Podcasts about Rendezvous

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.

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

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.

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 ?

SITES INTERNET : https://www.prestaterre.eu/ https://www.tribu-energie.fr/ https://www.effinergie.org/web/ https://care-promotion.fr/

SITE INTERNET : https://www.batisante.fr/

SITE INTERNET : https://www.verlingue.fr/specialites/immobilier/

SITE INTERNET : https://www.unis-immo.fr/

SITE INTERNET : https://www.anacofi.asso.fr/anacofi-immo/ https://www.fnaim-grand-paris.fr/

Dieses Mal bei Ringlstetter's Rendezvous: die engagierte Krankenschwester Franziska Böhler. Gemeinsam sprechen wir über die enorme Wichtigkeit der Pflegeberufe, den Alltag in der Krankenpflege, wie die Lage verbessert werden kann und wo Chancen liegen. Es wird auf jeden Fall wieder spannend! Unbedingt reinhören!

durée : 00:13:10 - Les Enjeux internationaux - par : Guillaume Erner - Depuis hier se tient à La Haye le sommet de l'OTAN. Donald Trump y était particulièrement attendu, sur fond de doutes croissants quant à la volonté des États-Unis d'honorer leurs engagements en matière de défense collective... - réalisation : Félicie Faugère - invités : Muriel Domenach ancienne ambassadrice de la France à l'OTAN

durée : 00:24:27 - L'invité de 8h20 : le grand entretien - par : Nicolas Demorand, Léa Salamé - Sébastien Chenu, député du Nord et vice-président du Rassemblement national, était l'invité du Grand entretien de la matinale, ce mercredi. - invités : Sébastien CHENU - Sébastien Chenu : Député du Nord et porte-parole du Rassemblement national Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:24:27 - L'invité de 8h20 : le grand entretien - par : Nicolas Demorand, Léa Salamé - Sébastien Chenu, député du Nord et vice-président du Rassemblement national, était l'invité du Grand entretien de la matinale, ce mercredi. - invités : Sébastien CHENU - Sébastien Chenu : Député du Nord et porte-parole du Rassemblement national Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Cette semaine, nous allons passer une heure avec une grande dame de la littérature populaire : Agatha Christie. Comment est-elle devenue la "reine du crime" ? Pourquoi reste-t-elle indétrônable ? En quoi a-t-elle été une femme libre et en avance sur son temps ? Et d'où lui venait son sens inouï de la mise en scène et son goût du romanesque, aussi bien dans ses écrits que dans sa vie ? Ce vendredi 27 juin, découvrez ou redécouvrez en podcast "Agatha Christie : une vie d'aventures et de mystère". Une émission à retrouver sur RTL samedi 28 juin, à 13h30.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Pour Une Poignée de Gamers - La Chaine Podcast Gaming & Culture GeekTEST : Dune AwakeningEditeur : FuncomDéveloppeur : FuncomDate de sortie : 5 juin 2025Genre : Meuporg !Dans « Dune : Awakening » le principe est simple : vous êtes un survivant échoué sur une planète désertique. Tout est hostile. Le soleil peut littéralement vous tuer, l'eau est une ressource rare et sous vos pieds, des vers géants attendent que vous fassiez un pas de travers pour vous avaler.Rejoignez toute l'équipe PPG sur le Discord : https://discord.gg/z5avdnNSvSOn vous y attend pour échanger sur les différentes émissions, le jeu vidéo en général, les constructeurs et même pour jouer en coop !Pour Une Poignée de Gamers - La Chaine Podcast JV & Culture Geek ACTUS PPGL'émission  100% news qui commente l'actualité du Jeu Vidéo disponible chaque semaine !Vous pouvez nous retrouver sur ITunes, Ausha, PodCloud, Deezer, Spotify, Amazon Music...Si vous appréciez l'émission et que vous souhaitez nous encourager à poursuivre, merci de laisser un commentaire étoilé sur Apple Podcasts..Bonne écoute à toutes et à tous !Ausha:  https://podcast.ausha.co/pour-une-poignee-de-gamersHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

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

In this week's episode, I take a look at the frozen pizzas that I enjoyed in 2025, and give my recommendations for the best frozen pizzas. This coupon code will get you 25% off the ebooks in the Dragontiarna series at my Payhip store: WARDEN25 The coupon code is valid through July 14, 2025. So if you need a new ebook this summer, we've got you covered! TRANSCRIPT 00:00:00 Introduction and Writing Updates   Hello, everyone. Welcome to Episode 256 of The Pulp Writer Show. My name is Jonathan Moeller. Today is June 20th, 2025 and today we are looking at my favorite frozen pizzas from Winter and Spring 2025. Before we get to our main topic, we'll have Coupon of the Week, an update on my current writing progress, and then we will do Question of the Week this week.   First up, let's do Coupon of the Week. This week's coupon code will get you 25% off the ebooks in the Dragontiarna series at my Payhip store, and that coupon is WARDEN25. This coupon code is valid through July 14th, 2025. So if you need a new series of really long ebooks to read for this summer, we have got you covered and as always, the links to the store and the coupon code will be included in the show notes.   Now for an update on my current writing and audiobook projects. As I mentioned before, I want Summer 2025 to be my Super Summer of Finishing Things because I want to finish The Shield War, Stealth and Spells, and Ghost Armor series this summer before I start on new things. I'm pleased to report that I have reached a milestone of that. The rough draft of Shield of Power is done at 101,000 words. This will be the sixth and final book in the Shield War series. I am currently writing A Consort of Darkness, which will be a short story that newsletter subscribers will get a free copy of in ebook form when Shield of Power comes out. I am also 109,000 words into Stealth and Spells Online: Final Quest and hopefully that will come out very quickly after Shield The Power is out. I'm also 10,000 words into Ghost in the Siege, which will likewise be the sixth and final book in the Ghost Armor series.   In audiobook news, recording is still underway for Ghost in the Corruption, which will be narrated by Hollis McCarthy and Shield of Battle, which will be narrated by Brad Wills. Hopefully we will have some more updates on that soon and I don't think it'll be too much longer before both audiobooks are out and available.   00:02:02 Question of the Week   Now let's go to Question of the Week. Question of the Week is intended to inspire enjoyable discussions of interesting topics. This week's question: when was the last time you went to an actual movie theater to see a movie? No wrong answers, including “I don't go to movie theaters.”  As you can guess, we had a range of responses on this one.   Justin says: Last month we saw Monty Python and the Holy Grail (fifty year release) in the theater. Yes, we have the DVD.   David says: I guess Dune Two is the last time I went to a theater. For the price of going to the theater, I can wait and stream it later. If I don't like the price, I can even wait a few years. I'm not so quick to give them my money. Haven't gone to the theater yet in 2025. Nothing called out to me.   William says: Except for 2020-2021, I've been going to the movies frequently every year since the Hobbit movies first came out. It's not that my habits has changed, just that they started making the kind of movies I wanted to watch like Star Wars, Jurassic World, the Disney remakes, and so on. Before 2012, the last time I went was in 2006 for the third Pirates of the Caribbean movie. It probably helps that it's only two tickets each time and not four or five for a whole family.   Randy says: Top Gun: Maverick. It was a throwback to the days when movies were fun to watch. Everything doesn't have to have a deeper meaning and make us think. Just have an unlikely crew of misfits take out the bad guys. Bonnie says: Last one was Mary Poppins Returns with granddaughter in Spring 2019. I can't see spending the price for a one time deal.   Cheryl says: The last time I went to the cinema…when did American Beauty come out? That's how long ago it was and the movie was disappointing.   Jenny says: Thunderbolts! I wish movies weren't so pricey.   Elizabeth says: Last time I went to the movie theater was to see Jumanji 2 with my now husband as our first date because both of us are terrible at first date ideas.   I don't know- if Elizabeth's first date with her now husband was Jumanji 2, it seems like that was a very successful first date.   John says: War of the Rohirrim, December of last year.   A different John says: Dune Two and A Complete Unknown are the only two I've seen in the theater in the last two years. In both cases it was because A: the movie deserved to be experienced completely, and B: there was someone I wanted to share it with. Otherwise, modern tech in the home works just fine.   Michael says: Last movie I saw in an actual cinema was Avengers Infinity War, so that's going back a bit. I think the COVID lockdown just killed any desire to do so and haven't been back since.   Michael [A different Michael than the one listed above] says: It has been years.   For myself, the answer is quite simple. I went on May 31st to see Mission Impossible: Final Reckoning. The inspiration for this question was technological change. I only went to the theater twice in 2024, for Dune Part Two and The Fall Guy. In 2025, I've been to the theater twice so far, for Thunderbolts and Mission Impossible: Final Reckoning, but a long time ago when I was much younger and had far fewer demands in my time, I would usually go to the movies on Saturday afternoons if I saw something that looked at all interesting. I'd always go in the afternoons because afternoon matinees were cheaper and I usually preferred to spend Saturday night playing computer games anyway. Nowadays, like I said above, I only went twice in 2024 and twice in 2025 so far. I am not sure what changed. The obvious one is that I'm old enough to have enough to do week to week that giving up three hours on a Saturday afternoon can often be a problem. The other obvious answer is technological change in the form of streaming, which makes it a lot easier to see things at home and perhaps one's taste change as one gets older. For example, there is no way I would go to the theater to see the Minecraft movie, though I would probably watch it on streaming when it rolls around (and I did in fact watch it in streaming last week and thought it was pretty good. It'll be in my next Movie Roundup.) So that is it for Question of the Week.   00:05:52 Main Topic: Winter/Spring/Summer 2025 Frozen Pizza Roundup   Now onto our main topic this week, my Spring/Summer 2025 Frozen Pizza Roundup (though I suppose I've been working on this long enough that it should be the Winter/ Spring/Summer 2025 Frozen Pizza Roundup). I suppose it is a bit odd to talk about frozen pizza on a podcast ostensibly dedicated to indie publishing and indie writing, but I like frozen pizza and it's my podcast, so if I want to talk about frozen pizza, I'm going to talk about frozen pizza. Besides my previous pizza review roundup episode was pretty popular, so that's why I decided to do another one. Unlike a movie roundup, the pizza reviews will be in chronological order based on when I ate them. The grades are, as always, totally subjective and based on my own opinions. I'll also be rating the pizza by eating it hot and eating it cold, since cold pizza is a different experience than hot pizza. Cold pizza for lunch the next day is something to look forward to, especially during a busy day. I should also mention that I purchased each pizza myself with my own money. No one sent me any free stuff, so while my opinion may be subjective, it is nonetheless unbiased. Additionally, I exactly follow the preparation directions for each pizza since I wanted to avoid the phenomenon you sometimes see on recipe blogs where a commenter complains that a recipe didn't work and then admits that they took out the butter, cut the sugar in half, replaced the flour with corn starch, and substituted canola oil for frosting. So with those disclaimers, disclosures, and caveats out of the way, on to the pizzas.   The first one is Orv's Ultimate Rizer Three Meat Pizza, which I had on February 28th, 2025. Orv's is a pizza brand owned by Minnesota based pizza maker Bernatello's. In the last pizza roundup, I mistakenly said Bernatello's was based in Wisconsin (though they do in fact have numerous Wisconsin facilities) and Bernatello's also owns many different pizza brands I have mentioned the last roundup. I had never tried Orv's before, so I thought I would give it a try.   Eaten hot, the sausage, Canadian bacon, and pepperoni are quite good, as are the cheese and sauce. However, the crust really is quite bready and kind of overwhelmed the other tastes. This is a thick crust pizza and to be honest, I really prefer thin crust because it's generally less caloric and the crust has a greater chance to work in harmony with the other flavors and not overpower them.   Eaten cold, it's pretty much the same experience. This is definitely a pizza that would benefit from a bit of added oregano, garlic salt, or perhaps other spices. Overall, I do think I strongly prefer Bernatello's Brew Pub Lotzza Motzza pizza instead of Orv's, though I should mention that Orv's is in fact quite a bit cheaper. Overall Grade: C+   The next pizza is the Red Baron Four Meat Classic Crust Pizza, which I ate on March 7th, 2025. Red Baron is a frozen pizza brand that started in 1976 by the Schwan's Frozen Food Company of Minnesota. Currently, Schwan's is owned by a large Korean conglomerate. Whatever one might think of large corporate consolidation, the fact that the stylized World War I fighter pilot mascot of a Minnesota company is now owned by a Korean conglomerate is kind of hilarious in an absurdist sort of way. Anyway, the pizza!   Eaten hot, I liked the crust. It was a bit thicker than usual for thin crust pizza, but it was crisp and didn't get bready. The sauce was a bit sweeter than usual, but I still liked it. The various meats and the cheese were good as well. Eaten cold, it's still pretty good. The cheese and sauce set well and remained flavorful. Overall Grade: B+   Our next pizza is Good and Gather Pepperoni Pizza, which I had on March 14th, 2025. Store brand foods can be hit or miss, like if you go to a big box grocery store and they have their own store brand of essentials like coffee and cereal and bread and so forth. And as I said, those can be really hit or miss since it depends on the company that is actually supplying the food to the store. That said, I've had good results with Good and Gather, which is the store brand of Target, which is a major big box retailer in the United States. So I thought I'd give the Good and Gather Pepperoni Pizza a try. Eaten hot, I was pleasantly surprised. The crust was crisp, the cheese and sauce were good (if not outstanding), and the pepperoni was flavorful. A good workman like frozen pizza. Eaten cold, it still tastes quite good. An important detail is that this is a good deal cheaper than many of the more premium pizza brands I have mentioned in these pizza roundups. So I would say this is a good solid option for the budget minded consumer. Overall Grade: B     Next up we have Bellatoria's Ultra Thin Crust Meat Trio Pizza, which I ate on March the 21st, 2025. Bellatoria's is yet another brand of the Bernatello's Frozen Pizza Company, a frequent entry in these pizza roundups and it is a seems to be more of a premium brand compared to Orv's. It also has a less heavy load topping compared to Lotzza Motzza, which is another Bernatello's brand. Despite that, I quite like this one. Eaten hot, the crust was crisp and just a bit flaky in a good way and the cheese, sauce, and meat toppings were all good. Sometimes on a pizza you can't taste the crust. Other times you taste it too much, like with thick crust pizza, but I think this was a good crust that complemented the toppings, which were all flavorful. Eaten cold, it fares well. The thin crust doesn't get soggy and the meat and cheese remain flavorful. A very good pizza. I prefer a thin crust to a thick crust, but this was an excellent thin crust. Overall Grade: A   Our next pizza is the Totino's Party Pizza Triple Meat, which I ate March 26th, 2025. Totino's was famously one of the first companies to make frozen pizza and it was later acquired by General Mills. These days, Totino's is mostly known for its pizza rolls, but they still put out small individual pizzas and for the sake of historical continuity, I decided to give it a try. It was okay. It definitely tasted like pizza, but it didn't compare to the stronger ones I've tried like Heggie's or Pothole Pizza. You do need to cook it for a long time for the crust to be adequately crispy and not soggy. I didn't bother to try it cold since I didn't think it would be improved, and this is definitely a pizza where you might want to add some oregano or garlic salt. Its biggest advantage is that it's quite inexpensive, a cheap meal, but don't expect too much. Overall Grade: C+     Next up is Authentic Motor City Pizza Company Three Meat Pizza, which I had on March 28th, 2025. Authentic Motor Pizza Company is owned by the Ilitch billionaire family of Michigan who are the original founders of Little Caesar's Pizza. This pizza is a Detroit style pizza, which is essentially a square pizza cooked in a square pan with a thick crust and lots of cheese. The square shape comes from the fact that Detroit style pizza was originally cooked in a car oil drip pan since the commercially available pans at the time weren't suitable for the pizza. There is some dispute about what actually happened, but it seems Detroit style pizza started at a restaurant called Buddy's Rendezvous in the 1940s, which later became the local Michigan pizza chain Buddy's Pizza. I have to admit, I was originally only vaguely aware of Detroit style pizza, but in 2019 I went to the Detroit area for a funeral and had dinner at Buddy's Pizza, which was amazing. (There was also a guy getting arrested in the parking lot at the time, but thankfully that did not affect the dining experience.) If your travels ever take you to the Detroit area, you should definitely try Buddy's Pizza. Anyway, so after all this, when I happened across a Detroit style frozen pizza, I decided I needed to give it a try. Eaten hot, it is quite good. As I've said before, I'm generally not a fan of thick crust pizza, which this is, but it's a good thick crust, crispy on the edges and bottom without being bready or chewy. The toppings are all excellent, which is helped by the fact that the sauce is good and has a good garlic flavor to it. I was curious how it would hold up when eaten cold and I actually liked it a bit better than when it was hot. The cheese sets well and then everything holds together and so it's a very substantial, very tasty cold pizza. This is good pizza, though that said, I still prefer a thinner crust because the Detroit style of pizza is delicious, but dang, is it a heavy meal. Overall grade: A   Next up is Pothole Kitchen Sink Pizza, which I ate on April 4, 2025, and this is another pizza from the Midwestern convenience store chain Kwik Trip and features pepperoni, sausage, mushrooms, onions, and red and green peppers. I really like this one, like the other Pothole varieties I've tried. It's quite good: good crust, good cheese, good sauce, and very flavorful toppings. This has a slight advantage over my other favorite version, the Pothole Meat Sweats Pizza, since the lesser amount of meat means it isn't as greasy. Eaten cold, it is likewise quite good. I think this ties with the Meat Sweats Pothole Pizza. They both represent excellent versions of two different pizza experiences. If you don't want mushrooms and vegetables on your pizza, get the Meat Sweats, but if you do want vegetables, go for the Kitchen Sink. Overall grade: A+     Next up is Heggie's Six Pack Pizza, which I tried on April 11th, 2025. This is another pizza from Minnesota company Heggie's, which had one of my favorite pizzas of the last roundup. Heggie's Six Pack Pizza comes with sausage, pepperoni, Canadian bacon, regular bacon, mozzarella cheese, and cheddar cheese. Let's just say if you're eating this, you probably don't have a six pack.   Anyway. Eaten hot, it was quite good. I like the thin crust and all the meat was good. I would say the biggest weakness is that you can mostly taste the cheese and the Canadian bacon since they kind of drown out all the other flavors. Eaten cold, I would say it tastes better. You can taste all the individual toppings. The cheese, sauce, and crust are pleasant when cold as well. This was a good pizza, but I do like the pepperoni only version better since I think the taste is superior. Overall grade: A-   Next up is the Tombstone Tavern Style Meat Crumble Pizza, which I had on May 2nd, 2025, and this is a more upgraded version of the basic model Tombstone pizza with thinner crust, slightly different cheese, and a mixture of pepperoni and crumbled pork sausage. Honestly, it tasted about the same as the standard model Tombstone. The crust and meat were slightly better, but I thought the sauce was rather watery. Eaten cold, it was better since the watery flavor of the sauce wasn't as strong. That said, I do think the standard model Tombstone pizza is a better pizza. Overall grade: B-     Then we had a bit of a gap here because I had basically tried most of the pizza brands that I actually wanted to try for this review. There are some more lower cost brands out there, but I figured they'd be mostly similar to the cheaper ones I already tried.   Then I came across the final pizza for this review roundup, Screamin' Sicilian Mountain of Meat, which I had on June 6th, 2025. This is another pizza from the Screamin' Sicilian line, which is part of the Palermo Pizza Company of Wisconsin. I tried an all pepperoni version for the last pizza roundup and thought it was pretty good. It got an A-. I decided to try the Mountain of Meat, which has pepperoni, sausage, ham, and bacon, and has a stone fired crust. I liked it better than the all pepperoni version. The different meats blend together well, and I think this version of the crust is quite a bit better. It's a little bit thicker, but still quite crispy. Eaten cold, it likewise holds up quite well. The spiciness of the meat remains flavorful even when cold and the cheese holds it all together. Overall grade: A   So to sum up after two pizza review posts, here are my favorites.   Overall favorites: Pothole Meat Sweats and Pothole Kitchen Sink. Excellent strong runners-up: Heggie's Pepperoni Pizza, Lotzza Motzza, Bellatoria, and the Screamin' Sicilian Mountain of Meat. The downside of all these choices is that they tend to be expensive, usually $10 US or above. So with that in mind, here are best my choices for the best budget options, which would be Tombstone Pepperoni & Sausage and Target's Good & Gather Pepperoni.   Also, one advantage of frozen pizza is that you can add spices to flavor the taste. I found that frozen pizza in general frequently benefits from the addition of oregano or perhaps a dusting of garlic powder. So if you are looking for some frozen pizza, hopefully this will help you find one.   So that is it for this week. Next week I promise we will go back to writing and publishing topics instead of pizza. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

Voici le RÉCAP D+ du 23 juin 2025, le flash info du trail signé Distances+ présenté par Nicolas Fréret et Chloé Rebaudo, à écouter en quelques minutes chaque lundi.Au sommaire cette semaine :L'événement californien Broken Arrow avec la course verticale temporisée de Kilian Jornet, les victoires d'Elhousine Elazzaoui et Joyce Njeru sur l'épreuve de 23 km du circuit Golden Trail World Series, d'Eli Hemming et Jennifer Lichter sur le 46 km et de Christian Allen et Anna Gibson sur la course verticale, ainsi que la nouvelle performance de la Française Marie Nivet et le double top 10 du Québécois Rémi Leroux le Tahoe 200l'ultra domination d'Élisa Morin devant tous les hommes au Gaspesia 100l'impossible Chartreuse Terminorum, même pour l'ultra-traileur XXL Sébastien Raichon les victoires de Diane Rassineux et Louis Sorin sur l'Asics Aravis Trailles victoires des membres de La Bande à D+ Fiona Porte et Louison Coiffet au Grand Trail des Écrinsla nouvelle victoire de Cécile Jarousseau avec podium scratch au Font-Romeu Nature TrailL'arrivée du nouveau podcast PC Course présenté par Mélissa Mergoil Et plus encore...

Fluent Fiction - French: Love and Renewal: A Rainy Rendezvous in Paris' Green Oasis Find the full episode transcript, vocabulary words, and more:fluentfiction.com/fr/episode/2025-06-20-22-34-02-fr Story Transcript:Fr: Sous les cieux changeants de Paris, un jour d'été semblait délicieux au Jardin des Plantes.En: Under the changing skies of Paris, a summer day seemed delightful at the Jardin des Plantes.Fr: Les fleurs éclatent de couleurs, et le parfum des roses embaume l'air.En: The flowers burst with color, and the fragrance of roses perfumes the air.Fr: Autour, les oiseaux chantent, insouciants.En: Around, the birds sing, carefree.Fr: C'est dans cette tranquillité qu'Émilie, une botaniste passionnée, cherche l'inspiration pour sa recherche.En: It is in this tranquility that Émilie, a passionate botanist, seeks inspiration for her research.Fr: Soudain, le ciel s'assombrit, et la pluie commence à tomber sans prévenir.En: Suddenly, the sky darkens, and rain begins to fall without warning.Fr: Émilie se hâte de trouver refuge sous une grande tonnelle couverte de fleurs grimpantes.En: Émilie hurries to find shelter under a large arbor covered with climbing flowers.Fr: Elle n'est pas seule.En: She is not alone.Fr: Un homme, Lucas, se presse également à l'abri, la guitare à l'épaule, les cheveux légèrement mouillés.En: A man, Lucas, also rushes to shelter, guitar on his shoulder, hair slightly wet.Fr: Il vient de finir un concert en plein air et cherche un moment de calme.En: He has just finished an open-air concert and is looking for a moment of calm.Fr: "Quelle averse!"En: "What a downpour!"Fr: commente Lucas en souriant, essayant de briser la glace.En: Lucas remarks with a smile, trying to break the ice.Fr: Émilie, d'abord réservée, acquiesce avec un petit sourire.En: Émilie, initially reserved, nods with a small smile.Fr: Tous deux regardent la pluie, hésitants, mais curieux l'un de l'autre.En: They both watch the rain, hesitant, yet curious about each other.Fr: Lucas remarque le carnet de notes qu'Émilie tient protectivement.En: Lucas notices the notebook that Émilie holds protectively.Fr: "Vous écrivez sur les plantes ?"En: "Are you writing about plants?"Fr: demande-t-il.En: he asks.Fr: Émilie hoche la tête.En: Émilie nods.Fr: "Je suis botaniste.En: "I'm a botanist.Fr: Je cherche de nouvelles idées pour mes recherches."En: I'm looking for new ideas for my research."Fr: Elle se surprend elle-même, prononçant ces mots à un inconnu.En: She surprises herself, speaking these words to a stranger.Fr: Lucas, captivé, s'assoit près d'elle.En: Lucas, captivated, sits down next to her.Fr: "La musique et la nature… nous cherchons tous de l'inspiration, non ?"En: "Music and nature... we're all looking for inspiration, aren't we?"Fr: dit-il doucement.En: he says softly.Fr: Leurs échanges deviennent fluides.En: Their exchanges become smooth.Fr: Lucas raconte ses récents déboires, une trahison amicale qui l'a ébranlé.En: Lucas recounts his recent troubles, a friendly betrayal that shook him.Fr: Émilie l'écoute attentivement, touchée par sa sincérité.En: Émilie listens attentively, touched by his sincerity.Fr: "J'ai traversé des déceptions aussi," murmure-t-elle.En: "I've gone through disappointments too," she murmurs.Fr: "Mais ici, parmi ces plantes, je retrouve un peu de paix."En: "But here, among these plants, I find a bit of peace."Fr: Au fil de la conversation, des rires s'échappent, et une compréhension silencieuse se forme entre eux.En: As the conversation flows, laughter escapes, and a silent understanding forms between them.Fr: Ils parlent de la beauté autour d'eux, des roses perlées de pluie et des arbres majestueux bordant les allées.En: They talk about the beauty around them, the roses beaded with rain and the majestic trees lining the paths.Fr: Ils réalisent qu'ils partagent ce regard ému sur la nature, une ouverture d'esprit similaire.En: They realize they share this emotional view of nature, a similar open-mindedness.Fr: La pluie cesse enfin, le soleil émerge à nouveau, lavant les jardins d'une lumière dorée.En: The rain finally stops, the sun emerges again, washing the gardens with a golden light.Fr: Émilie finit par dire, plus déterminée : "Ça fait du bien de parler."En: Émilie eventually says, more determined: "It feels good to talk."Fr: Lucas acquiesce, reconnaissant.En: Lucas nods, grateful.Fr: "Oui, c'était... inattendu, mais précieux."En: "Yes, it was... unexpected, but precious."Fr: Tous deux se lèvent alors, prêts à retrouver leurs chemins respectifs.En: Both then stand up, ready to go their separate ways.Fr: "On pourrait... continuer cette conversation ?"En: "Could we... continue this conversation?"Fr: propose Lucas avec un espoir timide dans les yeux.En: Lucas proposes with timid hope in his eyes.Fr: Émilie sourit et lui tend sa carte, un geste simple mais riche de promesse.En: Émilie smiles and hands him her card, a simple gesture but rich with promise.Fr: "Avec plaisir."En: "With pleasure."Fr: Lucas lui propose d'échanger leurs numéros.En: Lucas suggests exchanging numbers.Fr: Le destin a laissé son empreinte, légère mais certaine.En: Fate has left its mark, light but certain.Fr: En quittant le jardin, Émilie se sent plus ouverte au monde qui l'entoure.En: As they leave the garden, Émilie feels more open to the world around her.Fr: Lucas, lui, marche avec plus de confiance.En: Lucas walks with more confidence.Fr: La vie leur a offert un possible début, sous un ciel encore un peu trouble, mais qui laisse entrevoir de belles éclaircies.En: Life has offered them a possible beginning, under a sky still a bit cloudy, but showing glimpses of beautiful clearings.Fr: Le Jardin des Plantes, avec sa verdure resplendissante, demeure un refuge.En: The Jardin des Plantes, with its resplendent greenery, remains a refuge.Fr: Un miroir des cœurs qui s'y rencontrent, sous le regard bienveillant du temps et de la nature.En: A mirror of the hearts that meet there, under the benevolent gaze of time and nature.Fr: Sous l'œil attentif des cieux d'été, cela promet un renouveau pour eux deux.En: Under the attentive eyes of the summer skies, it promises a renewal for both of them. Vocabulary Words:the sky: le cielthe fragrance: le parfumthe tranquility: la tranquillitéto darken: s'assombrirthe shelter: l'abrithe arbor: la tonnellethe betrayal: la trahisonto murmur: murmurerthe understanding: la compréhensionthe clearing: l'éclairciethe mirror: le miroirthe glance: le regardbenevolent: bienveillantto find refuge: trouver refugemajestic: majestueuxthe concert: le concerthesitant: hésitantto nod: acquiescersmooth: fluidethe path: l'alléeto escape: s'échapperthe light: la lumièrethe promise: la promessethe destiny: le destinto emerge: émergerto shake: ébranlerthe disappointment: la déceptionthe foliage: la verdurethe inspiration: l'inspirationunexpected: inattendu

durée : 00:03:23 - Le Regard culturel - par : Lucile Commeaux - Le premier long-métrage de Valentine Cadic, sorti la semaine dernière au cinéma, promène un personnage tendre et inédit de jeune femme dans le Paris agité par les Jeux Olympiques. Un film rhomérien très réussi.

Écoutez la journaliste Lauren Bastide en conversation avec Adèle Yon, autrice d'un premier roman, « Mon vrai nom est Elisabeth », publié aux Éditions du sous-sol en 2025. Cette enquête familiale hybride, entre exercice documentaire, essai et récit de soi fait entendre la voix d'Elisabeth, dite Betsy, arrière-grand-mère de la narratrice, diagnostiquée schizophrène dans les années 1950. Au cours de cet entretien, Adèle Yon évoque les thèmes de son roman et revient sur sa pratique de la recherche, ses différentes méthodes d'écriture et les liens qu'elle a tissés avec ses lectrices.En marge des Rendez-vous littéraires rue Cambon, le podcast « les Rencontres » met en lumière l'acte de naissance d'une écrivaine dans une série imaginée par CHANEL et Charlotte Casiraghi, ambassadrice et porte-parole de la Maison.(00:00) : Introduction (00:55) : Présentation d'Adèle Yon et de « Mon vrai nom est Elisabeth » par Lauren Bastide(02:33) : Sa rencontre avec l'écriture(04:41) : Les romans de son enfance et de son adolescence(06:07) : À propos de la littérature écrite par des femmes(07:21) : Les autrices qui l'ont inspirée(08:40) : Passer d'un roman à un projet de thèse(10:29) : L'écriture comme outil de libération(12:29) : La distance émotionnelle que permet la recherche scientifique(15:00) : Avoir son livre pour la première fois entre les mains(15:38) : Lecture d'un extrait de « Mon vrai nom est Elisabeth » par Adèle Yon(17:32) : À propos du processus d'écriture de son roman(20:09) : La recherche documentaire du livre(22:50) : Son style d'écriture(24:32) : Adopter un regard neutre(27:45) : À propos de la réception du roman(36:33) : Explorer son histoire familiale ainsi que les violences sexistes et sexuelles(38:15) : Le questionnaire de fin du podcast « Les Rencontres »Adèle Yon, Mon vrai nom est Elisabeth © Éditions du Sous-Sol, 2025 Série de livres Tarzan, Edgar Rice Burroughs, 1912-1916Le Cycle de Vénus, Edgar Rice Burroughs, 1932-1964Jean-Paul Sartre, L'âge de raison - Les chemins de la liberté I, © Éditions Gallimard, 1945Marguerite Yourcenar, Mémoires d'Hadrien © Marguerite Yourcenar et Editions Gallimard, 1974© Librairie Plon, 1958, pour la première éditionCéline Minard, Faillir être flingué © Payot & Rivages, 2013, 2015Svetlana Alexievitch La fin de l'homme rouge. Ou le temps du désenchantement © Svetlana Alexievitch, 2013© ACTES SUD, 2013 pour la traduction française de Sophie BenechCinq mains coupées, Sophie Divry © Éditions du Seuil, 2020Jane Eyre, Charlotte Brontë, 1847

Écoutez la journaliste Lauren Bastide en conversation avec Adèle Yon, autrice d'un premier roman, « Mon vrai nom est Elisabeth », publié aux Éditions du sous-sol en 2025. Cette enquête familiale hybride, entre exercice documentaire, essai et récit de soi fait entendre la voix d'Elisabeth, dite Betsy, arrière-grand-mère de la narratrice, diagnostiquée schizophrène dans les années 1950. Au cours de cet entretien, Adèle Yon évoque les thèmes de son roman et revient sur sa pratique de la recherche, ses différentes méthodes d'écriture et les liens qu'elle a tissés avec ses lectrices.En marge des Rendez-vous littéraires rue Cambon, le podcast « les Rencontres » met en lumière l'acte de naissance d'une écrivaine dans une série imaginée par CHANEL et Charlotte Casiraghi, ambassadrice et porte-parole de la Maison.(00:00) : Introduction (00:55) : Présentation d'Adèle Yon et de « Mon vrai nom est Elisabeth » par Lauren Bastide(02:33) : Sa rencontre avec l'écriture(04:41) : Les romans de son enfance et de son adolescence(06:07) : À propos de la littérature écrite par des femmes(07:21) : Les autrices qui l'ont inspirée(08:40) : Passer d'un roman à un projet de thèse(10:29) : L'écriture comme outil de libération(12:29) : La distance émotionnelle que permet la recherche scientifique(15:00) : Avoir son livre pour la première fois entre les mains(15:38) : Lecture d'un extrait de « Mon vrai nom est Elisabeth » par Adèle Yon(17:32) : À propos du processus d'écriture de son roman(20:09) : La recherche documentaire du livre(22:50) : Son style d'écriture(24:32) : Adopter un regard neutre(27:45) : À propos de la réception du roman(36:33) : Explorer son histoire familiale ainsi que les violences sexistes et sexuelles(38:15) : Le questionnaire de fin du podcast « Les Rencontres »Adèle Yon, Mon vrai nom est Elisabeth © Éditions du Sous-Sol, 2025 Série de livres Tarzan, Edgar Rice Burroughs, 1912-1916Le Cycle de Vénus, Edgar Rice Burroughs, 1932-1964Jean-Paul Sartre, L'âge de raison - Les chemins de la liberté I, © Éditions Gallimard, 1945Marguerite Yourcenar, Mémoires d'Hadrien © Marguerite Yourcenar et Editions Gallimard, 1974© Librairie Plon, 1958, pour la première éditionCéline Minard, Faillir être flingué © Payot & Rivages, 2013, 2015Svetlana Alexievitch La fin de l'homme rouge. Ou le temps du désenchantement © Svetlana Alexievitch, 2013© ACTES SUD, 2013 pour la traduction française de Sophie BenechCinq mains coupées, Sophie Divry © Éditions du Seuil, 2020Jane Eyre, Charlotte Brontë, 1847

Tous les matins dans Europe 1 Bonjour, Laurent Tessier revient sur le meilleur de l'émission de Pascal Praud et vous de la veille et vous livre en avant-première les sujets sur lesquels vous pourrez réagir en direct entre 11h et 13h, au 01.80.20.39.21 (numéro non surtaxé) ou sur nos réseaux sociaux. Vous voulez réagir ? Appelez-le 01.80.20.39.21 (numéro non surtaxé) ou rendez-vous sur les réseaux sociaux d'Europe 1 pour livrer votre opinion et débattre sur grandes thématiques développées dans l'émission du jour.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

À l'occasion du 55ᵉ salon du Bourget, le journaliste Martial You prend un peu de hauteur pour se demander quels sont les métiers d'avenir dans l'aéronautique ? Où en est cette industrie en France ? Les invités : - Philippe Dujaric, directeur des affaires sociales et de la formation au GIFAS, le groupement des industries françaises d'aéronautique et de spatiale qui organise le Bourget. - Laurent Deloire, spécialiste aéronautique au cabinet SIA Partners. - Emmanuel Duteil, directeur des rédactions de l'Usine Nouvelle. Du lundi au vendredi, la rédaction de RTL revient sur un fait marquant de l'actualité avec les reporters, les correspondants et les experts de RTL.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Une heure d'entretien incontournable en partenariat avec CNEWS et Les Echos. Une personnalité politique, un dirigeant économique ou un intellectuel revient sur les grands thèmes de l'actualité et répond aux questions sans détour de Pierre de Vilno pour apporter des réponses concrètes aux Français.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

À l'occasion du 55ᵉ salon du Bourget, le journaliste Martial You prend un peu de hauteur pour se demander quels sont les métiers d'avenir dans l'aéronautique ? Où en est cette industrie en France ? Les invités : - Philippe Dujaric, directeur des affaires sociales et de la formation au GIFAS, le groupement des industries françaises d'aéronautique et de spatiale qui organise le Bourget. - Laurent Deloire, spécialiste aéronautique au cabinet SIA Partners. - Emmanuel Duteil, directeur des rédactions de l'Usine Nouvelle. Du lundi au vendredi, la rédaction de RTL revient sur un fait marquant de l'actualité avec les reporters, les correspondants et les experts de RTL.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Une heure d'entretien incontournable en partenariat avec CNEWS et Les Echos. Une personnalité politique, un dirigeant économique ou un intellectuel revient sur les grands thèmes de l'actualité et répond aux questions sans détours de Pierre de Vilno pour apporter des réponses concrètes aux Français.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Une heure d'entretien incontournable en partenariat avec CNEWS et Les Echos. Une personnalité politique, un dirigeant économique ou un intellectuel revient sur les grands thèmes de l'actualité et répond aux questions sans détours de Pierre de Vilno pour apporter des réponses concrètes aux Français.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Ce dimanche 15 juin de 21h30 à 22h30, Paul Delair animera "Parlons Podcast" sur RTL. Une émission qui permettra aux auditeurs de RTL de découvrir les podcasts inédits de la radio.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

'Gimme something good'. In this edition of Roots Rendezvous we give you a whole host of songs about 'good things'. Good news, good times, good places, good feelings, even goodbye kisses. Playlist: Artist - Album - Track. 1 Ryan Adams - Gimme Something Good. 2 Robyn Ludwick - Somethin' Good. 3 Beth Bombara - Good News. 4 Grace Potter & The Nocturnals - Goodbye Kiss. 5 Joanne Shaw Taylor - A Good Goodbye. 6 Kate and Anna McGarrigle - Kiss And Say Goodbye. 7 Emmylou Harris - Goodbye. 8 Lucinda Williams - You'll Lose a Good Thing. 9 Fine Young Cannibals - Good Thing. 10 Kathleen Edwards - Good Things. 11 Ray Bonneville - Good Times. 12 Larkin Poe - Good and Gone. 13 Lori McKenna - Good Fight. 14 Madi Diaz - Don't Do Me Good. 15 Amy Ray - Sure Feels Good Anyway. 16 Miko Marks - The Good Life. 17 Thea Gilmore - Sounds good to me. 18 Holly Williams - A good man. 19 Tift Merritt - Good Hearted Man. 20 Sarah Shook & the Disarmers - Good As Gold. Size: 181 MB (190,084,026 bytes) Duration: 1:19:10

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.

Qool DJ Marv Live Soho House Rooftop Manhattan - June 8 2025 - Rendezvous      https://sohohouseny.com/   +   Artwork by John Holyfield:   https://www.holyfieldstudio.com/romantic-rendezvous---lithograph.html   ---      https://www.youtube.com/channel/UC5gQLsodBsCys1_3Zbm83vg     https://podcasts.apple.com/gb/podcast/qool-dj-marv-aural-memoirs-and-buttamilk-archives/id269880758     https://music.apple.com/us/artist/qool-dj-marv/1558418894    https://bsky.app/profile/qooldjmarv.bsky.social     https://www.instagram.com/qooldjmarv/    https://qooldjmarv.bandcamp.com/album/sound-paths-v-1    https://tidal.com/browse/artist/23883666    https://www.mixcloud.com/qooldjmarv/    https://open.spotify.com/artist/48vhJ2d1hVaFHf6gqXeTm0?si=fWO0N456QeWRMWLUtqe4Yg    https://soundcloud.com/qooldjmarv    https://www.twitch.tv/qooldjmarv    https://www.paypal.com/paypalme/QoolDJMarvMusic 

The Joint Readiness Training Center is pleased to present the one-hundredth-and-third episode to air on ‘The Crucible - The JRTC Experience.' Hosted by COL Ricky Taylor, the Commander of Ops Group (COG). The COG is joined by the Aviation Task Force's TF Senior, LTC Amoreena “Ammo” York. Today's guest is Deputy Commanding General for Support of the 101st Airborne Division (Air Assault), BG Travis McIntosh (Eagle 09).   The 101st Airborne Division (Air Assault), known as the “Screaming Eagles” and bearing the callsign “Eagle,” is one of the most storied and combat-proven divisions in U.S. Army history. Activated in 1942, the division gained immortal fame during World War II with combat jumps into Normandy and Holland and its heroic defense of Bastogne during the Battle of the Bulge. Since then, it has served with distinction from Vietnam to the Global War on Terror, transforming from parachute infantry to the Army's only air assault division. With its motto “Rendezvous with Destiny,” the 101st continues to lead from the front—now as the Army's premier Transformation-in-Contact division. As part of the Army's mobility and modernization focus, the 101st is pioneering the integration of multi-domain capabilities, advanced sUAS platforms, electronic warfare, and the next-generation squad weapons within highly mobile infantry formations. Their next rendezvous with destiny will not just be defined by historic legacy—but by shaping how the Army fights and wins in large-scale combat operations on tomorrow's battlefield.   In this episode we discuss the re-emergence of large-scale, long-range air assaults as a possibly decisive form of maneuver in the 21st-century fight and the some of the capabilities required to achieve success. Our guest highlights that the 101st Airborne Division (Air Assault) is reclaiming its mantle as America's premier vertical envelopment force. These operations extend deep into contested terrain, often beyond traditional fire support coverage, and demand precision planning, synchronized fires, and an adaptive joint team. The division's air assault capabilities, when executed at echelon, enable rapid massing of combat power across extended distances to seize key terrain, disrupt enemy formations, and establish lodgments for follow-on operations. However, these assaults cannot succeed without Joint Suppression of Enemy Air Defenses (JSEAD). The ability to suppress, deceive, or destroy enemy integrated air defense systems is foundational to aviation survivability and mission success. Airspace must be contested—and then cleared—through layered fires and effects across domains. As BG McIntosh and Task Force Bastogne demonstrated during recent large-scale exercises, air assault isn't just a legacy tactic—it's a modern instrument of tempo and shock when paired with precision intelligence, hardened command posts, and rapid sustainment.   The 101st's renewed focus on scale, range, and survivability represents its next Rendezvous with Destiny. Gone are the days of low-intensity, air corridor-based insertions. Today's battlefield requires lift platforms operating in low-signature modes, digitally integrated with maneuver elements, and prepared to operate inside denied or degraded electromagnetic environments. With the introduction of the Future Vertical Lift (FVL) ecosystem on the horizon, and the ongoing proliferation of UAS and electronic warfare, Army aviation must evolve from just being “mobility” to becoming a key component of multi-domain convergence. Under McIntosh's vision, the division is shaping the doctrine and culture necessary to fight and win in LSCO: aggressively training mission command at distance, investing in distributed planning tools, and adapting air-ground integration to incorporate SOF, cyber, and space enablers. The air assault is no longer just an insertion method—it's a high-risk, high-reward maneuver enabled by fires, intelligence, and the ironclad trust between aviators and ground commanders.   Part of S08 “The Aviator's Corner” series.   For additional information and insights from this episode, please check-out our Instagram page @the_jrtc_crucible_podcast.   Be sure to follow us on social media to keep up with the latest warfighting TTPs learned through the crucible that is the Joint Readiness Training Center.   Follow us by going to: https://linktr.ee/jrtc and then selecting your preferred podcast format.   Again, we'd like to thank our guests for participating. Don't forget to like, subscribe, and review us wherever you listen or watch your podcasts — and be sure to stay tuned for more in the near future.   “The Crucible – The JRTC Experience” is a product of the Joint Readiness Training Center.  

Episode Summary: In this episode, Heather "Lucky" Penney talks to Lt. Gen. David Deptula, USAF (Ret.), Charles Galbreath, and Anthony "Lazer" Lazarski about the top defense issues this month in Washington, D.C. and beyond. They unpack how the FY26 defense budget is unfolding—what is good and where is it falling short? The factors involving reconciliation versus the standard budget are throwing in some unpredictable factors to consider. They also discuss Golden Dome from a challenges and opportunities perspective. Past that, news coverage suggests that E-7 might be on the chopping block. Are we ready for a set of capabilities that are entirely space-based? Our experts also discuss a broad range of spacepower developments, plus they evaluate Ukraine's novel strike on Russian bombers. Join us to learn about the latest when it comes to air and space power! 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: Anthony “Lazer” Lazarski, Principal, Cornerstone Government Affairs Read: 1. Air Force and Space Force Vectors for the Incoming Trump Defense Team 2. Want Combat Airpower? Then Fix the Air Force Pilot Crisis 3. Air Force Reserve faces steep fighter cuts, uncertain future 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

durée : 00:31:23 - Les Nuits de France Culture - par : Albane Penaranda - Les Jeux olympiques sont un moment déterminant dans la vie d'un sportif. Dans ce documentaire d'Aurélie Luneau en 2008, certains d'entre eux, comme Christine Caron, Jean-François Lamour et Laura Flessel, racontent comment s'est transformé "l'évènement Jeux Olympiques". - réalisation : Emily Vallat - invités : Laura Flessel Escrimeuse française; Monique Berlioux; Roger Bambuck; Yohann Diniz Athlète, champion du monde de marche à pied à Londres en 2017; Jean-François Lamour Ancien escrimeur et homme politique français; Christine Caron PAR TELEPHONE - Nageuse française

This week we're excited to present a conversation from the 2025 edition of Rendez-Vous with French Cinema with Meeting with Pol Pot director Rithy Panh and journalist Elizabeth Becker, moderated by FLC's Vice President, Programming, Florence Almozini. Meeting with Pol Pot will open at Film at Lincoln Center next Friday, June 13 with in-person Q&As at select screenings opening weekend. Get tickets at filmlinc.org/polpot In 1978, three French journalists arrive in Cambodia to survey the country and interview its leader, Pol Pot—but after a picture-perfect arrival, cracks begin to emerge in the murderous regime's facade of respectability. For Cambodian-born Rithy Panh, the damage inflicted upon his homeland by the Khmer Rouge has fueled a lifetime of innovative work in the vein of 2013's The Missing Picture, which reconstructed the period's events in part through clay-figurine dioramas. This real-life journalistic excursion, based on true events detailed in Elizabeth Becker's nonfiction book When the War Was Over: Cambodia and the Khmer Rouge Revolution, is brought to life thanks to exemplary lead performances from Irène Jacob, Grégoire Colin, and Cyril Gueï, meticulously conjuring the sights and sounds of 1978 Cambodia with the assistance of archival footage and more clay figurines. The result is a unique admixture—historical horror paired with a rich meditation on the impossibility of portraying it—that only Panh could make. A Strand Releasing release.

Je ne sais pas pour vous,mais je n'écris plus de lettres, en tout cas de lettres manuscrites, car on peut dire que certains emails sont des lettres. J'étais donc ravie de découvrir à Paris le café Pli, un café à lettres. Nous y sommes allées, mon amie Lorena et moi, il y a quelques jours. Le café se situe dans un quartier de Paris que je connais bien, pas très loin de la place de la République.  La formule est simple : vous commandez une boisson et on vous remet une enveloppe, une carte et des feuilles pour écrire une lettre qui sera envoyée dans un, cinq ou vingt ans.  www.onethinginafrenchday.com #CafePli #ParisCafePli #LetterCafe #CafeALettres #RepubliqueParіs #FaubourgtempleParis #ParisCafeUnique #FutureletterParis #ParisWriting #HandwrittenLetters

This week we're excited to present a conversation from the 2025 edition of Rendez-Vous with French Cinema with Ghost Trail director Jonathan Millet. Ghost Trail is currently playing at Film at Lincoln Center. Get tickets at filmlinc.org/ghost This conversation was moderated by FLC Vice President, Programming, Florence Almozini. Two years after being released from Syrian jail, Hamid (Adam Bessa) is making ends meet as a construction worker in the French city of Strasbourg, where, haunted by the memory of his imprisonment, the young man searches tirelessly for the man who tortured him, determined to get his revenge—but what's the real price of vengeance for the person seeking it? Inspired by true events, Jonathan Millet's deeply researched thriller excavates the too-little-examined moral dilemmas and political negligence that traumatized migrants must confront amid the struggle to rebuild their lives and take control of their destinies at the margins of contemporary French society, inviting audiences to better empathize with France's newest residents, and to better understand their place in the world—and our own. A Music Box Films release.