ansell @notjustfatigue; Dr. W. Ian Lipkin @columbiapublichealth Guests: Hosts: Dr. Daniel Correa @neurodrcorrea; Dr. Katy Peters @KatyPetersMDPhD
Brenden Escott is joined by renowned hockey prospect analyst Chris Peters of FloHockey to break down the Edmonton Oilers' trade with the Tampa Bay Lightning that brings top prospect and Hobey Baker Award winner Isaac Howard to Oil Country in exchange for Sam O'Reilly. Peters offers insight into Howard's development curve, NHL potential and how he fits into Edmonton's future plans. Tune in for expert analysis and what this trade signals about the Oilers' long-term strategy. Learn more about your ad choices. Visit megaphone.fm/adchoices
In gesprek met zorgbestuurder Trix van Os. Over zorg, aandacht, gemeenschapszin en liefde.
Join us for an interesting conversation with Dr. Shannon Peters where they share details of their new role as Faculty Council Representative at Boston University's Sargent College. Dr. Peters shares their experience being a clinical assistant professor at Sargent, and a licensed psychologist, and how these experiences in collaboration with other faculty members will influence advocating for change in this new leadership role.
Send us a textWhat happens when two powerful organizational frameworks converge? Bruce Peters, founder of Beyond Teal LLC and longtime student of leadership, joins Chris Comeaux to explore the fascinating intersection of Requisite Organization and TEAL principles—and how they might save modern workplaces from disconnection and disengagement. The conversation begins with a provocative question about superpowers, with Peters suggesting most of us misidentify the source of our success. Additionally, they delve into the complexities of leadership and organizational structure, with a specific focus on the healthcare sector.Highlights:Explore the intersection of organizational structure and work levels.The Importance of Empathy and Perspective in Leadership Roles.The importance of agency, responsibility, and the need for competency in specialized fields.The dialogue examines the challenges faced by professionals, including moral injury in nursing, and emphasizes the importance of establishing learning communities within organizations.The conversation concludes with reflections on addressing anaclitic depression in organizations and the importance of connection and relationships in the workplace.Guest:Bruce Peters, Founder and Guide of Beyond Teal, LLC.Host:Chris Comeaux, President / CEO of TELEIOShttps://www.teleioscn.org/anatomy-of-leadership/where-teal-meets-requisite-organization-with-bruce-peters
FloHockey Prospects Analyst and Host of Called Up The Hockey Prospects Podcast Chris Peters joined OverDrive to discuss Gavin McKenna's monumental commitment to Penn State, the effects to the NCAA and CHL, the value of McKenna's deal, the direction for players in the college hockey, the landscape in the CHL, Easton Cowan's skills and more.
Give
Spurs Chat: Discussing all Things Tottenham Hotspur: Hosted by Chris Cowlin: The Daily Tottenham/Spurs Podcast Hosted on Acast. See acast.com/privacy for more information.
Solid Gold Saturday with Kenny Peters
Hver fredag henover sommerferien kigger vi tilbage på de mest opsigtsvækkende, oversete og væsentligste historier over det sidste halvår. I denne første sommerudgave er det Børsens økonomiske redaktør Steen Bocian, der har udvalgt to historier, der har domineret nyhedsbilledet, og en enkelt som er blevet overset. Vært er Børsens nyhedsdirektør, Peter Søndergaard. På fredag er det Børsens investorredaktør Simon Kirketerp, der er i studiet med tre investorhistorier i bagagen. Podcasten er produceret d. 11. juni.
Spurs Chat: Discussing all Things Tottenham Hotspur: Hosted by Chris Cowlin: The Daily Tottenham/Spurs Podcast Hosted on Acast. See acast.com/privacy for more information.
Chad Peters, CEO of Ridgeline Minerals, discusses the recent drilling results from the Big Blue and Atlas Gold projects. He highlights the challenges and successes of the drilling campaigns, the geological insights gained, and the potential for future exploration. The conversation emphasizes the importance of understanding the geology and the strategic steps moving forward for the company.
Spurs Chat: Discussing all Things Tottenham Hotspur: Hosted by Chris Cowlin: The Daily Tottenham/Spurs Podcast Hosted on Acast. See acast.com/privacy for more information.
Jim is back though Greg is gone for today's 3 Martini Lunch. In his stead is radio personality Craig Collins. Join Craig and Jim as Independence Day week kicks off with a good, a bad, and a crazy bit of news. The week begins with Canada rescinding their digital service tax in response to Mr. Trump's Truth Social post, North Caroline Senator Thom Tillis and Nebraska Rep. Don Bacon will not be seeking reelection, and a Gallup poll finds that pride in America is significantly down from last year. First, Craig and Jim are pleased that just two days after Trump declared on Truth Social that he was suspending trade talks with Canada over their digital services tax, Canada announces they're rescinding the tax. Jim argues this tax to be particularly unfair and discriminatory toward U.S. businesses. Craig notes how Trump has been following through on his threats, and Canada seems unwilling to test him on this. Next, they mourn the bad news that North Carolina Senator Thom Tillis AND Nebraska Rep. Don Bacon will not be seeking reelection. Because the Republican Party won by narrow margins in those states, Jim worries this may swing states blue making it a good week for the DSCC and DCCC.Last, they are aghast at the recent Gallup poll which shows pride in America to be down significantly from last year particularly among Democrats. Jim is amused that Democrats felt more pride in the country when President Biden was in office. Ultimately, Jim and Craig argue that pride in one's country should not be contingent upon who is in office. Please visit our great sponsors:No missed calls, no missed customers with OpenPhone. Get 20% off your first 6 months athttps://Openphone.com/3mlIt's free, online, and easy to start with no strings attached. Enroll in the American Foreign Policycourse FREE with Hillsdale College. Visit https://Hillsdale.edu/Martini
Jim is back though Greg is gone for today's 3 Martini Lunch. In his stead is radio personality Craig Collins. Join Craig and Jim as Independence Day week kicks off with a good, a bad, and a crazy bit of news. The week begins with Canada rescinding their digital service tax in response to Mr. […]
Give
Global medical missions bring unique challenges and powerful rewards—something Dr. Spencer Hiller and Dr. Kenneth Peters know firsthand. In this episode of BackTable Urology, they join host Dr. Jose Silva to reflect on their work in global health, focusing on their surgical missions to Zambia to treat complex urologic conditions, including vesicovaginal fistula, and a variety of general urologic cases. --- SYNPOSIS The discussion covers the origins and evolution of their missions, the preparation required for high-volume surgical trips, and the clinical impact on both patients and participating healthcare providers. Dr. Peters and Dr. Hiller detail the logistical and financial hurdles involved, the emphasis on sustainable care models, and their strategies for fundraising. They also emphasize the value of cultural immersion and the long-term goal of establishing educational and medical infrastructure within the communities they serve. --- TIMESTAMPS 00:00 - Introduction 01:23 - The Mission to Africa: How It All Began02:32 - Challenges and Logistics of Medical Missions06:02 - Resident Involvement and Impact09:10 - Preparation and Experiences in Africa11:38 - Overcoming Obstacles: Supplies and Customs19:18 - Types of Procedures and Medical Work in Africa21:45 - Upgrading Equipment and Training Local Staff28:28 - Daily Operations and Patient Management31:00 - Post-Trip Activities and Community Engagement34:26 - Funding and Sustainability Efforts40:31 - Personal Reflections and Future Plans
In this episode, we're joined by Jennifer Peters, Head of Customer Success at Vesper, the commodity data platform working to bring transparency to the global commodity marketplace. Vesper provides market data, benchmarks, and forecasting to allow you to make confident decisions in volatile food markets. We spoke with Jennifer about what it really means to design and implement an effective customer journey, and why managing a customer portfolio doesn't automatically mean you're managing that journey well. Here are some of the key questions we address: What's the difference between managing customer portfolios and managing the full customer journey? Where does the customer journey actually begin, and why is that moment so often misunderstood? How do you make your onboarding flow keep pace with a fast-evolving product? Why is launching a new feature once never enough? What kind of adoption and usage metrics should CS teams monitor to prevent churn? How do you operationalize customer success playbooks so they trigger action, not just insight? What's the role of CS in ensuring goals set during the sales cycle don't disappear after onboarding? How do you keep stakeholders across sales, marketing, and product aligned on the journey you're all supporting? Tune in to hear how Jennifer and her team are building a proactive customer success engine at Vesper - and what any SaaS org can learn about keeping customers engaged, growing, and renewing long after the contract is signed.
About the series: Peter's death was imminent, and he knew his time was short. This reality prompted Peter to write again but this time his tone was more intense. He wanted the early church to know: 1. God loves this world and is determined to rescue it! And 2. God will confront and deal with evil for the sake of a new forever future! About this week's message: The many false teachers in Peters' day lived with their lives of sin and immorality with little to no consequences. Therefore, they mocked that judgment was not coming. Peter gives evidence that God ultimately will bring divine justice based upon how God has brought it in the past. Key Phrase: “He did not spare the ancient world when he brought the flood on it ungodly people.” 2 Peter 2:5
Australia is known for its unusual animal life, from koalas to kangaroos. But once upon a time, the Australian landscape had even weirder fauna, like Palorchestes azael, a marsupial with immense claws and a small trunk. There was Protemnodon mamkurra, a massive, slow-moving, kangaroo-like creature. And Zygomaturus trilobus, a wombat the size of a hippo. They're all extinct now, and researchers are trying to figure out why. Host Flora Lichtman talks with researcher Carli Peters about ZooMS, a technique that allows researchers to use collagen from ancient bone fragments to identify species, offering clues to those ancient extinction events. Peters recently described using the technique in the journal Frontiers in Mammal Science.And, a recent study in the journal Nature Astronomy hints that our own Milky Way galaxy may not be doomed to collide with Andromeda after all. Till Sawala, an astrophysicist at the University of Helsinki, joins Flora to talk about the finding.Guests: Dr. Carli Peters is a postdoctoral researcher at the Interdisciplinary Center for Archaeology and the Evolution of Human Behavior at the University of Algarve in Faro, Portugal.Dr. Till Sawala is an astrophysicist at the University of Helsinki.Transcripts for each episode are available within 1-3 days at sciencefriday.com. Subscribe to this podcast. Plus, to stay updated on all things science, sign up for Science Friday's newsletters.
In this episode of Mind Your Own Karma, I sit down with author and professor Joan K. Peters, whose memoir Untangling dives deep into the layered, complex process of healing through psychoanalysis. Joan opens up about her own long-term journey in therapy, the power of dreamwork, and thesubconscious patterns that keep so many of us stuck.We talk about what it really means to “untangle” the inner knots around love, money, and self-worth, and why healing often looks nothing like we expect.Joan's honesty, depth, and insight make this a must-listen for anyone who's ready to look beneath the surface. What we cover in this episode:The difference between traditional therapy and psychoanalysis.How childhood perception shapes adult pain.Joan's biggest “knots” and how she began to unravel them.Why healing is often messy—and why that's okay.The slow unwinding process of real change.The power of telling your story.What to look for in a healing relationship.How logic and emotion can coexist in deep healing work.More about Joan:Joan K. Peters is a writer, professor emeritus, and the author of Untangling: A Memoir of Psychoanalysis. With a Ph.D. in comparative literature, Joan taught others how to analyze great stories—until she found herself living one of her own. She now resides in Ojai, California, with her husband, dogs, and afew chickens who've probably heard all the secrets.Grab Joan's book:Website: https://www.untanglingjoan.com/Untangling on Amazon: https://a.co/d/e736fXe Want to explore your own healing journey through the body?Check out my Somatic Mindful Guided Imagery sessions at https://www.somatichealingjourneys.com/Have a unique healing modality you'd love to share on the show?Email me at mindyourownkarma@gmail.com—I'd love to hear from you!Find Melissa:-Email Melissa here: mindyourownkarma@gmail.com-Click here for the Mind Your Own Karma Website-Click here for Somatic Mindful Guided Imagery-Find Mind Your Own Karma on Facebook-Find Mind Your Own Karma on Instagram-Find Mind Your Own Karma on YouTube Remember: You might be just one listen away from a totallydifferent life. #MindYourOwnKarma #KarmaCrew #UntanglingTrauma #PsychoanalysisHealing #SubconsciousHealing #HealingJourney #DreamworkTherapy #EmotionalHealing #TherapyTools #MentalHealthAwareness #DeepHealingWork #InnerKnots #UnravelThePast #TellYourStory #JoanKPeters #MemoirHealing #HealingPodcast #TraumaRecovery#HealingThroughPsychoanalysis #HealingIsMessy
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
Pr. Larry Peters of Pastoral Meanderings I Resemble That Remark… The post Pastoral Advice for the “OK, Boomer” Generation – Pr. Larry Peters, 6/23/25 (1742) first appeared on Issues, Etc..
The Chicago Audible - Chicago Bears Podcast and Postgame Show
Author Bobby Peters joins the CHGO Bears Podcast with a detailed breakdown of Ben Johnson's offense. Peters' piece on the 2024 Detroit Lions offense includes actual playcalls from the team. What could Johnson's playcalls sound like in 2025? Later, Caleb Williams spoke at Fanatics Fest over the weekend. How does he describe how his relationship with Johnson is developing? Join Adam Hoge, Mark Carman and Greg Braggs Jr. on the CHGO Bears Podcast.
Author, psychologist, and Summit Center executive director Dr. Dan Peters talks about how we can best support differently wired teens and prepare them to successfully launch. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Pr. Larry Peters of Pastoral Meanderings Why So Uncomfortable? The post Lutheran Discomfort with Sanctification – Pr. Larry Peters, 6/16/25 (1672) first appeared on Issues, Etc..
Chris Peters (FloHockey) joins Jesse Cohen and Zach Dooley to talk about the 2025 NHL Entry Draft. Peters recently attended the NHL Scouting Combine in Buffalo and shares his insight about the current state of the draft, recent Kings draft picks and the future options for prospects in the hockey world.
Nurses Out Loud – Join us as we explore viral shedding myths and examine evidence on whether vaccinated individuals can transmit vaccine components through intimacy. We break down Peters et al.'s findings alongside expert insights, then shift to a tragic Hib infection in a vaccinated child, sparking a petition to end Indiana's religious exemptions. We urgently challenge informed consent and public health policy framework...
© 2020-2025 Ivy Podcast Discovery LLC
