Podcasts about rails

Howie Kurtz on Trump saying Elon Musk is losing it after citing Jeffrey Epstein client list again, Trump saying he is disappointed in Putin after call with him and RFK Jr. going after the food industry to stop using synthetic dyes. Follow Howie on Twitter: ⁠⁠⁠⁠@HowardKurtz⁠⁠⁠ ⁠⁠⁠For more #MediaBuzz click here Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode of Remote Ruby, Andrew and Chris dive into a range of Rails-related updates, development workflows, and tech frustrations, all while preparing for RailsConf and Rails World. Chris dives into the evolution of Ruby Gems toward Python-style wheels and secure precompiled binaries, while Andrew breaks down the value of namespacing and modularization in Rails apps. They also reflect on accessibility, QA, component architecture, and how LLMs are changing the game for solo devs, Plus, a surprise visit from J**** C******adds some comic relief and candid takes on sabbaticals, Rails World, and a podcast competition. Hit download now! LinksJudoscale- Remote Ruby listener giftOn Rails PodcastAndrew's referral link for SnipdRails World 2025Ruby Gems and bundler ReleasesPython WheelsFluxAdam Wathan (YouTube) Chris Oliver X/Twitter Andrew Mason X/Twitter Jason Charnes X/Twitter

2024, année record pour le photovoltaïque français. Pour la première fois, la capacité du parc solaire a même dépassé celle de l'éolien terrestre, avec plus de 23 gigawatts. C'est bien, mais la France doit faire beaucoup plus si elle veut atteindre ses objectifs climatiques. En Suisse, autre pays à la traîne en Europe, on teste depuis quelques semaines une nouvelle installation. Une centrale solaire sur rails. Logique presque quand on sait que la Suisse est le pays du train. Sun Ways, la Start-up à l'origine du projet pilote déployé dans le petit village de Buttes en Suisse.

This week, we're excited to share with our community a bonus episode from PERMISSIONLESS IV, which just took place this past week in Brooklyn, NY. This is a Fireside Chat with Yano and Ivan Soto-Wright, the CEO of MoonPay, and Sherri Haymond of MasterCard who dive in and discuss the fusion of DeFi and TradFi. -- Start your day with crypto news, analysis and data from Katherine Ross. Subscribe to the Empire newsletter: https://blockworks.co/newsletter/empire?utm_source=podcasts -- Follow Ivan - https://x.com/ivanhodl Follow Sherri - https://x.com/SherriHaymond Follow Jason - https://x.com/jasonyanowitz Follow Empire: https://twitter.com/theempirepod -- Join the Empire Telegram: https://t.me/+CaCYvTOB4Eg1OWJh -- Katana is a DeFi-first chain built for deep liquidity and high yield. No empty emissions, just real yield and sequencer fees routed back to DeFi users. Pre-deposit now: Earn high APRs with Turtle Club [https://app.turtle.club/campaigns/katana] or spin the wheel with Katana Krates [https://app.katana.network/krates] -- CHAPTERS 00:25 - Intro 01:00 - Mastercard's Web3 Journey 02:53 - Stablecoins + MoonPay 05:08 - MoonPay + MasterCard Partnership 07:28 - Katana Ad 08:28 - Beneficiaries Of The Future Of DeFi + TradFi 12:25 - Global Stablecoin Adoption 15:25 - Stablecoin Backed Cards 16:31 - Katana Ad 20:12 - Future Industry Thesis For Tokenization -- Disclaimer: Nothing said on Empire is a recommendation to buy or sell securities or tokens. This podcast is for informational purposes only, and any views expressed by anyone on the show are solely our opinions, not financial advice. Santiago, Jason, and our guests may hold positions in the companies, funds, or projects discussed.

Mike breaks down his highlights from WWDC Coder's Socials Mike on X (https://x.com/dominucco) Mike on BlueSky (https://bsky.app/profile/dominucco.bsky.social) Mike's Blog (https://dominickm.com) Coder on X (https://x.com/coderradioshow) Coder on BlueSky (https://bsky.app/profile/coderradio.bsky.social) Show Discord (https://discord.gg/k8e7gKUpEp) Alice (https://alice.dev) Alice Forms (https://alice.dev/forms) Alice for FoxPro (https://alice.dev/foxpro)

When does a framework reach maturity? For Joel Hawksley, lead maintainer of GitHub's ViewComponent framework, the answer comes with the upcoming fourth major release – a milestone that marks not just new features, but a transition to long-term support mode.Joel takes us behind the scenes of his seven-year journey at GitHub, where an idea sketched on an airplane has evolved into a critical part of how the platform renders its interfaces. With candid insights, he explains why ViewComponent is now considered feature-complete, and the philosophical challenges that remain unresolved around CSS and JavaScript integration within component-based Rails applications.The conversation delves into fascinating territory around GitHub's technical architecture decisions. Joel articulates the clear dividing line between interfaces better suited for React versus Rails, based on his experience building complex UIs like GitHub's merge box. "The ability for a new engineer to come in and modify that code in React is an order of magnitude better," he explains, revealing how pragmatism rather than dogma drives technology choices at scale.Perhaps most compelling are Joel's reflections on accessibility – work he led for years at GitHub. He reveals how accessibility requirements fundamentally reshape engineering approaches, forcing consistency and systematic thinking that might otherwise be overlooked. With 80% of top e-commerce sites facing accessibility lawsuits in recent years, these considerations are becoming unavoidable for developers at companies of all sizes.As a new member of GitHub's Ruby architecture team, Joel also shares fascinating perspectives on Ruby's evolution. He articulates the tension between adding safety guardrails to the language while preserving the flexibility and joy that attracted developers in the first place. "Is it better to take something that is elegant and beautiful and flexible and put it in handcuffs, or is it better to go use a tool that was built with that in mind?" he asks, in a moment of philosophical clarity that will resonate with Ruby developers everywhere.Whether you're using ViewComponent, building accessible interfaces, or thinking about Ruby's future, this episode offers rare insights from someone who has spent years navigating these waters at one of the world's most prominent software platforms. Check out ViewComponent 4.0 RC1 today and share your feedback before the final release!Send us some love. HoneybadgerHoneybadger is an application health monitoring tool built by developers for developers.JudoscaleAutoscaling that actually works. Take control of your cloud hosting.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show

Jason and Bri open with a recap of the Buffalo Marathon 5K and the push to the Tunnel to Towers 5K coming in September. Then a visit to one of the most unique beer festivals in Western New York and a review of Rails and Ales at the Rochester & Genesee Valley Railroad Museum. We haven't featured wine in a minute and no better day to highlight than National Wine Day with visits to 21 Brix and Mazza Chautauqua. We wind up the episode with our first visit to Monster Beach Brewery & Tiki Bar and we WILL be back. This episode features our homebrewed Intergalactic Hop Star DIPA. Visit our website at BuffaloBrewsPodcast.comEmail: buffalobrewsPR@gmail.comFollow us on social media.Instagram: @BuffaloBrewsPodcast Facebook: @BuffaloBrewsPodcastX/Twitter: @BuffaloBrewsPod

RELOAD!! RELOAD!! PER-KANNG!! Whether you're aiming your NES Zapper at some 8-bit ducks or feeding quarters into an arcade to head-shot some video zombies, you're experiencing the white-knuckled action of a niche sub-genre of video games known as a LIGHT GUN GAMES or ON RAILS SHOOTERS!! Tonight, with the help of our old buddy, Nintenjoe, we'll spotlight some personal favorites! We start with beloved titles like Duck Hunt, House of the Dead and Time Crisis and, as we are want to do, move to a bunch of obscure hidden gems that went under the radar! ----------------------------------------Retro Ridoctopus is:• Parasite Steve (read)• 8-Bit Alchemy (listen) • Coopster Gold (join) • Nintenjoe (subscribe)----------------------------------------All original heavy metal music by Enchanted Exile

Hailey Bieber's 'Single Mom' Nightmare Exposed - Model 'Is Stable One at Home' While Loopy Husband Justin Goes 'Off the Rails'Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Le 15 juin à 5 h 54, pour la première fois, les notes du célèbre jingle de la SNCF n'ont pas retenti à bord d'un TGV reliant Paris à Marseille. Ce trajet en train peut désormais être assuré par une autre compagnie : Trenitalia, opérateur depuis cinq ans d'autres TGV circulant entre Paris et Lyon.Amorcée depuis des décennies, l'ouverture à la concurrence du réseau ferroviaire français est entrée, ces dernières semaines, dans une nouvelle phase. A partir du 29 juin, une autre compagnie que la SNCF va également se déployer, pour la première fois, sur une ligne TER : Transdev a remporté l'appel d'offres pour faire circuler ses trains entre Marseille et Nice.Après avoir bénéficié d'un monopole sur les rails pendant près de 80 ans, le modèle économique de la SNCF est-il aujourd'hui menacé par cette ouverture à la concurrence ? Qui sont exactement ces concurrents ? Enfin, quelles seront les conséquences de cette arrivée de la concurrence pour les usagers du train ? Dans cet épisode du podcast « L'Heure du Monde », Jonathan Parienté, journaliste au service Economie du Monde, en charge des transports, explicite les enjeux de cette ouverture à la concurrence.Un épisode de Marion Bothorel. Réalisation : Quentin Tenaud. Présentation et rédaction en chef : Jean-Guillaume Santi. Dans cet épisode : extraits du jingle de la SNCF, d'une interview de Jean-Pierre Farandou accordée au 6/9 de France Inter le 6 mai 2025, d'un reportage diffusé au JT de Franceinfo le 29 octobre 2021, d'un sujet diffusé sur Euronews le 2 janvier 2020, d'une interview de François Durovray sur BFM TV le 8 novembre 2024.---Pour soutenir "L'Heure du Monde" et notre rédaction, abonnez-vous sur abopodcast.lemonde.fr Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

A vast change to what's been promised for Auckland City Rail Link's opening capacity. In 2022, it was reported 27 thousand peak passengers would be using the rail line from opening day next year. That's now gone down to 19 thousand passengers an hour at peak times. AT Public Transport Director Stacey van der Putten told Mike Hosking the 27 thousand figure merged a few different elements including design capacity, timetabling, and patronage. She points out that 19,000 is still a significant increase on current numbers, as it's still a 50% increase in patronage. Van der Putten told Hosking it will take some effort to rebuild confidence in the rail network after the prolonged disruption, but there's plenty of enthusiasm for the new line. LISTEN ABOVE See omnystudio.com/listener for privacy information.

0:00 Rogan shuts down Bernie Sanders, defends Musk's spending; what about Kamala?! Robby Soave | RISING 11:07 Trump rails against CNN, NYT for reporting Iran strikes ‘did not destroy' nuclear sites | RISING 18:44 AOC, Trump trade shots over impeachment efforts | RISING 25:46 Zohran Mamdani declares victory, Cuomo concedes in shocking upset | RISING 33:26 Democrats issue warning over latest Trump federal judge pick | RISING 41:30 Lisa Murkowski says she has considered switching to Democratic caucus | RISING 46:44 Marjorie Taylor Greene goes off on Mark Levin after he calls her ‘stupid' | RISING 54:31 Tucker Carlson says Fox Corp CEO urged him to run against Trump | RISING Learn more about your ad choices. Visit megaphone.fm/adchoices

Dan and Monica break down the latest in this month's RAILS Minute:

The democrat party has no guard rails anymore. Who is leading in the NYC mayoral polls matters. Democrats didn’t know we were striking Iran, but why did the Trump Administration not tell them? Where does it leave us that half of our politicians hate the county? Follow The Jesse Kelly Show on YouTube: https://www.youtube.com/@TheJesseKellyShowSee omnystudio.com/listener for privacy information.

Rhiannon Payne and Justin Bowen are one of the very few couples working together in the Ruby and Rails ecosystem. Justin is a long-time Rails developer, consultant, and AI and computer vision specialist. Rhiannon runs Sea Foam Media and is the Marketing Director for Ruby Central. Together they are building Active Agents, an AI framework for Rails. We chat about their professional backgrounds (Justin's in software development, Rhiannon's in marketing), how they collaborate as a couple, the birth of Active Agents, and AI in the Ruby/Rails landscape. Oh, and we may have a cameo from a few cats! RhiannonTwitterBlueskyThe Remote Work Era BookJustinTwitterBlueskyActive AgentsWebsiteactiveagent gem on GitHub (latest release: v0.4.0)Documentation (new)Discord Invite Sea Foam MediaWebsiteTwitter

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

In this, our 34th episode of the Great American Novel podcast, the hosts tackle Colson Whitehead's intriguing, interesting, and in some surprising ways challenging award-winning 2016 novel, The Underground Railroad.  This novel works with the premise that the antebellum freedom trail to the north for escaped slaves was not a series of safe houses and hiding spaces with the occasional guide, but instead an actual underground railway. How can something be in some plays completely and purposefully historically inaccurate yet also completely true at the same time?  How does our knowledge of real life slavery chronicles by Frederick Douglass and Harriet Jacobs complement and contradict the narrative here?  Why does Whitehead choose this meta-historical method rather than a straightforward narrative?   The Great American Novel podcast is an ongoing discussion about the novels we hold up as significant achievements in our American literary culture.  Additionally, we sometimes suggest novels who should break into the sometimes problematical canon and at other times we'll suggest books which can be dropped from such lofty consideration.  Your hosts are Kirk Curnutt and Scott Yarbrough, professors with little time and less sense who nonetheless enjoy a good book banter.  All opinions are their own and do not reflect the points of view of their employers, publishers, relatives, pets, or accountants. As always...there be spoilers here!All show music is by Lobo Loco.  The intro song is “Old Ralley,” and the outro is “Inspector Invisible.”  For more information visit: https://locolobomusic.com/.  The trailer clip is from the streaming 10 episode mini-series film adaptation, The Underground Railroad, dir. Barry Jenkins for Amazon Prime Video, 2021.We may be contacted at greatamericannovelpodcast (@) gmail.com. 

Featuring: AmmosArt, Ashgar, Belghast, Kodra, Tamrielo, and Thalen   The Nintendo Switch 2 has been out for long enough that folks have really gotten some time to play Mario Kart World, and we discuss some of its features.  We also talk a bit about the Donkey Kong Direct and the upcoming game releasing in July. It is the second week of Path of Exile 3.26, and Bel talks about his progress so far and some of the finer details of Mercenaries.  We talk briefly about the news that Marathon has been delayed to an indefinite date in the future, but that Sony is still talking about it like it is a thing.  Ash shares some thoughts about Siralim Ultimate and the upcoming 2.0 patch.  We then devolve into some nonsense about Dune Awakening as we discuss recent happenings on our private server.   Topics Discussed: Mario Kart World Donkey Kong Direct Path of Exile - Mercenaries of Trarthus Week Two Marathon Delayed Indefinitely Siralim Ultimate and 2.0 Patch Dune Awakening Nonsense

In this episode of Remote Ruby, Chris and Andrew discuss the recent Google Cloud Platform and Heroku outages, sharing personal experiences of system impacts and recovery strategies. The conversation shifts to technical insights, including a deep dive into Rails ‘direct' routes and their routing helper capabilities. They also touch on the latest performance enhancements in Ruby 3.3, such as Embedded TypedData Objects and their impacts. Also, they explore parsing Ruby code with Prism and chat about  productivity hacks, upcoming RailsConf plans, parenting chaos, and dreams of launching their own MTV show. Hit the download button now! LinksJudoscale - Remote Ruby listener giftImplementing Embedded TypedData Objects (Rails at Scale)Supercharging Ruby with Embedded TypedData Objects (Ruby Stack News)Prism Ruby parserRailsConf 2025, Philadelphia, PA, July 8-10HoneybadgerHoneybadger is an application health monitoring tool built by developers for developers.JudoscaleMake your deployments bulletproof with autoscaling that just works.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you. Chris Oliver X/Twitter Andrew Mason X/Twitter Jason Charnes X/Twitter

In this episode of Building Better Developers, hosts Rob Broadhead and Michael Meloche explore how to improve team collaboration in software development through the lens of AI-driven insights. Whether you're a solo developer, part of a tight-knit team, or scaling across departments, collaboration remains the backbone of efficiency and success. What Does Collaboration Mean in Development? AI kicked off the discussion with a powerful insight: define “efficiency” in context. But more importantly, it highlighted that collaboration fuels efficiency, not just working faster, but working better. Effective collaboration avoids: Redundant work Misunderstood requirements Tech debt and burnout Rob emphasized that a productive team isn't rushing through tasks but solving the correct problems—together—on the first try. Collaboration Strategies for Solo Developers Even solo developers need structured collaboration between their tools, their future selves, and their automation stack. Top collaboration tips for independent devs: Use opinionated frameworks like Next.js or Rails to minimize decision fatigue. Automate repetitive tasks early to save time in the long run. Commit code regularly with meaningful messages. Document workflows using Notion, Obsidian, or Jira—even if you're the only one using them. Containerize development environments for repeatability and rapid setup. “Solo doesn't mean siloed. Collaborate with your tools, your past decisions, and future goals.” Enhancing Collaboration in Small Development Teams For teams of 2–10 developers, Rob and Michael discussed how tight feedback loops and structured communication are essential to avoid chaos. Recommended practices for small team collaboration: Short, focused daily standups Shared development environments Lightweight Agile or Kanban boards Early investment in CI/CD pipelines Use of pair programming or mob programming for knowledge sharing Michael emphasized Agile's power in synchronizing team efforts, avoiding duplicated work, and solving problems more efficiently as a unit. “Agile helps teams collaborate—not just communicate. It keeps everyone moving in the same direction.” Solving Common Bottlenecks Together AI highlighted four universal collaboration pain points and solutions: Slow Code Reviews - Use SLAs and rotate reviewers Unclear Requirements - Kick off with 15-minute clarification huddles Testing Paralysis - Focus on integration tests and avoid overtesting Context Switching - Block dedicated focus hours Michael zeroed in on testing paralysis, especially in early-stage projects, where developers are too busy scaffolding to write tests. Without collaboration on testing plans, critical issues may be overlooked until it is too late. Rob addressed context switching, warning against excessive meetings that fragment developer flow. Leads should shield devs from distraction by delivering distilled, actionable feedback. Final Thoughts on Collaborative Development As teams grow, minor issues scale fast, and so do inefficiencies. Tools, meetings, workflows, and expectations must all scale intentionally. Rob reminded leaders to summarize and distill information before passing it to their teams and to make clever use of tools like AI, recordings, and summaries to keep everyone aligned without wasting time. “If you're building better developers, you're also building better collaborators.” Take Action: Build Collaboration Into Your Workflow Reassess your standups and review cycles Empower solo devs with documentation and CI/CD Streamline onboarding with containers Test early, test together Protect team focus time Stay Connected: Join the Developreneur Community We invite you to join our community and share your coding journey with us. Whether you're a seasoned developer or just starting, there's always room to learn and grow together. Contact us at info@develpreneur.com with your questions, feedback, or suggestions for future episodes. Together, let's continue exploring the exciting world of software development. Additional Resources Embrace Feedback for Better Teams Using Offshore Teams and Resources – Interview With Tanika De Souza Moving To Mobile Teams and Building Them – Sebastian Schieke Building Better Developers With AI Podcast Videos – With Bonus Content

What happens when you put Rails in a browser? Vladimir Dementyev (Vova) is pushing WebAssembly to its limits by creating an interactive Rails playground that runs entirely client-side. This groundbreaking project aims to eliminate the frustrating installation barriers that often discourage newcomers from trying Ruby on Rails."I asked myself the question - can I run Rails on WASM? And that's when you feel yourself like a pilgrim software engineer, experiencing something for the first time that no one ever experienced," Vova shares. The project isn't just a technical curiosity but serves a vital educational purpose - allowing anyone to learn Rails through the official tutorial without wrestling with Ruby version managers or environment setup.As principal engineer at Evil Martians, Vova balances multiple innovative projects simultaneously. Beyond Rails on WASM, he's organizing the first San Francisco Ruby Conference (coming November 2024), building a custom open-source CFP application, expanding AnyCable to support Laravel, and updating his technical book "Ruby on Rails Applications." His creative problem-solving approach extends to production environments too, where techniques developed for experimental projects help solve real client challenges like making libvips fork-safe for high-performance web servers.Vova's philosophy on productivity is refreshingly practical: work when inspiration strikes rather than forcing creativity during arbitrary hours. "If I have no desire to sit at my desk and stare at the laptop, I'm not going to do that. I wait for the moment to come, and then I sit and work, and it's really efficient."Ready to see what Ruby and Rails can do in previously impossible environments? Follow Vova's work, attend his RailsConf talk, or join the growing San Francisco Ruby community to witness how Ruby's flexibility continues to break new ground in unexpected ways.Send us some love. HoneybadgerHoneybadger is an application health monitoring tool built by developers for developers.JudoscaleAutoscaling that actually works. Take control of your cloud hosting.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show

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Coder's Socials Mike on X (https://x.com/dominucco) Mike on BlueSky (https://bsky.app/profile/dominucco.bsky.social) Mike's Blog (https://dominickm.com) Coder on X (https://x.com/coderradioshow) Coder on BlueSky (https://bsky.app/profile/coderradio.bsky.social) Show Discord (https://discord.gg/k8e7gKUpEp) Alice (https://alice.dev) Alice Forms (https://alice.dev/forms)

Have you ever stumbled across a website and an hour later realized you're still looking at it because of how much material was available?? That's what happened to us at the ole' AML World Headquarters in downtown Busted Knuckle, Kentucky. Surfin' the internet we stumbled across “Hawkins Rails” one of the most comprehensive railfanning websites you'll ever find. Whether it's mainline railroading or looking for an obscure shoreline you'll most likely find it on Hawkins Rails. Starting with Jack Hawkins in the 1940's it wasn't to many years until his son Ralph started to enjoy standing trackside with his Dad. These days Ralph and his daughter Ella are carrying on the tradition of Hawkins Rails and the site just grows and grows. This is a great podcast with lots of great information about railfanning for the past seventy plus years.

The Moneywise Radio Show and Podcast Monday, June 16th BE MONEYWISE. Moneywise Wealth Management I "The Moneywise Guys" podcast call: 661-847-1000 text in anytime: 661-396-1000 website: www.MoneywiseGuys.com facebook: Moneywise_Wealth_Management Guest: Congressman, Vince Fong website: https://fong.house.gov/  

Episode Topic: Joris Delanoue, co-founder and CEO of Fairmint, joins PayPod to explain how blockchain is disrupting private equity and fundraising. With cap tables becoming programmable, Fairmint is helping founders, investors, and communities escape legacy systems and embrace decentralized, on-chain ownership. Lessons You'll Learn: Why today's private equity system is outdated   How smart contracts can replace PDFs and spreadsheets   What Open Cap Table Format means for fintech innovation   Why solving compliance is the ultimate edge in crypto   How community ownership can become a norm, not an exception About Our Guest:Joris Delanoue is the CEO and co-founder of Fairmint, a company revolutionizing private equity by turning cap tables into blockchain-based smart contracts. With deep experience in SaaS, compliance, and crypto, Joris is leading Fairmint's mission to decentralize ownership and enable programmable equity for startups. Fairmint is backed by a coalition of legal and fintech leaders reshaping the rails of finance. Topics Covered: Legacy issues with equity and cap tables   Tokenizing ownership and on-chain liquidity   Compliance and regulatory clarity in the U.S.   The Open Cap Table Format (OCF) movement   UX innovation and the future of crypto adoption

durée : 00:03:45 - Les P'tits Bateaux - par : Camille Crosnier - C'est la question posée par Gabin, 11 ans. L'historien Clive Laming est spécialiste de l'histoire des chemins de fer, il lui répond en décryptant le rôle fondamental de ce qu'on appelle le ballast, véritable "matelas" de la voie ferrée. - invités : Clive LAMMING - Clive Lamming : Historien des chemins de fer - réalisé par : Stéphanie TEXIER

Hark and hearken, good folk, to a tale most joyous! Lo, after many a season spent in patient longing, bold AC doth at last return to the noble realm of tabletop role-playing! With great fanfare and mirth, he unveil'th his much-anticipated Planescapes campaign, and his fellowship of players taketh up the dice once more. As the Lords do revel and wax rhapsodic o'er the delights of their newfound quest, they dost turn back the wheel of time, revisiting a discourse of yore, nigh eight years past, wherein was debated the merits of sandbox tales versus the guided path of on-rails adventures. Sit thee down, pour thyself a flagon, and partake in their merry musings.

In this episode we talk to Zeke Gabrielse, solo founder and owner of Keygen, a licensing and distribution API. We get deep in the weeds of running a solo business (much can be applied to any solo-type career working on the same project), how he handled the worst day(s) of his professional life, and much more! Zeke's LinksZeke on XKeygen on X Keygen website: https://keygen.sh/Jeremy's Notable Blog PostsHow to Build a Webhook System in Rails Using SidekiqThat one time Keygen went down for 5 hours (twice)Keygen is now Fair SourceNo callsIn defense of linearSelf-promotionSteering the ship

Dave Mazza joins Diane King Hall to discuss his digital rails thesis around a trio of stocks he believes are central to the way consumers search, play and create in the A.I. economy. For Alphabet (GOOGL), he sees the company in its "efficiency era" saying Gemini could be underrated. For Take-Two (TTWO), Dave points to the Grand Theft Auto 6 release in 2026 as a key driver for its stock. And, Roblox (RBLX) he believes gets a content boost from A.I. tech that benefits players.======== Schwab Network ========Empowering every investor and trader, every market day.Subscribe to the Market Minute newsletter - https://schwabnetwork.com/subscribeDownload the iOS app - https://apps.apple.com/us/app/schwab-network/id1460719185Download the Amazon Fire Tv App - https://www.amazon.com/TD-Ameritrade-Network/dp/B07KRD76C7Watch on Sling - https://watch.sling.com/1/asset/191928615bd8d47686f94682aefaa007/watchWatch on Vizio - https://www.vizio.com/en/watchfreeplus-exploreWatch on DistroTV - https://www.distro.tv/live/schwab-network/Follow us on X – https://twitter.com/schwabnetworkFollow us on Facebook – https://www.facebook.com/schwabnetworkFollow us on LinkedIn - https://www.linkedin.com/company/schwab-network/About Schwab Network - https://schwabnetwork.com/about

In this fun episode of Remote Ruby, Chris and Andrew dive into a wide-ranging chat that kicks off with Nintendo's new Switch 2, dentist nightmares, and the chaos of Mario Party. From there, it transitions into some highly practical Rails development discussions, including a slick new implementation for MetaTags in Jumpstart, the headaches and benefits of JSON-LD for SEO, and an overdue breaking change to the Pay gem. There's also a smart e-ink countdown widget built with Ruby called TRMNL and updates on RailsConf and Rocky Mountain Ruby. Hit download now to hear more!LinksSchema.org CourseMetaTagsJSON-LDRailsConf 2025-Philadelphia, PA, July 8-10Rocky Mountain Ruby 2025-Boulder, CO, October 6-7RailsWorld 2025-Amsterdam, NL, September 4-5TRMNLTRMNL-GitHubPay GemRails AssetsHow to use the new action_ text-trix gem (GoRails YouTube)HoneybadgerNintendo Switch 2HoneybadgerHoneybadger is an application health monitoring tool built by developers for developers.JudoscaleMake your deployments bulletproof with autoscaling that just works.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you. Chris Oliver X/Twitter Andrew Mason X/Twitter Jason Charnes X/Twitter

Send us a textThe world is splitting before our eyes. Two spiritual paths unfold simultaneously – one of growing darkness, another of intensifying light. This tension forms the core insight of this riveting episode examining the prophetic significance of current events.California presents the perfect snapshot of this dual reality: violent pro-Hamas riots with burning American flags happening the same weekend 27,000 people received baptism. These parallel tracks aren't coincidental but prophetic, revealing how both evil and righteousness accelerate as we approach the end times predicted in scripture.British journalist Melanie Phillips' sobering observations provide a wake-up call about Western society's abandonment of core values. The podcast examines how truth has become relative, feelings trump facts, and entire generations have embraced ideologies fundamentally opposed to the principles that made Western nations beacons of freedom. This mass delusion reflects a profound spiritual crisis where media manipulation reinforces false narratives despite contradicting evidence.Most concerning is what this means for authentic Christians. As lawlessness and confusion spread like a mist over nations, believers face a vital decision: Will they compromise to fit cultural expectations or stand distinct as Jesus did? The coming persecution of truth-tellers seems inevitable in a world where "truth is what is convenient to believe."The podcast draws a compelling historical parallel between our current trajectory and Rome's fall, which ushered in the Dark Ages – a time of chaos and barbarism. Yet this darkness creates the perfect backdrop for genuine Christian witness to shine most brightly.Join us in prayer for boldness and Holy Spirit guidance as we navigate these challenging times. Share this episode with someone struggling to make sense of today's chaos – they need to hear this message of prophetic clarity in confusing times.Support the show

Just days after leaving the administration, Elon Musk lays into President Trump's so-called "big, beautiful bill” calling it a "disgusting abomination.” Anderson looks at how the White House and Congress are reacting. Plus, Kara Swisher and Anthony Scaramucci weigh-in on Musk's message. And, is the President turning on the Supreme Court justices he nominated? Trump's new war of words on the court. Learn more about your ad choices. Visit podcastchoices.com/adchoices

00:02:30 Introduction00:06:00 Strike Tournament Update00:09:15 Health Update00:13:30 Game night Discussion00:15:30 Game Toppers Kickstarter 5.000:17:30 Line of Fire: Burnt Moon00:24:30 Cretaceous Rails00:41:30 Portal Games00:43:30 Looot00:49:30 Miniature Market00:51:00 Santorini: Riddle of the Sphinx01:00:00 Switch 201:05:00 Clare Obscure: Expedition 33 LoooT, the Spieli des Jahres nominee, made it to the table recently. Now, this is a Viking-themed strategy game where players lead their clan to victory by gathering resources, capturing buildings, and expanding their empire. Just picking and placing a tile will not get you a victory, you have some decisions to make that will have you balancing risk and reward. Cretaceous Rails is not a doomed theme park like so many built with dinosaurs as the main attractions. This medium-weight euro game combines economic strategy with thematic elements, allowing players to take tourists on safari and construct a thriving dino resort where every piece in the game is a resource to be used. With careful planning and resource management, you should out-maneuver the other park operators and come away with a victory and not be eaten by the T-rex. Santorini is a beautifully designed abstract strategy game that brings Greek mythology to life and Roxley has taken the new Pantheon Edition up to new hieghts with the components. Gameplay hasn't changed, players take on the role of gods and heroes, competing to build a majestic island of Santorini without getting trapped by the competition. And now with the coop version added to the mix, Riddle of the Sphinx, this should dust of those old copies and get the game back to the table. Thanks for listening and appreciate all the support Learn more about your ad choices. Visit megaphone.fm/adchoices

Building better businesses is the focus of this season of the Building Better Developers podcast. As the show wraps up, hosts Rob Broadhead and Michael Meloche reflect on what it truly takes to grow and sustain a successful business. With episodes packed full of real-world advice, the season offered an honest look at the balance between managing operations and planning for long-term growth. Whether you're running a startup or scaling a consulting firm, the challenges discussed this season are highly relatable, and the insights are actionable. Smart Strategies for Building Better Businesses This season delivered a broad spectrum of ideas—from improving customer support systems to deciding when to hire or outsource. Rob and Michael emphasized both short-term wins and longer-term initiatives that can set a business on a more sustainable path. “It's all about making your business better—whether that's better processes or better planning.” – Rob Broadhead By encouraging listeners to apply lessons week by week, the season became a roadmap for identifying and fixing critical business gaps. Automation and Resetting for Business Focus One of the season's strongest messages came from Michael's personal experience: getting stuck in the day-to-day grind. Like many tech-focused founders, he spent so much time coding and serving clients that back-office responsibilities were pushed aside. “You have to reset. I was doing the work, but I wasn't taking care of the business.” – Michael Meloche Turning off notifications and eliminating distractions helped him reclaim time and focus on strategic areas, such as hiring, finances, and operations. Challenge-Based Insights for Better Growth Each episode featured a unique challenge—practical steps like refreshing your website or reviewing your marketing channels. Rob noted that simply blocking calendar time to work on these areas made a noticeable difference. These challenges weren't theoretical—they were tools for building structure and momentum in a growing business. By applying even one challenge a week, listeners could steadily improve their systems and habits. Work-Life Balance and Building Better Businesses Another theme that resonated strongly was the need for rest and recovery. Michael shared his struggle with feeling guilty for taking time off, only to find that stepping away actually increased his productivity. “If you don't take care of yourself, it's like skipping oil changes—eventually the engine gives out.” – Michael Meloche This conversation reinforced that health and mindset are just as crucial to a business as any product or service. Remote Work and Office Culture As businesses shift post-pandemic, the debate over remote vs. in-office work persists. Rob and Michael explored the trade-offs of both environments, acknowledging that there's no one-size-fits-all solution. “You need to do what's right for the business, the team, and the customer.” – Michael Meloche Balancing flexibility with connection is an ongoing challenge that every business must navigate in alignment with its mission and culture. Final Thoughts: Keep Building Better Businesses Every Day Rob closed the episode with a powerful reminder: every business is a living system with competing demands. Just like software, it requires constant attention, updates, and realignment to continue functioning properly. “There's a business-business balance too—not just work-life balance. Find your ‘why,' and let it guide your decisions.” – Rob Broadhead Not every episode will apply to every business stage, but together, they form a comprehensive guide for those committed to growth and leadership.

The last RailsConf ever is coming to Philadelphia this summer, and co-chair Chris Oliver joins us to pull back the curtain on what's sure to be a historic gathering for the Rails community.Chris reveals how the programming committee curated an exceptional lineup from hundreds of submissions, balancing nostalgic looks at Rails' 18-year journey with cutting-edge technical content. You'll hear why Philadelphia's walkable layout, incredible food scene (Reading Terminal Market gets particular praise), and Fourth of July celebrations make it the perfect host city for this final RailsConf hurrah.Beyond the sessions themselves, Chris and I explore what truly makes tech conferences special—those irreplaceable in-person connections. Whether you're a seasoned Rails veteran or relatively new to the framework, the hallway conversations, shared meals, and spontaneous problem-solving sessions offer exponentially more value than what appears on the official schedule. We both share how these gatherings have accelerated our careers and sparked lasting professional relationships.The conversation takes an enlightening turn as Chris opens up about his current technical challenges, including the complexities of testing Hotwire applications and designing flexible API wrappers for payment processing systems. His insights on balancing specificity with adaptability when building reusable libraries offer valuable perspective for anyone writing code meant to be shared.This episode serves both as an enthusiastic invitation to join the Ruby community in Philadelphia and a thoughtful exploration of why in-person events remain vital in our increasingly remote world. Supporting RailsConf isn't just about personal growth—it's about strengthening the Ruby ecosystem that has supported so many developers throughout their careers.Ready to book your ticket for this historic event? Don't miss our podcast panel at RailsConf—come experience our conversations live and in person!Links: RailsConfGoRailsLearn Hotwireexcid3 on BlueSkySend us some love. HoneybadgerHoneybadger is an application health monitoring tool built by developers for developers.JudoscaleAutoscaling that actually works. Take control of your cloud hosting.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show

In this episode of Remote Ruby, Chris and Andrew catch up on recent travels and food experiences, including the best Philly cheesesteaks they've ever had. The conversation shifts towards development topics, particularly testing challenges and solutions in Ruby on Rails, featuring discussions about emoji pickers, asset pipelines, and the prawn library. Chris shares updates on acquiring an old Rails app, One Month, and future plans for this project. They also explore various development hiccups and solutions, including using libraries for faster system tests and streamlining asset pipelines. The episode wraps up with insights into new tools like an official Postgres extension for VS Code and plans for future video content on their platform.LinksJudoscale- Remote Ruby listener giftOne MonthRunning Rails System Tests With Playwright Instead of Selenium by Justin SearlsAnnouncing a new IDE for PostgreSQL in VS Code from MicrosoftLou Malnati's Pizzeria Chris Oliver X/Twitter Andrew Mason X/Twitter Jason Charnes X/Twitter

Questions emerge of justice or judicial tyranny as a lot of what Donald Trump does gets undone. Plus, do foreigners have a right to free speech in America? A move in the administration gives Cold War flashbacks. Also, FBI rookies get on the wrong side of MAGA as they find government jobs aren't that easy.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Why are billion-dollar firms piling into Bitcoin and ETH (is SBET the MicroStrategy of ETH?

At 26, Ian Mackay loved the outdoors, natural sciences, and cycling. While studying as a biology undergrad at UC Santa Cruz, he crashed his bike into a tree on campus and forever changed his relationship with how he – and others like him –  experienced nature. After sustaining a spinal cord injury that would leave him paralyzed from the shoulders down, Mackay was challenged with rehabilitating his body, his mental wellness, and his adventurous lifestyle. In Ian's Ride: A Long-Distance Journey to Joy, author Karen Polinsky traverses both Ian's personal journey to recovery against all the odds and the path his work has cleared for fellow nature lovers. In this intimate memoir brought to life through more than one hundred hours of interviews, journal entries, and more, Polinsky depicts Ian's story with heartfelt honesty. As he adapted to his new life in the Pacific Northwest with the help of his dedicated mother Teena, as well as family and friends, he grew inspired to revisit his bond with the outdoors. After years of personal growth, advocacy, and accessibility research, Ian has become a community leader, an innovator with Apple, and a world-record-breaking athlete. Ian's Ride is an inspirational tale of perseverance and an adventure quest for nature lovers, endurance athletes, and anyone struggling with a life-changing loss or diagnosis. This deftly narrated saga examines the passions and challenges that inform how we exist in our hearts, our bodies, our communities, and our natural world. Karen Polinsky is a novelist and playwright, as well as a former journalist and high school teacher. Her written works include the book Dungeness, the dance drama Heart of Stone, and more than a dozen staged plays. Ian Mackay, a C2/3 quadriplegic, is a nature lover, mobility technology innovator, and endurance athlete. Mackay is the executive director of the nonprofit Ian's Ride, which aims to increase accessibility to the outdoors. He also serves as an ambassador for the Rails-to-Trails Conservancy and is a proud board member of The Here and Now Project, a chapter of the United Spinal Association. Kenny Salvini is an award-winning writer and community organizer with a passion for promoting wellness, accessibility, and independence in the disability community. In 2013, Kenny cofounded The Here and Now Project, a 501(c)(3) nonprofit with a mission to connect and empower the mobility disability community in the Pacific Northwest. In his free time, Kenny does accessibility advocacy and training on the side and is a part-time contributor to New Mobility Magazine. In 2019, he was recognized by the United Spinal Association as their Advocate of the Year. Kenny graduated with honors from Central Washington University, where he majored in Electronics Engineering Technology, and was a two-time NCAA Division II Academic All-American in Men's Wrestling. He currently lives in Sumner, Washington with his wife, Claire, and their four-year-old daughter, Ila. Buy the Book Ian's Ride: A Long-Distance Journey to Joy Elliott Bay Book Company

Paul's Links Rogue Amoeba (https://rogueamoeba.com/) Coder's Socials Mike on X (https://x.com/dominucco) Mike on BlueSky (https://bsky.app/profile/dominucco.bsky.social) Mike's Blog (https://dominickm.com) Coder on X (https://x.com/coderradioshow) Coder on BlueSky (https://bsky.app/profile/coderradio.bsky.social) Show Discord (https://discord.gg/k8e7gKUpEp) Alice (https://alice.dev) Alice Forms (https://alice.dev/forms)

Decision Space is the podcast about decisions in board games. Join our active and welcoming Discord community, Join the crew today! (Decision Space Patreon), or Leave us a review wherever you find this podcast! Episode 216 - Innovation and Games without Guard Rails (Look Mom, No Hands!) Look mom, no hands! Brendan and Pete are diving into a discussion without guard rails (games) and then review Carl Chudyk's, Innovation. Timestamps Show Business - 0:00 Games without Guard Rails - 3:08 Innovation - 20:54   Games Mentioned lost ruins of arnak, Keyforge, Magic: the Gathering, Tigris & Euphrates, Modern Art, Root, and Innovation Preplanners Game design discussion on balancing for player count hosted by Paul coming up soon?! Also, "wow" factor in games!   Music and Sound Credits Thank you to Hembree for our intro and outro music from their song Reach Out. You can listen to the full song on YouTube here: https://www.youtube.com/watch?v=gQuuRPfOyMw&list=TLGGFNH7VEDPgwgyNTA4MjAyMQ&t=3s You can find more information about Hembree at https://www.hembreemusic.com/.  Thank you to Flash Floods for use of their song Palm of Your Hand as a sting from their album Halfway to Anywhere: https://open.spotify.com/album/2fE6LrqzNDKPYWyS5evh3K?si=CCjdAGmeSnOOEui6aV3_nA Rules Overview Music:  Way Home by Tokyo Music Walker https://soundcloud.com/user-356546060​ Creative Commons — Attribution 3.0 Unported — CC BY 3.0 Free Download / Stream: https://bit.ly/tokyo-music-walker-way...​ Music promoted by Audio Library https://youtu.be/pJThZlOuDtI Intermission Music: music elevator ext part 1/3 by Jay_You -- https://freesound.org/s/467243/ -- License: Attribution 4.0 Bell with Crows by MKzing -- https://freesound.org/s/474266/ -- License: Creative Commons 0 hammer v2.wav by blukotek -- https://freesound.org/s/337815/ -- License: Creative Commons 0   Contact Follow and reach us on social media on Bluesky @decisionspace.bsky.social. If you prefer email, then hit us up at decisionspa@gmail.com. This information is all available along with episodes at our new website decisionspacepodcast.com. Byeee!

Ian and Aaron discuss the need for an AI Newsletter, being beamed up to the mothership, web components, and more.Sponsored by Bento, WorkOS, NativePHP for Mobile, and Laracon US 2025Interested in sponsoring Mostly Technical?  Head to https://mostlytechnical.com/sponsor to learn more.(00:00) - Cushy W-2's (03:29) - New Madness (15:28) - Aaron's Very Good Tweet (22:50) - AI Newsletter (33:40) - A Theory About The World (39:28) - A Love Letter To....Rails? (48:05) - Weekend Breakfast (56:49) - A New Practice Links:Introducing Claude 4Junie, by JetBrainsWindsurfJosh Pigford on XAaron's tweet about AIProducer Dave's tweet about joining LaravelIan Landsman & Andrey Butov's Bootstrapped.fmAdam's tweet about his love letter to RailsInstrumental Components Paula's Runway Cafe

Today's Topics: 1) Gospel - John 15:12-17 - Jesus said to His disciples: "This is My commandment: love one another as I love you. No one has greater love than this, to lay down one's life for one's friends. You are My friends if you do what I command you. I no longer call you slaves, because a slave does not know what his master is doing. I have called you friends, because I have told you everything I have heard from My Father. It was not you who chose Me, but I who chose you and appointed you to go and bear fruit that will remain, so that whatever you ask the Father in My Name He may give you. This I command you: love one another." Bishop Sheen quote of the day 2) Cardinal Goh, Archbishop of the Diocese of Singapore says Pope Francis' ambiguity confused even the bishops and caused disunity https://www.lifesitenews.com/news/singapores-cardinal-goh-says-pope-francis-ambiguity-confused-bishops-caused-disunity-among-laity/ 3, 4) The brain craves beauty and here's why: True beauty can heal your heart, mind, and body https://www.theepochtimes.com/health/your-brain-craves-beauty-heres-why-5847092

Buffalo Beer Buzz – May 16 EditionRails & Ales Returns to Rochester – May 24 Rails & Ales is back at the Rochester & Genesee Valley Railroad Museum for a one-of-a-kind beer tasting event where you ride vintage trains to beer stations across the grounds. Enjoy brews from Sager Beer Works, Stoneyard, Talking Cursive and more. $35 tickets include tastings, train rides, and a souvenir glass. ($40 day of, DDs get free soft drinks.)Big Ditch Deep Cut Double IPA Returns – May 23 First brewed in 2017 and named after the hand-dug Deep Cut of the Erie Canal, Deep Cut DIPA makes its long-awaited return on May 23. This 8.2% fan favorite is loaded with citrus, tropical fruit, and wild berry notes, and will be available on draft and in 4-packs at both Big Ditch taprooms.Other Half Buffalo Launches Happy Hour Other Half Buffalo now offers Happy Hour every Tuesday–Friday, 4–6pm, with $6 drafts, $8 cocktails, $6 wings, and $7 smash burgers. Enjoy it all in their newly expanded Seneca One taproom featuring pinball, darts, foosball, and a massive projection screen.Resurgence Launches “The Surge” IPA at Consumers – $8.99 Looking for a delicious deal? The Surge, Resurgence Brewing's 6.5% juicy New England IPA, is now available at all Consumers Beverages for just $8.99 per 4-pack. Bright citrus, tropical fruit, and soft haze—all at “inflation-busting” pricing.Rusty Nickel Beer Garden Reopens – May 28 Rusty Nickel's beautiful beer garden in West Seneca opens May 28. Expect seasonal brews, cocktails, yard games, fire pits, and s'mores. It's one of WNY's hidden gems for sipping beer outdoors. A rain date will be announced if weather doesn't cooperate.Hoppy Hour at Bev Depot – May 24 Cheektowaga's Bev Depot hosts Hoppy Hour, a free tasting event with 15+ beer samples on May 24 (12–3pm). Explore 2,000+ beers, build-your-own 4-packs, and shop local options. Located at 2190 Walden Avenue.Smoldered Society Tap Takeover at Magic Bear – May 23 Join Smoldered Society at Magic Bear Beer Cellar (Larkinville) for a free tasting event on May 23 (6–8pm). Sample their lineup including Strike Anywhere Czech Pils, Mass Delusion IPA, and Automotive Sentience WCIPA. Meet the brewers and try something new.Got an event, release, or beer news tip? Email us at Brian@BuffaloBeerLeague.com or Scott@WNYBrews.com.More at BuffaloBeerLeague.com – your source for WNY craft beer. Hosted on Acast. See acast.com/privacy for more information.

In this episode of Maintainable, Robby speaks with Joe Masilotti, an independent consultant who helps Rails teams ship mobile apps using Hotwire Native.Joe shares his perspective on what makes software maintainable—especially for consultants who need to onboard quickly. He explains why setup scripts often add unnecessary complexity, and how he evaluates a project's maintainability by how quickly he can go from clone to coding.Robby and Joe also discuss how hybrid mobile development can offer faster delivery, fewer bugs, and better long-term flexibility—especially when teams reuse their existing Rails web views. Joe explains how Hotwire Native allows teams to incrementally introduce native features without rewriting their entire app.Whether you're maintaining a mobile shell built two years ago or just starting to explore native development, Joe offers actionable advice on setting expectations, scoping client work, and navigating modern mobile tech stacks.⏱️ Episode Highlights[00:01:17] Onboarding as a Measure of MaintainabilityJoe shares how quickly he can spin up a Rails app often reflects how maintainable it is.[00:05:12] Being a Good Guest in Someone Else's CodebaseJoe outlines his ideal onboarding checklist and how he adapts to unfamiliar environments.[00:08:00] Setting Communication and Collaboration ExpectationsThe three questions Joe asks every client to understand how their team works.[00:13:02] Offering Opinions—Only Where InvitedWhy Joe stays scoped to the work he's hired for, even when tempted to fix more.[00:14:15] When Technical Debt Enters the ConversationJoe explains how debt discussions usually emerge after version one is shipped.[00:15:33] Who Should Read Hotwire Native for Rails DevelopersJoe describes the type of developer his book is written for and what it covers.[00:18:01] Choosing Native vs. Hybrid for Your Rails AppA framework comparison based on your current frontend architecture.[00:20:00] Introducing the Hotwire Native MindsetWhy logic belongs on the server and the client should stay thin.[00:21:00] Bridge Components: How Rails, iOS, and Android ConnectJoe walks through how native and web technologies pass data between layers.[00:24:00] Why Even a Web View-Based App is Worth ShippingThe practical benefits of discoverability, push notifications, and native APIs.[00:28:01] Replacing Unmaintainable Apps with Hotwire NativeJoe describes how hybrid rewrites often reduce mobile code by 90%.[00:31:33] Letting Go of Feature ParityWhy most clients end up cutting features they originally wanted to preserve.[00:32:18] Scoping and Estimating Project-Based WorkHow Joe uses repeatable patterns to price fixed-fee consulting engagements.[00:35:15] Using AI to Translate Between Tech StacksJoe shares how he leverages LLMs to explore unfamiliar languages like Kotlin.[00:42:26] Long-Term Maintainability and When to Touch the CodeWhy some apps don't need changes for years—and that's okay.[00:43:43] Why Hybrid Apps Are Easier to ReplaceJoe explains why hybrid apps are often more disposable and less risky than monolithic web apps.

Mike sits down with Github Product Manager to talk AI, vibe coding and dev in general. Mailtrap (https://mailtrap.io/?utm_source=podcast&utm_medium=episode&utm_campaign=coder_radio_4) CoPilot (https://github.com/features/copilot) Tim on Github (https://github.com/timrogers) Tim's Blog (https://timrogers.co.uk/) Coder's Socials Mike on X (https://x.com/dominucco) Mike on BlueSky (https://bsky.app/profile/dominucco.bsky.social) Mike's Blog (https://dominickm.com) Coder on X (https://x.com/coderradioshow) Coder on BlueSky (https://bsky.app/profile/coderradio.bsky.social) Show Discord (https://discord.gg/k8e7gKUpEp) Alice (https://alice.dev) Alice Forms (https://alice.dev/forms)

Comedian Dusty Slay comes on the show to talk with Adam about his podcast with his wife WE'RE HAVING A GOOD TIME, his blue-collar background, homelessness in big cities, and getting away with stuff at low wage jobs. Jason “Mayhem” Miller then recaps the top stories of the day including Cowboys riding their emotional support horses through Walmart, Dave Portnoy unloading on lazy Gen-z workers, and a California lawmaker that thinks letting students live in their cars might help the housing crisis. Adam then closes the show with a tribute to his friend - the late Nicky Katt. Get it on. For more with Dusty Slay: FOR MORE WITH DUSTY SLAY: The Night Shift TourApril 18 + 19 - Tulsa, OK @ Bricktown Comedy Club May 2 - Denver, CO @ Paramount TheatreMay 3 - Colorado Springs, CO @ Pike's Peak Center for The Performing ArtsMay 16 - Portland, Maine @ State TheatreMay 17 - New York, NY @ The Town HallPODCAST: We're Having A Good Time WEBSITE: www. Dusty Slay.com INSTAGRAM: @dustyslay TWITTER: @dustyslay Thank you for supporting our sponsors:oreillyauto.com/ADAMhomes.comOmahaSteaks.com Promo Code: ADAMsimplisafe.com/ADAMSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.