Podcasts about Playboy

Send us a textI've been following Ali Prato for a long time—so having her on the show was a full circle moment.Ali is the host of Infertile AF and co-founder of Fertility Rally, and she's been one of the loudest, realest, and most compassionate voices in the infertility space since 2019. In this episode, she shares her own journey with secondary infertility, miscarriage, and IVF—and how she turned it all into a platform that's helped thousands of people feel seen.We also get into:Her wild career pivot from Playboy editor to infertility advocateThe kids' book series she's writing to help families talk openly about ART (assisted reproductive technology)Why she started the Fertility Rally and what it means to create space for all infertility storiesIf you've ever felt like you were the only one going through it—you're not. This one's personal, and I'm so grateful Ali shared her story with us.

Follow Tim on IG: @timchantarangsu Follow Rick on IG: @rickyshucks Follow Nikki on IG: @NikkiBlades Check out Goodie Brand at https://www.GoodieBrand.com Check out Tim's Patreon for exclusive content at https://www.patreon.com/timchantarangsu To watch the No Chaser podcast on YouTube go to: www.youtube.com/timothy Don't forget to subscribe to the podcast for free wherever you're listening or by using this link: https://bit.ly/NoChaserPodcast Learn more about your ad choices. Visit podcastchoices.com/adchoices

(0:00) Matt Siegel, former host of "Matty in the Morning" on Kiss 108 FM locally, joins the show. (19:01) Matty in the Morning stays on with Toucher & Hardy for The Stack segment. The crew get into Adam Sandler's Top 10 Movies, following the release of Happy Gilmore 2. Playboy vs Playgirl is discussed. Plus, a story involving new Lakers C DeAndre Ayton in the Turks and Caicos. (35:26) Toucher & Hardy wrap-up the show. (PLEASE be aware timecodes may shift up to a few minutes due to inserted ads) CONNECT WITH TOUCHER & HARDY: linktr.ee/ToucherandHardy This episode of Toucher & Hardy is brought to you in part by Profluent and then have that linked to https://go.happinessexperiment.com/begin-aff-o2?am_id=podcast2025&utm_source=podcast&utm_medium=podcast&utm_campaign=michael

What did you really want as a kid and never got? This and we revisit what we wanted to do when we grow up, and more!

What did you really want as a kid and never got? This and we revisit what we wanted to do when we grow up, and more!

Meg reveals how Playboy ruined Ed Koch's run for governor. Jessica remembers the syringe scare that emptied local beaches on the hottest summer on record.Please check out our website, follow us on Instagram, on Facebook, and...WRITE US A REVIEW HEREWe'd LOVE to hear from you! Let us know if you have any ideas for stories HEREThank you for listening!Love,Meg and Jessica

Danger Will Robinson!Alice has a story about a somewhat defective clock shaped heart purse. Or a heart purse in a clock. Or a ...purse heart clock. Whatever the case, Doritos and Tim "The Tool Man" Taylor are somehow involved. Elsewhere, there's something in Doug's hair, and he can't take the heat outside as well as his septuagenarian neighbor. But at least he has his incredible height? Other discussion topics may include:- What do NBA players put in their purses?- An attempt at being a Boy II Man- Are people too protective of their fabric scissors?- A terrible name for a bicycling competition- How old were you when your grandparents gave you your first yard sale nudie mags?

What did you really want as a kid and never got? This and we revisit what we wanted to do when we grow up, and more!

We welcome the star of Baywatch and Playboy cover model, Donna D'Errico, to the show to talk about a really….unique experience she has to offer.  Donna D'Errico has developed a first-of-its-kind AI voice technology that remembers personal details shared by callers, allowing you to call and talk to "Donna" at any time.  Randy and Donna discuss the differences in Donna's life by day, and more, in this segment.

Playboys, Bollywood Divas, and a poor English acting troupe trying to understand their place in India.SUPPORT THE SHOW: PATREONSHOP THE SHOW: TEE PUBLICFOLLOW THE SHOW: INSTAGRAM // TIKTOK // YOUTUBEEMAIL THE SHOW: abreathoffreshmovie@gmail.com    

To celebrate the recent, completion of the Playboy mansion renovations, I wanted to share this exclusive sit down I had with the agent who sold this historic property.  Join me for this captivating episode where I welcome the legendary Gary Gold. Known for his transformative journey in the real estate industry, Gary shares stories that blend music, comedy, and real estate into a compelling narrative. Discover how this "Rockstar Realtor" leveraged his passion for music and a keen sense of humor to reach unprecedented heights in real estate, culminating in deals like the sale of the Playboy Mansion for $105 million. Whether you're curious about the unique path from small leases to luxury million-dollar listings or looking for insights into the art of storytelling in business, this episode offers a delightful mix of inspiration and practical advice. Tune in for a unique dialogue that feels like two friends at a pub, sharing life's unpredictable yet poetic journey.

 In Episode 522, Rob The Rob V Show.  Jenni, fresh from vacation and eager to flaunt her tan lines. The duo dives into Rob's latest dating misadventures, with him humorously lamenting why things never seem to work out. Jenni and Rob reveal plans to attend a swingers party when she's in town—while Rob's not into the lifestyle, he's all in for a wild story. A highlight includes Jenni giving Rob a tour of her closet, sparking plenty of laughs. Tune in for the full episode to catch their signature banter and unfiltered fun! 

SPONSORS: - Download Cash App Today: https://capl.onelink.me/vFut/uu6cof5i #CashAppPod. As a Cash App partner, I may earn a commission when you sign up for a Cash App account. Cash App is a financial services platform, not a bank. Banking services provided by Cash App's bank partner(s). Prepaid debit cards issued by Sutton Bank, Member FDIC. Visit cash.app/legal/podcast for full disclosures. - Sign up for a $1 per month trial period at https://shopify.com/dannyb On this episode of The Danny Brown Show, actor and comedian Tom Arnold stops by with stories you truly won't believe. Here's what they get into: That time Tom ended up in a Playboy shoot with Donald Trump

As a Playboy Bunny, Jackie Hendrickson is forbidden from fraternizing with her customers; Atlanta plastic surgeon Dr. Warren Brown is impossible to resist, and their illicit affair sets off a deadly chain of events. This Week's Sponsors: Function Health - Visit functionhealth.com/ITHINKNOT and use giftcode ITHINKNOT100 at sign-up. The first 1000 get a $100 credit toward their membership  Remi - Head to shopremi.com/THINK and use code THINK to save up to 50% off Miracle Made - Go to trymiracle.com/THINKNOT and use the code THINKNOT to claim your free 3 piece towel set and save over 40% off IQ Bar - Get twenty percent off all IQBAR products, plus get free shipping. To get your twenty percent off, just text think to 64000. Message and data rates may apply. See terms for details. Wildgrain - Visit wildgrain.com/THINK to get $30 off your first box plus free croissants in every box 

The June 2025 New Music Train is flying down the track from Scotland (after picking up Steven Routledge) to South Louisiana (to pick up Kevin Clement). This inimitable duo kick off the listener portion of June 2025 New Music with new songs from Kathleen Edwards, Panopticon, The Rolling Stones with Steve Riley and the Mamou Playboys and Shannon McNally, Keith Frank and Molly Tuttle. Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart,Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Threads, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, next covered by Frank Muffin and now re-done in a high-voltage version by Quartjar again!  Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com.

Jetzt mal ehrlich, wer hätte gedacht, dass Box-Weltmeisterin Regina Halmich sich gerade von einem Chihuahua, dem kleinsten Rassehund der Welt um den Finger wickeln lässt. Im Ring hatte sie über Jahre das Sagen, zuhause hat es ihre Hunde-Dame Giny. Offen, lustig und unglaublich sympathisch gibt Regina Halmich Einblicke in ihr Leben mit Hund. Die Fitness-Expertin und engagierte Tierschützerin verrät im Gespräch mit den Journalistinnen Christine Langner und Jule Gölsdorf auch, warum Männer vor ihr Respekt haben, ihre Eltern sie im Playboy lieber angezogen gesehen hätten und ob auch sie nach Weihnachten ein paar Pfunde mehr runter schwitzen muss. Autoren: Jule Gölsdorf Christine Langner Instagram: @julegoelsdorf @christine_langner @aufdieschnauze @reginahalmich

David Krell joins us to discuss his book, Bo Belinsky: The Rise, Fall, and Rebound of a Playboy Pitcher. Plus, Evan Wambeke reads an excerpt from his poem, "Easter Sunday," from our latest issue.⁠⁠⁠⁠⁠⁠⁠Buy Bo BelinskyFollow David Krell on Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Twin Bill Lit Journal⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Twin Bill ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Twin Bill Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support the Podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Early Innings⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Short Relief⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Hosted by Scott BolohanMusic by Mark Bolohan

Originally released a year ago on patreon, join Playboy Alex, & Playgirl Carla as they chat about a Japanese play. Check out booksboys.com for links to our social media, merchandise, music, etc, as well as patreon.com/booksboys for the latest episodes of Playboys Extra, Darkplace Dreamers, Film Fellows, Animation Adventurers and more!booksboys.com Hosted on Acast. See acast.com/privacy for more information.

n Episode 521 of The Rob V Show, host Rob Velivis welcomes Jenni Tay as the new co-host, ushering in a fresh and lively dynamic. Jenni's bold personality shines as she shares her curiosity about visiting a swingers club and her playful offer to fly Rob to Chicago. The conversation takes a reflective turn as Rob opens up about his childhood and personal challenges with relationships, blending vulnerability with the show's signature humor. In a quirky moment, Jenni gives Rob a peek inside her refrigerator, adding a dose of the show's offbeat charm. Packed with candid banter, laughs, and unexpected twists, this episode is a great introduction to Jenni's co-hosting role.

Originally released a year ago on patreon, join Playboy Alex, Playgirl Carla and special guest Animator Aris as they chat about a Japanese play. Check out booksboys.com for links to our social media, merchandise, music, etc, as well as patreon.com/booksboys for the latest episodes of Playboys Extra, Darkplace Dreamers, Film Fellows, Animation Adventurers and more!booksboys.com Hosted on Acast. See acast.com/privacy for more information.

 “Is marrying your best friend really the secret to a lasting relationship?” In this heartwarming and hilarious episode of The JB and Sandy Show, the crew dives into the age-old question of whether your spouse should also be your best friend. Backed by a Harvard professor's 25-year study on love, Tricia, JB, and Sandy unpack what it really means to build a lasting relationship—and why some couples thrive with a little space (and separate bedrooms). But don't worry, it's not all serious. The episode takes a wild turn into childhood memories, including:Sandy's unforgettable roly poly nose challengeMarty's fart-filled car contestsThe horrors of hammerhead flatworms invading Texas lawnsAnd the universal truth: boys will do anything for no reason at all“I didn't marry my best friend—and I didn't want to. I wanted someone else to bear that burden.” “We talked until we fell asleep… and then picked up the conversation the next morning.” Whether you're in a long-term relationship, reminiscing about your childhood, or just here for the laughs, this episode delivers a perfect mix of real talk, ridiculous stories, and relatable moments.

Actress Melonie Haller is poised for stardom after appearing in the television series "Welcome Back, Kotter" and a pictorial in the March 1980 edition of Playboy; eager for her next role, she goes to a party in the Hamptons that takes a violent turn. This Week's Sponsors: Quince - Go to Quince.com/think for free shipping on your order and 365-day returns Function Health - Visit functionhealth.com/ITHINK and use giftcode ITHINKNOT100 at sign-up. The first 1000 get a $100 credit toward their membership  Pacagen - Head to pacagen.com/THINK and use promo code THINK for an extra 15% off and an exclusive gift at checkout.  Blissy - Go to blissy.com/ITHINKNOTPOD and use code ITHINKNOTPOD to get 60 nights risk-free and an additional 30% off!  HungryRoot - Head to hungryroot.com/ithinknot and use code ITHINKNOT to get 40% off your first box and a free item of your choice for life. 

Playboy Mansion parties were a dream for ‘Playboy Twins’ Kristina and Karissa Shannon, until it became a reality. Hear how they were recruited by Hugh Hefner as teenage twins. Plus, the heartbreaking backstory of being abandoned as babies, the father who helped sign them up for Playboy, and the downright dark side of being a bunny. See omnystudio.com/listener for privacy information.

David Ley is a clinical psychologist, sex therapist and author, based in Albuquerque, New Mexico. He's the author of several books and research articles on sexuality, including his first book, Insatiable Wives, Women who Stray and the Men Who Love Them, which was the first book to examine the cuckolding and hotwife phenomenon. With Justin Lehmiller and Dan Savage, he published the first psychological study of the cuckold fantasy. Dr. Ley is a frequent guest in media around the world, with appearances in the New York Times, CNN and Time Magazine, as well as Hustler and Playboy magazines.

Angela is back, killing her way through a new camp, taking the identity of a much younger camper. Will the punks survive? How will Michael J Pollard make use of a Playboy bunny belt buckle? Does she make it out alive for a part 4?

The boys are back to talk Jake Paul vs Julio Cesar Chavez Jr., Ben Askren's double lung transplant Nick knowing the alligator from Arnold Schwarzenegger'sn the 6th day movie, Antonio Brown news, updates on Diddy's trial, Playboy mansion and Hugh Hefner stories, Kevin trying to hook up with Charlize Theron, strip club experiences and much more! Get this episode AD FREE + 2 PATREON ONLY episodes/month only at https://patreon.com/thegoldenhourpodcastDraftKings - Download the DraftKings Pick Six app NOW and use code GOLDEN. That's code GOLDEN for new customers to play $5, get $50 in Pick 6 credits.Quince - Stick to the staples that last with elevated essentials from Quince. Go to http://quince.com/golden to get free shipping and 365-day returnsDraftKings - Download the DraftKings Sportsbook app and use code GOLDENFITBOD - Get 25% off your subscription or try the app FREE for seven days at https://fitbod.me/GOLDENHOURAmerican Financing - Call American Financing today 866 - eight eight six - ninety two sixty two, That's 866 - eight eight six - ninety two sixty two. https://americanfinancing.net/golden Call American Financing today to find out how customers are saving an avg of $800/mo. 866-886-9262 or visit http://www.AmericanFinancing.net/Golden, NMLS 182334, nmlsconsumeraccess.orgDrive Fast All Gas Giveaway - Enter to win my Custom 800+ Horsepower RAM TRX + $10K cash: https://drivefastallgas.com/collections/new-releasesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Is the pencil-thin mustache a bold fashion statement—or just a last resort for guys who can't grow a real one?In this razor-sharp and laugh-out-loud episode of The Ben and Skin Show, hosts Ben Rogers, Jeff “Skin” Wade, Kevin “KT” Turner, and Krystina Ray dive deep into the curious resurgence of the pencil-thin mustache. What starts as a casual observation quickly spirals into a hilarious, insightful, and occasionally absurd exploration of facial hair trends, generational grooming gaps, and the psychology behind the stache.The “Playboy Stash” vs. the “Porn Stash”KT reads from a GQ article that dubs the pencil-thin look the “Playboy stash”—a sleeker, more curated evolution of the classic Tom Selleck broom. As the lone female voice of reason, Krystina weighs in: “I've never liked the mustache. Mike knows to avoid it unless it's for a bit.” Her honesty cuts through the fuzz.Whether you're rocking a full beard, a baby face, or a barely-there stache, this episode is a hilarious and oddly insightful look at what your facial hair says about you. Come for the laughs, stay for the mustache metaphysics.

Kerissa Fare is thrilled to be September 2000's Playmate of the Month; just as the magazine is about to hit newsstands, a mysterious man from her past becomes a suspect in multiple murders, and investigators want to talk to her. This Week's Sponsors: Fay Nutrition - Listeners of I Think Not can qualify to see a registered dietitian for as little as $0 by visiting faynutrition.com/THINK  Miracle Made - Go to trymiracle.com/THINKNOT and use the code THINKNOT to claim your free 3 piece towel set and save over 40% off IQ Bar - Get twenty percent off all IQBAR products, plus get free shipping. To get your twenty percent off, just text think to 64000. Message and data rates may apply. See terms for details. ZBiotics - Go to zbiotics.com/think to get 15% off your first order when you use code THINK at checkout.  BetterHelp - This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/ithinknot today to get 10% off your first month and get on your way to being your best self

Today we sit down with writer Chloe Marie Stillwell for a whirlwind of stories -- from pissing off Lady Gaga with a viral Ed Sheeran takedown to Chloe's journey with recovery, and everything in between. We talk about her experience writing for Playboy, finding internet fame via (an also viral) mugshot, and what happens when Dolly Parton's publicist hates you. Plus: Sabrina Carpenter's “Man's Best Friend” album cover. Satire, setback, or a secret third thing?Follow her on ig! @chloemariestillwell

An acknowledged master of the short story form, Richard Bausch's work has appeared in The Atlantic Monthly, Esquire, Gentleman's Quarterly, Harper's, The Missouri Review, The New Yorker, Narrative, New Letters, Playboy, Ploughshares, and The Southern Review, and his stories have been widely anthologized, including The Best American Short Stories, O. Henry Prize Stories, and Pushcart Prize Stories, among others. He is the author of thirteen novels and ten collections of stories, including his new collection, The Fate of Others. Richard joins Barbara to talk about his path to writing fiction, various stories in the collection as well as titling stories, arranging stories in the book, the difference between writing novels and stories, and so much more. For more information on Writers on Writing and to become a supporter, visit our Patreon page. For a one-time donation, visit Ko-fi. You can find hundreds of past interviews on our website. You can help out the show and indie bookstores by buying books at our bookstore on bookshop.org. It's stocked with titles by our guest authors, as well as our personal favorites. And on Spotify, you'll find an album's worth of typewriter music like what you hear on the show. It's perfect for writing. Look for the artist, Just My Type. Email the show at writersonwritingpodcast@gmail.com. We love to hear from our listeners! (Recorded on June 27, 2025) Host: Barbara DeMarco-Barrett Host: Marrie Stone Music: Travis Barrett (Stream his music on Spotify, Apple Music, Etc.)

Here is the link to Dan's 1993 Playboy Interview. † Playboy Interview: Dan Aykroyd † https://share.google/EThs5S6V629qGkMBY Learn more about your ad choices. Visit megaphone.fm/adchoices

Do you find stripping and nudity empowering or degrading? Burlesque performer Dita Von Teese says feminism is about respecting each other's choices, even if they wouldn't be your own.In this chat with Fearne, Dita charts her life from working in strip clubs in the 90s, to performing in sold out burlesque shows now. Painfully shy as a kid, Dita explains how turning herself into a femme fatale helped her feel confident and powerful in her own skin.Fearne and Dita talk about the joy of getting older and understanding more about how to handle your sexuality, and Dita reveals how she makes herself feel more sensual if she's not particularly in the mood...There's also advice about how to own your unique look and characteristics, and be more assertive in using your voice.Dita's new show, Diamonds and Dust, is on at London's Emerald Theatre now! Dita is also returning to the UK's grand stages in early 2026 with her most enchanting show to date: Nocturnelle. If you liked this episode of Happy Place, you might also like: Munroe Bergdorf Florence Given Zandra Rhodes Hosted on Acast. See acast.com/privacy for more information.

Flash Floods, Hugh Hefner, POORdain makes Bruschetta, Reggie reviews Iron Heart

Brett Rossi is a multi-hyphenate entertainer, model, and media personality best known for her bold presence in the spotlight and her fearless evolution. From teen runway model to Penthouse Pet to a household name adult film star, Brett built a name rooted in glamour, confidence, and reinvention. Today, she's adding podcast host to her resume with “Stripped”—a raw and revealing show that peels back the layers of life in the entertainment industry. Known for her unfiltered honesty and resilience, Brett continues to empower others by sharing her truth, her struggles, and her success. This episode is brought to you by Olipop, a new healthy brand of soda. Go to https://drinkolipop.com/ and use code Marcela15 at checkout to get 15% off your first order. This episode is brought to you by Shopify. Shopify can help you take your business to the next level. Click HERE to set up your Shopify shop today and watch your business soar! This episode is brought to you by BranditScan, the best defese you have against social media fraud. Click HERE to get started with BranditScan today and get your first month for free. There is no better service to protect your social media accounts and your name and likeness. This episode is brought to you by Playboy. Click HERE to get a membership today and unlock a premium Playboy experience like no other. This episode is brought to you by Skillshare. Click HERE to start exploring all the courses Skillshare has to offer, from drawing and music, to graphic design and marketing, start expanding your knowledge today. This episode is brought to you by Fiverr. Click HERE to start hiring professionals to help you in various areas and take your business to the next level. This episode is brought to you by PodMatch. Click HERE to bring your podcasting journey to the next level by getting set up's Only Fans  VIP Membership HERE Free Membership HEREn

Candace Collins Jordan was only 19 from a small southern Illinois town when she took a chance and applied to work at the St. Louis Playboy Club. Nearly 50 years later, her memorabilia and mementos of a remarkable life and career will be on display at the Chicago History Museum.

Stéphane Bern raconte le destin d'un des plus grands capitaines d'industrie : Gianni Agnelli, héritier de l'empire FIAT devenu l'autre roi d'Italie. Pourquoi aujourd'hui encore le nom Agnelli et la figure de Gianni provoquent-ils autant de passions ? Pourquoi est-il considéré comme l'autre roi d'Italie ? Quel héritage a-t-il laissé derrière lui ? Pour en parler, Stéphane Bern reçoit Stéphanie des Horts, romancière, auteure de ""Gianni le magnifique"" (Albin Michel) Au Coeur de l'Histoire est réalisée par Loïc Vimard. Rédaction en chef : Benjamin Delsol. Auteur du récit : Jean-Pierre Vrignaud. Journaliste : Clara Leger.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

CJ Sparxx is a multi time cover model and playmate. She's the co-host of @insideonlyfans. She called herself the “sober bikini model” and shares her story of sobriety with her fans. you can follow Cj on youtube :  @cjdoingthingz  or on instagram :https://www.instagram.com/cjsparxx ————————————————————

Stand Up is a daily podcast. I book,host,edit, post and promote new episodes with brilliant guests every day. This show is Ad free and fully supported by listeners like you! Please subscribe now for as little as 5$ and gain access to a community of over 700 awesome, curious, kind, funny, brilliant, generous souls I had a great talk with the brave,brilliant,hilarious and iconic Author of the already NY Times Bestselling Book "Not My Type" Today I had the great honor of interviewing E. Jean Carroll about her life and new book and I think it was one of the best conversations I've had in a long time. She makes it very easy with her humor and brilliance. I was very inspired by her story and the way she has handled it all with elegance and humor and she could not have been kinder to me. I hope we will get to talk again and I hope you will subscribe to her substack and get her book E. Jean Carroll, born Elizabeth Jean Carroll on December 12, 1943, is an American journalist, author, and advice columnist. She is best known for her long-running "Ask E. Jean" column in Elle magazine, which ran from 1993 to 2019. Carroll gained prominence for accusing Donald Trump of sexual assault in her 2019 memoir, "What Do We Need Men For? A Modest Proposal".  Early Career: Carroll began her career as a writer for magazines like Rolling Stone and Playboy, and later became a contributing editor for Esquire and Outside.  "Ask E. Jean" Column: Her advice column in Elle, which she started in 1993, became one of the longest-running in American publishing.  "What Do We Need Men For?" In her 2019 memoir, Carroll detailed the alleged sexual assault by Donald Trump in the mid-1990s, as well as other experiences with harassment and mistreatment.  Lawsuits Against Trump: Carroll sued Trump for defamation and battery related to his public denials of her allegations.  Jury Verdict: In May 2023, a jury found Trump liable for sexual abuse and defamation against Carroll and awarded her $5 million.  Carroll also hosted her own television show, "Ask E. Jean," in the 1990s.  She co-founded the dating website Greatboyfriends.com and the matchmaking service Tawkify.  She was nominated for a Primetime Emmy Award for Outstanding Writing for a Variety Series in 1987.  Her book, "What Do We Need Men For?", was excerpted in New York magazine.    Be sure to visit https://www.patreon.com/PeteDominick/membership and scroll down where you should see a "Connect to Discord" button.  You can also look at https://support.patreon.com/hc/en-us/articles/212052266-How-do-I-get-my-Discord-Rewards- for more info. Join the SUPD Marketplace! Watch the video to learn how to post at StandUpWithPeteDominick.com/marketplace Join us Thursday's at 8EST for our Weekly Happy Hour Hangout!  FARM JAM INFO Pete on Blue Sky Pete on Threads Pete on Tik Tok Pete on YouTube  Pete on Twitter Pete On Instagram Pete Personal FB page Stand Up with Pete FB page All things Jon Carroll  Follow and Support Pete Coe Buy Ava's Art  Hire DJ Monzyk to build your website or help you with Marketing Gift a Subscription https://www.patreon.com/PeteDominick/gift

MUSICBeyoncé got stuck dangling in mid-air in a car during her Cowboy Carter show in Houston on Saturday. She did not die. Wolfgang Van Halen discussed his decision to drop the "WVH" from his band Mammoth WVH's name before releasing their latest single 'The End'.Deftones singer-guitarist Chino Moreno has teamed up with KDHK Electronics for the Digital Bath effects pedal. It's named after the track on Deftones' 2000 album White Pony. A vinyl record pressed this year that is illegal to buy in eight states: The Ataris, known for their cover of Don Henley's "Boys of Summer", had their tune, "Car Song", pressed into a limited-edition 7-inch vinyl that was mixed with the ashes of singer Kris Roe's late father, William Charles Roe TVRob McElhenney (Mick-el-hen-ee) from "It's Always Sunny in Philadelphia" is legally changing his name to "Rob Mac". The New York Post reports, “The shortened first and last name brings him much closer to his aggressively dopey beer-slinging character in “Always Sunny” — whose name is “Mac” — and is a far cry from the formality of his former government name, “Robert McElhenney III.” MTV morphed into reality shows and movies but once again, temporarily, will start playing videos again. Beginning on September 1st and running up to the 2025 MTV Video Music Awards on September 7th, music and visuals will combine again. MOVING ON INTO MOVIE NEWS: Brad Pitt's F1 movie won the weekend movie race. The film grossed $55.6 million domestically, while receiving a CinemaScore "A" grade. Vin Diesel shared some major Fast & Furious news at his surprise appearance at FuelFest LA in Pomona, Calif., joining co-star and friend Tyrese Gibson who shared the moment on his Instagram. · MISCThe Jeff Bezos and Lauren Sanchez wedding was this week, but the real show stealer was Sydney Sweeney. Despite the attendance of guests like Tom Brady, Orlando Bloom, Leonardo DiCaprio, Oprah, Bill Gates, and most of the Kardashians . . . a source says Sydney was, quote, "the most sought-after person" to hang out with. AND FINALLYThe '90s weren't THAT long ago, but the culture moves fast. Some of the movies and TV shows that came out back then haven't aged well. 1. "Seinfeld": There's a lot to offend modern sensibilities, but someone specifically mentioned the episode where Jerry was allegedly assaulted by his dentist while he was under, and it was played for laughs. 2. "Doogie Howser, M.D.": Quote, "The first episode has an adult woman pretending to seduce him . . . The second episode is about an adult woman trying to get pregnant by him."3. "Will & Grace": Quote, "I could never get through one episode without feeling that my queerness was being used as a punchline . . . being gay was either silly, or you were doomed to be alone and sad."4. "Friends": Quote, "Fat jokes, gay jokes, everyone in New York is white inexplicably, Ross sleeps with a student, sleeps with his school librarian in high school, tries to kiss his cousin, violates Rachel's boundaries . . . etc." Another brought up the transphobic stuff involving Chandler's parents.5. "The Fresh Prince of Bel-Air": This person REALLY went off on Uncle Phil. Quote, "Will was a teenager dating grown women every other episode, and Phil and Vivian just let it happen. "Phil claimed to be pro-Black but voted for Reagan twice, was ashamed of his background as a pig farmer, and detested 'lowly' and working-class Black people."He blamed Will for everything that went wrong, even if he had nothing to do with it. And he was sexist and controlling AF, trying to forbid a 25-year-old Hilary from posing for Playboy or Ashley from doing anything."6. "Mrs. Doubtfire": "Between the transphobia and the part where he makes a pact with the older two kids to keep it a secret from their mom, it hasn't aged well."AND THAT IS YOUR CRAP ON CELEBRITIES!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Good times.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Molly Jong-Fast's new memoir, How to Lose Your Mother, is celebrity memoir meets real literary merit. As fans of Molly's podcast and political commentary, and also because we had Molly's mother, Erica Jong, on the show back in 2023, we were eager to connect with Molly to talk about mother-daughter dynamics, the buzz and controversy this book is getting, and—importantly—opening a vein on the page (in the tradition of Erica Jong). This interview explores betrayal, reclamation, dementia, alcoholism, narcissism, the theme of bad mother/bad daughter, and so much more. As Brooke said, this is the kind of nepo baby memoir she can get behind—so come find out why. Molly Jong‑Fast is a contributing writer at Vanity Fair and a political analyst at MSNBC. She also hosts the wonderful podcast, Fast Politics. She's the author of three previous books—Normal Girl, Girl [Maladjusted], and The Social Climber's Handbook—and has written for The Atlantic, The Daily Beast, Playboy, Glamour, Vogue, and The Forward. Her brand-new memoir, How to Lose Your Mother, just came out this month, and centers among other things her relationship with her mother, the novelist Erica Jong.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Jo Weatherford went from Playboy model to professor. She is now 12 years sober and helps others break free from addiction. A renowned addiction expert, TEDx Speaker with over 3 million views on YouTube, and mindset coach who addresses the root cause of addiction.https://recoveryremix.com/https://www.instagram.com/jo.weatherford/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BetterHelp: Go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://betterhelp.com/macolino⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for 10% off your first month of therapy with BetterHelp and get matched with a therapist who will listen and help #sponsoredYouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/c/JeffMacolino⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Me!!! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/saintjmac⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/jeffmacolinopodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/saintjmac/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠IMDB Page: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.imdb.com/title/tt17046562/?ref_=nm_knf_t1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.tiktok.com/@jeffmacolino⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Art Credit: Chase Henderson

Panic spreads at the Suncoast Playboy Club when an aspiring photographer turns up brutally murdered right after shooting the annual "Bunny of the Year" contest; the Playboy Bunnies fear their club is a target and that one of them could be next. This Week's Sponsors: Miracle Made - Go to trymiracle.com/THINKNOT and use the code THINKNOT to claim your free 3 piece towel set and save over 40% off IQ Bar - Get twenty percent off all IQBAR products, plus get free shipping. To get your twenty percent off, just text think to 64000. Message and data rates may apply. See terms for details. SKIMS - Shop the SKIMS Ultimate Bra Collection and more at skims.com/thinknot #skimspartner. If you haven't yet, be sure to let them know we sent you! After you place your order, select "podcast" in the survey and select I Think Not in the dropdown menu that follows Fay Nutrition - Listeners of I Think Not can qualify to see a registered dietitian for as little as $0 by visiting faynutrition.com/THINK 

Jay reenacts a classic radio bit originated by Howard Stern. Back in the day, Stern made headlines pleasuring listeners by humming in his microphone and they would straddle their speaker. In this updated version of radio history, Bob and Jay do the buzzing with their mouths and Bonfire campers put their phones in their pockets. Find out if they recreate broadcasting magic. | A caller requests an update on one of Jay's favorite people, Corey Feldman. Jay takes everyone through the timeline of his obsession and sings a song in the style of the Feldog. | One member of the group Wilson Philips once posed for Playboy, and it's the least likely of the three songbirds. *To hear the full show to go www.siriusxm.com/bonfire to learn more FOLLOW THE CREW ON SOCIAL MEDIA: @thebonfiresxm @louisjohnson @christinemevans @bigjayoakerson @robertkellylive @louwitzkee @jjbwolfSubscribe to SiriusXM Podcasts+ to listen to new episodes of The Bonfire ad-free and a whole week early.  Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus.

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

Stand Up is a daily podcast that I book,host,edit, post and promote new episodes with brilliant guests every day. Please subscribe now for as little as 5$ and gain access to a community of over 750 awesome, curious, kind, funny, brilliant, generous souls Check out StandUpwithPete.com to learn more   Subscribe to Wes Siler Substack https://wessiler.substack.com/ Outside Magazine columnist, and adventure travel writer Wes Siler teaches a new generation of enthusiasts how to lead more exciting lives outdoors. Wes has contributed to magazines like Wired, Newsweek, Popular Mechanics, Outdoor Life, GQ, Road&Track, and Playboy, websites like Jalopnik and Gizmodo, and founded the motorcycle site Hell For Leather and outdoors site IndefinitelyWild. Wes has hosted web shows funded by YouTube and Outside, presented television commercials for brands like Toyota and Aprilia, and appears as a subject matter expert on channels like CNN, CBS, ABC, and Fox News. His testicles are the subject of Glenn Beck's most recent book. Wes lives in the mountains of southwest Montana with his wife Virginia, and their three rescue dogs.   Join us Monday's and Thursday's at 8EST for our Bi-Weekly Happy Hour Hangout!  Pete on Blue Sky Pete on Threads Pete on Tik Tok Pete on YouTube  Pete on Twitter Pete On Instagram Pete Personal FB page Stand Up with Pete FB page All things Jon Carroll  Follow and Support Pete Coe Buy Ava's Art  Hire DJ Monzyk to build your website or help you with Marketing

Fresh from a breakup, a Playboy casting assistant revels in the L.A. nightlife scene until a wild night out ends in her mysterious death. This Week's Sponsors: Pacagen - Head to pacagen.com/THINK for an extra 25% off and an exclusive gift at checkout.  HungryRoot - Head to hungryroot.com/ithinknot and use code ITHINKNOT to get 40% off your first box and a free item of your choice for life.  Blissy - Go to blissy.com/ITHINKNOTPOD and use code ITHINKNOTPOD to get 60 nights risk-free and an additional 30% off!  BetterHelp - This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/ithinknot today to get 10% off your first month and talk it out, with BetterHelp Quince - Go to Quince.com/think for free shipping on your order and 365-day returns

Hello to our lovely coven, happy Wednesday! Christina Kirkman joins the girls to talk about her All That days to her current life as a stand-up comic and content creator. They cover everything from menty b's and bio dads to trend fatigue, materialism, and how psychology helps Christina navigate the chaos of the internet. She opens up about being a stage mom—for her dogs—falling off an e-bike (in the name of mental health!), and even her time with Playboy (no, not like that) In need of something cute and cool for the summer? Get yourself or whoever's on your daddy list a tee, hoodie, or daddy hat from our store! Please support our show and show off your love for Disrespectfully by repping our official gear :) K Love ya bye! Thank you to our sponsors!  HERO BREAD: Hero Bread is offering 10% off your order. Go to https://hero.co and use code DISRESPECTFULLY at checkout KOALA: Upgrade your space with the most stylish, customizable, and elevated sofa bed available. To get up to $250 off your new sofa, plus fast shipping, go to https://US.KOALA.com/DISRESPECTFULLY QUINCE: Give your summer closet an upgrade—with Quince. Go to https://Quince.com/disrespectfully for free shipping on your order and 365 day returns FUNCTION: We highly recommend Function. Learn more and join using our link. The first 1000 get a $100 credit toward their membership. Visit https://functionhealth.com/DRF to own your health OLIPOP: Get a free can of Olipop! Buy any 2 cans of Olipop in store, and we'll pay you back for one. Works on any flavor, any retailer at https://drinkolipop.com/DISRESPECTFULLY Connect with the Coven! Facebook: https://www.facebook.com/groups/1930451457469874 Reddit: https://www.reddit.com/r/disrespectfullypod/ Listen to us on Apple: https://podcasts.apple.com/us/podcast/disrespectfully/id1516710301 Listen to us on Spotify: https://open.spotify.com/show/0J6DW1KeDX6SpoVEuQpl7z?si=c35995a56b8d4038 Follow us on Social! Disrespectfully Instagram: https://www.instagram.com/disrespectfullypod Disrespectfully Tiktok: https://www.tiktok.com/@disrespectfullypod Katie Maloney Instagram: https://www.instagram.com/musickillskate Dayna Kathan Instagram: https://www.instagram.com/daynakathan Christina Kirkman Instagram: https://www.instagram.com/christinakirkman Leah Glouberman Instagram: https://www.instagram.com/leahgsilberstein Allison Klemes Instagram: https://www.instagram.com/allisonklemes Buy our merch! https://disrespectfullypod.com/ Disrespectfully is an Envy Media Production.

A special Thanksgiving Day episode of Mea Culpa ponders what comes next as the formal transition begins. Trump pardons a Turkey and we shame the President's Red Wall of senators who enabled this entire fiasco. Plus Brian Karem, Playboy's Senior White House Correspondent takes us behind the scene in the White House. Also, make sure to check out Mea Culpa: The Election Essays for the definitive political document of 2020. Fifteen chapters of raw and honest political writings on Donald Trump from the man who knows him best. https://www.amazon.com/dp/B08M5VKQ6T/  For cool Mea Culpa gear, check out www.meaculpapodcast.com/merch To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices A special Thanksgiving Day episode of Mea Culpa ponders what comes next as the formal transition begins. Trump pardons a Turkey and we shame the President's Red Wall of senators who enabled this entire fiasco. Plus Brian Karem, Playboy's Senior White House Correspondent takes us behind the scene in the White House. Also, make sure to check out Mea Culpa: The Election Essays for the definitive political document of 2020. Fifteen chapters of raw and honest political writings on Donald Trump from the man who knows him best. https://www.amazon.com/dp/B08M5VKQ6T/  For cool Mea Culpa gear, check out www.meaculpapodcast.com/merch To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

#854: Join us as we sit down with Holly Madison – an American television personality, model, author, & entrepreneur best known for her role on the reality hit series The Girls Next Door, which chronicled life inside of the Playboy Mansion. In this episode, Holly opens up about her experience living in the Mansion, the pivotal moments in her upbringing that shaped her path, & the untold stories behind the gates of Playboy! She dives into iconic pop culture moments from the early 2000s, her evolution into a true crime host on The Playboy Murders with Investigation Discovery, & the success of her podcast Girls Next Level – where she & co-host Bridget Marquardt revisit the legendary series & share what really happened off camera.   To Watch the Show click HERE   For Detailed Show Notes visit TSCPODCAST.COM   To connect with Holly Madison click HERE   To connect with Lauryn Bosstick click HERE   To connect with Michael Bosstick click HERE   Read More on The Skinny Confidential HERE   Head to our ShopMy page HERE and LTK page HERE to find all of the products mentioned in each episode.   Get your burning questions featured on the show! Leave the Him & Her Show a voicemail at +1 (512) 537-7194.   This episode is sponsored by BUMPSUIT To Shop the Lauryn Bosstick x Bumpsuit Collection visit https://bit.ly/BUMPSUITXLB and use code SKINNY for 15% off for a limited time.    This episode is sponsored by Active Skin Repair Visit https://ActiveSkinRepair.com to learn more about Active Skin Repair and to get 20% off your order, use code SKINNY. This episode is sponsored by Nutrafol For a limited time, Nutrafol is offering our listeners $10 off your first month's subscription and free shipping when you go to http://Nutrafol.com and enter the promo code SKINNYHAIR.   This episode is sponsored by Simply Pop  Sip on the juicy side of life. Find out where you can try Simply Pop at http://cokeurl.com/simplyPOP!   This episode is sponsored by Opill Opill is birth control in your control, and you can use code SKINNY for 25% off your first month of Opill at http://Opill.com.    This episode is sponsored by Spritz Society Spritz Society is now available everywhere! Head to http://spritzsociety.com to find a store near you, and make sure to follow @spritz on Instagram for all their latest announcements and upcoming events. Spritz Society, Summer Starts Here!   This episode is sponsored by Boulevard Boulevard is offering new customers 10% off your first year subscription when you go to join http://BLVD.com/SKINNY and book a demo.   Produced by Dear Media