Podcasts about Quill

Hi Absent Friend, this episode is sponsored by unsolicited advice™. In fact we're not even sure you could call this advice, but what are YOU gonna do about it? You don't even read the descriptions that we spend actual HOURS crafting in the dead of the night. Today, Quill & Audrey talk to you about advice. It's that simple. Join us as we take you from the r/Tinder Reddit Page to the writings of two prominent advice columnists: EGOT holder and internationally renowned Noble Peace Prize winner, Prudence as well as Amy, runner-up of Gobbler's Knob's Got Talent for second-best literary submission. Cameos include: Young Quill literally being first chair clarinet and then NOT SHOWING UP TO THE PIRATES OF THE CARIBBEAN PERFORMANCE SO EVERYONE WAS FUCKED LOLShady groupchat behavior. Imagine being met with deafening silence after adding to the collective jubilation about your friend's obscure but positive medical diagnosis. Wouldn't you also be confused? We are, and we wrote that sentence.Sara from Bumble opening with the driest question known to manSatanism and Gardenarian wiccaThe prospect of a room smelling like anal beads Our philosophy on messaging firstTo close out, we would like to strongly urge our audience never to begin a dating app conversation with just "hey''. There's literally nothing more deflating. The only thing more deflating than that is the fact that no one ever reads our descriptions. 

The party must avoid the guards if they are to escape the city with the information they need. Unfortunately, due to the time constraints of the charm spell, they will need to split the party to gather the information they will need in order to stop the plans of the Whispered Ones in Solana.   Hey everyone, just wanted to give you a heads up, going forward we will be releasing episodes once a month for the time being as we try and catch back up to everyday life. Thank you all for your support during our difficult times lately and we are very glad to be back in the world of Austea.    Want access to behind-the-scenes content, unreleased outtakes, and adding to the story? We would be thrilled if you support us on Patreon! If you are interested in a look behind the curtain of how we keep track of all of the quests, we are going to be releasing our players' team to-do list documents for each session to all patrons going forward. This includes our plans for which characters need to have a heart-to-heart, what letters are they writing to family at home, and which NPCs can't be trusted! Twitter:@RulesAsWritten Email: dm@dndraw.com Discord: Chat with us!   Thank you to Tabletop Audio for the music from this episode! Music d20 We want to thank Will for making his music available for podcasters, and we are thrilled to use some of his tracks for this episode. You can support Music d20 on Patreon at patreon.com/musicd20. You can also follow him on Twitter @Music_d20.

In this episode, we break down the character of Severus Snape. Enjoy!Topics/Summary:·      Huge thanks to Leona Dolfie who submitted a fascinating theory about Grindelwald's skull. If you want to submit any questions, comments, or theories, you can email it to thepotterdiscussion@gmail.com.·      2:57 Who is Snape? He was born on January 9th, 1960. He died on May 1st, 1998. Snape grew up in a rather depressing area, but he did have a friend. Lily. Lily had no idea about the magical world and wanted someone to tell her about it, and Snape wanted a friend. They were perfect for each other. They both went to Hogwarts together, but they drifted apart after Snape slipped and called Lily a mud blood. They never made up. ·      8:32 What is Snape's role in the story? There might be a fancy English term that could get close to describing him, but he is too much of a complex character to be fully encompassed in a single term. He played both sides while fighting for only fighting for himself. There is an art to what he does and the things he says. He is way bigger than a single role in the story. He is a 3D character for sure. He fights for so many things and so many people, there is no way we can call him just one kind of hero. ·      13:42 How would the story be different without him? First, Voldemort would have won and there is nothing they could do about it. Harry would have gotten captured far earlier, Dumbledore would have been killed, and there would have been no hope. Dumbledore would have tried to make a plan without Snape, but Snape's position as a trusted advisor of Voldemort. Harry also wouldn't be as good a wizard. We can lose sight of how good a wizard and teacher Snape was because of how mean he was to Harry. Come to think of it, Harry would be dead without Snape. Think of the first book. Quirrell was trying to kill Harry in the quidditch match, and Snape stopped him. Without Snape, Harry would have died.·      21:40 What is his motivation? Obviously, his love for Lily is paramount. However there are others. When James died, Snape felt bad. Not for James, but about the fact that he died thinking Snape hated him. It was true, but Snape felt like he owed him. So Snape decides to protect Harry in his first year at Hogwarts. He did, and Harry lived. Snape went back to hating James' memory. After a while, another motivation starts to evolve. He begins to care about Harry. Snape saw Lily's son in Harry and wanted to protect him for the person he was.·      26:32 Is Snape a good person? Is he trustworthy? Of course, we know that Snape is a good person. But is he trustworthy? Know it gets a little more complicated. This is the root of his character. At his core, he is trying to protect, avenge, and remember Lily Evens. So technically, he is loyal to Lily. If Voldemort decided to protect Lily, Snape would have been loyal to him. So is he really that trustworthy after all?  Having anything you want to hear or say? Click here for a voice submission or here for text. The Quill and Ink NewsletterThePotterDiscussion@gmail.com@thepotterdiscussion on Instagram@potter_discuss on TwitterWebsite

Hi Christian! Ironically this episode is not for Christians because idk we just aren't really down with the whole "oppress entire lightyears of people with your big phat sky daddy" thing.  In today's episode, Quill & Audrey take a closer look at what the actual fuck was going on in Ireland in approximately 400-500 A.D that brought about St. Patrick's Day.  In the words of Quill, pour yourself a steaming hot cup of Guinness for today's crash course in Irish Independence, Leprechaun Fashion Week, and Carol from alwaystheholidays.com — IYKYK, but you wouldn't know, would you? I'm honestly so done with putting in 99% of the work for NONE of your attention why are we even doing this.  Anyway, name a more iconic trio than that!!Cameos Include:St. Patrick. Literally where he was not supposed to be converting people who didn't want to be converted. Can you say #missionary #colonization #queenofenglandlol Canonization = the catholic church being like “what a hot bitch” A druid poem about St. Patrick that spills all of the tea St. Patrick's day playing an important role in the revolutionary period in Ireland - how smart does that sentence sound??The shamrock parable of the holy trinity really slapping for the Irish people The absolute plot twist that was Ireland/St. Patrick's day originally being associated with BLUE - GAGUs getting triggered back to the pinching nonsense in elementary schoolAnyway, this is where our closing sentence typically goes and we're OVER IT so we'll see ourselves out now. BYE. Oh yeah we should probably say Happy St. Patty's Day queens! Werk.

In this episode, host Matt Roberts of Amdocs and his co-host Liliana Schwartz-Brunner, GM and Division President North America of Telcos at Amdocs, sit down with another guest at the Mobile World Congress (MWC) 2023 in Barcelona, Spain: Debika Bhattacharya, Chief Product Officer at Verizon Business. To kick off the episode, Debika shares more information about her recent promotion, including what she's expecting from her new role. She also explains some examples of how Verizon is lending itself to tech for good initiatives by keeping people connected and offering products and services to first responders. Matt also asks Debika for her opinion on what the next big 5G use case will be, and how we can continue to foster a spirit of innovation within the tech ecosystem.This podcast episode was produced by Quill.

As we learn to navigate this new world of work, one topic that's become a hot-button issue for many organizations is navigating parenthood in the workplace. Juggling a full-time job while raising children is no easy feat, and it's not always easy to predict what tomorrow will look like—especially for busy working moms. In this special panel episode of New World of Work, Rhys sits down with three working moms to get their perspective on navigating motherhood in the workplace today. Featuring Kim Rohrer, Principal People Partner at Oyster, Lisa Kennelly, Global Product Marketing Strategist at Klarna, and Lucia Aguilar, Founder of TATAM Digital Influencer Marketing, the panel discussion covers how PeopleOps leaders can best support parents in the workplace, why a flexible approach is key, and much more.Download your free copy of Oyster's Employee Expectations Report.We want to hear from you! Please take a moment to share your thoughts on the New World of Work Listener Survey.This podcast episode was produced by Quill.

In this episode, host Dave Yovanno sits down with Courtney Spritzer, CEO and Co-Founder of Socialfly, a woman-owned and operated social media agency that develops social media plans for brands like Discovery, Conair and Il Makiage. From working in finance to building a thriving agency, Courtney serves as an example of someone who has turned their passion into a successful business model. With a decade of experience in the industry, Courtney shares her thoughts on how social media—and specifically, influencer marketing—has evolved in recent years. She also shares some expert insights into what it takes to start working with creators from the ground-up, including what types of creators brands should be focused on, how to measure results and more. This podcast episode was produced by Quill.

In this episode, we discuss the downfall of Cornelius Fudge. Enjoy!Topics/Summary:·      2:09 The downfall of Cornelius Fudge. His reign began pretty well. The economy was stable and the secret of magic was safe. However, that didn't stay. Once Voldemort began to creep back into the picture, Fudge fell apart. He was alright in the first book, but when the Chamber of Secrets opened, he was under fire. He arrested Hagrid just to show the world that he was doing something. In Prisoner of Azkaban, they can't catch Sirius Black for the life of them. Fudge is panicked and he put everything they could on the case. It does eventually work, but Sirius then escaped, and they never saw him away. So, he was already set up for failure in the Goblet of Fire. The dark mark was cast at the Quidditch World cup and the world goes into a panic. Fudge denies Voldemort's return as much as he can and convinces himself that Voldemort is gone. How wrong he is.·      12:35 Fudge didn't listen to Dumbledore. This was really the final nail in the coffin. Dumbledore is the one of the most powerful wizards in the world and the only person Voldemort feared. Fudge knew this and was writing to Dumbledore early on in his career. The times became good, and Fudge stopped writing. When evil came back, Fudge still believed Voldemort was gone, scared that the dark days would return. Dumbledore could see his crumble, so he sent envoys to the giants and pretty much became the Minister. There is a direct correlation between listening and the times going well, and not listening to him and times going bad. ·      19:21 Fudge was far too controlled by fear. Fear dictated his entire life after the Prisoner of Azkaban, and it prevented him from seeing the truth. He had the facts in front of him and simply ignored them. He did everything he could to make sure the world thought Voldemort wasn't back, as if that would kill Voldemort again. If he had just done one single thing right, they would have stood a chance. But he didn't and Voldemort returned. Fudge acted too late and didn't do what he was supposed to. By the time Fudge finally realizes what was really happening, it was too late.Having anything you want to hear or say? Click here for a voice submission or here for text. The Quill and Ink NewsletterThePotterDiscussion@gmail.com@thepotterdiscussion on Instagram@potter_discuss on TwitterWebsite

Saulum and Quill return and do some devious deeds. Our Heroes climb down the cliffs and up to the mine Entrance. And enact a plan to take out the bandits and free the miners inside.  Follow & Subscribe Guaranteed Adventure: Here are their Links: https://beacons.ai/guadventurepod https://twitter.com/GUAdventurePod https://www.instagram.com/guadventurepod/ **Find us at:    Twitter: @ChaosBardPod   Instagram: @Tomes of the Chaos Bard   Facebook: https://www.facebook.com/groups/1078849449250614   Our Email: chaosbardpod@gmail.com   Our Discord: https://discord.gg/8NZZ5vyDUX   Merch & Patron Program: https://ko-fi.com/tomesofthechaosbard   Our Website: https://tomesofthechaosbard.wixsite.com/podcast **Shields of Power: https://www.drivethrurpg.com/m/product/266946 **Nerd Alert Treasures: https://linktr.ee/nerdalerttreasures  **Realmwalker D&D Soundscapes: Forest Soundscape. You can follow his work on Twitter or even better subscribe to his YouTube Channel & use his soundscapes for your very own RPG!! **Our Sound Fx and additional audio were created by many folks at www.freesound.org, Monument Studios, and Tabletop Audio https://freesound.org/people/slappy13/sounds/151779/ https://freesound.org/people/BockelSound/sounds/489495/ https://freesound.org/people/caileykehoe/sounds/444181/ https://freesound.org/people/brendan89/sounds/321555/ https://freesound.org/people/arcandio/sounds/347884/ https://freesound.org/people/Tairblenn/sounds/540406/ https://freesound.org/people/Zixem/sounds/69391/  

Steven welcomes the return of Jon Foss to this episode to discuss he recent interaction with the Artificial Intelligence platform known as ChatGPT regarding the Shakespeare Authorship Mystery. Jon's line of questioning and the compelling answers he received from the AI bot are both intriguing and revolutionary! Support the show by picking up official Don't Quill the Messenger merchandise at www.dontquillthepodcast.com and becoming a Patron at http://www.patreon.com/dontquillthemessenger  Made possible by Patrons: Brent Evans & Patty Henson, Clare Jaget, David Neufer, David R Klausmeyer, Dean Bradley, Edward Henke, Ellen Swanson, Ethan Kaye, Frank Lawler, Heidi Jannsch, James Gutierrez, Jaymie, Jen S, John Creider, John Eddings, John Guarnaccia, Jon Foss, Jonathan Batailes, Rosemary O'Loughlin, Sandi Boney, Sandi Paulus, Sara Gerard, Sheila Kethley, Teacher Mallory, Tim Norman, Tim Price, Vanessa Lops, Yvonne Cheal Don't Quill the Messenger is a part of the Dragon Wagon Radio independent podcast network. For more great podcasts visit www.dragonwagonradio.com

In the first episode of The Great Indoors, Season 6, host Matt Roberts of Amdocs sits down with two guests at Mobile World Congress (MWC) 2023 in Barcelona, Spain. He's joined by Francesco Venturini, Corporate VP of Communications Media Industry at Microsoft, and Dror Kalush, President of Amdocs International. They kick off the episode by discussing the recent news of Microsoft and Amdocs expanding their partnership to reimagine the telco experience and introduce an intelligent customer engagement platform. Franscesco and Dror share their perspectives on why this expanded collaboration will be beneficial for both the companies and customers, and what it will mean for various AI use cases. Finally, both guests share their hopes for the next 12 months for the collaboration and for the telco industry more broadly.This podcast episode was produced by Quill.

Hi Greta, guess who's back? It's us, the descendants of Baldassare Castiglione, here to read, almost verbatim, the Cut's hotly-debated new etiquette list, named as though we have one billion years to read the title alone: Do you know how to behave? Are you sure? How to text, tip, ghost, host, and generally exist in polite society today. One more time for the people in the back. The title is once again: Do you know how to behave? Are you sure? How to text, tip, ghost, host, and generally exist in polite society today.  We don't blame you if you missed it since it's the length of the Gettysburg Address. Pre-editing.  Lincoln is quaking.Cameos include:Us being lie advocates Lying being the path of least resistance and the most joyUs being edible arrangement stans The notion that not all girlies can have a super soaker 5000Quill bringing up harry potter AGAINUs bringing up our hatred for the voicenote feature AGAIN In the words of Quill "We're all just out here offending people until we find an equilibrium that's comfortable for us”

Joe, Lauren and Alex talk about some rumors regarding the next movie in the Wizarding World Franchise and discuss the origins of the Book of Admittance and the Quill of Acceptance. They debate if there are any side effects to taking the Wit-Sharpening Potion and what they could be, and they learn about a charm that played a major role in the creation of the Marauder's Map.   Show Notes: http://www.talesfromgodricshollow.com/episode-337   00:00 Open/POTTERWATCH! 14:44 MugglePoll Results/Giveaways/News You Can Use 40:20 Discussion - The Book of Admittance and the Quill of Acceptance 1:21:38 Brew Review - Wit-Sharpening Potion 1:26:57 Spellio Revelio - Homonculus Charm 1:34:46 Community E-mails   Joe - @CustomVinylLush Lauren - @Maev_Cleric Alex - @AtariAlex Show - @TalesFromGH TikTok- @TFGHshow Email - TalesFromGodricsHollow@gmail.com Website - www.TalesFromGodricsHollow.com Facebook - www.facebook.com/talesfromgodricshollow  Instagram - www.instagram.com/talesfromgodricshollow Podchaser - www.podchaser.com/TFGH     Special Shout Out to our Producer/Sponsor AND Headmistress "The Mysteriously Haunted Headmistress of Beauxbaton Academy"!   Thank you to ALL of the Patreon supporters!!! We can't do all of this without you all!   Support us on PATREON! www.Patreon.com/TalesFromGodricsHollow   Spellio Revelio and E-Mail sounds/beds came from https://musicradiocreative.com/

Are you a parent or teacher who feels overwhelmed by the challenge of helping all of your students achieve their reading goals? Then you won't want to miss today's episode of our podcast! We're thrilled to be joined by Dr. Marnie Ginsburg, the founder of Reading Simplified, a program designed to support educators in teaching an evidence-based system of reading instruction.In this episode, Dr. Ginsburg shares her insights about why traditional reading instruction often falls short, and how her program offers a more effective and efficient approach. She also discusses the challenges that parents and teachers face in balancing their many responsibilities and offers practical tips for implementing her system in a busy home or classroom.Whether you're a seasoned educator or just starting out, this episode offers valuable insights into the science of reading instruction and the tools you need to help all of your students succeed. So tune in and join us for this inspiring conversation with Dr. Marnie Ginsburg!You can download show notes for the podcast here: https://blog.bravewriter.com/category/podcasts/Resources:Contact Dr. Marnie Ginsburg at: Marnie@readingsimpified.comWebsite: ReadingSimplified.comInstagram: @readingsimplifiedTwitter: @readingsimplifiedFree: Switch It! GameJoin us on an adventure for early literacy with Quill (ages 5-7): bravewriter.com/quillSign up for our Text Message Pod Ring to get podcast updates and more!Send us ideas for future episodes by texting us: +1 (833) 947-3684Want help getting started with Brave Writer? Head over to bravewriter.com/getting-startedSign up for the Brave Writer newsletter to learn about all of the special offers we're doing in 2022 and you'll get a free seven-day Writing Blitz guide just for signing up: https://go.bravewriter.com/writing-blitzConnect with Julie:Instagram: instagram.com/juliebravewriterTwitter: twitter.com/bravewriterFacebook: facebook.com/bravewriter

This month we're putting the spotlight on books for kids by Indigenous authors, so we invited award-winning author David A. Robertson to join us. He's received several accolades for his books for kids and young adults and his literacy advocacy, and was recently appointed Editorial Director at the Tundra Book Group. In this episode David shares his journey as a writer, his creative process, his thoughts on the growing list of kids' books by Indigenous authors, and why he wants to hear from more Indigenous storytellers.Here's a link to the Indigenous picture book resource Waubgeshig references in the episode: https://www.ibby-canada.org/indigenous-picture-book-collection/More on David A. Robertson:David A. Robertson (he, him, his) was the 2021 recipient of the Writers' Union of Canada Freedom to Read Award as well as the Globe and Mail Children's Storyteller of the Year. He is the author of numerous books for young readers including When We Were Alone, which won the 2017 Governor General's Literary Award and the McNally Robinson Best Book for Young People Award. The Barren Grounds, Book 1 of the middle-grade The Misewa Saga series, received a starred review from Kirkus, was a Kirkus and Quill & Quire best middle-grade book of 2020, was a USBBY and Texas Lone Star selection, was shortlisted for the Ontario Library Association's Silver Birch Award, and was a finalist for the 2020 Governor General's Literary Award. His memoir, Black Water: Family, Legacy, and Blood Memory, was a Globe and Mail and Quill & Quire book of the year in 2020, and won the Alexander Kennedy Isbister Award for Non-Fiction as well as the Carol Shields Winnipeg Book Award at the 2020 Manitoba Book Awards. On The Trapline, illustrated by Julie Flett, won David's second Governor General's Literary Award, won the TD Canadian Children's Literature Award, and was named one of the best picture books of 2021 by the CCBC, The Horn Book, New York Public Library, Quill & Quire, and American Indians in Children's Literature. Dave is the writer and host of the podcast Kíwew (Key-Way-Oh), winner of the 2021 RTDNA Praire Region Award for Best Podcast. His first adult fiction novel, The Theory of Crows, was published in 2022 and is a national bestseller. He is a member of Norway House Cree Nation and currently lives in Winnipeg.

 This is Superlative: A Podcast about watches, the people behind them, and the worlds that inspire them. This week our host and aBlogtoWatch Founder Ariel Adams is joined by Ian Skellern, the Co-Founder and Technical Editor of Quill & Pad and the Executive Producer of the film “Making Time”. To start the show Ariel and Ian talk about how Ian initially turned his passion and enthusiasm for watches into a career, which Ariel mentions was actually an inspiration for him. Ian describes how he started his online journalism as an Australian living in Switzerland with his wife, and how he gained the trust of the Swiss watchmaking community over a period of time. They discuss the lack of voice that brands are putting behind their press releases and how that looks to people in the industry, and what they feel like these brands could be doing differently with that angle of marketing. Ariel and Ian really dive into the industry talk to chat about the past, present, and future of watchmaking. As the episode starts to come to an end, Ariel has Ian talk about the film he produced called “Making Time”, which is an intimate look at five extraordinary horologists and their lives. To stay updated with Ian and to check out his work:Website - https://quillandpad.com/ Making Time Film - https://makingtime.film/ To check out the ABTW Shop where you can see our products inspired by our love of Horology:- Shop ABTW - https://store.ablogtowatch.com/To keep updated with everything Superlative and aBlogtoWatch, check us out on:- Instagram - https://www.instagram.com/ablogtowatch/- Twitter - https://twitter.com/ABLOGTOWATCH- Website - https://www.ablogtowatch.com/If you enjoy the show please Subscribe, Rate, and Review!

Organ grooves, a take on the Jackson Five opened by the merciless beat of an Ornette Coleman alumnus, a few compelling debut albums, the ongoing collaboration between Aruán Ortiz and James Brandon Lewis, the return of Joshua Abrams meditations for large ensemble and more, make this week's playlist worth your attention... The playlist features Ari Joshua, Skerik, Delvon Lamarr, Grant Schroff; Michael Blake; Papanosh; Simon Lucaciu; Ferg Quill; James Brandon Lewis; Aruán Ortiz; Joshua Abrams Natural Information Society. Detailed playlist at https://spinitron.com/RFB/pl/17068033/Mondo-Jazz (up to "Stigmergy"). Happy listening! Photo credit: Il Muro.

In this episode, we discuss whether the Defense Against the Dark Arts job is cursed. Enjoy!Topics/Summary:·      This episode was submitted by a listener! If you want your idea featured on the show, send it in to thepotterdiscussion@gmail.com.·      2:14 A history of Defense Against the Dark Arts (DADA) teachers. First is Quirrell who appeared in the first book. He seemed like a good person, but was actually harboring Voldemort in the back of his head and was burned to ash a the end of the book. Lockhart in the Chamber of Secrets seemed too good to be true, and turned out to be a complete fraud. He placed a memory charm on himself that made him forget his entire life.  Lupin was probably one of the best teachers Harry had, but he had one flaw: he was a werewolf. He resigned quickly after that. Alastor Moody seemed like a good person at first, but was really a Death Eater is disguise. Umbridge was arguably the worst DADA teacher we have ever seen, teaching through a book for fear of an uprising. Snape was the final DADA teacher we saw at Hogwarts. Snape took his class very seriously and had some very strict policies. Snape was killed by Voldemort who was in pursuit of the Elder Wand.·      11:53 Does the subject itself have anything to do with their deaths? The reason why there is a higher rate of death for DADA teachers is the fact that those people are most involved with dark magic and dark wizards. Quirrell was young and wanted to teach, so when he took a trip to Albania and met Voldemort, it was the perfect situation for Voldemort to descend and get an inside man at Hogwarts. Similarly with Moody, Barty Crouch Jr. was a very skilled wizard that the world thinks it dead, so he was in the perfect position to take a post at Hogwarts. His downfall came when he had no Polyjuice potion. He was also one of Voldemort's closest followers. Snape is also a Death Eater who is mostly in support of Dumbledore. Snape's end comes when he became too involved with Voldemort and his position was one Voldemort wanted. 21:03 Is the DADA job cursed? Absolutely, but not for the reason you might think. There isn't any magic that is involved with the position, it's just the fact that DADA teachers are more involved with the dark arts than others. It is very difficult to find a DADA teacher who is morally good and good at magic. That's why Dumbledore is forced to hire these people that aren't the perfect choice by far. There are two ways you can avoid dying as the DADA teacher. The first is: completely eradicate every ounce of evil from every part of the world and make certain that there is no chance of any evil coming back. Or 2: don't take the job.Having anything you want to hear or say? Click here for a voice submission or here for text. The Quill and Ink NewsletterThePotterDiscussion@gmail.com@thepotterdiscussion on Instagram@potter_discuss on TwitterWebsite

Lil Quill skips class with Lalaa Shepard of The Progress Report to speak about seeing the music industry change since when he first entered the game, biggest learning lessons being signed to Gucci Mane, unreleased music with Yung Mal, losing Takeoff (Migos), and his newly released project ‘McJagger'.

From mass layoffs to sky-high inflation, we've all seen the devastating impacts of economic turbulence. During times of economic uncertainty, just keeping the organization afloat can be a tall order for many leaders. As a result, companies often put crucial initiatives like diversity, equity and inclusion (DEI) efforts on the back burner—despite their best-laid plans. In this episode, Rhys explores how PeopleOps leaders can take steps to prevent this from happening and instead continue prioritizing DEI initiatives throughout times of economic turbulence. He sits down with Manjuri Sinha, Global Director of Talent Acquisition, Employer Branding & Onboarding at OLX Group to hear her perspective on the topic. She shares some of her expert tips and strategies for staying committed to DEI during a recession, including tangible action steps you can put in practice in your role. Download your free copy of Oyster's Employee Expectations Report.We want to hear from you! Please take a moment to share your thoughts on the New World of Work Listener Survey.This podcast episode was produced by Quill.

Don't you worry. We're highlighting the women of Celtic music for St Patrick's Day once again on the Irish & Celtic Music Podcast #595. Arise & Go, Sharon Shannon, Chambless, Taylor And Muse, Altan, Mary Beth Carty, Amelia Hogan, Fire In The Glen, Kellswater Bridge, Heather Dale, Shelli Le Fay, Emerald Accent, Lisa Schettner, Emma Langford, The Breath VOTE IN THE CELTIC TOP 20 FOR 2023 This is our way of finding the best songs and artists each year. You can vote for as many songs and tunes that inspire you in each episode. Your vote helps me create next year's Best Celtic music of 2023 episode.  Vote Now! Two weeks after the episode is launched, I compile your votes to update a playlist on Spotify and YouTube. These are the results of your voting. You can help these artists out by following the playlists and adding tracks you love to your playlists. Follow us on Facebook to find out who is added each week. Listen on Spotify and YouTube. GET CELTIC MUSIC NEWS IN YOUR INBOX The Celtic Music Magazine is a quick and easy way to plug yourself into more great Celtic culture. Subscribe and get 34 Celtic MP3s for Free. THIS WEEK IN CELTIC MUSIC 0:02 - Intro: Heather Dale at GaFilk 0:17 - Arise & Go "Sheepskin and Beeswax, Le Voyageur, Roddy McDonald's Fancy" from Arise & Go -  EP Ellie Goud: fiddle 4:17 - WELCOME 5:42 - Sharon Shannon “The Ivory and the Quill” from Each Little Thing 8:23 - Chambless, Taylor And Muse "Jack Haggerty" from Live At Ntif Jil Chambless: flute and vocals 11:37 - Altan "Fermanagh Highland" from The First Ten Years: 1986 - 1995 MAIRÉAD NÍ MHAONAIGH: vocals, fiddle 15:38 - Mary Beth Carty "Mo Mhàthair" from Crossing the Causeway Mo Mhàthair Pronunciation: Moh wah - her Mary Beth Carty: Accordionist, guitarist, vocals 19:41 - FEEDBACK 22:14 - Amelia Hogan "Red Winged Blackbird" from Taking Flight 26:28 - Fire In The Glen "Whup Jamboree" from Cutting Bracken Amanda Wells: vocals, guitar, percussion 30:04 - Kellswater Bridge "The Wife of Usher's Well" from As The Story Goes Mare Edstrom (lead vocals, Celtic Flute, Keyboards, and Bodhran), Tracy Moraine (Vocals and Percussion). 33:47 - THE STORY OF OISIN BY HEATHER DALE Heather Dale calls her music “Celtic music for Modern Dreamers.” Her original music explores world legends and folklore. She finds contemporary themes within old material, and fuses folk traditions with blues, jazz, and world music influences. Heather's rich vocals are paired with more than a dozen folk instruments in her live performances with multi - instrumentalist Ben Deschamps. Today, she's gonna share the Irish story of the hero Oisin who falls in love with the fairy queen. But he's stuck in the past. He returns with tragic results. 34:48 - Heather Dale "Adrift" from The Road to Santiago A few weeks back, I shared Heather's song “Mordred's Lullaby”. Patrons of the podcast can listen to that story this week on the Patreon feed. 41:06 - THANKS 47:03 - Shelli Le Fay "False Spring" from Feral Heart 49:09 - Emerald Accent "Toss the Feathers / Oak Tree / Foxhunters" from The Oats Field Allison Talley (Low and high whistle, flute, keyboard, vocals), Alexis Frenette (fiddle, vocals), Temperance Babcock (fiddle, vocals). 53:49 - Lisa Schettner "Snowing Light" from Single 59:32 - Emma Langford "6 Foot 4" from Quiet Giant 1:03:53 - CLOSING 1:06:33 - The Breath "No You Keep It (Acoustic)" from Only Stories (Let the Cards Fall Revisited) Ríoghnach Connolly (ree - a - na): flute and vocals The Irish & Celtic Music Podcast was produced by Marc Gunn, The Celtfather and our Patrons on Patreon. The show was edited by Mitchell Petersen with Graphics by Miranda Nelson Designs. Visit our website to subscribe to the show. You'll find links to all of the artists played in this episode. You'll get access to our Best of this Year Playlist. You can subscribe to our Celtic Music Magazine and get 34 Celtic MP3s for Free. Plus, you'll get 7 weekly news items about what's happening with Celtic music and culture online. Best of all, you will connect with your Celtic heritage. Finally, please tell one friend about this podcast. Word of mouth is the absolute best way to support any creative endeavor. Promote Celtic culture through music at http://celticmusicpodcast.com/. WELCOME CELTOPHILE TO CELTIC MUSIC * Helping you celebrate Celtic culture through music. I am Marc Gunn. I'm a musician and podcaster out of Atlanta, Georgia. This Podcast is here to build our diverse Celtic community and help the incredible artists who so generously share their music with you. If you hear music you love, please email artists to let them know you heard them on the Irish and Celtic Music Podcast. You can find a link to all of the artists in the shownotes, along with show times, when you visit our website at celticmusicpodcast.com. Do you have the Irish & Celtic Music Podcast app? It's 100% free. You can listen to hundreds of episodes of the podcast. Download it now. Hey Celtic Bands, I'm looking for new music and stories in 2023. To submit your band, just complete the permission form at 4celts.com. You'll also find information on how to submit a story behind one of your songs or tunes. Get a free Celtic Musicians Guide to Digital Music eBook. email gift@bestcelticmusic THANK YOU PATRONS OF THE PODCAST! Because of Your kind and generous support, this show comes out at least four times a month. Your generosity funds the creation, promotion and production of the show. It allows us to attract new listeners and to help our community grow. As a patron, you get music - only episodes before regular listeners, vote in the Celtic Top 20, and you get a private feed to listen to the show.  All that for as little as $1 per episode. A special thanks to our Celtic Legends: Marti Meyers, Meghan Walker, Dan mcDade, Carol Baril, Miranda Nelson, Nancie Barnett, Kevin Long, Annie Lorkowski, Shawn Cali HERE IS YOUR THREE STEP PLAN TO SUPPORT THE PODCAST Go to our Patreon page. Decide how much you want to pledge every week, $1, $5, $10. Make sure to cap how much you want to spend per month. Keep listening to the Irish & Celtic Music Podcast to celebrate Celtic culture through music. You can become a generous Patron of the Podcast on Patreon at SongHenge.com. TRAVEL WITH CELTIC INVASION VACATIONS Every year, I take a small group of Celtic music fans on the relaxing adventure of a lifetime. We don't see everything. Instead, we stay in one area. We get to know the region through its culture, history, and legends. You can join us with an auditory and visual adventure through podcasts and videos. In 2023, we're going on a Celtic Invasion of County Mayo in Ireland. We're gonna explore the area and get to know Grace O'Malley, the Pirate Queen. Learn more about the invasion at http://celticinvasion.com/ #celticmusic #irishmusic #celticmusicpodcast I WANT YOUR FEEDBACK What are you doing today while listening to the podcast? You can take a screenshot of the podcast on your phone. You can send a written comment along with a picture of what you're doing while listening. Or how about a picture you took of a band that you saw. How would you like to introduce an episode of the podcast? It's super easy. Contact me for details. Email me at celticpodcast@gmail, message me on Facebook, or contact me through Mastodon @celtfather@c.im. Tim Walker commented on Facebook: "I volunteer at the local hospital. I make little rocks out of big rocks, but with paperwork. Really, you could teach a monkey to do my job, but then it would be animal cruelty. It ain't much, but it's useful. Anyway, that's when I listen. Sláinte!" Kellyn Owens commented on Facebook: "I listen when I go on my long runs for half marathon training. I download two or three episodes and play them back to back to make the miles go by faster. Currently listening to #580." Andi Bishop commented on Facebook: "I downloaded the 2022 top 20 and listened to it on the plane on the way home from California!"

In this episode, host Dave Yovanno sits down with Patrick McKenna, Partner and CEO at DMi Partners, a digital marketing agency he founded in 2003. Over the past 20 years, Patrick has grown DMi into a leading agency for affiliate and CRM services, working with some of the largest brands in the DTC, retail and CPG categories. Patrick shares some of his impressive industry expertise during the episode, offering his perspective on how the partnership channel has changed over the last two decades. He also explains how the challenge now lies with attribution, incrementality and effectively finding new customers, sharing a helpful breakdown on how to build successful partnerships with affiliates, commerce, content partners and creators.This podcast episode was produced by Quill.

In this episode, we discuss Tom Felton's new book. Enjoy!Topics/Summary:·      Get Tom Felton's book here.·      1:47 What can be gained from this book? There are a lot of different stories that have a wide variety of stages in Tom's life. The book doesn't move in perfect chronological order. It's very well done and every piece of the story fits in place. As to what can be gained, we can gain a peek behind the curtain of production on the Potter set and of Tom's life. We now have a different view of the filming that deepens our understanding of the filming. We also see what was going on in Tom's head. It's hard to be put on a set with millions of dollars on the line and pressure of producing a fantastic film. With this book, we can fully understand what was going on in Tom's head every step of the way.·      9:52 Was there an element of surprise? No! Granted, I didn't know 99% of the things he wrote about in the book about his life and just about every page held a story or piece of information I had no idea existed. But at the core of the book, it is the story of a kid dealing with the difficulty of being in a stressful situation.  ·      14:55 Did Tom's childhood affect his acting? Of course. He had a pack of brothers that showed him the world and were some of his first big supporters. They taught him how to fish and how to keep a job and how to steal something from a store. Perhaps what was more influential in his acting before Potter was his experience acting beforehand. He did several ads and projects including The Borrowers which was his first real time on a large-scale set.·      19:24 Should similar books be published like this? Absolutely. Having this 3D view of the story is extremely valuable and any more stories of the goings on behind the curtain on set are only going to help the story. Anyone else who worked on the set could write something just as amazing.·      22:25 What are some of my favorite parts in the story? First is the first chapter where he stole a CD. It showed his character and was a great introduction to the book. I enjoyed his stories of getting driven into work and his dyed hair. He also wrote about how often they corpse on set. A story that stood out to me was toward the end of the book when he left rehab for a bit and wanted to see some of his friends across town and met some very amazing people along the way. ·      28:25 Thumbs up or thumbs down? Well, surprise surprise, I give Tom's book a giant thumbs up. It is a fantastic behind the scenes look on Harry Potter and what goes on in Tom's life.    Having anything you want to hear or say? Click here for a voice submission or here for text. The Quill and Ink NewsletterThePotterDiscussion@gmail.com@thepotterdiscussion on Instagram@potter_discuss on TwitterWebsite

Steven welcomes poet and antiquities dealer Philip Cooper to this episode to discuss Philip's work studying "Love's Martyr" and "The Phoenix And The Turtle," as well as various specific Shakespearean Sonnets and allusions within the plays that point to Edward de Vere's beliefs about his own origins. Support the show by picking up official Don't Quill the Messenger merchandise at www.dontquillthepodcast.com and becoming a Patron at http://www.patreon.com/dontquillthemessenger  Made possible by Patrons: Brent Evans & Patty Henson, David Neufer, David R Klausmeyer, David Vickoren, Dean Bradley, Edward Henke, Ellen Swanson, Ethan Kaye, Frank Lawler, Hank Whittemore, Heidi Jannsch, James Gutierrez, Jaymie, Jen S, John Creider, John Eddings, John Guarnaccia, Jon Foss, Jonathan Batailes, Michelle Maycock, Roger Stritmatter, Rosemary O'Loughlin, Sandi Boney, Sandi Paulus, Sara Gerard, Sheila Kethley, Tim Norman, Tim Price, Vanessa Lops. Yvonne Cheal Don't Quill the Messenger is a part of the Dragon Wagon Radio independent podcast network. For more great podcasts visit www.dragonwagonradio.com

Melissa and I just discovered an interesting coincidence about us: We both grew up as theater kids! Although we didn't pursue theater professionally, we bonded over our kinesthetic approach to home education. Our products, such as the Quill, Dart, Arrow, Boomerang, and Slingshot (affectionately abbreviated to Q-DABS), are designed to incorporate movement into learning. For example, when writing the Dart program, Melissa focused on creating activities that allow children to embody the concepts they're learning. As parents ourselves, we always consider how to keep kids active and engaged while teaching. Research shows that when children use their bodies to learn, they retain information better and have more fun. By creating a dynamic and enjoyable learning experience, kids start to trust that lessons can be interesting and relevant. Come along with us as we share some of the techniques we use at Brave Writer to integrate embodied learning and make lessons more engaging and effective.You can download show notes for the podcast here: https://blog.bravewriter.com/category/podcasts/Resources:Book: On Stage by Lisa Bany Winters Looking for a new math program? Get a free trial of CTCMath.com today to get a free trial.Try our Semester-Long Dart, Arrow, and Boomerang for literature and grammar activities!Sign up for our Text Message Pod Ring to get podcast updates and more!Get 10% off our Growing Brave Writers program using code GBWPOD10 at https://store.bravewriter.com/products/growing-brave-writersWant help getting started with Brave Writer? Head over to bravewriter.com/getting-startedSign up for the Brave Writer newsletter to learn about all of the special offers we're doing in 2022 and you'll get a free seven-day Writing Blitz guide just for signing up: https://go.bravewriter.com/writing-blitzConnect with Julie:Instagram: instagram.com/juliebravewriterTwitter: twitter.com/bravewriterFacebook: facebook.com/bravewriter

In this episode, we discuss Ravenclaw and how it is very underrated. Enjoy!Topics/Summary:·      This episode comes from a listener! Thank you very much. If you want to have your own idea featured on the show, submit it to thepotterdiscussion@gmail.com.·      2:11 Who are some famous Ravenclaws? Rowena Ravenclaw is the founder of Ravenclaw and the founder of the diadem of Ravenclaw. Luna Lovegood and Cho Chang are some of the modern students in Ravenclaw house that we know in the story. Ollivander the wand maker is another Ravenclaw that is a huge help to the wizarding world. Flitwick is an awesome character with fantastic lines and a great sense of humor that brings a fascinating depth to the story. Perhaps the least known on this list is Millicent Bagnold who was the Minister of Magic when Voldemort was first in power. She handled the situation well and famously said “I assert our inalienable right to party.” Click here to learn more.·      9:55 What are some of the traits of Ravenclaw house? First and foremost, there is intelligence. But it goes past a good grade on a test. Ravenclaws think about what they say before they say it and are very quick thinking. They make clever jokes and have form a retort in a matter of seconds. They are also funny. You can always count on a Ravenclaw to give a good jibe. Ravenclaws are also quite intuitive. They can read the room and have a good sense of what's going on just by looking at someone's mannerism. ·      15:59 What would happen to Hogwarts if Ravenclaw house didn't exist? The education would skew away from wand-based magic. Thinking back, the things that are associated with Ravenclaw are dueling and quick thinking, the wand user's friends. So, if Ravenclaw were to disappear, learning the theory behind magic would become a lost art. You've got to know what you're doing instead of what happens. ·      21:50 What are some common myths and misconceptions? There have been several Ravenclaws who haven't aligned with the Ravenclaw values and began some of these myths. Firstly, the thought that every Ravenclaw is a smart-Alec. It is very easy for a joke to come off as made to put someone down than get a laugh. Ravenclaws might also be seen as self-centered. Professor Lockhart might have something to do with the beginning of this one.·      25:13 What are the takeaways? It's simple: Ravenclaw is cool. There are a ton of amazing qualities Ravenclaws have and there is so much depth they bring to the story. Having anything you want to hear or say? Click here for a voice submission or here for text. The Quill and Ink NewsletterThePotterDiscussion@gmail.com@thepotterdiscussion on Instagram@potter_discuss on TwitterWebsite

During turbulent times, the leaders who are able to embody agility, adaptability, and perseverance will thrive—and so will the organizations they lead. One way to do this effectively is by leaning into the practice of scenario planning, which is one of the topics Rhys covers in this episode along with his guest, Maggie Kolkena. Rhys and Maggie discuss why scenario planning is a critical component of strategic or annual planning, and how organizations can optimize the practice for success. Maggie has been studying leadership development for 25 years, and as a result, knows all about the makings of a great leader and how they tackle effective scenario planning. She's the Founder of Third Thought consulting, and she also recently wrote the book Today for Tomorrow: A Field Guide to Scenario Planning. During the episode, Maggie shares her words of wisdom on leadership, scenario planning, and the future of work. Download your free copy of Oyster's Employee Expectations Report.We want to hear from you! Please take a moment to share your thoughts on the New World of Work Listener Survey.This podcast episode was produced by Quill.

In this episode, host Dave Yovanno sits down with Madi B Webb, a highly successful, driven and authentic content creator with millions of followers across platforms like TikTok, Instagram, YouTube and Pinterest. Madi lets us in on her journey as a creator, explaining why she decided to get started and how her career has taken off ever since. She describes some of the obstacles she's had to overcome along the way, how she's built up such a massive following, and how other burgeoning content creators can get started working with brands.This podcast episode was produced by Quill.

In this episode, we examine different couples in Harry Potter and give them a rating based on how healthy it is. Enjoy!Topics/Summary:·      1:53 Why are we talking about relationships at all? Well, relationships are what everything in the Harry Potter story is built on. And with Valentine's Day right around the corner, I figured it would be fun to analyze more romantic couples in the Harry Potter story. ·      3:52 Remus and Tonks. These are two amazing people that are fighting for good and with Harry, and they have an overall good relationship. However, they have one major problem: Lupin is a werewolf. Lupin was petrified that any children they would have would turn out to be a werewolf and it would turn out to be his fault. They get a thumbs up and a rating of 8.4.·      9:13 Hagrid and Madame Maxime. They are two unique people who share many traits that allow them to be so close. What makes them so perfect for each other is the fact that they are both half-giants who find it difficult to form romantic relationships with any other person than someone who is a similar size to them. They also managed to iron out any difficulties early (unlike Lupin and Tonks) which allowed them to form a strong bond early on. They get a thumbs up and an 8.9·      14:31 Lily and Snape. Though they might not have an openly romantic relationship, there were certainly feelings between them. Let's look at them separately. Lily is a good person. She has good morals, and she understands social situation and is easy to be friendly with. Snape is thrilled to have a friend who cares about him the same way he cares about him. Lily needed someone who was magic like her to teach her about the wizarding world and Snape wanted someone to talk to. If they were left alone, they may have turned out very happily, but alas they went to Hogwarts and Lily met James. Lily fell for James, and Snape was devastated. He turned bitter and burst out, calling Lily a mudblood. Lily never liked him again. Snape was too volatile to form a healthy relationship. They get a thumbs down and a 6.7.·      22:37 Dumbledore and Grindelwald. Their relationship is like that of Lily and Snape. There is one good person who understands how to have good values, and one person whose feet is too big for their boots. The difference comes with their separation. Dumbledore and Grindelwald still loved each other when they broke up, whereas Lily and Snape had no such feelings. This is one of those relationships that is difficult to decide a rating because they have gone through many stages. To rate their early stage, they get a tentative thumbs up and a 7.9. Having anything you want to hear or say? Click here for a voice submission or here for text. The Quill and Ink NewsletterThePotterDiscussion@gmail.com@thepotterdiscussion on Instagram@potter_discuss on TwitterWebsite

Steven welcomes back renowned Shakespearean actor of stage and screen, Richard Clifford, to discuss the coming De Vere Society sponsored Moot Court Trial of William of Stratford. Richard, a DVS board member who has been the driving force behind organizing this seminal event, shares details about the counsels for the defense and prosecution, as well as key witnesses to be called for testimony. Support the show by picking up official Don't Quill the Messenger merchandise at www.dontquillthepodcast.com and becoming a Patron at http://www.patreon.com/dontquillthemessenger  Made possible by Patrons: Alacrates, Annie Fields, Brent Evans & Patty Henson, David Neufer, David R Klausmeyer, Dean Bradley, Edward Henke, Ellen Swanson, Ethan Kaye, Frank Lawler, Heidi Jannsch, James Gutierrez, Jaymie, Jen S, Joan Bray, John Creider, John Eddings, Jon Foss, Jonathan Batailes, Mary Jo Noce, Medical History Tour, Michelle Maycock, Roger Stritmatter, Rosemary O'Loughlin, Sandi Boney, Sandi Paulus, Sara Gerard, Sheila Kethley, Tim Norman, Tim Price, Vanessa Lops Don't Quill the Messenger is a part of the Dragon Wagon Radio independent podcast network. For more great podcasts visit www.dragonwagonradio.com

Hi Erica! Ew, what's that smell? Is it love in the air? No, that's the stank of commercialized affection and insurmountable guilt for not getting your lover the biggest, bloodiest diamond on the market. In honor of Valentine's Day and all the jaded ex-lovers out there, we wanted to bring you something fresh, flirty, and steeped in ick. On today's episode, Quill & Audrey wax poetically about a plethora of icks, from a broad collection of hygiene icks, to icks that are so specific one may even call them esoteric. We sincerely hope that none of y'all are engaging in this leprous activity. No offense to lepers.Cameos include:The podcast delay ruining our vibe for the entire timeThe infantilization of body parts 3 in one shampoo being bad for your spiritTips and tricks about how and when to make yourself smaller to accommodate the people around you when it makes sense The atmospheric boom of a velcro wrist watch being undone

Plenty to chat about with Justin Quill, including Nick Kyrgios, as well as the Essendon Football Club, ten years on from self reporting to the AFL. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, we discuss the future for Fantastic Beasts and the new development that there may not be another film. Enjoy!Topics/Summary: ·      Check out the interview with Eddie Redmayne here.·      2:43 Is this a good thing or a bad thing? Depending on your view of the series, you may prefer different things. If you enjoy the films for the story and the characters, another film is exactly what you want. But, if you take the more critical path of analyzing the film, you might not enjoy the fourth film if Warner Brothers were to put it out. Whatever your view, returns on investment might point towards the fourth Fantastic Beasts film staying away from a reality.  ·      10:13 Where can we go from here? This is another question that we can't have a correct answer to. It's hard to think that this whole chapter of Harry Potter is going to fade into the background and amount to far less than what the filmmakers wanted to make and what we wanted to see. This is a dangerous and expensive game that, in this scenario, WB has lost. Now, we're looking to WB for a continuation of the story.·      15:26 How can the story continue? The perfect situation would be two more films to finish of the series, but let's just assume that's not going to happen. More realistically, I'm hoping they put out a sort of short film that wraps up the story that doesn't cost more than $20 or $30 million to make. Unfortunately, that might not happen. What I think will really happen is some sort of statement from WB addressing this. They might say that they are planning the next films or say that the project is coming to a close. As consumers, we have no say in this. We just have to wait. ·      22:12 Let's make a plan. Warner Brothers can take this many ways. When/if they put out a statement, we can react accordingly. If they say that they are planning the next film(s), we can gear up for the next release. If they say that nothing is going to happen, we can put Fantastic Beasts up on the shelf and call it a day. Having anything you want to hear or say? Click here for a voice submission or here for text. The Quill and Ink NewsletterThePotterDiscussion@gmail.com@thepotterdiscussion on Instagram@potter_discuss on TwitterWebsite

Hi Phyllis, it's us, your favorite podcasting moguls, Bad Planning. Much like the groundhog pre-February 2nd, we took a quick hibernation to #relaxandunwind and now we're ready to claw our way out of our den into the brilliant sunlight of February 2nd, ready for fame. Also, who decided February was going to be spelled like that?In today's episode, Quill & Audrey asked themselves “what whitespace in the Podcast Metaverse can we fill?” and landed on Groundhogs. How fresh and fun and flirty, what a choice. Cameos include:Alina and her sweeping, marmot-themed back tattooPhil the Groundhog being cockblocked by a band of Winston Churchill cosplayers Using your phat ass to determine the arrival of spring, not forced groundhog laborBig ol' hibernation tittiesWillie the sexy, Canadian white groundhog. Phil could never.Coke Zero being the everlasting life elixir for Phil - but not Phyllis lol bye PhyllisGobbler's Knob's Got TalentAn actual, literal cult. No joke.Love u

Transitioning from one role to the next isn't always easy, and changing industries altogether can be an even bigger challenge. However, if you're able to transfer key skills from one role to the next, that transition can be a whole lot smoother. That was the case for this episode's guest, Jessica Zwaan, who has made the leap from law to PeopleOps and all the way to her current role as Chief Operating Officer (COO) at Whereby, a company that's making it easier than ever for remote and distributed teams to connect over video. During the episode, Rhys and Jessica discuss how she navigated the path from PeopleOps to COO, what exactly the COO role entails, and her predictions on the future of the working world. She also shares her expert advice when it comes to making a career move or just making the most out of your current role. Pre-order Jessica's book, Built For People. Download your free copy of Oyster's 2022 Employee Expectations Report.We want to hear from you! Please take a moment to share your thoughts on the New World of Work Listener Survey.This podcast episode was produced by Quill.

In this week's Week in Edtech, Ben and special guest co-host Hailey Carter:1) Talk to Salwa Muhammad of Fourthbrain.ai about the upcoming 3-day workshop with Andrew Ng and other AI Education leaders2) Discuss "Study Hall", new Youtube/ASU/Crash Course Collaboration (Youtube Blog)3) Take note of a recent survey that expresses doubt about Edtech leaders (Edweek)4) Compare Recent Reports on the State of Edtech Funding- Reach Capital (US)- Brighteye Ventures (Europe)- Inc42 (India)5) Explore the Push for the $60K Minimum Teacher Salary in the US (Edweek)6) Look at the Race to Adapt to a ChatGPT World (Forbes, NYTimes) and Quill and CommonLit's Free Tool to Detect Cheating 

In this episode, host Todd Crawford, Co-Founder and Vice President of Strategic Initiatives at impact.com, sits down with Scott Brinker, VP of the Platform Ecosystem at HubSpot. As someone with an extensive background in the SaaS industry, Scott has plenty of wisdom and sage words of advice to share from his long career in the field. In this episode, Scott shares how at HubSpot, his mission is to grow and nurture the community of tech partnerships integrated within the platform by helping to deliver results for mutual customers. Todd and Scott also dive into HubSpot's tech ecosystem, how the company's partnership channel has evolved since Scott joined, inbound versus outbound partnerships, and how HubSpot helps partners find each other organically. This podcast episode was produced by Quill.

In this episode, we discuss if Dumbledore is really a good person.Topics/Summary:·      Check out episode 147, Dumbledore is a Death Eater here.·      2:44 Why are we talking about this at all? Well, it changes the story a lot. If Dumbledore was helping Harry in a selfish way, we can see this in a very different light. In the Battle of the Order of the Phoenix, Dumbledore comes to Harry's rescue. Just think, what if Dumbledore was saving Harry so Harry could die at the right moment instead of just saving him so he would be spared. ·      10:30 Dumbledore makes a lot of sacrifices. His entire plan was to keep Harry alive until he could die at the right time, and he used human shields to do this. Harry's sacrifice was the only one that had to happen. Sure, others may have died, but it was Dumbledore who put the rest of the people who died in front of Harry. It might have gone better if they set a trap for Voldemort or thinking of something else besides hope that he can't kill everyone until Harry. ·      15:31 Dumbledore bears an uncanny resemblance to Grindelwald. A lot of the things Dumbledore is doing is very similar to a ‘for the greater good' mentality. Both Grindelwald and Dumbledore think they need sacrifice to reach the perfect world they are fighting for. Even Dumbledore says he isn't a perfectly moral person, and though this doesn't mean Dumbledore is trying to develop these secret plots against Harry, just keep in mind the influence from Grindelwald. ·      20:42 Given the chance, would Dumbledore change his life? Not his current one, no. But his past… yes. If Dumbledore could go back and change his relationship with Grindelwald and give his young self advice, he absolutely would. Dumbledore wouldn't change his life in a huge way, but he would want to tweak a few key things that would steer him away from Grindelwald. ·      25:10 So. The zillion dollar question. Is Dumbledore a good person? Overall, yes. Dumbledore is a good person. But, he's not perfect. Dumbledore has made many mistakes in his life, making sacrifice upon sacrifice. The reason Dumbledore is a good person, is he didn't make any big mistakes when it counted. Dumbledore used his youth to be with Grindelwald, then in his adult life, saw his mistakes and became a good person.Having anything you want to hear or say? Click here for a voice submission or here for text. The Quill and Ink NewsletterThePotterDiscussion@gmail.com@thepotterdiscussion on Instagram@potter_discuss on TwitterWebsite

Steven welcomes independent scholar, Michael Stepniewski, to this episode to share his work and research found at oxford-seymour.com on the clues Edward de Vere placed in the lines of Shakespeare aimed at identifying his true identity as Edward Tudor-Seymour, son of Thomas Seymour and Elizabeth Tudor. Support the show by picking up official Don't Quill the Messenger merchandise at www.dontquillthepodcast.com and becoming a Patron at http://www.patreon.com/dontquillthemessenger  Made possible by Patrons: Alacrates, Annie Fields, Brent Evans & Patty Henson, David Neufer, David R Klausmeyer, Dean Bradley, Edward Henke, Ellen Swanson, Ethan Kaye, Frank Lawler, Heidi Jannsch, James Gutierrez, Jaymie, Jen S, Joan Bray, John Creider, John Eddings, Jon Foss, Jonathan Batailes, Mary Jo Noce, Medical History Tour, Michelle Maycock, Roger Stritmatter, Rosemary O'Loughlin, Sandi Boney, Sandi Paulus, Sara Gerard, Sheila Kethley, Tim Norman, Tim Price, Vanessa Lops Don't Quill the Messenger is a part of the Dragon Wagon Radio independent podcast network. For more great podcasts visit www.dragonwagonradio.com

 Rayna Neises, your host, talks with Peggy Bodde. Peggy left corporate life behind in 2014 to start a freelance writing business. She is also the founder of Sacred Work, a ministry that provides free career and leadership coaching. Peggy just signed a deal with a publisher and is working on her first book. She lives with her husband, George, and their dog, Quill, in Colorado and is happiest when outdoors. Peggy shares the following insights from her caregiving experience with her in-laws who journeyed with cancer and macular degeneration:[3:30] Caring for an in-law is different from your parent.[8:13] Ask, “What can you experience together?”[8:55] There are more than just physical needs that need to be taken care of.[9:59] Caregiving is difficult and can be very lonely and isolating.[11:09] Utilize resources to allow yourself to be proactive instead of reactive.[13:59] Caring for an adult is different than raising children.[14:52] We all have wounds that we are not even aware of.[17:29] Finding connecting points helps.[19:55] Seek out resources quickly because caregiving is not second nature.[22:25] This episode is sponsored by Content Magazine, a quarterly electronic offering, to help you find God in the midst of your caregiving season. Visit ContentMagazine.online to subscribe. 

Ian and Cole brush up on their life skills with a review of Nathan Fielder's reality-shattering HBO Max series, The Rehearsal!Yes, we're kicking of 2023 with a different kind of "Late Screening", as the guys dig into 6 episodes of a show in which Fielder helps everyday people prepare for difficult encounters by staging elaborate encounters involving actors, a multiverse of possible outcomes, and sets that are indistinguishable from their real-life counterparts.What begins as a unique rehearsal-of-the-week dissection of Reality TV quickly becomes a critique of disposable online relationships; the hunger for fame; and the one-dimensional view of family life perpetuated by popular entertainment.The Rehearsal is ostensibly a further evolution of Fielder's hit series, Nathan For You, and the comedies of Sacha Baron Cohen--but it's also much, much more. Join Ian and Cole for a spoilerific dive into a show that is so much more than a 6-part movie or a disposable TV show.Note: Ian's audio is a bit "off" in this episode. Yes, the mic was plugged in, but it wasn't communicating properly with Zoom--a fact he realized only after the recording had finished.Show LinksWatch the Rehearsal trailer.Listen to Ian and Cole's 2-part review of Nathan For You and its series finale/movie, Finding Frances!Part 1Part 2Read Cole's literary criticism at The Quill to Live.And follow his writing at Tor.com and ForbesSubscribe to, like, and comment on the Kicking the Seat YouTube channel!

In this episode, we explore AI combined with Harry Potter. Enjoy!Topics/Summary:·      There have new developments in the world of AI recently, involving tools such as ChatGPT. In this episode, we are going to be asking ChatGPT questions about Harry Potter and seeing if it can answer the question. ·      Challenge question: What boat company did Newt use to get back to London at the end of Fantastic Beasts? Answer: The Royal Star Steam Company.·       5:06 Is Harry Potter a good person? ChatGPT: “Harry Potter is a fictional character and it is ultimately up to the reader whether they consider him to be a good person or not.” ·      9:55 What could the story of Harry Potter have done better?         1.)    Develop secondary characters more.         2.)    Address racial prejudice more directly        3.)    Explore the aftermath of the war more        4.)    Address the consequences of magic        5.)    Show more diversity in the wizarding world        6.)    Show more of the Ministry of Magic        7.)    Show more of the muggle world        8.)    Had a more satisfying ending·      17:02 What could Harry Potter the character have done better in the story? 1.)          Communicating with his friends and allies.2.)          Trusting in his own abilities3.)          Not being so reckless4.)          Being more forgiving5.)          Seeking help when needed·      27:43 Give me an outline for a potential 8th Harry Potter book please.o  “The book would begin with Harry, Ginny, Hermione, and Ron all being in their late thirties and living their own lives. The book would follow Harry as he is drawn back into the wizarding world when a new threat emerges. Harry would then seek help from his friends and allies, including Hermione and Ron, who would help him investigate this new threat. As they investigate, Harry and his friends would uncover a dark secret about the organization and its true purpose. They would also learn that the organization has been recruiting young witches and wizards, and Harry would have to stop them from doing so. Along the way, Harry would have to face his own demons, including his past and his feelings of guilt and regret about hie role in the previous war. The final showdown would take place at Hogwarts where Harry and his friends would have to face off against the organization and its leader. The book would end with Harry and his friends finally defeating the organization and bringing peace to the wizarding world again.·      31:17 Tell me a Harry Potter joke. Here's the best we got: Why did the Death Eater cross the road? To get to the dark side!Having anything you want to hear or say? Click here for a voice submission or here for text. The Quill and Ink NewsletterThePotterDiscussion@gmail.com@thepotterdiscussion on Instagram@potter_discuss on TwitterWebsite

Episode 77: Guardians of The Galaxy Vol. 2 (Part 2) Sunday Comics Smell & All About the Fambly Nerd Skool wraps up their review of Guardians of the Galaxy Volume 2.  They discuss whether or not the MCU has jumped the shark, the Rock & DC/Black Adam issues, and speculate on whether or not Marvel Movies can ever win best picture, as well as many other off track and on track topics. Get your Nerdskool Merch:  https://www.redbubble.com/shop/ap/74089719?asc=u Music by D Jones Hip Hop!

In this episode, host Todd Crawford, Co-Founder and Vice President of Strategic Initiatives at impact.com, sits down with Patricia Marange, the Head of Affiliate Marketing and Performance Partnerships at Group M, Mindshare and Neo Media World Agencies, where she oversees a team primarily focused on affiliate partnerships. Recently named one of AdWeek's 50 of 2022, Patricia is passionate about educating clients and colleagues alike about the unlimited potential of the affiliate partnership channel. She spent years advocating for affiliate and now partnerships, and today manages a team that is considered the center of excellence in relation to affiliate marketing at Group M. In this episode, Patricia shares more about her journey discovering the affiliate world and how it's evolved to where it is today. She also explains why she believes affiliate marketing can boost the performance of influencer campaigns, and why this channel's capabilities are essentially limitless. This podcast episode was produced by Quill.

In this episode, we test out knowledge on Newt Scammander. Enjoy!Topics:Where does Newt live?Which bank did Newt meet Jacob?Why did Newt say he was in America?Much more!Having anything you want to hear or say? Click here for a voice submission or here for text. The Quill and Ink NewsletterThePotterDiscussion@gmail.com@thepotterdiscussion on Instagram@potter_discuss on TwitterWebsite

Steven and Jake sit down to celebrate the four year anniversary and 100th episode of Don't Quill the Messenger. Support the show by picking up official Don't Quill the Messenger merchandise at www.dontquillthepodcast.com and becoming a Patron at http://www.patreon.com/dontquillthemessenger  Made possible by Patrons: Alacrates, Annie Fields, Brent Evans & Patty Henson, David Neufer, David R Klausmeyer, Dean Bradley, Edward Henke, Ellen Swanson, Ethan Kaye, Frank Lawler, Heidi Jannsch, James Gutierrez, Jaymie, Jen S, Joan Bray, John Creider, John Eddings, Jon Foss, Jonathan Batailes, Mary Jo Noce, Medical History Tour, Michelle Maycock, Roger Stritmatter, Rosemary O'Loughlin, Sandi Boney, Sandi Paulus, Sara Gerard, Sheila Kethley, Tim Norman, Tim Price, Vanessa Lops Don't Quill the Messenger is a part of the Dragon Wagon Radio independent podcast network. For more great podcasts visit www.dragonwagonradio.com

Episode 96: Austin Folkman Back in the podcast seat for 2023 with a great guest this week. Austin Folkman lives in Eastern Oregon in the heart of great Chukar Country. After a magical experience chasing Chukar with his mentor Kelly Jobes from Bone Point Kennels, Austin was hooked. His first Wirehair, Quill, unlocked the potential of what bird dogs and bird hunting adventures can offer.  In this episode we discuss: German Wirehaired Pointers, Finding a good mentor, not comparing dogs or your experience with someone else's, Chukar essentials, Telemark skiing for Chuks, how to keep hunting after marriage, missing fingers, Verstalie Hunting Dog Federation field trials and much more. Listen in on Apple Podcasts or visit Upchukar.com  

Thanks. The world's been pretty crazy this year, and I'm glad I could sit down every weekend and ramble about Harry Potter. I have a blast every episode and I look forward to every week, knowing there's an episode or an Instagram post or a newsletter waiting for me. I couldn't have done any of this without you, so I just want to say thanks. See you soon.-OscarFavorite Episodes of 2022:Episode 138: My Visit to Harry Potter Filming Locations in England! (Lacock, Oxford, The Harry Potter Studio Tour)Episode 123: The Music of Harry Potter!Episode 120: Analyzing the New Secrets of Dumbledore Trailer!Having anything you want to hear or say? Click here for a voice submission or here for text. The Quill and Ink NewsletterThePotterDiscussion@gmail.com@thepotterdiscussion on Instagram@potter_discuss on TwitterWebsite

There are a few times in history, where a popular IP will try and put out a holiday special, to try and give the fans more of whatever that IP is. Well, there haven't been many of those that were good (if any), and so there were many people who were afraid that this Guardians of the Galaxy Holiday Special would be more of the same, when it comes to holiday episodes/movies. "Star-Lord, Drax, Rocket, Mantis, and Groot engage in some spirited shenanigans in an all-new original special created for Disney+." What do you give your best friend who you know has everything that he's ever wanted? Well, Drax and Mantis think that Quill deserves something special. They think that he deserves to have the greatest hero of all time for Quill to open up during their Christmas celebration! That hero is of course, Kevin Bacon! Watching Drax & Mantis get drunk, while trying to kidnap Kevin Bacon, is hilarious, and you know calamity ensues for sure! This is definitely worth the, less than an hour, family break on Christmas!! SUBSCRIBE: Apple Podcasts | Android |  Spotify | Pandora | RSS Tell us what you think! Leave us a voicemail at 970-573-6148 Send us feedback and/or MP3's to outsidethelongbox@gmail.com Follow us on Facebook, Twitter, Instagram, and Youtube! Support the podcast on Patreon! Credit - Doyle Daniels, Juan Muro

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