Podcasts about ronstadt

 From Journey and the Grateful Dead, to The Strokes and Depeche Mode, Oregon has no shortage of tribute bands. But why perform the music of another artist?    Adam Corkery is a guitarist and vocalist for Brown Stallion, a Ween tribute band based in Eugene and Portland. Renée Muzquiz is the lead vocalist and guitarist for Major Tomboys, an all-femme David Bowie tribute based in Portland. She also represents Linda Ronstadt in Stone Phoneys, a tribute to Ronstadt, Dolly Parton and Emmylou Harris.   They both join us to talk about the joys of performing familiar songs for die-hard fans.  

260716PC Linda Ronstadt 80Mensch Mahler am 16.7.2026Lange vor Taylor Swift und Madonna gab es Linda Ronstadt. In meiner Jugend habe ich sie hoch und runter gehört. Man muss schon ähnlich alt sein wie ich, um sich an sie zu erinnern. Vielleicht hilft ihr vielleicht größter Hit Ihnen auf die Sprünge:Hook „You're no good“ „Der erste weibliche Superstar unserer Zeit“ schrieb die Vouge einmal. Und das war Linda Ronstadt in der Tat. Sie brachte 2 Dutzend Alben heraus. Gewann mehrere Grammys und wurde in die Rock & Roll Hall of Fame aufgenommen. Das außergewöhnliche an Linda Ronstadt war, dass sie keine gewöhnliche Country-Sängerin war. Sie beherrschte nahezu alle Genres: Country, Jazz, Punk, Oper und auch Musik aus ihrer Heimat, Mariachi und Ranchero. Linda Ronstadt wurde am 15. Juli 1946 in Tucson, Arizona nahe der mexikanischen Grenze geboren. Nach der Schule ging sie an die Westküste und feierte schon bald mit der Folk Gruppe The Stone Poneys erste Erfolge. „Ich habe erst 1980 angefangen, richtig gut zu singen“, sagte Ronstadt einmal. Da war sie 34. Millionen Fans weltweit sahen das anders. Sie war schon vorher ein Rockstar und die erste Frau, die riesige Arenen füllte.Ihr Privatleben hielt der Antistar aus der Öffentlichkeit heraus. Sie adoptierte zwei Kinder. „Ich musste nicht heiraten“, sagte sie einmal dem New Yorker. „Ich hatte mein eigenes Leben“.Linda Ronstadt lebt in San Francisco, schreibt Bücher und arbeitet an Dokumentarfilmen mit. Derzeit ist ein Biopic in Arbeit, indem sie von der Schauspielerin Selena Gomez gespielt werden soll. Ich freu mich drauf. Aber jetzt werde ich erstmal an meine LP-Sammlung gehen und die alte Platte von Linda Ronstadt auf den Teller legen. Analog, nicht digital. Und ihnen empfehle ich, sich jetzt erstmalzurückzulehnen und zu genießen. Hier ist Linda Ronstadt mit „You're no good“. Happy Birthday zum 80igsten, Linda Ronstadt! Hosted on Acast. See acast.com/privacy for more information.

Linda Ronstadt war in den 70er Jahren wohl eine der erfolgreichsten Sängerinnen der Welt. Die US-Amerikanerin beschränkte sich dabei nicht auf einen einzigen Musikstil, sondern gilt als Allrounderin. Heute wird Ronstadt 80 Jahre alt.

What if VR looked beyond traditional employment pathways? In this episode of Manager Minute, Carol Pankow sits down with Kristy Schenderlein, Vice President of Operations at the Blind Institute of Technology (BIT), to discuss how an RSA Disability Innovation Fund (DIF) demonstration grant is redefining career opportunities for people with disabilities. Learn how BIT combines accessible technical training, industry-recognized certifications, registered apprenticeships, and employer partnerships to prepare participants for careers in Salesforce, digital accessibility, AI, and project management. With participants earning family-sustaining wages and advancing into six-figure careers, this conversation challenges VR professionals to think differently about workforce development and the future of competitive integrated employment. Listen Here   Full Transcript: {Music} Kristy: Organizations are unfortunately trying to fit our community into a little box. What they think we can do, not what we know that we're capable of. You guys are really forging ahead with something that's never been done before. And so how do we get the VR groups, the VR counselors and teams to break out of what their traditional mold has been? Our participants earn an average of 75,000, and within three years of employment, the majority have been promoted and are making over six figures. Intro voice: Manager minute, brought to you by the Vocational Rehabilitation Technical Assistance Center. Conversations powered by VR. One manager at a time, one minute at a time. Here is your host, Carol Pankow. Carol: Welcome to the Manager Minute. Joining me in the studio today is Kristy Schenderlein, VP of operations at the Blind Institute of Technology. So Kristy, how are things going for you? Kristy: Very good. Ready for summer to start. Carol: Yes. It's starting here in a big way, let me tell you. We've got heat wave going on in Minnesota. So today we're going to talk about a Disability Innovation Fund project focused on expanding access to careers and technology for individuals with disabilities. And this is a space getting a lot of attention right now. But what does it actually look like to build something that works in practice? So let's dig in. So Kristy, let's start with your journey. How did you get connected to this work and to BIT? Kristy: Yeah, absolutely. So I myself am a member of the Blind and visually impaired community. I have Stargardt's disease, which is a juvenile form of macular degeneration. So I navigated through the education space as a visually impaired student, got my degree from University of Wyoming and Communications a long time ago. We don't want to talk about how long ago that was, but then I moved into a career as a litigation paralegal for about 15 years. And my husband and I opened our own hardware store, where, in addition to being a small business owner and doing whatever was needed of me that day, I also oversaw all of the operations there as well. And when we closed our store, I kind of was at a crossroads. I wasn't sure exactly what I wanted to do, except for the fact that I really wanted to look into the potential of working with employment in my community. Through my years, I had met with apprehension. Can I do the job? Shock? You know, some people would see, you know, especially when we were at the hardware store and I began using a cane in the middle of us owning the store. So, you know, people would walk in and I'd be standing there with my cane. And if I asked them, you know what I can help them with? Or if they'd see me, you know, talking to employees found out I was one of the owners. You know, I was just met with disbelief that I could actually be doing this job. You know, sometimes it was just blatant. No, you can't met with a I don't see how this can be done. So I'm not going to open my mind to even consider this. So I know that navigating those waters of employment for not only people within the blind and visually impaired community, but pan disability community as well, is difficult. And I know that it is not the lack of ability, it's the lack of opportunity. And so what could I do to help my community? And an acquaintance introduced me to Mike Hess, our executive director. Mike and I met. He told me about BIT, BIT's mission, his vision, and I jumped on board seven years ago. When I jumped on the ride, there was five of us, now there's almost over 50 of us, the majority of which identify with some form of disability, including in leadership. So we're really proud of that. It's been a wild ride for sure. Carol: I think it's really cool. I was looking a lot. I was looking you up. Of course, you know, I got to check out your story on LinkedIn and all the things as well. And then just perusing the BIT website and such. And I just think you have a really amazing cast of folks that are working there. Kristy: We do. Carol: And I really like what you're doing. Kristy: Thank you. Carol: And I could not believe, actually, since I found out about you, I had contacted like my folks back at State services for the Blind in Minnesota. I'm like, do you guys know about them? Like, because I sure didn't know about you when I was there. And I just think getting the word out more is super important. So I know you and I had spoken earlier and we were talking about your DEF grant application and that you guys actually had a model that you had built. And so you were basing this application on that. Can you talk a little bit about the different process and what problem you were trying to solve with your application for the project? Kristy: Yeah, absolutely. We know the numbers and how ugly they are that, you know, 70% of people with disabilities are either un or underemployed for the BVI community. It's even higher. It's at 80. I think those numbers have changed a little bit, but unfortunately that needle hasn't moved much in years. There's a lot of organizations out there that are saying that they're focusing on employment. But unfortunately, I mean, the numbers don't lie. You know, we're still where we're at. And what we found is no one is focusing on workforce development for higher level professional careers. And no one's really focusing, again on the professional or corporate America. Organizations are unfortunately, trying to fit our community into a little box, what they think we can do, not what we know that we're capable of. And so we really, truly believe that the answer to this, and I'm going to call it, you know, an epidemic, if you will, the unemployment of people with disabilities really has to do with workforce development and making sure that those people who, again, have the ability to do the job also have the opportunity. So we actually began offering Salesforce administration courses, gosh, back o late 2000 teens, we successfully put through eight blind or visually impaired professionals through a Salesforce Administration Certification prep course, and we choose Salesforce specifically because of the accessibility of their platform. And not that it is a B2C accessibility, but it's a B2B. So people within my community and those of us in the Blind and visually impaired community who are the hardest to serve because of the fact that we have to use assistive technology in order to do our jobs. It's allowing that community to get these certifications, get good, long lasting, sustainable careers. You know that they can actually be, you know, climbing up that corporate ladder, not being stuck down at the bottom. So we began our courses in 2020. We actually became the only training provider approved by Salesforce for people with disabilities globally. And that really came about because of our focus on two things. Number one, our courses being virtual, we are meeting. This was even before the pandemic, even before, you know, virtual courses were the thing. We were doing it virtually. We were meeting our community where they were at. We were also focused on employment. Our end goal at BIT is always employment. That's always where we keep our eye on employment. So, you know, we'd already started these courses. We began a Salesforce system integration service within BIT. We also began an accessibility consulting service and began using our students as at that time, interns, we met up with an intermediary, an apprenticeship intermediary called Safal Partners, who looked at our program and said, gosh, you guys already have an apprenticeship program. Kristy: What would be considered a wrap or a registered apprenticeship program through the Department of Labor? So they helped us get registered with the Department of Labor, and we became and still are the only organization, the only registered apprenticeships to include the Pan disability community to include the BVI community. And we're proud of that. And we're also saddened by that because we are the only ones that are doing it this way. The problem was we were only able to do it more of in a project based format, you know? So whenever we had projects, the apprentices worked well. Our apprenticeship program is a competency based program. There have been which now have been lifted, but requirements of 2000 hours really difficult to get those 2000 hours in a reasonable amount of time when it's just ebbs and flows of projects. So we really need to find a way to move into a more structured apprenticeship program. We added a, you know, the digital accessibility space a couple of years after we did the Salesforce admin apprenticeship and fortunately found the DIF grant to help us expand on what we already had running. Carol: So what did this when you get the DIF grant, what it allow you to do differently, moving from that more kind of pilot project kind of format into this structured model? Kristy: Mhm. Well, it allowed us to do essentially that. Number one is add structure. So as I mentioned, for our apprenticeship program, first we were able to add an apprenticeship program manager, which is huge for somebody to actually be able to focus all of their time on overseeing the program. We were able to move it into a more structured program. So we're not only looking now at project based. Our apprentices, you know, are working on regular schedules. Most are completing their apprenticeships between 1 and 2 years. They're able to not only work on those projects and gain competencies through projects, but also work on hypothetical situations we created for those competencies they need to accomplish without the projects we're working on professional development. So it was able to really add, again that structure to make it just a more robust program. In addition to that, we were able to expand on the academy courses that we were able to offer. So what we're learning with the Salesforce ecosystem is essentially the sweet spot is five certifications. It's not enough just to have that foundational cert. So with the DIF grant, we were able to say, okay, we want to get our team to that five certs. Any student that goes through our course, they have the option of getting to those five certifications. You earn two. Just in our foundational course alone. And then we added three higher level courses. In addition to that, we're also able to add a third track. So we have our Salesforce Administration track. We have our digital accessibility track, and now we're going to be able to add an Agile Scrum Master certification or project management track. So it pairs really nicely with the other two tracks in that, you know, all of these projects, they need scrum masters or project managers to run these projects. So now we're able to kind of create that full loop where we're able to have our admins working on their projects. Same with digital accessibility. And then we're able to add, again, these scrum masters and project managers to work on those same projects to build up and gain their experience. So able to expand the Academy. We were also able to add an academy director and an administrative assistant, you know. So again, providing more structure and guidance there. And then additionally, one of the things that we focused on, one of our goals with the grant was to be placed on 30 state eligible training provider lists. And what this allows us to do is really get a lot of that exposure that you were talking about before. Any person who wanted to participate in the program can go to these ETPLs, is what they're called. See if we're on in their state, get the information. You know, if they are workforce boards, VR counselors. Again, just the average Joe that wants to look into some opportunities for training also gives employers the opportunities to come in and see what we're doing, learn about us, you know, get that more exposure. And I think actually now we're on 35 ETPLs. Again, our friends at Safal Partners helped us within the first year achieve that KPI for our DIF grant. Carol: That is amazing. That is really great. I was gonna ask how many you were on and 35 sounds... Kristy: Mhm. And growing and growing. You know, we're we're we're not stopping. Right. We want to be on all of them. Carol: I'm like, you're going to conquer the world. So walk us  through how it works today. You know, you're talking about the academy. You've got the certification, the apprenticeships, kind of how does the whole flow? Somebody comes in, they're like, I want to do the thing. What happens? Kristy: Absolutely. We have a couple of different options to start. So what we decided to do was add two self-guided courses for our two current tracks, Digital Accessibility and Salesforce Admin. So they're intro courses, they're self-guided. And essentially it's just that giving you an introduction to what Salesforce is. A lot of people have no idea what Salesforce is, even though they're one of the largest tech companies in the world. They're in every industry, all the different fields, you know, they're this humongous organization, but a lot of people just don't know what it is. So it gives people the opportunity to get in there, see what Salesforce is. Is this an interest to me? Same with digital accessibility also gives them an understanding of if you're using assistive technology, what is your level of proficiency need to be? Can you be a beginner? And I'll tell you right now, the answer is no. You can't be a beginner if you're using. You know what? I use a screen reader. You know, you have to be a little more proficient than that. So you get through those courses and you decide, yeah, I really liked this. I completed the course. You sit for a technical assessment, you have to do a hands on assessment and then a technical interview. Kristy: And the reasoning for that is to really, number one, ensure that that person who is taking the course is committed, understands the content was doing it themselves, you know, making sure nobody was, you know, helping them out before they can move into the instructor led courses. So once they pass that you can move into the instructor led either, again, digital accessibility or Salesforce, when we add our agile scrum probably won't have an intro to start, but that'll be getting added the later part of this year. And that'll again be instructor led courses, but pretty much the same format. So once you get into the instructor led courses, digital accessibility I believe is 14 weeks. I think admin is now 17 weeks. Again, with admin, you earn two certifications, multiple hours a week in class and then also in lab. In addition to that, there is a lot of homework. There's a lot of work outside these courses. I never sugarcoat these courses. They are not easy. We're talking high level tech careers. So these are high level courses. There's a lot of work, there's a lot of commitment, but there's a lot of support. All of our classes are taught by a person with a disability. Our TAs are people with disabilities. We have focus on those people that need to use screen readers. You know, we have screen reader instructors. So we're really, you know, meeting every person with a disability, regardless of what that is, understanding what accommodations they may need, working with them on that so that they can feel comfortable and actually concentrate on the content and the subject matter and not, am I going to be able to do this course or not? So they get through the instructor led courses leads to sitting for the certification exams. And, and I want to point out to all of the courses that we offer in our academy all lead to industry recognized certifications. These aren't certifications. We make up and say, well, we'll see if it works for you. These are the same certifications that anyone would be sitting for if they were taking any of these Salesforce courses or the digital accessibility, the Agile Scrum Master, you're going to be sitting for the actual Scrum Master certification. So they sit for the exams, you know, hopefully pass it. We've got really good certification pass rates, so hopefully they'll pass it again. They're difficult, they're not easy, but we provide you with what you need in the courses to pass those certs. Carol: What does your pass rate look like. Kristy: So oh boy you just threw that threw that at me. What's the data I believe I think it varies based on the course. But for example, I know our past cohort for digital accessibility, ten out of 12 have sat for the course. And I think all of them have passed. So 100% there. I think most of our cert rates run as a collective whole, 75 to 95%. Carol: Okay. Kristy: Yeah, really good cert rates. And again, it's really because of the fact that these are intense courses, but we work with you. Carol: When you're wrapping service around all these people. Kristy: Exactly. Carol: Talk about the technical kind of support that the students can get. Kristy: You're exactly right. Yeah. You know, and again, a lot of group sessions, you have a lot of support. Carol: Yeah. Kristy: So yeah. So once you get past those certifications, you then become eligible to interview for an apprenticeship. Not everyone qualifies for an apprenticeship. It really depends how well you do in the class. You know, obviously you need to have your certification to get into their apprenticeship. So if you don't get your cert, there's an issue. What was your professionalism like? You know, our instructors provide our apprenticeship manager with notes and sometimes it's, hey, they just need a little more professional development. They need a little work on this. They need to work on that, which is stuff we can provide. One of the things that came with the different is we added in a professional employment coach. So she works with people, you know, maybe you have ADHD and you're looking for tools to help you get organized and to stay focused. And so we bring her in and have sessions together. Sometimes just professional development. There's a lot of people in our community that need a little bit of that. Unfortunately for some of us, when we get on these Zoom calls, we can't see the social cues. We can't tell if somebody is, you know, getting ready to speak or wrapping up what they're speaking, you know, so how do you handle all that? So we do all of that, you know, we provide all of that. But once the instructors say, yep, I think that they should interview for an apprenticeship program, they have to go through an interview with our apprenticeship program manager and another member of BIT. And then if we have openings, which we do, and we will continue to have them through the different, then they become a part of our apprenticeship. And again, those are all apprenticeships or they're competency based used to be 2000 hours. The Department of Labor has lifted that restriction. But we still feel that that 2000 hours is a good number for our participants to really get a good, strong understanding of what they will be doing in this role in mastering these competencies, Professional development. It gives you that 1 to 2 years experience that, you know, whenever you're looking for an entry level job, what do you see? You need 1 to 2 years' experience. Well, how do you get that if you're entry level? And so we're providing that opportunity to do so. Our apprenticeship program has additional trainings that are offered. You're working right alongside with our sales force professionals, our accessibility professionals who all have experience in the field. And again, I will point out to these are teams that are all disabilities working together. So completely deaf admins working with completely blind admins, just killing it, doing an excellent job. So really a lot of exposure in that apprenticeship program. One of the things the DIF grant also allowed us to do is incorporate employer partners. So if you have an apprenticeship with an employer partner still meeting with our apprenticeship program manager. You're still getting all of the support from BIT we're meeting with the project leads at those employers to make sure that we're supporting them in anything they need. So really, like I said, a well-rounded program. Once you complete those competencies, we do self-evaluations. I mean, we're, you know, where you stand in our apprenticeship and what you need to work on. And, you know, we're selling, obviously, the further you get into the apprenticeship program, the more projects you're handed, the more responsibility. So really just gaining your confidence in the field, and then you're ready to go into the world and work in an organization or a corporation out there. Carol: Are you seeing any impact with AI? You know, people talk about AI usage now, and, you know, the increase of that and how it's changing the landscape of corporate America. Are you seeing any impact from that? Kristy: So you've heard of that little thing called AI? Carol: Yeah. Kristy: The answer is an overwhelming yes. So one of the things that we've done in our courses is try to, we try to make them future proof. You know, we don't want to send our students or our apprentices out into the world behind the eight ball, you know, oh gosh, this is a saturated market. I don't have any of the skills. So one of those higher level Salesforce certifications I told you about is agent for specialist, which is Salesforce AI. And Salesforce has gone all in on agent force and their AI. So our apprentices have the opportunity to become certified in agent force. And then, you know, different projects we're working on. We're now talking to a lot of clients that are looking into how can I incorporate AI into my Salesforce environment? So, you know, giving them people then that opportunity to get those skills so that they can make an immediate impact. Additionally, in the Scrum Master or the project management track scrum Master has just added the AI Scrum Master certification course. So we will be actually including that in our course. So again, you'll come out of that track with if you're looking at Scrum Master, you're looking at two shirts, one of which is AI. We're also adding a higher level AI course, that's AI governance. Most of these companies are looking at this going, okay, we have AI, but when should we be using it? How should we be using it? What is ethical? What is not? What is going overboard with AI, you know? So we're actually going to provide a course. So again, our participants can come out able to make immediate impact on organizations. And the way to do that right now is AI. So we absolutely are incorporating AI. People with disabilities to, you know, again, we say at BIT Technology is the greatest equalizer. It truly is. And people with disabilities are actually leading the charge in AI. In fact, that agent for specialist course I mentioned, out of all of the workforce development orgs within Salesforce, we were the first one to offer that course. So disability community leading the way in AI. So it's exciting. Carol: I love it. Well, you're ahead of the curve, which is super good. And people come in with that. They'll definitely. I mean, you're creating a good niche there with your apprentices being able to do that. Kristy: That's our goal. Carol: That's awesome. So what are you seeing as a career pathways like what's proving to be the most impactful right now? Kristy: So you know, again, Salesforce is just huge. So of course that is, you know, continuing on and that is definitely making a big impact. Digital accessibility is a very hot topic right now. Gosh, a couple years ago, I can't remember what year it was actually implemented. But the Department of Justice has now mandated that title two of the Americans with Disabilities Act incorporate digital accessibility. And they actually laid out deadlines. They just pushed the first deadline. It was supposed to be April of 2026, that all municipalities with over 50,000 individuals had to be digitally accessible. Everything within your state needs to be accessible for people within our community to access. 2027 was supposed to be for those municipalities, less than 50,000. I imagine that'll get pushed back as well. But the bottom line is if your organization, your front facing organization is not accessible, you're going to encounter some issues. And so all of a sudden then all of these corporations and organizations and government and they're going, okay, what is this? What is digital accessibility and how do we get there? So we're really starting to see a lot of impact, a lot of clients coming to us asking, okay, what is digital accessibility? How can you help me? One of the members of Office of Accessibility for Salesforce is actually said that there's two experts in Salesforce accessibility, and one is Salesforce and one is bit. We work very closely with them on accessibility and their accessibility. I think really that impact digital accessibility. We're going to see it more and more and more. Unfortunately, a lot of lawsuits are being filed. And when I say unfortunately, it's that's what's being the precursor for companies to become digitally accessible. You know, I wish they would just because it's better for everyone. An accessible product is just a better product. It's more well thought out, it's more intentional. It's just better presented. I wish that it wasn't that they're being forced to because of litigation. I wish that it was just because that is again, the right thing to do. Plus, this disability community is large across the world. I think it's 1 in 5 now, and more and more people are aging. More and more people are being diagnosed with disabilities. Where before in tech, people were just considered eccentric. When I think a lot of them were actually, you know, on the autism spectrum or neurodiverse, so that, you know, a lot of invisible disabilities, mental health disabilities are now become not so taboo to hide and to talk about. So it's something that, you know, the world's just going to see more and more of, and the demand for making things more accessible to reach your customers, to reach that community is going to become more and more. So I really think that digital accessibility track is getting a lot of focus. Carol: That is very cool. I know employer engagement also is a big piece of all this, and how are you partnering with companies and what are they seeing as value from what you offer? Kristy: So apprenticeships is huge right now. Apprenticeships really provide employers the opportunity to get kind of a jump on the talent pipeline, both this current administration and the former administration, very pro apprenticeship. You know, they have apprenticeship mandates out. I believe it's a million apprentices is what they want to attain. And then there's proven statistics. I'll give you some data here, Carol, for companies that have an apprenticeship program, typically for every dollar that's invested in that apprentice, the company is seeing an ROI of $1.44. So immediately getting impact with having an apprentice, 94% of the apprentices stay where they're at when they become an apprentice within a company. So turnover is really expensive for companies, incredibly expensive. And so not only if you have an apprenticeship, you're looking at a 94% retention rate. But then to add to that, the people with disabilities community, our turnover rate is incredibly low because it has been difficult to find employment. If the person with a disability finds a place where they can be successful and thrive, they're not going anywhere. So you kind of get a double whammy on that. Apprentices typically come out earning 84,000 a year, and they're saying 49% of HR managers are saying that skill based is really kind of the new and compelling look at talent management. One of the things that, again, as I mentioned before, the DIF grant allowed us to do is start reaching out to employer partners, having them bring on apprenticeships, not necessarily being trained within BIT, but actually going into their organizations, working with their Salesforce teams, working with their digital accessibility teams and again, creating this talent pipeline I mentioned earlier, it's not the lack of ability, it's the lack of opportunity. Again, these apprenticeship programs are really providing people within our community the opportunity to go in there and prove themselves, to show these companies. You know, unfortunately for the people with disabilities community, that really is we call it that legal, nebulous bell that we have to ring is the reasonable accommodations. Most people don't understand them. If you get an apprenticeship in there, you're working alongside that apprentice to really determine, okay, how is this person going to be most successful and really getting over that fear of what the reasonable accommodation is. So our impact with employers has been fabulous. It's been phenomenal. A lot of interest, again, in bringing on these apprentices to work on their teams, give them again that opportunity to kind of dip their toe into that pool. I want to mention, too, that we really believe that the disabilities community is the greatest untapped talent in the planet. You have this whole group of resources that are so talented and nobody's touching and working with organizations like BIT. Working with these apprentices really gives you that opportunity to dip into that talent and have this just amazing pipeline, amazing resources to work with instead of going the typical talent route. And we have a tech talent shortage, we really do. So, you know, working with, again, like an apprenticeship program, working with our team really gives people the opportunity to get that jump on that talent. Carol: Well, and they get to work in that company. You know, you're in that company and the company culture. You're all part of it you've done these 2000 hours. You know, you've been there a year or more. Kristy: Exactly. Carol: And so they really get a good flavor of what you bring to the table. It's such a great way. I mean, you see that more and more kids are starting to realize like maybe the four year degree route isn't the way. Kristy: Mhm. Carol: We need to look at these other options for getting into employment and getting in more quickly, because everybody learns differently, and these jobs, I mean, when you're talking, people are coming on average $84,000. This is no joke. Kristy: No it's not. Again, it's a good way to get into, again, your feel to get your foot in the door. Give those companies the opportunity to really get that new and emerging talent, but not expecting them to just hop right in the job because, he said, we all learn differently. There's a lot of nuances to learn about different companies. You know, you're an admin at one company and you go to another. And again, you know, you've got that hill to climb of, you know, what are the nuances of that particular company. But here you built your own army, if you will. You built your own pool. Carol: Yeah. Kristy: One of our apprentices actually in a webinar we did recently, she had said, you know, one of the benefits to employers is you essentially get to mold these apprentices into what type of employees that you're looking for. And it's true, you're almost taking a blank slate and working with it for two years and building your team the way you want. And then like you said, you know, you're done with that 2000 hours. Why would you go anywhere else? You've already invested this time. Again, we've given you the statistics on the ROI in that dollar investment. You're already earning money off the apprentices, so why wouldn't you stick with them? Carol: 100%. Now, I know you had some success with the workforce boards and a few blind service agencies, but you've had less traction with VR. What's been the challenge there and what do you want, like the VR agencies to understand? Because I know we sure miss the whole boat and didn't even realize a thing about BIT and I've been telling everybody ever since I talked to you first, like, hey, you need to go look at this website and you need to talk to these people because I've just been like, wow, why is VR missing the boat on that? Kristy: Well, I think you're kind of hitting the nail on the head there, Carol, in that we are not your normal traditional organization out there. We know we are actually the only organization doing what we're doing. And we know that because not only have we looked, but Salesforce has looked. Our other partner, Ronstadt, has looked, you know, they've looked around for other organizations like us doing what we're doing, the manner in which we're doing it, and there aren't any out there. So I've been thinking about this since you and I spoke last time about, you know, really what is our problem with VR? What is the issue? And I really think it comes down to that fact that we are breaking the mold. Our friends at Safal Partner, you know, talk with us all the time about you guys are really forging ahead with something that's never been done before. And so how do we get the VR groups, the VR counselors and teams to break out of what their traditional mold has been and kind of think out of the box and look at our organization go, oh, wait, because unfortunately, the traditional is not working. I mean, the numbers say it, you know, those numbers haven't moved. And I think the VR counselors, they have to do certain things certain ways. And they have reports that they have to do and they need to meet different criteria. And, you know, our programs aren't short. You know, it's not like somebody can get in and out in a month and then they're employed. You know, we're really investing the time in training people to really be productive employees in a completely different way than ever been done before. So I think if we can get the VR groups to open up their minds to a different way of doing things and to recognize the fact that these traditional ways we've been doing things just really aren't moving the needle. And I think a lot of the, you know, VR counselors, again, they're they have cases they have to close, they have rates that they have to hit. They again, they have all this documentation they have to do. And so I think a lot of times they try to put a square peg in a round hole, and it just doesn't work for people with disabilities community. You have to understand where they're at, you know, Social Security disability, a lot of people are on it. It is not easy to get on. Our goal is to get everyone off of it, not to provide them with a supplement to their SSDI. We want everyone to become tax producers, not tax consumers. So when you get people who are capable, who are software engineers, who have these, you know, the great focuses on tech, this critical thinking mindset that can do so much more than just getting a job. Being able to think outside the box, look at other opportunities that might be out there and go for it. You know, we've been successful, we're showing that this is the way you do this with this group. So that's really the only answer I can come up with, Carol, is why we're not making more traction is just that traditional mindset of this is how we do things. And unfortunately, that traditional mindset is just not helping our community well. Carol: And hopefully we're able to get the word out now through the podcast and advertising that because it is like a no brainer to me. I mean, you're looking at your wants to get people into quality employment outcomes. And I used to always be about like family sustaining wages. And so you're talking about this investment and the people, even though it takes a longer amount of time. But if you've got folks coming out, you know, you've got a big track record, you've worked 2000 hours, you've done this apprenticeship, you've done all this coursework ahead. You have these certifications. You now are geared up for really good employment and long term employment. We're not talking, you know, you're in and out of the fast food place. You want to stay here. You're now engrained in a company. Like what a way to set folks up for success and not needing to come back to you, or to Social Security or any of those other supports. You've really got people launched in such a great way. Kristy: Right? And on that note, so our participants earn an average of, I think, 75,000. And within three years of employment, the majority have been promoted and are making over six figures. So as you said, their family sustaining wages with opportunities of growth. And that's really what our community needs in opportunities, is that the community does not want to be on Social Security disability. They don't they want to be able to put food on their table. You know, with employment comes a lot of dignity. It comes a lot of feeling of worth and being a productive member of society. The community wants that and they know they can do that. We're just lacking the opportunity. Again, lacking that open mindset. I know there's a lot of VR counselors that say, hey, I'm going to put you through college and I'm going to get you this bachelor's degree. And our unemployment rate is still the same, right? We need more than that. You know, you need more of an investment, not just the traditional. I am old enough to remember the days that my parents just said, oh, just get a degree, right. Doesn't matter what it's in. Just go get a degree, you'll get a job. That's not today. You know, today's the day of specialization. As we talked earlier, today is the day of certifications. You know, people want certs. They want experience. They want skills, they want proof. And they're looking at effective employees to, you know, how effective are you an employee? Are you going to be great? You've got this bachelor's degree, but can you be effective in this role? Hiring managers say they can train for those hard skills. You know, they can train somebody to, you know, code in a certain Manner or become an HR professional. You can train a lot of that, but you can't train the effectiveness. You can't train the critical thinking as much as you can when you're in the role. Our program helps to do that though. You know, it really helps people to develop those skills, to become those critical thinkers, those problem solvers that these hiring managers are looking for. Carol: It really is the full package. What you offer. I just I'm still stunned thinking about like that. We've all missed the boat for 20 years or plus you've been around. So it's not too late though for people to get on board. So looking ahead, what does success look like for your project and what should other people be paying attention to? Kristy: Mhm. Of course, the whole goal for this project is competitive integrated employment. And of course, again, that goes right along with our mission from the very beginning. It's employment. You know, that CIE number is again that family sustaining wages that you can have good strong careers in. So when we're looking at our future, the grant has provided us the opportunity to really build our programs again, provide a lot more structure. So of course, sustainability. Our goal is really to grow our own sales force system integration services, our own digital accessibility services. So that number one, we can be a huge employer of people with disabilities and really build these big sales force teams. The other thing is really finding the employers who are interested in investing in this community. You know, who again, are thinking outside that box of, you know what? I have a talent shortage and I need to find a pool that is really going to benefit my company, provide an ROI, you know, be here. So I'm not hiring somebody every six months. So really, again, you know, getting the word out, we want people, of course, to know about our program to look at our program. You know, we're focused on tech. Tech is not the only industry that could benefit with this type of program, not in any way, shape or form. So we really like people to look at our program and say, okay, you know, our focus is X, you know, maybe it's marketing, maybe it's finance, accounting, whatever it is. And really look at our program and say, I think this is the model that we need to follow. You know, it is a very collaborative organization. We are not going to get where we need to be in silos. We need the whole village to work together to provide these opportunities. Again, really trying to show that we really feel this is the path forward for many careers, for many high producing, effective, high compensation careers. We'd really like people to, again, look at our program, look what we're doing in the different, obviously different is a demonstrative grants. That's the whole thing we're doing here is demonstrating that we really feel that our model is the way to go. Really take a look at apprenticeships and apprenticeships for people with disabilities. I really feel apprenticeship just are tailor made to people with disabilities for them to really, again, get really comfortable to build their skills and show that, yeah, I've got the ability. Just give me that opportunity. I've got the ability. Carol: I can totally see why RSA selected you as a grant. Kristy: Oh thank you. We're pretty passionate here at BIT. Carol: You are and it's amazing. So folks wanted more information about BIT, what's the best way to find you or contact? Kristy: Absolutely. So of course the best way is our website. It's just easy. BlindInstituteOftechnology.org. You can also get it by blindIT.org. You'll find all the information there. Otherwise you know, reaching out. If you are interested in our Academy, Academy@blindIT.org, we have candidates@BlindIT.org or sales@blindIT.org. Any of those, if you can't remember any of them and you can only remember, oh, she said Sales@BlindIT.org, but I'm really not in sales still go to that email address. We're looking at over 50 of us. Our internal team, you know, is about 25 to 30. We're very tight knit, so it's going to get to us. So any of those email addresses work and you can find them all on our website. So again, BlindInstituteOfTechnology.org or BlindIT.org will get you there as well. Carol: So no wrong door in. Kristy: Nope, nope. We will get you to where you need to be. Just let us know what you're looking for, what you're interested in, and we will find the person for you. Carol: Well, that is awesome and I know I am going to sing your praises going forward. Like continue to like tell people about what is happening there. It's pretty amazing. I really appreciate your time. I wish you much success. Thanks for joining me. Kristy: Thank you so much, Carol. I appreciate the opportunity. {Music} Outro Voice: Conversations powered by VR, one manager at a time. One minute at a time. Brought to you by the VRTAC. Catch all of our podcast episodes by subscribing on Apple Podcasts, Google Podcasts, or wherever you listen to podcasts. Thanks for listening.

Lydia Sylvia Martin grew up in a family of musicians, The Martin Family Band of Maryland. Today, Lydia creates personal interpretations of traditional music, and writes new songs.Lydia Sylvia Martin's musical style is a fusion of tradition and innovation. Her performances have earned her a unique place in the folk music community.Lydia Sylvia Martin has won awards for her songwriting and old time banjo performances. She taught a Master Artist Folklife Apprenticeship through the Maryland State Arts Council, and has been on the faculty at Common Ground on the Hill and Miles of Music.

In Episode 284 of Outside The Round, host Matt Burrill sits down with rising artist Cassidy Daniels to talk about her unique journey through the music industry, including her experience on The Road and working within the world of Taylor Sheridan and the Yellowstone universe. Cassidy shares what it's like balancing life between Nashville, Texas, and Los Angeles while building her career as both a songwriter and performer. The conversation dives into her upcoming music, time in the studio with collaborators like John Osborne, and the creative vision behind her next album. Cassidy also reflects on growing up as an Army brat, the importance of trusting your instincts in the music business, and the support system that keeps her grounded while navigating touring, social media, and the fast-paced entertainment industry. It's an honest look at authenticity, resilience, and carving your own path while chasing big dreams. Follow on Social Media: Cassidy Daniels: @cassidydanielsmusic Matt Burrill: @raisedrowdymatt Outside The Round: @outsidetheround Raised Rowdy: @raisedrowdy Chapters (00:00:00) - Outside The Round With Matt Burrill(00:01:48) - Gretchen Wilson on Her New Tour(00:05:29) - The Road: Adam Sanders and Channing Wilson(00:09:07) - Adam Levine on Coming to Nashville At 16(00:13:54) - Taylor Sheridan At The Auburn Rodeo(00:17:06) - Taylor Sheridan on Working With Taylor Sheridan(00:19:57) - When You're Still the Girl(00:22:09) - Cassidy Daniels on The Road and His(00:26:50) - Flip Flops on Crystals(00:30:54) - Cassidy on His Love Life(00:34:03) - Wild Greg and Little Bit at Micro Wrestling(00:36:41) - MicroWrestling Federation(00:37:33) - Tennessee Williams on Being in Texas(00:40:37) - The Real Reason I Did The Road(00:45:30) - Ronstadt on Working With Lynyrd(00:48:54) - Army Brat Songs(00:51:18) - Cassidy Daniels on His New Album(00:55:40) - On Jono and the Love Junkies(00:58:04) - Cassidy Daniels: Stick to Your Gut

Musician Michael G. Ronstadt has traversed a wide range of musical styles from singer-songwriter, folk, jazz, classical, Americana to new age. Ronstadt displays genre-blending explorations on cello and guitar in complement to thought-provoking lyrics, as well as instrumental work. In addition to his solo and group recordings with Ronstadt Brothers, Trotta & Ronstadt, Serenity Fisher & The Cardboard Hearts, Aaron Na-thans & Michael G. Ronstadt, he is a much sought-after studio musician, who has appeared on more than 200 albums in the last 20 years. Michael has recorded in studios across the United States in Philadelphia, Tucson, Phoenix, Nashville, New York City, New Jersey, Cincinnati, Los Angeles, Germany & North Wales (UK).His versatile work has been tapped for studio and concert work by such artists as David Bromberg, Linda Ronstadt, Murial Anderson and Craig Bickhardt (SKB). He has opened up for artists like Ruthie Foster, Jor-ma Kaukonen (Hot Tuna, Jefferson Airplane), Steve Katz (Blood, Sweat & Tears), Ramblin' Jack Elliott, Neil Young, Death Cab For Cutie, Smashing Pumpkins and Josh Groban. He has toured and performed with the late, great Rick Rosas (Crazy Horse) and Dave Krusen (Pearl Jam). His performances have been heard at the National Cowboy Poetry Gathering (Elko, NV), Philadelphia Folk Festival, San Diego Sail Festival, Musical Instrument Museum (MIM), Common Ground On The Hill Music Festival, and Tucson Folk Festival to name a few.Serenity Fisher has a piano style that is theatrical and passionate. Her music has been compared to Regina Spektor, Tori Amos and Fiona Apple.

An emotional, informative, and entertaining episode of the musical discussion podcast featuring significant passings, ticketing efforts, covers and tributes, and much more. Among those featured Raul Malo, Steve Cropper, Springsteen, The Voice Norway, David Byrne,Linda Rondstadt, and many more. Tune in and soak it up!

The Eagles went from dusty cowboys to velvet-rope visionaries and Hotel California was the turning point. We dive into the harmonies, solos, myths, and metaphors that made this a monster album.Matthew breaks down the studio magic. Ryan tackles the sales, snubs, and stats. Billy traces the band's evolution from Ronstadt's backing band to stadium-filled legends.Plus: a full category round, the balcony myth, and a call to the front desk you don't want to miss.

On this week's episode, Moe comes out hot and spills on "Coldplay-Gate," that viral kiss-cam fiasco where a couple (turns out, cheating execs from Astronomer) bolted like they saw a ghost. It's not just gossip—it's schadenfreude gold, highlighting how the C-suite plays by different rules. Joel highlights ZipRececruiter's most recent marketing strategy: Embracing old school linear TV by sponsoring a new show on Fox. Chad rants about the new $250 "integrity fee" for US tourist visas—because nothing says "welcome" like a cash grab that could tank tourism before the 2026 World Cup. Ashby news brings the fire, snagging a whopping $50M Series D, doubling customers (now 2,700+ like OpenAI and Shopify), boosting revenue 135%, and barely dipping into last year's Series C. Why more cash? To evolve "at the speed of AI," building all-in-one recruiting magic—sourcing, scheduling, analytics—that users call "beautiful software." No more tool sprawl; it's the startup darling dethroning clunky vets like Greenhouse. Chad's verdict: Finally, an ATS nobody bitches about—refreshing in a moan-fest industry! Then, drama alert: Bold snatches Monster and CareerBuilder assets for $28.4M in a bankruptcy auction (up from a start of $7M). Great domains, SEO juice ... but Bold's predatory paywalls (mandatory sign-ups, fees for full job deets) scream "job seeker trap." Chad's not thrilled—hopes they don't prey harder with that Monster muscle. Randstad? Total villains. They boast $5.8B revenue and 3% EBITDA margins, but screw Monster employees worldwide. Days before mass layoffs, they gutted severance: From 1.5 weeks/year (up to 16) to a flat two weeks. Imagine losing $28K if you're a 20-year vet! In France, it's worse—brutal shutdowns, no support, leaving taxpayers footing unemployment bills. Vendors? Stiffed millions after Monster ran up tabs they knew were doomed. Chad's furious: "Corporate welfare at its finest." Until CEOs like don orange jumpsuits, the little guys get proper f***ed. AI corner: Perplexity's CEO says says recruiter jobs are soon to be a thing of the past, and Salesforce's Mark Benioff probably agrees, as his company is doing up to 50% or more with less. Moe's skeptical: "Hype to sell shares!" Chad sees task automation (bye, scheduling drudgery) but demands AI taxes and UBI pronto. Jobs evolve, but painful contractions ahead? We'll be watching. Chapters 00:00 - Introduction and Welcome Back 02:21 - Maureen's Disney Cruise Experience 04:04 - Tribute to Matt Lavery 07:09 - Coldplay Gate: The Viral Incident 08:52 - Integrity Fees for Tourists 10:19 - Ashby: A Positive ATS Experience 12:41 - Bold's Acquisition and Job Seeker Concerns 15:59 - Ronstadt's Treatment of Employees 18:29 - The Impact on Vendors and Corporate Accountability 23:23 - Future of Recruitment and AI Integration 32:14 - Closing Thoughts and Dad Jokes

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 second installment of our Women's History Month series, we continue celebrating Cele Peterson, a woman whose impact on Tucson stretched far beyond fashion. While she made a name for herself as a visionary designer and retailer, Cele was also a savvy entrepreneur, a cultural influencer, and a fierce advocate for her community. What made Cele's business empire last for over 80 years? How did she shape downtown Tucson's evolution, even as businesses left? What role did she play in the careers of music legends like Linda Ronstadt? We're diving into Cele Peterson's entrepreneurial legacy with Tucson journalist and historian Dan Buckley, who spent years documenting her life and stories. In this episode, you'll hear:

Taxi Girls "The Lion's Share" https://www.facebook.com/taxigirlsband/ Detroit Rebellion "Just Passing Through" - Fake News https://detroitrebellion.bandcamp.com/ Reaven "Something To Remember" www.reavenmusic.net The Froot "As Good As It Gets" https://www.facebook.com/TheFroot Plastic Rhino "I Rise" https://www.plasticrhinoband.com Rockabye Reaper "Wearing Thin" www.rockabyereaper.com ******************* More artists performing at the upcoming South Florida Folk & Acoustic Music Festival www.sffollk.org Mare Wakefield & Nomad "My Room" - No Remedy www.marewakefield.com Carla Sciaky "For Nyla' - Heart Of The Storm www.carlasciaky.com Joe Jencks "City Of Chicago" - The Coming of The Years www.joejencks.com Nathans & Ronstadt "Old Film" - Hang On For The Ride www.nathansandronstadt.com Dan & Faith "Brittle Bones" - Who We Are www.danandfaith.com ********************* The Rifters "Nothing Is Free" - The Enchanted World www.rifters.net Katie Knipp "Stillness" - Me www.katieknipp.com Ian Roland "Can't Lose Any More" - The Wood Wide Web www.ianrolandmusic.com The Heart Collectors "No Separation" - The Space Between www.theheartcollectors.com Crys Matthews "Suit & Tie" - Reclamation www.crysmatthews.com The Nields "Between Friends" - The Full Catastrophe www.nields.com ********************** The Twangtown Paramours "A Room In Bordeaux" - The Wind Will Change Again www.thetwangtownparamours.com Jim Patton & Sherry Brokus "A Woman Like You" - Harbortowne www.pattonbrokus.com Larry & Joe 'Love Along The Way" (live) - Manos Panamericanos www.larryandjoe.com Cathy Fink and Marcy Marxer with Chao Tian "Ruby" - From China to Appalachia www.cathymarcy.com Rory Taillon “Wish You Would Stay” – Now It's Quiet http://www.rorytaillon.com Davey O "For A Little While' - Some Days www.daveyo.com Claudia Schmidt 'Persephone's Song" - Reimagining www.claudiaschmidt.com Mike Agranoff "Urge For Going" - Straight Lines www.mikeagranoff.com Closing music: Geoffrey Armes “Vrikshashana (The Tree)” – Spirit Dwelling http://www.geoffreyarmes.com Running time: 4 hours 20 minutes I hold deed to this audio's usage, which is free to share with specific attribution, non-commercial and non-derivation rules. https://creativecommons.org/licenses/by-nc-nd/4.0/

Join us for another fantastic episode featuring the wonderful Casting Director, Sunny Boling Kennedy! Before we get into our interview with Sunny we go over our 12 Days of Giveaway details along with a reminder to mark your calendars for our 2nd Annual London meetup on December 7th! Sunday Boling Kennedy is an award-winning casting director and partner at Morman Boling Casting. She began her career at 20th Century Fox as an assistant to Christian Kaplan, working on big budget studio features, went onto work with Debi Manwiller, Eyde Belasco, Sheila Jaffe and Francine Maisler and then launched her own company in 2004 with Meg Morman. She has cast over 100 films, including Waitress, Hello, My Name is Doris, Aporia, The Ballad of Lefty Brown, The Hyperions, Unlovable, and Hard Luck Love Song.  TV and streaming credits include: The Baxters, Sneakerheads, Ish Hashuv Meod, The Dead Girls Detective Agency, In the Vault and Relationship Status. She has also cast numerous award-winning narrative podcasts - a few select credits include Blackout, Ad Lucem, 13 Days of Halloween S2 and S3, Last Known Position and Ronstadt. She has been nominated for 11 Artios Awards for excellence in casting and served on the board of the Casting Society for four years. She is currently the Secretary for Casting Society Cares. Resources: Morman Boling Casting Website Sunny's Instagram Sunny's IMDB ──────────────────────────── ⁠⁠⁠⁠⁠⁠⁠Stay Tuned with Tipsy Casting on IG⁠⁠⁠⁠⁠⁠⁠ Watch the ⁠⁠⁠⁠⁠⁠⁠Tipsy Casting YouTube Channel⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠Follow Jessica ⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠Follow Jenn ⁠⁠⁠⁠⁠⁠⁠ Learn More About ⁠⁠⁠⁠⁠⁠⁠Jess ⁠⁠⁠⁠⁠⁠⁠& ⁠⁠⁠⁠⁠⁠⁠Jenn's⁠⁠⁠⁠⁠⁠⁠ Casting Journeys  ⁠⁠⁠⁠⁠⁠⁠Get Casting Life Away Merch here!⁠

A deep dive into theatrical superstitions, plus checking in with Kate Hertz at Springs Ensemble Theatre and our Top 10 Colorado Headliners   In this week's episode of the OnStage Colorado Podcast, hosts Toni Tresca and Alex Miller stop to wonder what's behind theatrical myths like not saying “Macbeth” in a theatre or not whistling around the stage.  Later in the episode, Alex interviews Kate Hertz, who's directing the Springs Ensemble Theatre production of The Thanksgiving Play. The show runs Nov. 14-24 and Hertz speaks about her directorial debut, what SET is all about and what this play has to say about the risks of trying to depict the challenges of another ethnic group. And as usual we pick our Top 10 Colorado Headliners for the week, which include:   Behind Me is Silence, Community Concert Hall at Fort Lewis College, Durango, Nov. 14-16 Civic Love Stories With Undocumented Coloradans, Boulder Public Library, Nov. 15 The Old Man and The Old Moon, The People's Building, Aurora, Nov. 15-26 The 25th Annual Putnam County Spelling Bee, The Spark, Boulder, Nov. 15-22 2024 Wild & Scenic Film Festival Denver, The Bug Theatre, Denver, Nov. 19 Clownsgiving, Junkyard Social, Boulder, Nov. 16 Abby Apple Boes - ‘She's Here all Evening,' Aurora Fox, Nov. 15-16 24-Hour Theatre, Durango Arts Center, Nov. 16 Raised on Ronstadt, Local Theater, eTown, Boulder, Nov. 17 Jolly Moxie, Wonderbound, Boulder, Dec. 12-22

Gesenia Gerena, founder and lead singer of Ronstadt Revue, discusses their performance at the Pella Opera House coming up on Saturday, November 9th.

Amanda Ronstadt, an experienced educator and dedicated community volunteer, has been appointed to the Ridgefield School District Board of Directors. Learn more about her background, her hopes for Ridgefield's future, and the vision she brings to her new role. Read the full story at https://www.clarkcountytoday.com/news/amanda-ronstadt-appointed-to-ridgefield-school-district-board-of-directors on ClarkCountyToday.com #AmandaRonstadt #RidgefieldSchoolDistrict #LocalNews #ClarkCountyWA #Education #CommunityInvolvement

Ron Bosma, co-founder of Talentin, shares his journey in the human capital and staffing sector, including his time at Ronstadt group of companies. He discusses the challenges and opportunities in the labor market, such as talent scarcity and the need for skills recruitment. Ron also explores the gig economy and the need for better regulation to protect workers. He highlights the need for innovation and transformation in the staffing industry to keep up with changing demands. The conversation covers various topics related to the future of work, including the potential impact of talent marketplaces on the staffing sector, the role of technology in replacing certain aspects of the recruitment industry, the need for companies to adapt to new developments, the potential consequences of artificial intelligence and automation on jobs, the challenges and benefits of remote work, the investment in HR tech, and the future of work being defined by flexibility and adaptability.TakeawaysRon Bosma has had a long and successful career in the human capital and staffing sector, including his time at Ronstadt group of companies.The labor market is facing challenges such as talent scarcity and the need for skills recruitment.The gig economy needs better regulation to protect workers and ensure a fair bargain.The staffing industry needs to innovate and transform to keep up with changing demands and improve efficiency. Talent marketplaces and platforms have the potential to disintermediate the staffing sector and replace certain aspects of recruitment.While technology can replace certain tasks in the recruitment industry, it may not be able to fully replace the risk management aspect that staffing providers offer.Artificial intelligence and automation may have a significant impact on jobs, but they also present opportunities for the development of new jobs and skills.Remote work has become more prevalent, especially due to the COVID-19 pandemic, but there are still challenges in terms of collaboration and maintaining company culture.The investment in HR tech has been driven by market conditions and the shift towards remote and global work.The future of work will require flexibility, adaptability, continuous learning, and a focus on talent centricity.Chapters00:00 A Journey in the Human Capital and Staffing Sector09:29 Challenges and Opportunities in the Labor Market18:50 The Need for Better Regulation in the Gig Economy25:19 Innovation and Transformation in the Staffing Industry29:11 The Potential Impact of Talent Marketplaces30:25 The Role of Technology in the Recruitment Industry33:28 The Consequences of Artificial Intelligence and Automation on Jobs43:28 The Challenges and Benefits of Remote Work47:40 The Investment in HR Tech52:57 The Future of Work: Flexibility, Adaptability, and Talent CentricityConnect with Ron: https://www.linkedin.com/in/ronbosma/

Join Michael Litten "The Last DJ" for an in-depth conversation. Featuring a variety of songs. Sponsored by Drinkmate Theme music provided by Peter Perkins   Suzi Kory Bio ‘A lusciously arranged ballad reminiscent of Linda Ronstadt's glorious country roots' is how FYI Music News recently described Canadian country-rock artist Suzi Kory's latest ballad 'Settle of the Dust'. Considering Kory possesses the lyrical vulnerability and glistening vocals of Emmylou Harris, while maintaining the powerful delivery of Ronstadt it comes as no surprise that alongside Dolly Parton she cites these country queens as her biggest musical influences.  Born in Beirut, Kory's parents moved the family to Toronto when she was eight months old. Her mother, a devoted fan of country music would continuously play classic country, and Kory found herself singing along. By her teens, she became exposed to hard rock, most notably Guns N' Roses.   https://www.suzikory.com/

San Francisco officially declared July 15th Linda Ronstadt Day.  In her honor, The Kitchen Sisters Present this story about her book "Linda Ronstadt: Feels Like Home, about her family, and the food, culture and music of the borderland of Arizona and Mexico where she is rooted.  Feels Like Home: A Song for the Sonoran Borderlands  is an historical, musical, edible memoir that spans the story of five generations of Linda's Mexican American German family, from the Sonoran desert in Mexico to the Ronstadt family hardware store in Tucson to the road that led Linda to LA and musical stardom. Intimate and epic, "this is little Linda, Mexican Linda, cowgirl Linda, desert Linda."The book, written in collaboration with New York Times writer Lawrence Downes, is a road trip through the Sonoran Borderlands, from Tucson to Banámichi, Mexico — the path Linda's immigrant grandfather took at a time when the border was not a place of peril but of possibility.We went to see Linda at home to ask her about the journey.This story was produced by The Kitchen Sisters (Davia Nelson & Nikki Silva) and Evan Jacoby in collaboration with Brandi Howell and Nathan Dalton. Mixed by Jim McKeeThanks to Lawrence Downes, John Boylan, Bill Steen, Janet Stark and The PRX Podcast Garage. And to the team at Heyday Books: Steve Wasserman, Kalie Caetano & Megan Beatie and to Putamayo Music who just released Feels Like Home: Songs From The Sonoran Borderlands, Linda Ronstadt's Musical Odyssey.Special thanks to Linda Ronstadt for opening her home and her vault to this story. 

We Are Parasols "My Heart Is All Blurred" - Body Horror https://nomovementrecords.com/ Hawks Do Not Share "Midtown" - A Dream To Hold On To https://nomovementrecords.com/ Sun Atoms "Ceiling Tiles" www.sunatoms.com Me You Us Them "Me You Us Them" - EP1 www.meyouusthem.com ****************** Jessie Kilguss "The Tiger's Wife" - What Do Whales Dream About At Night? www.jessiekilguss.com Rebecca Folsom "Walls" - Sanctuary www.rebecccafolsom.com Tom Freund "Runaround" - East Of Lincoln www.tomfreund.com Jeff Plankenhorn "Flat Tire" - Alone At Sea www.jeffplankenhorn.com Ian North "Landscape Architect" - Everything Is Incomplete www.iannorthmusic.com Pete Mancini "Gypsy Rider" - Silent Troubadour: The Songs Of Gene Clark www.petemancini.com David G Smith "To Be Human" - Witness Trees www.davidgsmithmusic.com Deni Bonet "Palisades" - Bright Shiny Objects www.denibonet.com ************ These artists are part of the upcoming Philadelphia Folk Festival www.folkfest.org Ellis Paul "Tattoo Lady" - 55 www.ellispaul.com Nathans & Ronstadt "Flatbush Sunset" - Hello World www.nathansandronstadt.com Alice Howe "You've Been Away So Song" - Circumstance www.alicehowe.com Jess Klein "Safe Harbor" - When We Rise www.jessklein.com Jonathan Byrd "Wild Ponies" - Cackalack www.jonathanbyrd.com Shanna In A Dress "Have a Great Day" - Robot www.shannainadress.com The Faux Paws "Child Of The Great Lakes" - s/t www.thefauxpawsmusic.com ************************ Federale "No Strangers" - www.federalepdx.com Gabriel Seize "My Video Game" - Prologue https://www.facebook.com/gabrielsesbouemusic/ Adrianna "Wild Electric"(808 State remix) - www.djadrianna.com Doombia "Como te voy a olvidar" - Dommbia: En Vivo www.doombiamusica.com June Body "Take Our Time Back" - Last Everything www.junebodyband.com The Out Seer "Fading" - www.theoutseer.com Boss' Daughter "Okay" - Bouts With Brummers www.bossdaughter.com --- Support this podcast: https://podcasters.spotify.com/pod/show/radiocblue/support

In the 2nd hour of the Marc Cox Morning Show: Hunter Biden's surprise appearance at a House hearing on Wednesday  Did Joe Biden know Hunter was going to show up KMOX's Tom Ackerman talks about the breaking news that Bill Belichick wont be back with the New England Patriots next year, as well as the news of Nick Saban retired, and some college basketball In Other News with Ethan: Selena Gomez is set to play Linda Ronstadt, Aaron Rodgers is off the Pat McAfee Show, the Starbucks Stanley cup going for $200, White Castles to get fancy for Valentines Day, and finally Study says too much screen time for infants is bad Coming Up: Jim Talent

Linda Ronstadt's fifth solo studio album would be her breakout one.  Heart Like a Wheel is a folk/country/rock mixture of covers and originals, and was the last album Ronstadt released on the Capitol Records label after she had moved to Asylum records.  It would reach the top of the Billboard 200, spend 51 weeks on the chart, and fuel Ronstadt's rise to the first "arena class" female rock star.Linda Maria Ronstadt is the third of four children born to a family of Mexican and German descent and a long history in Arizona.  Her professional start is considered to be the folk rock trio called the Stone Poneys, who had a hit in 1968 with the song "Different Drum."  Ronstadt is famous for touring in the early 70's with a backing band that included Don Henley, Glenn Frey, Bernie Leadon, and Randy Meisner - artists who would go on to form the Eagles.  Her four earlier albums produced only moderate success before her fortune turned dramatically upward with "Heart Like a Wheel."While Ronstadt's style is often referred to as country rock, she called it "Mexican bluegrass" in 1968.  Over time she would record songs in a variety of styles from rock to folk and country, including some Spanish language songs and even rock songs reimagined as lullabies.  Her ability to cross genres contributed both to her success and her share of criticism from those expecting something different.  Success did not always agree with her, as she felt she was encouraged to project a tough rock image that did not accurately reflect her true self.  Linda Ronstadt was inducted into the Rock and Roll Hall of Fame in 2014, shortly after her retirement from music in 2011.Bruce presents this breakthrough country rock album in this week's podcast. I Can't Help It (If I'm Still in Love with You)This cover was originally written and recorded by Hank Williams back in 1951.  It went to number 2 on the Billboard country singles chart back then.  A bunch of people have covered this song, but Ronstadt's cover is the most successful, going to number 2 on the Billboard Hot Country Singles chart and winning her a Grammy in 1976 for Best Female Country Vocal Performance.You're No GoodThe first single released from the album went to number 1 on the Billboard Hot 100.  It is a cover of a song written by Clint Ballard Jr. and first performed by Dee Dee Warwick in 1963.  The success of this "glad to be broken up" song would set the template for Ronstadt over the next five years of doing remakes of classic rock and roll songs.Faithless LoveAn original recording rather than a cover, this deeper cut was written by J.D. Souther, who wrote or co-wrote songs for both Ronstadt and the Eagles.  It would hit number 10 on the Billboard Hot Country Songs chart when Glen Campbell covered it in 1984. Willin'This song was first performed by Little Feat and was written by their front man, Lowell George.  Ronstadt's cover was used in James Cameron's film "The Abyss" in 1989.  Lowell wrote this song while he was a member of the Mothers of Invention. ENTERTAINMENT TRACK:Dance of the Reed Flutes (from the nature documentary "Animals Are Beautiful People")In addition to its frequent use in the Christmas ballet "The Nutcracker," this piece was also used in the nature documentary STAFF PICKS:Whatever Gets You Through the Night by John LennonLynch kicks off the staff picks with a song originally inspired by Lennon's habit of late night channel surfing.  He caught the phrase from Reverend Ike, an evangelist on TV, and turned it into this song.  It went to number 1 on the Billboard Hot 100.  Lennon got Elton John to provide the vocal duet for this song, and in return Lennon appeared onstage with John during his Thanksgiving concert at Madison Square Garden - one of his last major live appearances.I Can Help  by Billy SwanWayne brings us a song we all thought was performed by Ringo Starr.  Billy Swan was better known as a country songwriter than a solo artist, but this single would be his sole number 1 hit.  It is a particularly positive song, with a nice reprise at the end of the album cut.Must of Got Lost by the J. Geils Band Rob features an early hit from the J. Geils Band, reaching number 12 on the charts.  It has a funky hook, and a grammatically incorrect title, with lyrics that explore why a relationship went wrong.Wishing You Were Here by ChicagoBruce closes out the staff picks with a song off the Chicago VI album.  Chicago gets some assistance from the Beach Boys, who contribute to the backing vocals on this song about missing the one you love while on the road with a touring band. COMEDY TRACK:Wildwood Weed by Jim StaffordWe finish off with a story in song about that whacky tobackey in a country setting

In this week's episode of The Venue Rx Podcast, our host Jonathan Aymin sits down with Laurel Loew, a former vegetable farmer turned successful wedding venue owner in southern Arizona. She shares some of  the hurdles she faced when shifting from agriculture to wedding hosting and emphazies the significance of upholding a top-notch standard for her venue. Laurel provides insights into her marketing tactics, highlighting the adoption of platforms such as Instagram for promotional purposes. She stresses the importance of the venue's reputation and the overall guest experience, and she shares her perspectives on pricing and expresses her pleasure in orchestrating smaller, more intimate weddings. Laurel also reflects on her favorite and least favorite aspects of venue ownership. About Our Guest:  Agua Linda Farm is a truly one-of-a-kind wedding venue, recognized by Tucson Lifestyle Magazine as one of the top places to visit in the Tucson area. Featured in Town and Country Magazine, Better Homes and Gardens, and the New York Times, this unique, green oasis in the desert stands out in southern Arizona. The adobe hacienda, crafted by the Ronstadt family and designed by local architect Josiah Joesler in the 1940s, adds historical charm to the venue. Originally a family-operated farm, the property transitioned ownership to Hollywood movie producer Arthur Loew, Jr., in the late 1950s. During his tenure, notable figures like Elizabeth Taylor, John Wayne, Robert Wagner, and Gene Kelly were among the distinguished house guests. Following Arthur's ownership, his son Stewart transformed the 63 acres into an organic vegetable farm, supplying sustainably grown foods to local families. Regina, Stewart's mother, dedicated herself to cultivating the approximately 10 acres surrounding the adobe hacienda, guesthouse, and pool house. Over three decades of meticulous care, this space has evolved into a breathtaking showcase, featuring green lawns, roses, hollyhocks, iris, primroses, daffodils, and more. Throughout the year, these grounds take turns captivating visitors, making Agua Linda Farm an unparalleled destination for weddings and events. Find Them Here:  Tel: 520-891-5532 Email: info.agualindafarm@gmail.com Address:  2643 East Frontage Road Amado, Arizona 85645 Website: https://www.agualindafarm.com/ Youtube: https://www.youtube.com/@AguaLindaFarmWeddings Instagram: https://www.instagram.com/agualindafarm/  Pinterest: https://www.pinterest.com/agualindafarm/  Facebook: https://www.facebook.com/WeddingsAguaLindaFarm/

David Bowie would leave the glam rock genre of his previous albums for a more soulful sound with his ninth studio album, Young Americans.  This album features blue eyed soul, or what Bowie would refer to as "plastic soul."  David Bowie moved to the United States in 1974 during a time when tax concerns were driving many artists out of the UK.  He was living in New York City at the time, and starting production on the album in Philadelphia where he worked with guitarist Carlos Alomar.  A funk guitarist, Alomar had worked as a session musician at the Apollo Theater and would become a collaborator and band leader for Bowie over the next decade.  In addition to Carlos Alomar, Bowie worked on this album with a number of artists including Robin Clark, Ava Cherry, saxophonist David Sanborn, and a new musician named Luther Vandross.He would also collaborate on this album with ex-Beatle John Lennon who was recording in New York at the same time as Bowie's recording moved there.  Bowie and Lennon had met previously at a party hosted by Elizabeth Taylor.  Lennon collaborated with Bowie during his "lost weekend" period.Young Americans contains elements of soul, funk, and R&B, and was a deliberate attempt to garner more success in the U.S. market.  It certainly achieved this result, though critics would deliver mixed reviews.  The transition from glam rock to blue-eyed soul would not be one which all fans embraced, but David Bowie would follow his own creative muse.  It would not be the last time we would see a significant stylistic change from Bowie.  It was nevertheless a commercial success, going to number 9 on the US albums chart, remaining on the charts for almost a year.Rob brings us this funky example of “plastic soul.” Young AmericansThe title track was recorded in Philadelphia, and hit number 18 on the Billboard Hot 100, Bowie's second-highest chart success to this date.  Then unknown singer Luther Vandross conceived the backing vocal arrangement.  The song provides impressions of American life through the eyes of an English man.  David Sanborn provides the saxophone work.Across the UniverseThis cover of the Beatles song also found collaboration with Beatles' alumnus John Lennon.  Backing vocals and guitar are provided by Lennon, who considered this song a better version than his own.  Critics tend to disagree, as reviews on the Bowie version were primarily negative.FascinationThis track began as a jam by Luther Vandross entitled “Funky Music (Is a Part of Me)” which was performed before the Bowie concerts in 1974.  When Vandross was retained from the “Diamond Dogs” tour, the two collaborated to create the song “Fascination.”  The song was an homage to the Philadelphia funk sound.FameThis single hit number 1 on the US charts, the first Bowie song to do so.  Composed by Bowie, Alomar, and Lennon, the high backing “Fame” vocalizations are provided by John Lennon.  Bowie would describe it as a “nasty, angry” song directed at management with which he had previous issues. ENTERTAINMENT TRACK:Ease On Down the Road by Consumer Rapport (from the motion picture The Wiz)A soulful take on The Wizard of Oz featured Diana Ross as Dorothy and Michael Jackson as the Scarecrow. STAFF PICKS:Judy Mae by Boomer Castleman Wayne initiates the staff picks with a controversial song that went to number 33 on the Billboard Hot 100.  The lyrics tell of a father to a 17 year-old girl who marries a woman half his age.  When an affair ensures between the stepmother and the daughter, the father dies of an accident shortly thereafter.  It feels like a racier version of “The Night the Lights Went Out in Georgia.”Long Haired Country Boy by the Charlie Daniels BandBrian brings us a song about a guy with a very passive attitude about life. “I ain't asking for nobody for nuthin' that I can't get on my own.  If you don't like the way I'm livin' you just leave this long-haired country boy alone.” It was off the second album from the CDB entitled “Fire on the Mountain.”When Will I Be Loved by Linda Ronstadt Bruce features Ronstadt doing a cover originally from the Everly Brothers in 1960.  While the original peaked at number 8, Ronstadt's cover would go to number 2 on the Billboard Hot 100.  The song is a vocal trio between Ronstadt, Kenny Edwards, and Andrew Gold. Trampled Under Foot by Led Zeppelin Rob finishes the staff picks with a song John Paul Jones claims was inspired by Stevie Wonder's “Superstition.”  The lyrics were inspired by blues artist Robert Johnson's “Terraplane Blues” from  1936.  A Terraplane was a classic car that serves as a not-so-subtle source for sexual innuendo.  It is off the band's double album, “Physical Graffiti.”  COMEDY TRACK:Bertha Butt Boogie by The Jimmy Castor Bunch This funk novelty track went to number 16 on the US pop chart and number 22 on the US R&B chart.

Suzi Kory's musical mission from writing and performing from Rock to Country tunes and now up for a Texas Sounds International Country Music Award talks about her goals with The Trout. Never one to sit on her laurels, Suzi continues to broaden her musical journey by producing music festivals, writing new songs and even writing a book about her journey. A great performer with a wonderful message. ‘A lusciously arranged ballad reminiscent of Linda Ronstadt's glorious country roots' is how FYI Music News recently described Canadian country-rock artist Suzi Kory's vocals. Considering Kory possesses the lyrical vulnerability and glistening vocals of Emmylou Harris, while maintaining the powerful delivery of Ronstadt it comes as no surprise that alongside Dolly Parton she cites these country queens as her biggest musical influences. Born in Beirut, Kory's parents moved the family to Toronto when she was eight months old. Her mother, a devoted fan of country music would continuously play classic country, and Kory found herself singing along. In addition to the music Kory has been on music conference panels (Niagara Music Week), published articles on ‘How to Make it in the Music Industry' (FYI Music News), and is a Motivational Speaker. “I'm a very positive person and always trying to motivate people. So that's what the songs became about — love and living a life of loving people, loving yourself, and finding happiness by being genuine and true to who you are. The important thing to me is to use music in such a way that it positively affects people.” n addition to the music Kory has been on music conference panels (Niagara Music Week), published articles on ‘How to Make it in the Music Industry' (FYI Music News), and is a Motivational Speaker. “I'm a very positive person and always trying to motivate people. So that's what the songs became about — love and living a life of loving people, loving yourself, and finding happiness by being genuine and true to who you are. The important thing to me is to use music in such a way that it positively affects people.” n addition to the music Kory has been on music conference panels (Niagara Music Week), published articles on ‘How to Make it in the Music Industry' (FYI Music News), and is a Motivational Speaker. “I'm a very positive person and always trying to motivate people. So that's what the songs became about — love and living a life of loving people, loving yourself, and finding happiness by being genuine and true to who you are. The important thing to me is to use music in such a way that it positively affects people.” https://www.suzikory.com/homeSupport the showThanks for listening for more information or to listen to other podcasts or watch YouTube videos click on this link >https://thetroutshow.com/

Enter promo code "ASKZAC30" to save 30%Truefire https://prf.hn/l/LbY3nGLTo Support the Channel:Patreon  https://www.patreon.com/AskZacTip jar:  https://paypal.me/AskZacVenmo @AskZac  Or check out my store for merch  - www.askzac.comToday we spotlight Clarence White's former #1 Telecaster, which he used on some of The Byrd's "Sweetheart of the Rodeo" tracks, and likely the "Nashville West" recordings. After Gene Parsons installed the B-Bender on his sunburst backup Tele, it knocked the white Tele to the #2 position, and it was soon traded to his bandmate Bob Warford for a Nobel acoustic guitar.  Wanting to also use a B-Bender, Warford & his dad engineered their own system based on Gene's original design, but with a few improvements including the allowance for a slimmer body to fit in a standard guitar case. Once learning the ropes of the mechanism, Bob would feature the B-Bender-equipped Tele with such greats as the Everly Brothers, Linda Ronstadt, Emmylou Harris, Herb Pedersen, and Chris Hillman. Today's video drills down on the modifications done to it, and we look at the ingredients to his rig to produce the memorable tones he featured on Ronstadt's "Willin'" and "Dark End Of The Street."Spotify Playlisthttps://open.spotify.com/playlist/2kK...Bender plans and photoshttps://www.askzac.com/post/bob-warfo...Gear Used:Crook Paisley Tele.Strings: Webstrings pure nickel 9-42 Pick:Blue Chip TPR 35Amp:2021 Fender Handwired 64 Princeton Reverb with a Jensen Neo 10-100 speaker.#askzac #clarencewhite  #bobwarfordSupport the show

This week we are bringing something a little different to your Top of Mind feed, a crossover with our new show: House of Data. This brand new Altos Research x HW Media show explores how data is influencing decisions at the most ambitious companies in housing. Enjoy! Listen on Apple Podcasts Listen on Spotify Listen on HousingWire My first guest on House of Data is Zach Ronstadt. Zach is the VP of Strategic Operations at Meritage Homes and has spent the last 15 years creating a data and research team called Strategic Operations that supports their regional leaders with insights and data to make better decisions. Zach and I talk about building trust as a data team with decision makers and what that process looks like over time, developing the ability to influence decisions without being the decision maker, how to be effective in a data role, and what data has told Zach about evolving consumer preferences in new homes. Related to this episode: Zach's LinkedIn Meritage Homes House of Data explores how data is influencing decisions at the most ambitious companies in housing. Each episode dives into how housing market participants are ingesting, organizing, and making decisions using data, and the competitive advantages that follow.

WCCO News anchor Frank Vascellaro joins The Daver and chats about his first concert, and other memorable shows he's been to. Bonus: his wife (Amelia Santaniello tells her version of some stories on another episode of the podcast. Out now! Sponsored by Aquarius Home Services (https://aquariushomeservices.com/), Star Bank (https://starbank.net), & Propane Association (https://discoverpropanemn.com/) - and is recorded in the Aquarius Home Services Studio!

WCCO News anchor Frank Vascellaro joins The Daver and chats about his first concert, and other memorable shows he's been to. Bonus: his wife (Amelia Santaniello tells her version of some stories on another episode of the podcast. Out now! Sponsored by Aquarius Home Services (https://aquariushomeservices.com/), Star Bank (https://starbank.net), & Propane Association (https://discoverpropanemn.com/) - and is recorded in the Aquarius Home Services Studio!

Kosh is a Grammy Award Winning art director and former design director for Apple Records. His first project was John Lennon and Yoko's “War Is Over (if you want it)” Christmas card, which led to the worldwide WAR IS OVER billboard campaign that continues to this day. He designed The Beatles' Let It Be book and album package and the Abbey Road album cover, as well as John & Yoko's Wedding Album boxed set. He worked extensively with Linda Ronstadt, garnering three Grammys for her albums, Simple Dreams, Get Closer and Lush Life. He designed and art directed the iconic logo and cover, Hotel California for the Eagles, the classic logo for ELO and designed the cover for The Who's Who's Next and The Rolling Stones' Get Yer Ya-Yas Out. On today's episode we'll discuss the making of several of these iconic album covers, his early days working with John and Yoko and his longstanding friendship with Ronstadt. It's a fun retrospective on the covers that have become almost as recognizable as the music itself. To learn more about John Kosh and his work, check out his website: https://koshdesign.com/about-kosh/ Social media: Facebook: https://www.facebook.com/koshart Instagram: https://www.instagram.com/koshartdesign Learn more about your ad choices. Visit megaphone.fm/adchoices

Kosh is a Grammy Award Winning art director and former design director for Apple Records. His first project was John Lennon and Yoko's “War Is Over (if you want it)” Christmas card, which led to the worldwide WAR IS OVER billboard campaign that continues to this day. He designed The Beatles' Let It Be book and album package and the Abbey Road album cover, as well as John & Yoko's Wedding Album boxed set. He worked extensively with Linda Ronstadt, garnering three Grammys for her albums, Simple Dreams, Get Closer and Lush Life. He designed and art directed the iconic logo and cover, Hotel California for the Eagles, the classic logo for ELO and designed the cover for The Who's Who's Next and The Rolling Stones' Get Yer Ya-Yas Out. On today's episode we'll discuss the making of several of these iconic album covers, his early days working with John and Yoko and his longstanding friendship with Ronstadt. It's a fun retrospective on the covers that have become almost as recognizable as the music itself. To learn more about John Kosh and his work, check out his website: https://koshdesign.com/about-kosh/ Social media: Facebook: https://www.facebook.com/koshart Instagram: https://www.instagram.com/koshartdesign Learn more about your ad choices. Visit megaphone.fm/adchoices

C&R have major mid week laughs, as the fellas cover the Tom Brady re-retirement news like only they can! Both Dr. Phil & Ozzy get well deserved love today! What did they think? Where was Covino when the Brady announcement happened & is it TMI? The guys take Brady calls from across the country & re-open their Linda Ronstadt conversation. Did one of the show's regular callers hook up with the legendary singer back in the day??See omnystudio.com/listener for privacy information.

In this episode we welcome the truly legendary Pamela Des Barres, all the way from her native San Fernando Valley, and invite her to reminisce about the all-girl GTOs, Frank Zappa, Lowell George... and plenty more besides. The bestselling author of 1987's groupie confessional I'm With The Band describes how she entered the Laurel Canyon orbit of ringmaster Zappa, and how the motley troupe he christened Girls Together Outrageously came into being. The former Miss Pamela talks about her fellow "Misses" Mercy and Christine, then describes the sessions for the group's unruly 1969 classic Permanent Damage. This leads on to a discussion of the Groupie phenomenon and its problematic nature in the #MeToo era. In passing, we hear about Rodney Bingenheimer's English Disco and 1974's Hollywood Street Revival and Trash Dance show. The somewhat different — yet not entirely unrelated — L.A. domain of the canyon singer-songwriter crowd is considered as we hear clips from co-host Barney Hoskyns' 2003 audio interview with James Taylor/Linda Ronstadt producer Peter Asher. Following discussion of Ronstadt, Joni Mitchell and their mutual paramour John David Souther, we circle back to the GTOs and the guest appearance of the late Jeff Beck on Permanent Damage. We then pay extensive tribute to Beck's eclectic genius and unique technique. We conclude with quotes from notable RBP library additions, including pieces about Bonnie Raitt recording at Bearsville, L.A. session bassist Carol Kaye and apocalyptic jazz trio Comet Is Coming. Many thanks to special guest Pamela Des Barres. Visit her website at pameladesbarresofficial.com for details of her podcast, books and more. Pieces discussed: The GTOs by Miles, A Requiem for Miss Christine, Girls Together Outrageously, Miss Mercy, Los Angeles Clubs, Rodney Bingenheimer, The GTOs live, Peter Asher audio, Jeff Beck audio, Jeff Beck by Eden, Jeff Beck by Alan Light, Jeff Beck by Kate Mossman, Bonnie Raitt, Ethel Merman, Carol Kaye, Compiling by gender and The Comet is Coming. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ronstadt's career spanned rock, pop, country and everything in between. Her most famous recordings include "Heart Like a Wheel," "Desperado," "Faithless Love," and many more. In 2013, Ronstadt revealed that she has Parkinson's disease and can no longer sing. Ronstadt has a new memoir called Feels Like Home: A Song for the Sonoran Borderlands. It's an exploration of her Mexican roots, with recipes of some of the dishes she grew up with. We listen back to her 2013 interview with Terry Gross. Also, Justin Chang reviews Till, a new film about the lynching of Emmett Till.

Singer Linda Ronstadt sold millions of records, performed for over four decades and made history as the first woman to have three consecutive platinum albums. Her new book, "Feels Like Home: A Song for the Sonoran Borderlands," offers a different window into her life as she reflects on her roots. Jeffrey Brown spoke with Ronstadt for our arts and culture series, "CANVAS." PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

Singer Linda Ronstadt sold millions of records, performed for over four decades and made history as the first woman to have three consecutive platinum albums. Her new book, "Feels Like Home: A Song for the Sonoran Borderlands," offers a different window into her life as she reflects on her roots. Jeffrey Brown spoke with Ronstadt for our arts and culture series, "CANVAS." PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

The legendary Linda Ronstadt has a new book out. Feels Like Home: A Song for the Sonoran Borderlands — a historical, musical, edible memoir that spans the story of five generations of Linda's Mexican American German family, from the Sonoran desert in Mexico to the Ronstadt family hardware store in Tucson to the road that led Linda to LA and musical stardom. Intimate and epic, "this is little Linda, Mexican Linda, cowgirl Linda, desert Linda." The book, written in collaboration with New York Times writer Lawrence Downes, is a road trip through the Sonoran Borderlands, from Tucson to Banámichi, Mexico — the path Linda's immigrant grandfather took at a time when the border was not a place of peril but of possibility. We went to see Linda at home to ask her about the journey. This story was produced by The Kitchen Sisters (Davia Nelson & Nikki Silva) and Evan Jacoby in collaboration with Brandi Howell and Nathan Dalton. Mixed by Jim McKee Thanks to Lawrence Downes, John Boylan, Bill Steen, Janet Stark and The PRX Podcast Garage. And to the team at Heyday Books: Steve Wasserman, Kalie Caetano & Megan Beatie and to Putamayo Music who just released Feels Like Home: Songs From The Sonoran Borderlands, Linda Ronstadt's Musical Odyssey. Special thanks to Linda Ronstadt for opening her home and her vault to this story.

Friends growing apart happens, but creatures crashing a fantasy convention… not so much. Five high schoolers bonded over the Bloodthirsty Hearts novel series turned slightly-erotic movie franchise as kids, and now it's what brings them back together for the first-ever fan convention. However, what starts as fun and games quickly turns into a fight-for-your-life event as creatures from the same universe invade. Will the childhood friends be able to work past their differences and survive the night? Perhaps their shared obsession will prove to be useful after all… ~~ From the makers of Classified and Ronstadt comes Bloodthirsty Hearts, a supernatural comedy. QCODE+ subscribers on Apple Podcasts will get early access to new episodes before anyone else and exclusive bonus content. Learn more at apple.co/qcode. ~~ Produced by QCODE and Tenderfoot TV (Up and Vanished, Radio Rental). Created and written by George V. Ghanem and directed by Sam Beasley. Starring Victoria Moroles, Gus Birney, Sofia Bryant, Sivan Alyra Rose, and Cheyenne Haynes with Taran Killam, Happy Anderson, Naomi Grossman, and Ezra Buzzington. ~~ All 8 episodes will be available for free, but QCODE+ subscribers get early, uninterrupted access to new episodes.See omnystudio.com/listener for privacy information.

Friends growing apart happens, but creatures crashing a fantasy convention… not so much. Five high schoolers bonded over the Bloodthirsty Hearts novel series turned slightly-erotic movie franchise as kids, and now it's what brings them back together for the first-ever fan convention. However, what starts as fun and games quickly turns into a fight-for-your-life event as creatures from the same universe invade. Will the childhood friends be able to work past their differences and survive the night? Perhaps their shared obsession will prove to be useful after all… ~~ From the makers of Classified and Ronstadt comes Bloodthirsty Hearts, a supernatural comedy. QCODE+ subscribers on Apple Podcasts will get early access to new episodes before anyone else and exclusive bonus content. Learn more at apple.co/qcode. ~~ Produced by QCODE and Tenderfoot TV (Up and Vanished, Radio Rental). Created and written by George V. Ghanem and directed by Sam Beasley. Starring Victoria Moroles, Gus Birney, Sofia Bryant, Sivan Alyra Rose, and Cheyenne Haynes with Taran Killam, Happy Anderson, Naomi Grossman, and Ezra Buzzington. ~~ All 8 episodes will be available for free, but QCODE+ subscribers get early, uninterrupted access to new episodes.See omnystudio.com/listener for privacy information.

Friends growing apart happens, but creatures crashing a fantasy convention… not so much.  Five high schoolers bonded over the Bloodthirsty Hearts novel series turned slightly-erotic movie franchise as kids, and now it's what brings them back together for the first-ever fan convention. However, what starts as fun and games quickly turns into a fight-for-your-life event as creatures from the same universe invade. Will the childhood friends be able to work past their differences and survive the night? Perhaps their shared obsession will prove to be useful after all… ~~ From the makers of Classified and Ronstadt comes Bloodthirsty Hearts, a supernatural comedy premiering everywhere July 7. QCODE+ subscribers on Apple Podcasts will get early access to new episodes before anyone else and exclusive bonus content. Learn more at apple.co/qcode. Produced by QCODE and Tenderfoot TV (Up and Vanished, Radio Rental). Created and written by George V. Ghanem and directed by Sam Beasley. Starring Victoria Moroles, Gus Birney, Sofia Bryant, Sivan Alyra Rose, and Cheyenne Haynes with Taran Killam, Happy Anderson, Naomi Grossman, and Ezra Buzzington. All 8 episodes will be available for free, but QCODE+ subscribers get early, uninterrupted access to new episodes. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Friends growing apart happens, but creatures crashing a fantasy convention… not so much.  Five high schoolers bonded over the Bloodthirsty Hearts novel series turned slightly-erotic movie franchise as kids, and now it's what brings them back together for the first-ever fan convention. However, what starts as fun and games quickly turns into a fight-for-your-life event as creatures from the same universe invade. Will the childhood friends be able to work past their differences and survive the night? Perhaps their shared obsession will prove to be useful after all… ~~ From the makers of Classified and Ronstadt comes Bloodthirsty Hearts, a supernatural comedy premiering everywhere July 7. QCODE+ subscribers on Apple Podcasts will get early access to new episodes before anyone else and exclusive bonus content. Learn more at apple.co/qcode. Produced by QCODE and Tenderfoot TV (Up and Vanished, Radio Rental). Created and written by George V. Ghanem and directed by Sam Beasley. Starring Victoria Moroles, Gus Birney, Sofia Bryant, Sivan Alyra Rose, and Cheyenne Haynes with Taran Killam, Happy Anderson, Naomi Grossman, and Ezra Buzzington. All 8 episodes will be available for free, but QCODE+ subscribers get early, uninterrupted access to new episodes. Learn more about your ad choices. Visit megaphone.fm/adchoices

Friends growing apart happens, but creatures crashing a fantasy convention… not so much.  Five high schoolers bonded over the Bloodthirsty Hearts novel series turned slightly-erotic movie franchise as kids, and now it's what brings them back together for the first-ever fan convention. However, what starts as fun and games quickly turns into a fight-for-your-life event as creatures from the same universe invade. Will the childhood friends be able to work past their differences and survive the night? Perhaps their shared obsession will prove to be useful after all… ~~ From the makers of Classified and Ronstadt comes Bloodthirsty Hearts, a supernatural comedy premiering everywhere July 7. QCODE+ subscribers on Apple Podcasts will get early access to new episodes before anyone else and exclusive bonus content. Learn more at apple.co/qcode. Produced by QCODE and Tenderfoot TV (Up and Vanished, Radio Rental). Created and written by George V. Ghanem and directed by Sam Beasley. Starring Victoria Moroles, Gus Birney, Sofia Bryant, Sivan Alyra Rose, and Cheyenne Haynes with Taran Killam, Happy Anderson, Naomi Grossman, and Ezra Buzzington. All 8 episodes will be available for free, but QCODE+ subscribers get early, uninterrupted access to new episodes.

Friends growing apart happens, but creatures crashing a fantasy convention… not so much.  Five high schoolers bonded over the Bloodthirsty Hearts novel series turned slightly-erotic movie franchise as kids, and now it's what brings them back together for the first-ever fan convention. However, what starts as fun and games quickly turns into a fight-for-your-life event as creatures from the same universe invade. Will the childhood friends be able to work past their differences and survive the night? Perhaps their shared obsession will prove to be useful after all… ~~ From the makers of Classified and Ronstadt comes Bloodthirsty Hearts, a supernatural comedy premiering everywhere July 7. QCODE+ subscribers on Apple Podcasts will get early access to new episodes before anyone else and exclusive bonus content. Learn more at apple.co/qcode. Produced by QCODE and Tenderfoot TV (Up and Vanished, Radio Rental). Created and written by George V. Ghanem and directed by Sam Beasley. Starring Victoria Moroles, Gus Birney, Sofia Bryant, Sivan Alyra Rose, and Cheyenne Haynes with Taran Killam, Happy Anderson, Naomi Grossman, and Ezra Buzzington. All 8 episodes will be available for free, but QCODE+ subscribers get early, uninterrupted access to new episodes. Learn more about your ad choices. Visit megaphone.fm/adchoices

Friends growing apart happens, but creatures crashing a fantasy convention… not so much.  Five high schoolers bonded over the Bloodthirsty Hearts novel series turned slightly-erotic movie franchise as kids, and now it's what brings them back together for the first-ever fan convention. However, what starts as fun and games quickly turns into a fight-for-your-life event as creatures from the same universe invade. Will the childhood friends be able to work past their differences and survive the night? Perhaps their shared obsession will prove to be useful after all… ~~ From the makers of Classified and Ronstadt comes Bloodthirsty Hearts, a supernatural comedy premiering everywhere July 7. QCODE+ subscribers on Apple Podcasts will get early access to new episodes before anyone else and exclusive bonus content. Learn more at apple.co/qcode. Produced by QCODE and Tenderfoot TV (Up and Vanished, Radio Rental). Created and written by George V. Ghanem and directed by Sam Beasley. Starring Victoria Moroles, Gus Birney, Sofia Bryant, Sivan Alyra Rose, and Cheyenne Haynes with Taran Killam, Happy Anderson, Naomi Grossman, and Ezra Buzzington. All 8 episodes will be available for free, but QCODE+ subscribers get early, uninterrupted access to new episodes. Learn more about your ad choices. Visit megaphone.fm/adchoices

Friends growing apart happens, but creatures crashing a fantasy convention… not so much.  Five high schoolers bonded over the Bloodthirsty Hearts novel series turned slightly-erotic movie franchise as kids, and now it's what brings them back together for the first-ever fan convention. However, what starts as fun and games quickly turns into a fight-for-your-life event as creatures from the same universe invade. Will the childhood friends be able to work past their differences and survive the night? Perhaps their shared obsession will prove to be useful after all… ~~ From the makers of Classified and Ronstadt comes Bloodthirsty Hearts, a supernatural comedy premiering everywhere July 7. QCODE+ subscribers on Apple Podcasts will get early access to new episodes before anyone else and exclusive bonus content. Learn more at apple.co/qcode. Produced by QCODE and Tenderfoot TV (Up and Vanished, Radio Rental). Created and written by George V. Ghanem and directed by Sam Beasley. Starring Victoria Moroles, Gus Birney, Sofia Bryant, Sivan Alyra Rose, and Cheyenne Haynes with Taran Killam, Happy Anderson, Naomi Grossman, and Ezra Buzzington. All 8 episodes will be available for free, but QCODE+ subscribers get early, uninterrupted access to new episodes.

Friends growing apart happens, but creatures crashing a fantasy convention… not so much.  Five high schoolers bonded over the Bloodthirsty Hearts novel series turned slightly-erotic movie franchise as kids, and now it's what brings them back together for the first-ever fan convention. However, what starts as fun and games quickly turns into a fight-for-your-life event as creatures from the same universe invade. Will the childhood friends be able to work past their differences and survive the night? Perhaps their shared obsession will prove to be useful after all… ~~ From the makers of Classified and Ronstadt comes Bloodthirsty Hearts, a supernatural comedy premiering everywhere July 7. QCODE+ subscribers on Apple Podcasts will get early access to new episodes before anyone else and exclusive bonus content. Learn more at apple.co/qcode. Produced by QCODE and Tenderfoot TV (Up and Vanished, Radio Rental). Created and written by George V. Ghanem and directed by Sam Beasley. Starring Victoria Moroles, Gus Birney, Sofia Bryant, Sivan Alyra Rose, and Cheyenne Haynes with Taran Killam, Happy Anderson, Naomi Grossman, and Ezra Buzzington. All 8 episodes will be available for free, but QCODE+ subscribers get early, uninterrupted access to new episodes. Learn more about your ad choices. Visit megaphone.fm/adchoices

Friends growing apart happens, but creatures crashing a fantasy convention… not so much.  Five high schoolers bonded over the Bloodthirsty Hearts novel series turned slightly-erotic movie franchise as kids, and now it's what brings them back together for the first-ever fan convention. However, what starts as fun and games quickly turns into a fight-for-your-life event as creatures from the same universe invade. Will the childhood friends be able to work past their differences and survive the night? Perhaps their shared obsession will prove to be useful after all… ~~ From the makers of Classified and Ronstadt comes Bloodthirsty Hearts, a supernatural comedy premiering everywhere July 7. QCODE+ subscribers on Apple Podcasts will get early access to new episodes before anyone else and exclusive bonus content. Learn more at apple.co/qcode. Produced by QCODE and Tenderfoot TV (Up and Vanished, Radio Rental). Created and written by George V. Ghanem and directed by Sam Beasley. Starring Victoria Moroles, Gus Birney, Sofia Bryant, Sivan Alyra Rose, and Cheyenne Haynes with Taran Killam, Happy Anderson, Naomi Grossman, and Ezra Buzzington. All 8 episodes will be available for free, but QCODE+ subscribers get early, uninterrupted access to new episodes. Learn more about your ad choices. Visit megaphone.fm/adchoices

Friends growing apart happens, but creatures crashing a fantasy convention… not so much.  Five high schoolers bonded over the Bloodthirsty Hearts novel series turned slightly-erotic movie franchise as kids, and now it's what brings them back together for the first-ever fan convention. However, what starts as fun and games quickly turns into a fight-for-your-life event as creatures from the same universe invade. Will the childhood friends be able to work past their differences and survive the night? Perhaps their shared obsession will prove to be useful after all… ~~ From the makers of Classified and Ronstadt comes Bloodthirsty Hearts, a supernatural comedy premiering everywhere July 7. QCODE+ subscribers on Apple Podcasts will get early access to new episodes before anyone else and exclusive bonus content. Learn more at apple.co/qcode. Produced by QCODE and Tenderfoot TV (Up and Vanished, Radio Rental). Created and written by George V. Ghanem and directed by Sam Beasley. Starring Victoria Moroles, Gus Birney, Sofia Bryant, Sivan Alyra Rose, and Cheyenne Haynes with Taran Killam, Happy Anderson, Naomi Grossman, and Ezra Buzzington. All 8 episodes will be available for free, but QCODE+ subscribers get early, uninterrupted access to new episodes. Learn more about your ad choices. Visit megaphone.fm/adchoices

Friends growing apart happens, but creatures crashing a fantasy convention… not so much.  Five high schoolers bonded over the Bloodthirsty Hearts novel series turned slightly-erotic movie franchise as kids, and now it's what brings them back together for the first-ever fan convention. However, what starts as fun and games quickly turns into a fight-for-your-life event as creatures from the same universe invade. Will the childhood friends be able to work past their differences and survive the night? Perhaps their shared obsession will prove to be useful after all… ~~ From the makers of Classified and Ronstadt comes Bloodthirsty Hearts, a supernatural comedy premiering everywhere July 7. QCODE+ subscribers on Apple Podcasts will get early access to new episodes before anyone else and exclusive bonus content. Learn more at apple.co/qcode. Produced by QCODE and Tenderfoot TV (Up and Vanished, Radio Rental). Created and written by George V. Ghanem and directed by Sam Beasley. Starring Victoria Moroles, Gus Birney, Sofia Bryant, Sivan Alyra Rose, and Cheyenne Haynes with Taran Killam, Happy Anderson, Naomi Grossman, and Ezra Buzzington. All 8 episodes will be available for free, but QCODE+ subscribers get early, uninterrupted access to new episodes. Learn more about your ad choices. Visit megaphone.fm/adchoices