Podcasts about Rendezvous

Episode Summary: In this episode, Heather “Lucky” Penney talks to Lt. Gen. David Deptula, USAF (Ret.), Jen Reeves, and Anthony “Lazer” Lazarski about the top defense issues this month in Washington, D.C. and beyond. Our team digs into the status of the defense bills on Capitol Hill. This includes a discussion on spacepower policy and investment decisions, plus a focus on fighter recapitalization and E-7. We also explore President Trump's new approach when it comes to Ukraine. The team also discusses recent Air Force and Space Force leadership changes. We wrap by explaining the significance of the latest X-37B mission as well as the US Space Force practicing 'orbital warfare' in its largest-ever training event. Credits: Host: Heather "Lucky" Penney, Director of Research, The Mitchell Institute for Aerospace Studies Producer: Shane Thin  Executive Producer: Douglas Birkey Guest: Lt Gen David A. Deptula, USAF (Ret.), Dean, The Mitchell Institute for Aerospace Studies Guest: Jennifer Reeves, Senior Resident Fellow for Space Studies, The Mitchell Institute Spacepower Advantage Center of Excellence (MI-SPACE) Guest: Anthony “Lazer” Lazarski, Principal, Cornerstone Government Affairs Links: Subscribe to our Youtube Channel: https://bit.ly/3GbA5Of Website: https://mitchellaerospacepower.org/ Twitter: https://twitter.com/MitchellStudies Facebook: https://www.facebook.com/Mitchell.Institute.Aerospace LinkedIn: https://bit.ly/3nzBisb Instagram: https://www.instagram.com/mitchellstudies/ #MitchellStudies #AerospaceAdvantage #TheHill #Rendezvous #Budget

Dans cet épisode, Lisa et Lélia explorent les nuances entre les verbes "se rappeler" et "se souvenir", ainsi que d'autres pièges linguistiques comme l'utilisation correcte de "pallier". L'émission se termine sur une note légère avec des échanges humoristiques et des remerciements aux auditeurs.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Dans cet épisode, Lisa Kamen nous éclaire sur le phénomène de l'arc-en-ciel, expliquant comment la lumière se divise en couleurs à travers les gouttes d'eau. Elle partage également une anecdote sur Tintin et les erreurs d'Hergé concernant l'arc-en-ciel. L'émission se termine sur une note poétique, évoquant le mythe du trésor au pied de l'arc-en-ciel.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Die Tessiner Krankenkassenprämien steigen massiv. Die Prämien steigen fast doppelt so stark wie der Schweizer Durchschnitt. Was ist der Grund für die hohen Gesundheitskosten im Tessin? Wie gehen die Menschen damit um? Tagesgespräch unterwegs – Rendezvous mit Iwan Santoro in Lugano. Wir stehen vor dem Moncucco-Spital in Lugano und sprechen über ein Thema, das im Tessin unter den Nägeln brennt: die steigenden Krankenkassenprämien. Nirgends in der Schweiz steigen die Gesundheitskosten so stark wie im Tessin. Tessin-Korrespondent Iwan Santoro erklärt, warum das sogenannte «Triple A» – Ärzte, Alte, Apotheken – das System belastet. Wieso gibt es so viele Apotheken? Weshalb sind Spitalschliessungen tabu? Und wie wirkt sich die tiefe Lohnstruktur auf die Belastung aus? Ein Gespräch über medizinische Dichte, politische Untätigkeit und über Menschen, die finanziell unter Druck stehen. Iwan Santoro war unterwegs mit David Karasek.

Dans cet épisode, la rédaction de RTL explore la définition des planètes et les critères qui les distinguent des autres astres. L'émission aborde également des astuces pour mémoriser l'ordre des planètes du système solaire et discute des distances astronomiques, comme les années-lumière. Une réflexion est menée sur la poésie des noms d'étoiles et d'exoplanètes.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Dans cet épisode, Lisa Cahen, maîtresse d'école, explore le monde des pléonasmes avec humour et pédagogie. Elle explique comment ces expressions redondantes, telles que "monter en haut" ou "taux d'alcoolémie", s'infiltrent dans notre langage quotidien. À travers des exemples variés, elle invite les auditeurs à prêter attention à ces formulations et à alléger leur style en évitant les répétitions inutiles. L'épisode se termine par la promesse d'une liste de pléonasmes à consulter sur sa page Facebook.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Das Tessin steht für Sonne, Seen, Berge und Grotti. Reicht das oder will Tessin-Tourismus mehr bieten? Der Tourismus ist ein wichtiger Wirtschaftsfaktor, auch weil der Kanton, obwohl so nah, wie ein anderes Land wirkt. Tagesgespräch unterwegs – Rendezvous mit Iwan Santoro in Melide. Wir stehen vor dem Swissminiatur in Melide – die Schweiz im Massstab 1:25. Doch wie sieht das echte Tessin aus? In der Tagesgespräch-Sommerserie mit SRF-Korrespondent Iwan Santoro geht es um Tourismus zwischen Tradition und Shopping, zwischen Grotti-Romantik und Burkaverbot. Warum ist das Outlet Foxtown die meistbesuchte Attraktion? Was erwarten Gäste und wie sehen die Einheimischen den Ansturm? Wir sprechen über neue Zielgruppen aus Asien und der Golfregion und das Spannungsfeld zwischen Wunschbild und Wirklichkeit. Eine Sendung über ein Tessin im Wandel – nah und doch anders. Iwan Santoro war unterwegs mit David Karasek.

Arrivé avec un vent de fraîcheur et des idées nouvelles au sein du Benfica, Roger Schmidt a rapidement séduit par son jeu offensif et ses résultats. Mais un petit peu plus de deux saisons plus tard, il quitte le club sous les sifflets. Que s'est-il passé entre-temps ?Dans cet épisode, on revient sur toutes les étapes de son passage : son impact initial, le titre de champion, le feuilleton Enzo, les mercatos discutables, la fracture avec les supporters et le traumatisme du 0-5 face à Porto.Avec Dany, fondateur du podcast A Venia et Matthieu Monteiro, on dresse une bilan complet d'un cycle prometteur qui s'est crashé en plein vol… et on pose une question centrale : Schmidt est-il vraiment le principal responsable de cette rupture ?

Dans cet épisode, la rédaction de RTL explore l'histoire et l'importance du mètre comme unité de mesure. L'émission revient sur l'origine du mètre, introduit pendant la Révolution française, et explique comment il a été défini à partir de la distance entre Barcelone et Dunkerque. Les animateurs discutent également des multiples et sous-multiples du mètre, tout en évoquant l'évolution de sa définition, désormais basée sur la vitesse de la lumière. L'épisode se termine sur une note légère, en lien avec le départ du Tour de France.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Dans cet épisode, l'émission aborde le thème de la rentrée scolaire avec une touche d'humour et de pédagogie. Les intervenants discutent des expressions et insultes utilisées dans les cours de récréation, proposant des alternatives plus élégantes et enrichissantes pour le vocabulaire des enfants. Des termes comme "pleutre", "fesse-Mathieu" et "homoncule" sont expliqués, offrant des options plus raffinées pour exprimer des critiques. L'épisode se termine sur une note positive, souhaitant une belle rentrée à tous les élèves et enseignants.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Der Kanton Tessin ertrinkt im Verkehr. Das Tessin hat die höchste Fahrzeugdichte pro 1000 Einwohner in der Schweiz. Das Strassennetz ist überlastet. Wieso ist das Tessin ein Auto-Kanton? Und was spielt der ÖV für eine Rolle? Tagesgespräch unterwegs – Rendezvous mit Iwan Santoro in Lugano. In unserer Tagesgespräch-Sommerserie diskutieren wir mit SRF-Tessin-Korrespondent Iwan Santoro über das angespannte Verhältnis zwischen öffentlichem Verkehr und motorisiertem Individualverkehr im Südkanton. Warum ist das Tessin eine Autoregion? Welche Rolle spielen Topografie, Mentalität und Politik? Und welche Chancen hat ein ökologischer Wandel in einem Kanton, in dem täglich Tausende Grenzgänger die Strassen fluten und das Auto noch immer König ist? Iwan Santoro war unterwegs mit David Karasek.

Fluent Fiction - French: Love Beyond Pixels: A Parisian Virtual Rendezvous Find the full episode transcript, vocabulary words, and more:fluentfiction.com/fr/episode/2025-07-28-22-34-02-fr Story Transcript:Fr: Élodie est assise à la table du petit café en plein air sur le balcon de la Tour Eiffel.En: Élodie is sitting at the table of the small open-air café on the balcony of the Tour Eiffel.Fr: C'est le quatorze juillet, la Fête Nationale en France.En: It's the fourteenth of July, the National Day in France.Fr: Autour d'elle, il y a des touristes excités, des lumières scintillantes décorant le café, et la chaleur de l'été.En: Around her, there are excited tourists, twinkling lights decorating the café, and the warmth of summer.Fr: L'atmosphère est animée, presque magique.En: The atmosphere is lively, almost magical.Fr: Élodie regarde son téléphone avec impatience.En: Élodie looks at her phone impatiently.Fr: Elle a prévu une surprise pour Jacques, son petit ami qui vit loin.En: She has planned a surprise for Jacques, her boyfriend who lives far away.Fr: Elle a préparé un rendez-vous virtuel pour partager la fête ensemble, même à distance.En: She has set up a virtual date to share the celebration together, even from a distance.Fr: Mais le Wifi du café ne fonctionne pas bien.En: But the café's Wi-Fi isn't working well.Fr: La connexion est mauvaise, et le petit écran de son téléphone gèle souvent.En: The connection is poor, and the small screen of her phone often freezes.Fr: D'un coup, Élodie décide d'utiliser son propre forfait de données.En: Suddenly, Élodie decides to use her own data plan.Fr: Elle sait que cela pourrait se terminer vite, mais elle veut vraiment parler à Jacques.En: She knows it might run out quickly, but she really wants to talk to Jacques.Fr: Les messages ne suffisent pas aujourd'hui.En: Messages aren't enough today.Fr: Elle appuie sur l'écran pour appeler.En: She taps the screen to call.Fr: La voix de Jacques apparaît enfin, interrompue et pixelisée, mais présente.En: The voice of Jacques finally appears, interrupted and pixelated, but present.Fr: Élodie sourit, ravie de le voir malgré les difficultés.En: Élodie smiles, thrilled to see him despite the difficulties.Fr: Elle lui montre la vue magnifique de Paris et la foule en fête.En: She shows him the magnificent view of Paris and the festive crowd.Fr: Jacques râle gentiment sur la qualité de l'image, mais son sourire est sincère.En: Jacques grumbles playfully about the quality of the image, but his smile is sincere.Fr: Le ciel s'assombrit, et les premières fusées s'élancent dans le ciel de Paris, dessinant des couleurs flamboyantes.En: The sky darkens, and the first fireworks shoot up into the Paris sky, drawing dazzling colors.Fr: Élodie admire les feux d'artifice, espérant que Jacques les voit aussi.En: Élodie admires the fireworks, hoping Jacques sees them too.Fr: Puis, la connexion se coupe soudainement.En: Then, the connection suddenly cuts off.Fr: Elle soupire, frustrée.En: She sighs, frustrated.Fr: Mais elle n'abandonne pas.En: But she doesn't give up.Fr: Elle recommence l'appel juste à temps.En: She restarts the call just in time.Fr: La connexion revient au moment parfait.En: The connection returns at the perfect moment.Fr: Jacques voit les dernières floraisons lumineuses du spectacle.En: Jacques sees the last bright blossoms of the show.Fr: Ils rient ensemble de la situation, des images figées et des sons saccadés.En: They laugh together at the situation, the frozen images, and the choppy sounds.Fr: À la fin de la soirée, Élodie sait que leur amour est plus fort que les problèmes techniques.En: At the end of the evening, Élodie knows that their love is stronger than any technical issues.Fr: Il suffit d'un regard, d'un sourire pour se sentir proche, malgré la distance.En: A look and a smile are enough to feel close, despite the distance.Fr: Elle apprend à être patiente, à sourire des petits tracas.En: She learns to be patient, to smile at the little troubles.Fr: Élodie et Jacques se disent au revoir, le cœur léger, reconnaissants de partager ces moments, même à travers un écran.En: Élodie and Jacques say goodbye, their hearts light, grateful to share these moments, even through a screen.Fr: L'écran noir se ferme calmement, et Élodie regarde le ciel étoilé.En: The black screen closes calmly, and Élodie looks at the starry sky.Fr: Elle est contente.En: She is happy.Fr: Dans ce café animé au sommet de Paris, elle a découvert que l'amour trouve toujours son chemin, malgré les obstacles modernes.En: In this lively café at the top of Paris, she has discovered that love always finds its way, despite modern obstacles. Vocabulary Words:balcony: le balconday: le jourtourists: les touristeslights: les lumièreswarmth: la chaleuratmosphere: l'atmosphèreimpatiently: avec impatiencesurprise: la surpriseboyfriend: le petit amiconnection: la connexionscreen: l'écrandata plan: le forfait de donnéesvoice: la voixview: la vueimage: l'imagesky: le cielfireworks: les feux d'artificecolors: les couleursfrustrated: frustréesituation: la situationlaugh: rireevening: la soiréelove: l'amoursmile: le souriretroubles: les tracasscreen: l'écranstarry: étoilémodern obstacles: les obstacles modernesdazzling: flamboyantesgrateful: reconnaissants

Thank you for joining us for morning worship! Today, Dr. Jeffery Parker ministers to us from the topic “A Rendezvous With Destiny”. Focal Scriptures: Luke 7:11-17

20 avril, 5 h 05   Merci Seigneur Jésus pour le beau témoignage de sœur T. et de ce que j'entends régulièrement en regard des onctions de Paix et d'Amour que Vous mettez dans le cœur des lecteurs et lectrices.   Merci pour cette grande faveur que vous nous faites d'être témoins de Votre agir. Je vous demande de combler d'une façon bien particulière les lecteurs et lectrices aujourd'hui-même et dans les jours à venir. Je dépose dans Votre Cœur et Celui de Maman Marie ces rencontres d'adoration, de prière, de témoignages. Éventuellement des Eucharisties seront célébrées aux intentions des lecteurs et lectrices du volume. Merci d'entendre ma prière. Merci pour tant d'Amour. Je Vous aime.   « Mon tout-petit, Je suis dans la très grande Joie de voir des cœurs s'ouvrir davantage à Moi et d'accueillir davantage Mon Amour; il est là le véritable chemin de la vie, de la vraie Vie. De plus en plus vous serez nombreux à accueillir ce trop-plein d'Amour du Père qui passe tantôt directement par Moi, Son Fils, par l'action de l'Esprit Saint, et tantôt par Marie, Ma Sainte Mère, par les Saints et Saintes du Paradis et de la Terre, les Saints Anges et les âmes du purgatoire. Finalement, cet Amour passe par tous ceux et celles qui L'accueillent, qui s'en laissent pénétrer et qui donnent un “oui” totalà Dieu. Plus ily aura d'Eucharisties vécues dans la foi, de temps d'ado- ration, de prières et de témoignages à la Gloire de Dieu et à Lui seul, plus rapidement vous serez nombreux à entrer dans cette Église Nouvelle, dans cette Société Nouvelle baséesur l'Amour. Très bientôt, vous serez témoins de ce que produit l'Amour lorsqu'Il est accueilli et vécu. Demeurez bien attentifs au souffle de l'Esprit qui fera éclater aux yeux du monde la grande puissance de Dieuà travers les groupes capables d'accueillirce nouveau renouveau continu.   Demeurez bien en paix et disposés à accueillir ce souffle nouveau. Tendrement et follement, Je vous aime.»   Pour visionner ce RDV du Dimanche, rendez-vous sur notre site web.    

„Eine Kerze des Verstehens“ findet Robert Zoske in einem Bilder Künstlerin Marion Adnams und denkt über „Licht-Momente“ nach.

Écoutez la chronique économique de François Gagnon, vendredi matin, à l'émission de Jean-Sébastien Hammal.Voir https://www.cogecomedia.com/vie-privee pour notre politique de vie privée

Wie kann ich mir den Garten Eden vorstellen, fragt sich Robert Zoske und findet Antworten in den Bildern Caspar David Friedrichs und bei Matthias Claudius.

„Vollkommenes Blau“: was ist das, fragt sich Robert Zoske. Vor allem geht es um Weite und Freiheit, auch im Glauben, sagt er.

Née en 2008, Prestaterre Certifications est un organisme de certification accrédité par le Cofrac et qui certifie la performance énergétique, environnementale et sociale du bâtiment. Pour Prestaterre, la certification est un levier de transition écologique et sociétale : elle garantit la performance énergétique d'un bâtiment, valorise la qualité des matériaux et sécurise les projets face aux normes toujours plus exigeantes. À quoi sert la certification ? À quoi correspond une opération de certification ? Pourquoi les entreprises viennent solliciter Prestaterre ?

Née en 2008, Prestaterre Certifications est un organisme de certification accrédité par le Cofrac et qui certifie la performance énergétique, environnementale et sociale du bâtiment. Pour Prestaterre, la certification est un levier de transition écologique et sociétale : elle garantit la performance énergétique d'un bâtiment, valorise la qualité des matériaux et sécurise les projets face aux normes toujours plus exigeantes. À quoi sert la certification ? À quoi correspond une opération de certification ? Pourquoi les entreprises viennent solliciter Prestaterre ?

Guest host Gabriel Spitzer discusses the week’s news with former Washington state Attorney General Rob McKenna, political and tech consultant and author of the Rendezvous newsletter Ron Davis, and KUOW Soundside producer Maleeha Syed.See omnystudio.com/listener for privacy information.

Aareschwimmen zählt zu den «lebendigen Traditionen» der Unesco. Zehntausende Menschen treiben im Sommer auf Booten oder mit ihren Säcken den Fluss hinunter. Aber viele unterschätzen die Gefahr. Wasser ist Lebensbringer und Todbringer zugleich - und Thema im dritten «Rendezvous in Bern». Mittlerweile hüpft Samuel Burri an heissen Tagen gerne in die Aare. Aber das sei nicht immer so gewesen, erzählt er Salim Staubli im dritten Teil der Sommerserie «Tagesgespräch unterwegs». Ausserdem erklärt der ehemalige Afrika-Korrespondent von Radio SRF, weshalb er niemals im Nairobi River baden würde, weshalb Wasser ein grosses Thema in seinem Redaktionsalltag ist und wie unterschiedlich die Menschen hier in der Schweiz und in Kenia mit der natürlichen und lebenswichtigen Ressource umgehen.

E3: Six new couples emerge from a twist-filled choice ceremony, ready to embark on three-week trial marriages. But not everyone is eager for a fresh start.E4: Newfound feelings simmer as the couples settle into their shared lives. As some pairs get intimate, others confront betrayal and breached boundaries.Please rate and subscribe to our podcast. You can rate us at either Apple Podcasts, https://podcasts.apple.com/us/podcast/realitea-times-two/id1689517536 or spotify, https://open.spotify.com/show/7rInYf1BD8YiFeCeOOx8gI. I will also start reading your 4 or 5-star ratings on the air!Patreon is here!!! Go join the Patreon at https://patreon.com/RealiteaTimesTwo?If you like us, please share with your friends.Please visit and follow us on:Facebook: https://facebook.com/realiteatimestwoIG: https://instagram.com/realiteatimestwoThreads: https://www.threads.net/@realiteatimestwoTwitter/X: https://twitter.com/RealiteaxTwoPod Tik Tok: https://www.tiktok.com/@realiteaxtwopod?lang=en Bluesky: https://bsky.app/profile/realiteatimestwo.bsky.social You can also e-mail us at realiteaxtwo@hotmail.com. You can find us on Youtube at https://www.youtube.com/@realiteatimestwoFind us on Discord at realiteaxtwoFollow us on Reddit at https://www.reddit.com/r/realiteatimestwopod/ I got a new website!!!! Visit https://realiteatimestwo.podcastpage.io/?v=zzea Listen to my new podcast with my friend Mikel called "Next Take Podcast" at the below YouTube link at: www.youtube.com/@NextTakePodcast/featured Hosted on Acast. See acast.com/privacy for more information.

In vielen Quartieren Berns ist der Wohnraum knapp. Das musste auch Samuel Burri nach seiner Rückkehr aus Afrika feststellen. Doch er und seine Familie hatten Glück. Samuel Burri nimmt uns im «Tagesgespräch unterwegs» mit in sein Wohnquartier – den Breitsch. «Im Breitenrain hat sich viel getan, in der Zeit, als ich in Afrika war», erklärt Samuel Burri. Ein schöner Anknüpfungspunkt nach der Rückkehr vom afrikanischen Kontinent war für Burri und seine Kinder die Verbindung zu Weeks, einem nigerianischen Tankstellenwart und Kioskbetreiber im Breitenrain. In der Sommerserie «Tagesgespräch unterwegs – Rendezvous in Bern» erzählt der ehemalige SRF-Afrikakorrespondent Samuel Burri von den Unterschieden im Wohnen zwischen Nairobi und Bern, von «linken Bünzlis», seinem journalistischen Schaffen hier und dort und präsentiert bei Weeks in der Tankstelle typisch afrikanisches Instant-Food. Das Gespräch führte Salim Staubli.

Interview with : Robert Scheffler Songwriter, singer and guitarist Robert Scheffler has been called a “songwriter's writer” and “unquestionably one of the best performers in the New York area” by local reviewers. Previous record releases include Needles (EP), Pretty Town and Life of Luxury (including tracks produced by Jim Rondinelli [Wilco, Matthew Sweet]). His work has appeared on dozens of TV shows and several short film soundtracks. One song, “Rendezvous,” figured prominently (and dubiously) in a movie that The New York Times labeled “an unpalatable mush.” The film wasn't great but it wasn't all that bad–Emmy Rossum was in it. When Scheffler isn't writing songs, he's making furniture. His partner John knew his latest project was all but finished when Scheffler started making trips to the lumberyard. www.robertschefflermusic.com https://www.instagram.com/robertscheffler_music/  

Vor 27 Jahren zog Samuel Burri für sein Studium aus dem Luzernischen nach Bern. Zum selben Zeitpunkt eröffnete im Berner Lorraine-Quartier das Café Kairo. Ein Aushängeschild der Berner Gastroszene. Dort trifft sich Salim Staubli mit Samuel Burri im «Tagesgespräch unterwegs – Rendezvous in Bern». Die Gastronomie in Bern hat schwierige Jahre hinter sich. Die Pandemie hat viele Betriebe arg ins Wanken gebracht oder gar in den Konkurs getrieben. Das Café Kairo hat die Pandemie überstanden. Eine einfache Zeit sei es aber nicht gewesen, bestätigt Kairo-Wirtin Trine Pauli. Und das Lorraine-Quartier kämpft noch mit einem anderen Problem: der rasanten Gentrifizierung. Dass sich Quartiere verändern, gehöre nun mal dazu, findet Samuel Burri. Wie blickt der ehemalige Afrika-Korrespondent auf die Berner Gastronomie im Vergleich zur Gastronomie in Nairobi, wo er früher gelebt hat? Wie geschieht Gentrifizierung oder soziale Segregation in Afrika? Und geht Samuel Burri eigentlich noch in den Ausgang?

En début d'année 2023, le site de rencontre Eharmony publie une étude concernant les comportements des célibataires. L'enquête démontre que ces derniers passent en moyenne 55 minutes par jour sur les applis de dating. Et beaucoup d'entre eux sont déçus du résultat. C'est ce que révèle l'institut de sondage YouGov. 8 personnes sur 10 ne sont pas satisfaites des nouveaux modes de rencontres. Mais il existe une nouvelle technique pensée par l'entrepreneuse Christina Wallace. Elle l'appelle le rendez-vous zéro. Elle explique pour le magazine Glamour qu'il s'agit là d'une petite révolution pour le monde du dating. En quoi cela consiste ? Mais quelles sont les différences avec un date classique ? Et cette méthode est-elle vraiment efficace ? Écoutez la suite de cet épisode de "Maintenant vous savez". Un podcast Bababam Originals, écrit et réalisé par Samuel Lumbroso.  Date de première diffusion : 07/03/2024 À écouter aussi : ⁠Qu'est-ce que l'inflexibilité intentionnelle, qui peut vous sauver au travail ?⁠ ⁠Les hommes politiques sont-ils vraiment assez protégés ?⁠ ⁠Quelles sont les 3 idées reçues pour lutter contre la chaleur ?⁠ Retrouvez tous les épisodes de ⁠"Maintenant vous savez".⁠ Suivez Bababam sur ⁠Instagram⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

01 Buschtaxi (Original Mix) DJ Koze 02 Bullet Proof (Gianluca Pighi Daddy Lovebone Appetizer Dub) Terry Jasinto 03 Crazy For It (Original Mix) Boys Noize, &ME, Rampa, Adam Port, Keinemusik ft. Vinson 04 Dali Dali (HIGHLITE Remix) Anturage & S.Samo 05 If You (Extended Mix) Mafia Mike, Kubinowski 06 Work (Super Flu Ext. Remix) Kevin McKay, Pupa Nas T, Denise Belfon 07 Mombassa (Original) Jerry Ropero, Divolly & Markward, Aaron Sevilla 08 Wile Out (Original Mix) Bontan ft. Surya Sen 09 Supernova (Extended Mix) Emi Galvan 10 Koisuru (Original Mix) antraum (Traumer & Anton) ft. rhi 11 Put Your Love On Me (Korolova Extended Mix) Claptone & Sea Girls ft. Henry Camamile 12 Break It Down (Extended) PRUNK & RED 87 13 At Night (Anyma x Layton Giordani Ext. Remix) Shakedown 14 Tussi Blinder (Original Mix) Beltran (BR) 15 Sexy Back (Original Mix) Bruno Bona, Esteban Angel 16 Baile De Fantome (Extended Mix) Franky Rizardo 17 Monochrome (Original Mix) Dennis Cruz ft. Pumpkin 18 Elevate (Mihai Popoviciu Remix) FLETCH (GB) 19 Freak (Extended Mix) KIFF, Sandy Rivera & Hayze 20 Rendezvous (Original Mix) PAWSA 21 Little Conversation (Franky Rizardo Ext. Remix) Nick Curly 22 Cocaine Cool (Gio Lucca Ext. Rework) Laid Back & Gio Lucca 23 Seguimos (Original Mix) Toman 24 Clean Up (Original Mix) Joe Vanditti 25 Gangster Boogie (Original Mix) Kolter 26 Bring The Funk Back (Original Mix) Nigel Hey

Chaque jour, retrouvez le journal de 19h de la rédaction d'Europe 1 pour faire le tour de l'actu. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Building A Better World for ErosIn 13 parts, By BradentonLarry - Listen to the Podcast at Explicit Novels.Don could hear Evelyn off to his right, encouraging her new friend to fuck her harder, as he felt India rocking against him, her hands now on his lower back. He began to fuck India harder and faster, gradually building up the tempo until he was driving into her with rapid short strokes and she was groaning in a steady, staccato rhythm of rising passion. Then she was crying out underneath him as her cunt clenched tightly on his cock, milking it as he kept shoving into her. Don went on fucking India as she came and came again.When he finally let up, she fell back on the bed, her arms and legs spread-eagled and a happy smile on her beautiful face. He kissed her again, and she asked, "How am I supposed to do the orgy now?"Don laughed and said, "I know you'll find a way, and everyone will remember how amazing you were.""This is true," she smiled at him. "Now, go fuck someone else with that beautiful cock of yours."Don quickly kissed her one more time and looked around. The studly blond was now on his knees with his arms wrapped around Evelyn, who had her arms and legs holding him as she rode up and down on that very thick pole of his. Don walked on his knees until he was behind Evelyn, he leaned in and kissed her shoulder, and asked, "Having fun?""Uh huh!" she grunted.Don smiled and got a bit closer, pushing his cock into position. The blond caught on and held Evelyn still long enough that Don could push the fat and slippery head of his cock up into the tight grip of Evelyn's ass."God, fuck yes!" Evelyn said, quite loudly. Then she and the muscular man in front of her went back to raising her up and down, now on two hard cocks. It wasn't long before she was gasping and shuddering, her cunt and ass squeezing and releasing on those cocks.She was still sandwiched between them, when she managed to say, "Don, this is Adam; Adam, Don. Baby, I think I'm going to need to have Adam fuck my ass next."Seeing that another fellow, was in the wings watching Evelyn with obvious lust and a raging hard on that was quite long, but nowhere as thick as Adam's, Don kissed Evelyn's shoulder again, and said, "Show 'em a good time, baby!""Oh, you know it!" she laughed.Don managed to have sex with another ten women that night, though he only came twice, all while keeping an eye on Evelyn as she threw herself into the orgy. It was closer to morning and the orgy was definitely on its last legs, when Don was reclining against a sleeping Lavinia's soft ass and watched a young Latino man pull out of Evelyn's mouth and spray a prodigious amount of white cum all over her face and tits. After she had sucked any leftovers from him, but without wiping any of the cum off her, Evelyn crawled over to give Don a deep kiss.Laughing, he wiped up some of the cum that was now on his face and fed it to her. Then, without a word, she curled up in his arms and they fell asleep."After waking up and getting cleaned up, we took Lavinia home and then came back to the Resort to figure out what we were going to do next.""Wait a minute," Toshia interrupted for the first time in a while. "What do you mean you took Lavinia home? You make it sound like it was just like going next door.""Oh, yeah, well, remember what I said about India taking me to her home? It turns out that if you're in physical contact with someone, and no one else is looking, you can bring them along when you teleport. They didn't tell us we could do that, but we each worked it out. I did it with Jess, and Evelyn got a ring like mine with her Argent mission, too, so she was able to bring Lavinia with her to the Resort.""That's bloody convenient!""Yeah it is," Don grinned.Once they were back at the Resort, Don made his proposal that they work together to develop a couple of places that were related, both spatially and conceptually. Evelyn thought this was a fun idea, and they launched into a couple of days of tossing ideas back and forth, which was, naturally enough, punctuated by quite a few sex breaks. It was Evelyn who came up with the game of pointing out people for the other to have sex with, which Don agreed was a great idea. When one of them said "imperator" and indicated someone, the other had to go play, assuming the person, or, as Don was quick to suggest, persons, were willing, which they almost always were.When they had their grand idea sorted out, they turned to the question of where to situate their project. They thought it didn't really make sense to add what they had in mind to the Resort or Rendezvous, and they didn't particularly want a high-traffic area, but they didn't want it exactly isolated either. So, when they found themselves having wandered out to the Riverboat dock, Don looked across the river and said, "What about over there?""In the forest?" Evelyn frowned thoughtfully as she looked at the wooded hills that rose on the far side of the river."Yeah, it's close to the Resort, but people would have to go out of their way to get to it.""But how would they get to it?""We could put a bridge in, up there, out of the way of the Riverboat turning around," he waved his hand to the right."Easier said than done," she mused."Is it?" Don asked as he started toward the far edge of the dock area, upriver. He called up his menu and selected the "Builder" option. He noticed that there was now a slight reddish tint to the entire dock area, but that the ground just beyond was tinted a light green, though that was a bit hard to see where there was grass. Don imagined a nice flagstone walkway extending from the edge of the dock area and up alongside the river, and then, suddenly, it was there."Holy fuck!" Evelyn laughed.Grinning, Don started along his new walkway and continued adding to it until he came to a spot he thought would be good for the bridge. He had seen the Riverboat turn around and head downriver several times and he was confident it never came this far. He turned his walkway toward the river, and exited Builder mode. Turning to Evelyn with a broad smile, he said, "Your turn."Don watched as Evelyn looked at the river, frowning slightly in concentration. Then there was a sturdy wooden bridge spanning the water. This was replaced a moment later by a red brick expanse, and then a metal and stone one complete with fancy streetlamps."Nice!" he grinned. "Let's test it and make sure we don't get wet.""Are you questioning my imagining skills?""Not at all!" Don laughed. "I'm just not sure how much I trust this whole system.""You think maybe Pamela's just setting us up for a practical joke?""Would it really surprise you if she was?""That's fair," she shrugged. By then they were halfway across the river, and Evelyn said, "'Seems sturdy enough.""Indeed," nodded Don. "You imagine good work.""Okay, your turn," she said as they reached the far side."Oh, I'm walkway guy, now?""I just thought the two walkways should match.""Oh, that's good thinking, but put in some of those lamps along the way.""Okay, but give me a minute to put some in on the other side."Soon, they were standing in a small clearing in roughly the place Don had indicated from the dock across the river. He asked, "How about here?""Sure," she smiled. "How should we begin, though?""Well, how about with this?" Don smiled as a little tent-pavilion appeared before them. Resembling the kind of spread one might imagine at a sheik's oasis, there were dozens of soft pillows surrounding a little fountain spraying sparkling water, and several platters heaped with berries and fruit. Off to the side was a wide hammock strung between two trees. "You know, a base camp for when we want a break.""Nice, but how long do you think this will take?""Do you really think this is the kind of thing either of is going to not want to spend at least several days getting just right?""Yeah, true," she smiled. "Now then, what about all these trees?""We could build around them, or, " Don stopped when he noticed that a big swath of trees, at least a dozen, had already disappeared under Evelyn's gaze. "Or, yeah, just get rid of them."The project went rather quickly the rest of that first day. They each had a project that was particularly theirs, though they each gave the other helpful suggestions, and they shared a project in the middle that served as a bridge (literally and metaphorically) between the other two. Evelyn started with a big columnar building on the upriver end of the clearing they made, and Don set up a sprawling plaza at the downriver end. The next day and the day after that they focused on the area in the middle, working on that until they were happy with the result. Then they went back to their individual projects.Along the way, of course, they took breaks, both playing and talking. They got caught up on each other's adventures and spent hours talking about all the strange things they'd experienced in Eros. Each night they would walk into the Resort for some more social play, except for the night when India came out to see what they were up to. She was quite pleased with what they had accomplished so far and promised to come visit again when they were done. The three of them wound up talking for hours that night, around a campfire Evelyn conjured up, as well as having sex until they could stay awake no longer.Although he knew India tended to prefer men, Don was quite content to take something of a backseat that night, letting Evelyn clearly achieve one of her goals. Licking her clit and slowly fucking India with her entire hand, bringing India to a loud, long, intense orgasm, or more accurately a sustained series of them, while Don held India in his arms, squeezing her tits tightly as she begged him to, definitely seemed to count as rocking India's world. Of course, Don got plenty of attention that night too, including his all-time favorite session of getting head from two gorgeous women at the same time. It truly was a wonderful night.Then, on the seventh day, they had another visitor.Don was putting some finishing touches on the broad park that now spread out on the slope between their project and the river. He had made long, winding paths that made their way slowly to the water, where he had put a dock and a couple of rowboats. Along the paths were secluded little niches with padded benches, and one with a large round bed. He had also put in glowing-orb lamps, which resembled the light balls that illuminated the elven forest, to light the way at night. He was standing near the top of his park, trying to imagine it at night, when he heard a voice behind him saying, "Very nice work, Don."He turned to smile at Pamela, who was wearing her black robe but with the hood down."Thank you," he grinned. "I'm pretty happy with it.""Would you like to show me what else you've done?""Sure!" He gestured up the path that led to his end of the project. "Let's start with the Shelonda-center.""That's what you're calling it?""Well, it's just a nickname, but I thought it was appropriate."He led her through a gate that resembled a Japanese torii gate and into a wide garden that surrounded a very Japanese-looking building with wood and paper panels that could be slid open or closed as desired. The building itself was quite large, and itself surrounded a huge open-air courtyard complete with four fountains and a central platform. All the floors in the four sides of the building and on that central platform had soft, padded mats. Here and there were racks of martial arts weapons, as well as protective sparring gear."Here, I plan to both study and teach kung fu and aikido, adapting both for Eros. I also want to explore the limits of sexuality here in Eros. There's a thing back home called tantric sex, which is supposed to be amazing, and it seems to me that one might be able to do great things with that here. None of this is about violence, of course, but about developing one's sense of self and physicality here, which has great potential that few people seem to appreciate.""Interesting," Pamela nodded with a Mona Lisa smile.They passed through the building on the far side, then through the other side of the garden until they came to a small amphitheater cut into the hillside."Welcome to our school," Don gestured. "Both Evelyn and I are academics by nature and, while there isn't much use for Earth history here, Evelyn's field is philosophy, and there is so much work to do in that area here, particularly in ethics."Don led Pamela up a slope to show her the big pavilion at the center of the Academy. Everything was open to the air, though there were vertical screens that could be moved to create spaces with some degree of privacy. There were chalkboards and white boards with comfortable light chairs that could be rearranged easily, and, as Don and Evelyn had made sure, were quite useful for sex purposes. Don was particularly pleased with the large, round, backless, somewhat-stool-like seats Evelyn had created that were particularly good for having him sit on while Evelyn straddled him, kneeling. His memory of her smiling at him as she rode up and down on him while he kissed, sucked, and nibbled at her nipples while squeezing her ass in his hands was one of his favorites of the "construction" process."Not only can Evelyn and I, and anyone else who wants to, use this space to do philosophy or anything else, but it can be used to live out any schoolroom fantasies someone might have.""Very nice," Pamela nodded.Don led her on until they stood before a towering column, which Don proudly called, "Evelyn's masterpiece, the Library!"Entering through a wide doorway which had no doors, they came to a comfortable lobby that surrounded the central part of the library, a circular shelving system that held millions of books, both on the outside curve and on the slightly more secluded inner curve. The main column of shelves rose four stories, and two of them were here without break, with wheeled ladders enabling access to the higher books. The whole thing was surrounded by a curving wall of glass. A gradual ramp winding around the outside of the lobby and reading area ran up to the second floor and then the third. Here on the second and third floors there were niches and even a couple of secret reading chambers. Everywhere it was easy to find somewhere cozy to read or indulge in some play. Continuing up the ramp, they came to the fourth floor, which was actually five stories up."The books on this floor are all erotica, Evelyn says, and the shelves are actually a maze," Don grinned. "At the center is a big orgy bed! She wants to set up a regular library-orgy night somehow."Don led Pamela up to the next level, the roof. Here there was another pavilion, with a wide central opening, to let in the sun or allow a view of the night sky, and no walls. Everywhere you looked there was a spectacular panoramic view of the rolling, forested hills or the river and the Resort. There were couches, chairs and tables arranged so people could read or socialize freely as they saw fit. In the center, on a platform with five steps, looking very much like an altar, was a very large round bed. Don completely forgot to tell Pamela that the entire surface of the pavilion over their heads would glow at night, as would that of the school pavilion below.It was here that they finally found Evelyn, adjusting the arrangement of furniture. She smiled broadly and welcomed Pamela, who said, "This is very well done. You should both be very proud.""Thank you," Evelyn grinned. "Did you show her the maze, lover?""I told her about it," Don laughed."I was inspired by the Dark Labyrinth," Evelyn said. "And we got the idea for this bed and platform from India.""Do you mind telling me how you got all the books?" Pamela asked.Evelyn shrugged, "Oh, well, that was actually a lot easier than I expected. I visualized the whole setup and then specified that the shelves were filled with unique copies of books in English. There was, well, there is a lot of crap in the collection, but I made the library responsive to whatever you're looking for. If you're looking for a particular translation of Plato's Republic, for instance, you'll find it.""But why have all the other books, then?" Pamela asked.Don shook his head and Evelyn frowned at Pamela as if she were suddenly very thick.Don, who had been down this road before, decided to jump in, saying, "There's something both soothing and erotic about being surrounded by books. Many people, including Evelyn and myself," he emphasized, in Evelyn's direction, "have deep emotional ties to libraries.""I see," Pamela said thoughtfully. "And there is a library in the Manor.""Yes," Evelyn nodded, "but you have to go through the Manor to get to it, and two libraries in Eros isn't too many - not at all.""And it goes so well with the theme of everything else we've done here," added Don."True," Pamela nodded. "So, what do you call all of this, then?""We decided to call the whole complex 'The Academy,'" Evelyn said, obviously hoping Pamela would ask her why.Instead, the dark woman frowned momentarily in concentration and said, "Done." Pamela seemed quite obvious to the expression of obvious disappointment on Evelyn's face, and instead said,Task Seven.

Man könnte auch sagen, konservativer, stellt SRF Zürich Korrespondent Dominik Steiner in der Sommerserie «Tagesgespräch unterwegs – Rendezvous im Zürcher Unterland» fest. Es sei auch als Abgrenzung der ländlichen Gemeinden gegenüber den progressiven Städten wie Zürich oder Winterthur zu verstehen. Wie ticken die ländlichen Gemeinden im Kanton Zürich? Das erklärt Dominik Steiner im Gespräch mit Radka Laubacher am Beispiel von Stadel im Zürcher Unterland. Die Gemeinde hat 2300 Einwohnerinnen und Einwohner. Der Fluglärm ist Alltag. Die Gemeinde liegt in der Anflugschneise des Flughafens Zürich. Und Stadel wird Standort für das Tiefenlager von Atommüll. Für eine kleine Gemeinde eine gewaltige Herausforderung. Diese sei am Anfang «greifbar» gewesen, erinnert sich Dominik Steiner. Die Bevölkerung sei mehrheitlich pragmatisch mit dem Entscheid umgegangen. Die Behörden, Milizpolitiker, seien an ihre Grenzen geraten. Im Minutentakt fliegen die Flugzeuge tief über Stadel, um in Zürich zu landen. Trotzdem ist der Streit um den Fluglärm in den ländlichen Gemeinden weniger heftig als auch schon, beobachtet Dominik Steiner. Obwohl die Fluglärmwerte jedes Jahr überschritten werden. Eine Erklärung von Dominik Steiner ist, dass sich die Gemeinden damit arrangiert hätten. Eine genaue Erklärung habe er aber auch nicht.

REDIFF - En trois ans, Stéphane Delabrière a tué trois personnes, mais il n'est jamais entré pour autant dans la catégorie des tueurs en série classiques, les Fourniret, Guy Georges, Jacques Rançon. Ces criminels sexuels qui partent à la chasse, repèrent leurs proies et finissent par les attraper. Delabrière est autrement plus imprévisible dans l'échelle de l'horreur. Il donne la mort à des personnes qu'il aime bien pour pouvoir avec elle faire un voyage dans l'au-delà. Aller voir ce qui se passe du côté de l'enfer. Il avait prévenu qu'il ferait une troisième victime, on l'a mal surveillé, il a tenu parole. Retrouvez tous les jours en podcast le décryptage d'un faits divers, d'un crime ou d'une énigme judiciaire par Jean-Alphonse Richard, entouré de spécialistes, et de témoins d'affaires criminelles.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

15'000 Grenzgängerinnen und Grenzgänger pendeln täglich aus Deutschland in den Aargau zur Arbeit. Wie prägt die Nähe zur Grenze den Kanton? Tagesgespräch unterwegs - Rendezvous mit Alex Moser auf dem Grenzfluss Rhein. Der Rhein ist die natürliche Grenze zwischen dem Aargau und Deutschland. Für die Menschen in der Region stellt die Grenze aber kein Hindernis dar. Sie sei ein Löchersieb, und das sei auch so gewollt, erzählt Regionalredaktor Alex Moser im Tagesgespräch. Man wolle hin und her zirkulieren. Von den verschärften Grenzkontrollen, die Deutschland angekündigt hat, spüre er nichts. Auf einer Bootsfahrt auf dem Rhein mit Simone Hulliger erzählt er von den Freuden und Leiden der Nachbarschaft zwischen dem Aargau und Deutschland.

Im Kanton Aargau muss mindestens 1% der Kantonsfläche Auenlandschaft sein, so steht es in der Verfassung. Das Tagesgespräch ist unterwegs – im Rendezvous mit Alex Moser besuchen wir die Aue «Chly Rhy» und sprechen über Arten- und Hochwasserschutz im Wasserschloss der Schweiz. Autobahnen durchqueren den Aargau von West nach Ost und von Nord nach Süd. Oft ist daher vom «Autobahnkanton Aargau» die Rede. Doch den Aargau queren auch Aare, Reuss und Rhy. Das Wasser prägt den Kanton. Vor 22 Jahren stimmten die Aargauerinnen und Aargauer einer Vorlage deutlich zu, die verlangte, dass 1% der Kantonsfläche in Auen um- oder zurückgebaut wird. Regionalkorrespondent Alex Moser hat die Aue «Chly Rhy» in Zurzach von Anfang an beobachtet. In der Sommerserie des «Tagesgesprächs» erzählt er vor Ort, wie die Natur das Gebiet zurückerobert hat und was die Auen den Aargauerinnen und Aargauern bedeuten.

Aujourd'hui, Antoine Diers, Joëlle Dago-Serry et Jérôme Marty débattent de l'actualité autour d'Alain Marschall et Olivier Truchot.

Je vous souhaite de passer un bel été ! Rendez-vous le 31 août pour la reprise sur petits Curieux.D'ici là, pour découvir tous les podcasts Choses à Savoir: www.chosesasavoir.com----------------Musique:Creative Commons - Attribution 3.0 Unported - CC BY 3.0 Music promoted by Copyright Free Music - Background Music For Videos @podcastbackgroundmusic Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

The way we spend our time reveals our true priorities, regardless of what we claim to value. Jesse Cope challenges listeners to examine their daily time allocation and consider what it says about their genuine priorities. Do we claim to love our children but never engage with them meaningfully? Do we profess devotion to our spouses while failing to make time for them? Most critically, do we declare faith important while avoiding prayer, Bible reading, and worship?Our foundation must be built on Jesus Christ alone. Drawing from 1 Corinthians 3, Jesse emphasizes that everything we construct in our lives must connect back to Christ. When facing challenges in our marriages, families, churches, or communities, the solution remains consistent: return to biblical principles. Though some argue certain scriptural teachings no longer apply in modern society, this selective approach creates dangerous precedents.The podcast explores America's historical foundation through the lens of revolutionary courage. Colonial leaders coordinated resistance to tyranny knowing their actions could be deemed treasonous. Yet they considered "life a trivial stake in competition with liberty." This profound commitment raises challenging questions for us today: What are we willing to risk for freedom and faith? Are we prepared to stand against cultural trends undermining biblical truth?Jesse honors forgotten Medal of Honor recipients whose sacrifices deserve greater recognition than celebrities receive. He suggests that our current cultural moment represents another "rendezvous with destiny" requiring similar courage and conviction. As we face mounting challenges to liberty, our greatest hope remains turning back to God and realigning our use of time with our professed values.Support the showThe American Soul Podcasthttps://www.buzzsprout.com/1791934/subscribe

Je vous souhaite de passer un bel été ! Rendez-vous le 31 août pour la reprise sur Choses à Savoir Economie.D'ici là, pour découvir tous les podcasts Choses à Savoir: www.chosesasavoir.com----------------Musique:Creative Commons - Attribution 3.0 Unported - CC BY 3.0 Music promoted by Copyright Free Music - Background Music For Videos @podcastbackgroundmusic Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

July 2025's edition of Roots Rendezvous. Playlist: Artist - Album - Track. 1 Cecilia Castleman - Cecilia Castleman - It's Alright. 2 Tracy Bonham - Sky Too Wide - Jumping Bean. 3 Grace Potter - Medicine - That Phone. 4 Kelsey Waldon - Every Ghost - Tiger Lilies. 5 James McMurtry - The Black Dog and the Wandering Boy. 6 BettySoo - If You Never Go Away - What Do You Want From Me Now. 7 SG Goodman - Planting by the Signs - I Can See the Devil. 8 Steve Ryan Gledhill - Now I feel the Rain. 9 The Bones of J.R. Jones - Radio Waves - Car Crash. 10 The Shootouts - Switchback - The Other Side of My Life. 11 The Parachute Testers - Halfway To Everywhere. 12 Autumn Hollow - Say No More - Fever & Fatigue. 13 Esther Rose - Want - New Bad. 14 Bleak Squad - Poison City - Lost My Head. 15 Avery Friedman - New Thing - New Thing. 16 Jenny Raisänen - Purple. 17 Imogen Clark - Choking on Fuel - Sebastian. 18 The Royal Arctic Institute - The Opener. 174 MB (183,079,115 bytes) Duration: 1:16:15

Episode Summary: In this episode, Heather “Lucky” Penney talks to Lt. Gen. David Deptula, USAF (Ret.), Charles Galbreath, Todd “Sledge” Harmer, Anthony “Lazer” Lazarski, JV Venable, and Jeff Rowlison about the top defense issues this month in Washington, D.C. and beyond. Our team digs into newly released FY26 budget details. There are some key issues to track for both the Air Force and Space Force. Seeking to retire 340 aircraft, while only procuring 76 is a high-risk strategy. Will Congress buy into it? Putting so much of the Space Force's budget in reconciliation is proving contentious. They also explore comments by DARPA leadership regarding the future of stealth and discuss whether it's smart to kill the E-7. We wrap with an extensive conversation regarding readiness: the numbers are bleak. Credits: Host: Heather "Lucky" Penney, Director of Research, The Mitchell Institute for Aerospace Studies Producer: Shane Thin  Executive Producer: Douglas Birkey Guest: Lt Gen David A. Deptula, USAF (Ret.), Dean, The Mitchell Institute for Aerospace Studies Guest: Charles Galbreath, Senior Resident Fellow for Space Studies, The Mitchell Institute Spacepower Advantage Center of Excellence (MI-SPACE) Guest: Todd “Sledge” Harmer, Senior Vice President, American Defense International Guest: Guest: Jeff "Rowli" Rowlison, VP, Space & Intel Programs, American Defense International Guest: Anthony “Lazer” Lazarski, Principal, Cornerstone Government Affairs Read: 1. A spectacular airstrike on Iran — and a sobering warning 2. Why Airpower Plays A Key Role In Israel's Military Campaign Links: Subscribe to our Youtube Channel: https://bit.ly/3GbA5Of Website: https://mitchellaerospacepower.org/ Twitter: https://twitter.com/MitchellStudies Facebook: https://www.facebook.com/Mitchell.Institute.Aerospace LinkedIn: https://bit.ly/3nzBisb Instagram: https://www.instagram.com/mitchellstudies/ #MitchellStudies #AerospaceAdvantage #TheHill #Rendezvous #Budget

REDIFF - Françoise Hardy et Jacques Dutronc formaient un couple mythique. De leur rencontre au milieu des années 1960, à leur mariage précipité en 1981, en passant par une vie à distance, leur histoire a défié les conventions. Malgré les épreuves, et les séparations, leur lien n'a jamais cessé. "Françoise Hardy et Jacques Dutronc, rendez-vous dans une autre vie", c'est le nouvel épisode de Confidentiel. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

(Riverton, WY) - The annual celebration of all things mountain man has begun in Riverton at the historic site of the 1838 original rendezvous. Event organizers Angie Lehto and Carrie Gavin stopped by the County 10 studio recently to give us a bit of a history lesson, details about this year's event and some of the fun family-friendly activities you can enjoy. To hear the full podcast, click the player below or search for the County 10 Podcast on your preferred podcast player! For more about the 1838 Rendezvous, click here!

Mercredi 2 juillet dans Radio Foot à 16h10 TU & 21h10 TU sur RFI et YouTube RFI : - Mondial des Clubs : le Real et Dortmund qualifiés en quarts ! ; - Klopp fracasse la FIFA ! ; - Focus Mondial 2026 : que nous prépare l'Amérique ? Mondial des Clubs : le Real et Dortmund qualifiés en quarts ! Le Real Madrid écarte la Juve 1-0, Dortmund domine Monterrey grâce à un doublé de Guirassy 2-1. PSG–Bayern, Fluminense–Al-Hilal, Palmeiras-Chelsea, Dortmund-Real : les quarts s'annoncent fous ! Bilan des huitièmes ! Un favori pour aller au bout dans ce nouveau format ? — Klopp fracasse la FIFA ! Le coach allemand explose : « Le Mondial des clubs ? La pire idée du foot moderne ». Calendrier intenable, joueurs épuisés, format absurde… Klopp a-t-il mis le doigt là où ça fait mal ? — Focus Mondial 2026 : que nous prépare l'Amérique ? Climat brûlant, stades défaillants, mégaprojets… et Trump à la Maison Blanche. Ce Mondial XXL s'annonce démesuré… mais à quel prix ? Faut-il s'attendre à un chaos logistique et politique en 2026 ? Un invité pour y répondre : Kévin Veyssière, fondateur du @FCGeopolitics, le média qui vulgarise la géopolitique et le sport, et qui rassemble plus de 75 000 abonnés sur les réseaux sociaux. Et Thomas de Saint-Léger (RFI) tout juste rentré du Mondial des Clubs. Présentation : Annie Gasnier | Edition : David Fintzel | TCR : Laurent Salerno | Consultants : Carlos Bianchi, Ludovic Duchesne, Nabil Djellit.

In this thrilling mystery, a group of passengers on a flight find themselves grounded due to a storm. As they seek shelter in a rundown inn, they discover that one of the passengers is a dangerous criminal who has escaped custody. Tensions rise as they navigate the night filled with suspense, deception, and unexpected twists, leading to a dramatic confrontation with the true criminal among them.TakeawaysThe art of deduction can reveal hidden truths.First impressions can be misleading in a mystery.Suspense builds when characters are trapped together.The atmosphere of a place can hint at its history.Trust is a fragile thing in a group of strangers.A storm can serve as a perfect backdrop for tension.The past often catches up with the present in unexpected ways.Not everyone is who they claim to be.The importance of vigilance in dangerous situations.A detective's instincts can lead to uncovering the truth.mystery, detective, criminal, escape, suspense, flight, inn, storm, jewels, investigation

Mercredi 2 juillet dans Radio Foot à 16h10 TU & 21h10 TU sur RFI et YouTube RFI : - Mondial des Clubs : le Real et Dortmund qualifiés en quarts ! ; - Klopp fracasse la FIFA ! ; - Focus Mondial 2026 : que nous prépare l'Amérique ? Mondial des Clubs : le Real et Dortmund qualifiés en quarts ! Le Real Madrid écarte la Juve 1-0, Dortmund domine Monterrey grâce à un doublé de Guirassy 2-1. PSG–Bayern, Fluminense–Al-Hilal, Palmeiras-Chelsea, Dortmund-Real : les quarts s'annoncent fous ! Bilan des huitièmes ! Un favori pour aller au bout dans ce nouveau format ? — Klopp fracasse la FIFA ! Le coach allemand explose : « Le Mondial des clubs ? La pire idée du foot moderne ». Calendrier intenable, joueurs épuisés, format absurde… Klopp a-t-il mis le doigt là où ça fait mal ? — Focus Mondial 2026 : que nous prépare l'Amérique ? Climat brûlant, stades défaillants, mégaprojets… et Trump à la Maison Blanche. Ce Mondial XXL s'annonce démesuré… mais à quel prix ? Faut-il s'attendre à un chaos logistique et politique en 2026 ? Un invité pour y répondre : Kévin Veyssière, fondateur du @FCGeopolitics, le média qui vulgarise la géopolitique et le sport, et qui rassemble plus de 75 000 abonnés sur les réseaux sociaux. Et Thomas de Saint-Léger (RFI) tout juste rentré du Mondial des Clubs. Présentation : Annie Gasnier | Edition : David Fintzel | TCR : Laurent Salerno | Consultants : Carlos Bianchi, Ludovic Duchesne, Nabil Djellit.

Plusieurs débats au cœur de l'actualité, les Grandes gueules ont le choix, en débattre ou non : Récit du rendez-vous secret entre Bardella et Sarkozy ; Macron a téléphoné à Poutine pendant 2h, utile ?

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

This week Mackenzie and Hanna invite the first PI guest on the show to share one of their own stories! The first PI guest is Austin, a nine-year veteran whose toolkit spans family-law digs, criminal-defense surveillance, insurance-fraud exposés and cutting-edge open-source sleuthing. He pulls back the curtain on what it really takes to trail a suspect—long hours in a lobby, split-second decisions on whether to dash inside or stay hidden, and even the pros and cons of facial-recognition software like PIMeyes. You'll get Austin's top safety hacks for vetting dates (free and low-cost background-check resources you can use tonight) and discover why a seemingly innocent Memorial Day beach trip ended with an all-too-public, trunk-wide rendezvous in a cherry-red Porsche.Click here to join our Patreon! For only $5 a month you will get 2 extra episodes a month, monthly virtual live events, and access to our community page. And now for $9 a month you can get all of that, plus ad free episodes!If you've been dogfished and want to share your story on the show, email investigate@thedatingdetectivespodcast.com or contact us through our website using this linkTake control of your data today. Get 20% off your DeleteMe plan by visiting joindeleteme.com/datingdetectives and using the promo code TDD at checkout. This episode of The Dating Detectives is sponsored by Simpli Pop. Find your favorite new prebiotic soda at CokeURL.com/SimplyPop.***The following Program contains names, places and events that have been anonymized or fictionalized for the purposes of protection and safety. The following Program is provided for entertainment purposes only and any commentary from the hosts are strictly conjecture and should not be held as making any definitive statements about the truth or identity of any particular individuals or circumstances.If you or a loved one are involved in an abusive relationship, please call the National Domestic Violence Hotline at 1-800-799-7233 for support.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.