Podcasts about sailors

We're sailing across the ocean on the Irish & Celtic Music Podcast #720 . Subscribe now! Lussa, Tulua, Chloe Matharu, Andrew Finn Magill, Doolin', Marc Gunn Fir Arda, The Irish Lassies, Natalie Padilla, Jaywalkers, Brynmor, Wooden Legs, Celtica Pipes Rock, Moher  -  BZH GET CELTIC MUSIC NEWS IN YOUR INBOX The Celtic Music Magazine is a quick and easy way to plug yourself into more great Celtic culture. Enjoy seven weekly news items with what's happening with Celtic music and culture online. Subscribe now and get 34 Celtic MP3s for Free. VOTE IN THE CELTIC TOP 20 FOR 2025 This is our way of finding the best songs and artists each year. You can vote for as many songs and tunes that inspire you in each episode. Your vote helps me create this year's Best Celtic music of 2025 episode. You have just three weeks to vote this year. Vote Now! You can follow our playlist on YouTube to listen to those top voted tracks as they are added every 2 - 3 weeks. THIS WEEK IN CELTIC MUSIC 0:06 - Lussa "Lussa Reels" from Lussa Reels 3:57 - WELCOME 6:22 - Tulua "The Opening Set" from No Coming No Going 10:56 - Chloe Matharu "The Silkie of Sule Skerry" from Sailors and Rolling Stones 17:37 - Andrew Finn Magill "Charles Dickens' Jig, Erynn & Carl's Jig" from Courting the Sun 21:31 - Doolin' "Sailing Across the Ocean" from Doolin' 24:18 - FEEDBACK 26:36 - Fir Arda  "Boys of Ballycastle/The Dunmore Lasses" from At Home 30:29 - The Irish Lassies "Andersonville" from Andersonville 35:02 - Natalie Padilla "Terra" from Eostre 39:02 - Marc Gunn "Bunny in the Bracken" from Patreon Single 41:15 - THANKS 43:49 - Jaywalkers "The Longest Day" from Move On 47:44 - Brynmor "Musical Preist" from The Great Hill 49:58 - Wooden Legs "We Ne'er Shall Wean Her" from Animali 55:25 - Celtica Pipes Rock "Beyond Avalon" from Legends And Visions 59:04 - CLOSING 59:57 - Moher  -  BZH "Le reel du Cheval Blanc" from single 1:04:13 - CREDITS Support for this program comes from International speaker, Joseph Dumond, teaching the ancient roots of the Gaelic people. Learn more about their origins at Sightedmoon.com The Irish & Celtic Music Podcast was produced by Marc Gunn, The Celtfather and our Patrons on Patreon. The show was edited by Mitchell Petersen with Graphics by Miranda Nelson Designs. Visit our website to follow the show. You'll find links to all of the artists played in this episode. Todd Wiley is the editor of the Celtic Music Magazine. Subscribe to get 34 Celtic MP3s for Free. Plus, you'll get 7 weekly news items about what's happening with Celtic music and culture online. Best of all, you will connect with your Celtic heritage. Please tell one friend about this podcast. Word of mouth is the absolute best way to support any creative endeavor. Finally, remember—our planet's future is in our hands. The overwhelming evidence shows that human activity is driving climate change, from record  -  breaking heat waves to rising sea levels. But the good news? We have the power to fix it. Every choice we make—reducing waste, conserving energy, supporting clean energy, and lobbying our political leaders—moves us toward a more stable climate. Start a conversation today. The facts are out there, and the future is ours to shape. Promote Celtic culture through music at http://celticmusicpodcast.com/. WELCOME THE IRISH & CELTIC MUSIC PODCAST * Helping you celebrate Celtic culture through music. I am Marc Gunn. I'm a Celtic musician and also host of Folk Songs & Stories with a new feature coming soon. It's called Quest & Chorus: Where every place has a story, every story has a song, and every song is a step in the quest. This podcast is for fans of Celtic music. We are here to build a diverse Celtic community and help the incredible artists who so generously share their music with you. If you hear music you love, please email artists to let them know you heard them on the Irish and Celtic Music Podcast. Musicians depend on your generosity to release new music. So please find a way to support them. Buy a CD, Album Pin, Shirt, Digital Download, or join their community on Patreon. You can find a link to all of the artists in the shownotes, along with show times, when you visit our website at celticmusicpodcast.com. Email follow@bestcelticmusic to learn how to subscribe to the podcast and you will get a free music - only episode. You'll also learn how to get your band played on the podcast. Bands don't need to send in music, and You will get a free eBook called Celtic Musicians Guide to Digital Music. It's 100% free. Again email follow@bestcelticmusic Todd Wiley, the Celtic Music Magazine editor, relaunched his old podcast. Celtic Indy Podcast is now available online. He's currently aiming at new episodes every two weeks. You'll learn about new Celtic music concerts in the Midwest on the show. A big thanks to our very first underwriter of the podcast. Joseph Dumon is an international speaker. He teaches the ancient roots of the Gaelic people at Sightedmoon.com. You'll hear me mention him in each episode of the podcast at the end of the show. This is not exactly advertising. It's awareness promotion. I have no more than four more slots available every month if you, your business or your band want to be mentioned as an underwriter of the podcast. GET AN IRISH & CELTIC MUSIC PODCAST ALBUM PIN Supplies are limited. Grab your album pin now before they're gone! These stunning lapel pins feature bold designs inspired by our official podcast compilation albums—packed with some of the best Celtic bands around.And here's the kicker: each pin comes with the full digital album. Art you can wear, music you can love. Get yours at magerecords.com And if you're a musician, I've got a full blog post with templates and tips to help you design your own album pin jacket.  WHAT IS AN ALBUM PIN? THANK YOU PATRONS OF THE PODCAST! Because of generous patrons like you, the Irish & Celtic Music Podcast releases new episodes nearly every single week. Your support doesn't just fund the show—it fuels a movement. It helps us share the magic of Celtic music with thousands of new listeners and grow a global community of music lovers. Your contributions pay for everything behind the scenes: audio engineering, stunning graphics, weekly issues of the Celtic Music Magazine, show promotion, and—most importantly—buying the music we feature from indie Celtic artists. And if you're not yet a patron? You're missing out! Patrons get: Early access to episodes Music - only editions Free MP3 downloads Exclusive stories and artist interviews A vote in the Celtic Top 20 Join us today and help keep the music alive, vibrant, and independent.

Ahoy! Hayley sets sail to cover the many superstitions of mariners. Then Kat covers the Reality TV cancer scandal of Vicki Gunvalson and Brooks Ayers on The Real Housewives of Orange County. OC Housewives Cheat Sheet for Kat's Lesson THAT'S MY OPINION clip READ BETWEEN THE LINES clip Still got a thirst for knowledge and parasaocial camaraderie? You're in luck! Listen to our bonus shows on our Patreon. https://www.patreon.com/nightclassy Night Classy | Linktree Produced by Alec Ogg at Parasaur Studios © 2025

When Mick Doleman was a boy, all he wanted to do was to go to sea. At 18 years old, he got his chance, crewing on a freighter called the Blythe Star. But within hours, he was shipwrecked in the freezing, wild Southern Ocean off Tasmania with no chance of rescue. 50 years later, he's telling his story.

We are kicking off Cage-A-Palooza 2025 with a movie that is not only Nicolas Cage, but also David Lynch. That's right, those two worked together once, and the result was 1990's Wild at Heart. Cage plays Sailor, fresh out of jail and on a cross country road trip with his girlfriend Lula (played by Laura Dern). It has Lynch surrealism, and Cage craziness. But are these two great tastes that taste great together? Or more like oil and water? Let's find out...Thanks go out to Audie Norman (@TheAudieNorman) for the album art. Outro music In Pursuit provided by Purple-Planet.comSupport the show by going to patreon.com/wyhsVisit tvstravis.com for more shows and projects from TVsTravis Hosted on Acast. See acast.com/privacy for more information.

On this episode of Psych to Life, I chat with Lisa Blair OAM, the fastest person to sail solo, non-stop and unassisted around Antarctica on her yacht Climate Action. She very nearly didn't live to tell the tale, in a life-threatening dismasting. Lisa is now setting her sights on her upcoming NZ records before focusing on the Arctic Ocean.Tune in to hear our discussion on -- Dealing with uncertainty; whilst we can chart a course, there's always unexpected challenges- How Lisa manages her mindset- The importance of adversity and resilienceAnd so much more as Lisa discusses her amazing solo sailing experiences.To connect with Lisa - Book: Facing Fear: One woman's solo voyage around AntarcticaDocumentary Ice Maiden now available for streaminghttps://icemaidenfilm.com/www.LisaBlairSailstheWorld.comwww.LisaBlairSpeaks.com

Welcome to this episode of The Shooting The Breeze Sailing Podcast (STBSP), our guest is friend, supporter, and Patron of our podcast, Sailor Jack Andrys. I first heard Jack when he was on The Sailing in the Mediterranean and beyond podcast with Franz way back when. Jack and another friend of the show, Neil Fletcher, […]

Cindy and Heather talk about four haunted ships, one of which is haunted and the other three that are the ghosts themselves!True Hauntings4694 Cemetery Rd #376Hilliard, OH 43026True Hauntings Instagram True Hauntings FaceBook GroupEmail - Cynthia@TrueHauntings.com Blog - True Hauntings Website True Hauntings YouTube

I talk about my personal dilemma: should I buy a boat now or wait? I share my love for sailing, the costs and challenges of boat ownership, and my ideas to make it affordable—like renting it on Airbnb. I discuss chasing dreams versus saving or investing money, and ask if achieving goals is better than the journey itself. Finally, I mention trying to negotiate the boat price by offering my web skills. I'd love your feedback—message me on Twitter (@wbtiago).My Twitter: https://x.com/wbetiagoTimestamps by PodSqueezeIntroduction and Personal Dilemma (00:00:01)  Podcast Housekeeping & Audience Engagement (00:00:52)  The Caribbean Fisherman Story (00:01:56)  Reflection on Chasing Success (00:03:00)  The Gambler and the Devil Story (00:05:13)  Current Financial Situation (00:06:34)  Passion for Sailing and Background (00:07:36)  Debating the Investment (00:08:41)  Understanding the Value of the Chase (00:09:42)  Practical Challenges of Boat Ownership (00:10:51)  Marina Costs and Scarcity (00:12:02)  Boat Depreciation and Resale Value (00:13:15)  Offsetting Costs: Airbnb Rental (00:14:20)  Offsetting Costs: Tourism Experiences (00:15:23)  Offsetting Costs: Renting to Sailors (00:17:17)  Focusing on Airbnb as the Best Option (00:18:12)  Negotiating with the Boat Owner (00:19:20)  Next Steps and Request for Advice (00:20:16)  Episode Wrap-Up and Recommendation (00:21:21)

This week, we’re recorded live from the National Veterans Wheelchair Games! Join us as we connect with leaders from the U.S. Department of Veterans Affairs and Paralyzed Veterans of America, explore logistics and medical support with the Minneapolis VA Health Care System, and meet two inspiring athletes. Guests include: Dave Tostenrude – National Veterans Wheelchair […] The post National Veterans Wheelchair Games appeared first on Minnesota Military Radio.

Gigi Perez is a singer and songwriter from Florida, and at 25 years old, she's already had so many ups and downs in her music career. She started sharing her songs on TikTok, where they got enough attention that she got signed to a major label deal, but that ultimately didn't pan out. Soon after that, as an independent artist again, she had her biggest breakout hit, with “Sailor Song.” She released it in July 2024, and it went viral on TikTok. Now, it has over a billion streams on Spotify alone, and it's a part of her new album, which came out in April 2025. In this episode, you'll hear how the song evolved, from her first voice memo to the final version, which she recorded in her childhood bedroom. I talked to Gigi about how “Sailor Song” came about, and about all the different parts of herself that she put into it—her faith, grief, desire, and more. For more info, visit songexploder.net/gigi-perez.

Martin Hurley, of the Maritime Rescue Sub-Centre in St John's, says a lone man on a sailboat who'd been missing was found unharmed + Julie Huntington of Whale Release and Strandings says the group was very busy in July with calls to help whales tangled in fishing gear.

Show SummaryOn today's episode, feature a conversation Maryalice Morro, a Navy Veteran, Healthcare professional, and former Hospital Administrator for both the Navy and the Department of Veterans Affairs.  Provide FeedbackAs a dedicated member of the audience, we would like to hear from you about the show. Please take a few minutes to share your thoughts about the show in this short feedback survey. By doing so, you will be entered to receive a signed copy of one of our host's three books on military and veteran mental health. About Today's GuestMaryalice Morro combines her energy and relentless enthusiasm to motivate and build high-performing teams. She is a visionary leader recognized for strategic planning, innovation, financial stewardship and talent management. She delivers quality outcomes while meeting project and financial goals. She recognizes the strengths in others and inspires them to achieve and surpass their goals by mentoring, supporting and creating the vision for their success.Maryalice is currently a consultant and works with aspiring leaders through formal and informal coaching and mentoring. She is an adjunct faculty for the Citadel's undergraduate nursing program, and several of Villanova University's certificate programs. She is the Program Coordinator for the Anne W. McNulty Institute's Women's Leadership Development Certificate Program and led the multidisciplinary team in creating this program. She serves as teaching faculty for University of Pennsylvania's Doctor of Nursing Practice, Executive Leadership track.Previously, Maryalice spent 35 years in government, with 29 years on active duty in the United States Navy, serving around the world in support of peacetime, humanitarian, and wartime missions. She was the Commanding Officer (CEO) of the Pensacola Naval Hospital and Chief of Staff for Navy Medicine East, serving 15 medical commands in the United States and abroad. She was appointed to the Senior Executive Service and was selected to serve as Director (CEO) for the Carl Vinson VA Medical Center in Dublin, GA, transforming an underperforming medical center into a vibrant healthcare center to meet the veterans' 21st century needs.Maryalice holds a Doctor of Nursing Practice degree from Villanova University, MSN from the Catholic University of America, MS from the Industrial College of the Armed Forces and BSN from Villanova University. She is Board Certified by AACN as a Nurse Executive – Advanced.Links Mentioned During the EpisodeMaryalice Morro on LinkedInVillanova University Women's Leadership Development CertificatePsychArmor Resource of the WeekThis week's PsychArmor Resource of the Week is the PsychArmor Course Myths and Facts of Military Leaders. This course identifies four of the most popular myths about military leaders and how they don't align with the reality of working alongside Veterans and Service members. You can find the resource here:  https://learn.psycharmor.org/courses/The-Myths-and-Facts-of-Military-Leaders Episode Partner: Are you an organization that engages with or supports the military affiliated community? Would you like to partner with an engaged and dynamic audience of like-minded professionals? Reach out to Inquire about Partnership Opportunities Contact Us and Join Us on Social Media Email PsychArmorPsychArmor on TwitterPsychArmor on FacebookPsychArmor on YouTubePsychArmor on LinkedInPsychArmor on InstagramTheme MusicOur theme music Don't Kill the Messenger was written and performed by Navy Veteran Jerry Maniscalco, in cooperation with Operation Encore, a non profit committed to supporting singer/songwriter and musicians across the military and Veteran communities.Producer and Host Duane France is a retired Army Noncommissioned Officer, combat veteran, and clinical mental health counselor for service members, veterans, and their families.  You can find more about the work that he is doing at www.veteranmentalhealth.com  

Fluent Fiction - Hungarian: Racing Storms: A Sailor's Triumph Over Fear and Rivalry Find the full episode transcript, vocabulary words, and more:fluentfiction.com/hu/episode/2025-07-22-22-34-02-hu Story Transcript:Hu: A Balatonfüredi nyár mindig különleges.En: The Balatonfüredi summer is always special.Hu: A hely tele van turistákkal, akik élvezik a Balaton hűs vízét és a város hangulatát.En: The place is full of tourists who enjoy the cool waters of Balaton and the city's atmosphere.Hu: Az ég kék, de távolban sötét felhők gyülekeznek.En: The sky is blue, but in the distance, dark clouds gather.Hu: Ma van a nagy vitorlásverseny, amit minden évben izgatottan várnak.En: Today is the big sailing race that everyone eagerly awaits each year.Hu: Áron a hajóján áll.En: Áron stands on his boat.Hu: Ő tapasztalt vitorlázó, de szíve mélyén rejtett félelem lapul.En: He is an experienced sailor, but deep in his heart lies a hidden fear.Hu: Egy baleset a múltból.En: An accident from the past.Hu: Félelem az óriási víztől.En: A fear of the vast water.Hu: Ma azonban nyerni akar.En: However, today he wants to win.Hu: Mellette Réka áll, mosolyogva buzdítja.En: Next to him stands Réka, encouraging him with a smile.Hu: "Meg tudod csinálni, Áron!En: "You can do it, Áron!"Hu: " mondja.En: she says.Hu: Áron erőltetett mosolyt küld vissza.En: Áron returns a forced smile.Hu: Nem beszélt a rettegéséről, amit a közelgő vihar most még inkább felszít.En: He hasn't spoken of the terror that the approaching storm now stirs even more.Hu: A kikötő zsong, indul a verseny.En: The harbor is buzzing, the race is starting.Hu: Krisztián, Áron régi vetélytársa, már készen áll.En: Krisztián, Áron's old rival, is already ready.Hu: Mindig versenyeztek egymással.En: They've always competed against each other.Hu: Krisztián eltökélt, hogy ma ő győz.En: Krisztián is determined to win today.Hu: "Ma én nyerek, Áron!En: "Today, I'm going to win, Áron!"Hu: " kiált felé magabiztosan.En: he shouts confidently.Hu: Áron szívében kétség bujkál, de elhatározta, hogy végigcsinálja.En: Doubt lingers in Áron's heart, but he's determined to see it through.Hu: A verseny elkezdődik.En: The race begins.Hu: A szél egyre erősebb, a víz hullámai magasak.En: The wind grows stronger, the water's waves are high.Hu: Áron ügyesen vezeti a hajóját, de a vihar közeledik.En: Áron skillfully guides his boat, but the storm is approaching.Hu: A felhők most már egészen sötétek.En: The clouds are now completely dark.Hu: A szél süvít, áztatott esőt ígér.En: The wind howls, promising soaking rain.Hu: Áron szíve gyorsabban ver.En: Áron's heart beats faster.Hu: Visszatér a régi félelem, de nem engedheti, hogy legyőzze.En: The old fear returns, but he cannot let it defeat him.Hu: Krisztián hajója gyors.En: Krisztián's boat is fast.Hu: Áron megpróbál vele lépést tartani.En: Áron tries to keep pace with him.Hu: A vihar egyre közeledik, az ég zúg, az eső cseppek pattognak a hajó testen.En: The storm draws closer, the sky roars, and raindrops beat against the boat's hull.Hu: Áron a végső döntés előtt áll.En: Áron faces the ultimate decision.Hu: Folytassa?En: Should he continue?Hu: Vagy feladja és szégyenben marad?En: Or should he give up and bear the shame?Hu: Áron mély levegőt vesz.En: Áron takes a deep breath.Hu: Eldönti, hogy tovább küzd.En: He decides to keep fighting.Hu: Összeszedi bátorságát, és koncentrál a célra.En: He gathers his courage and focuses on the goal.Hu: Krisztiánnal fej-fej mellett haladnak.En: He and Krisztián are neck and neck.Hu: A vihar közepén Áron teljes figyelemmel irányít.En: In the midst of the storm, Áron guides with full attention.Hu: Eső, szél, mind próbára teszi erejét.En: Rain and wind test his strength.Hu: A hajrában, közvetlenül a cél előtt, Áron átveszi a vezetést.En: In the final stretch, just before the finish line, Áron takes the lead.Hu: A vihar megpróbálja hátráltatni, de ő ellensúlyozza ügyességgel és akarattal.En: The storm tries to hinder him, but he counters it with skill and willpower.Hu: A célvonal átlépése után hatalmas megkönnyebbülés önti el.En: After crossing the finish line, a great relief washes over him.Hu: Áron győzött!En: Áron has won!Hu: A parton Réka várja, boldogan üdvözli.En: Onshore, Réka awaits him, greeting him happily.Hu: Krisztián elismerően bólint.En: Krisztián nods in acknowledgment.Hu: Áron megtalálja belső erejét és a vizek erejét is tiszteli most már.En: Áron finds his inner strength and now respects the power of the waters.Hu: Tudja, hogy a természetet nem legyőzni kell, hanem együttműködni vele.En: He knows that nature should not be conquered but collaborated with.Hu: A tavon a vihar elcsitul, és az ég ismét kék lesz.En: The storm calms on the lake, and the sky turns blue again.Hu: Áron új emberként lép ki a hajóból, szívében béke és elismerés.En: Áron steps out of the boat as a new man, with peace and appreciation in his heart.Hu: Balatonfüred újra a nyári napok derűjével telik meg.En: Balatonfüred fills once more with the cheerfulness of summer days.Hu: Az emberek elmesélik ezt a napot, amikor egy fiatal vitorlázó nemcsak a vihart, hanem saját félelmeit is legyőzte.En: People recount this day when a young sailor not only conquered the storm but also his own fears. Vocabulary Words:special: különlegesgather: gyülekeznekeagerly: izgatottanexperienced: tapasztalthidden: rejtettaccident: balesetfear: félelematmosphere: hangulatátencouraging: buzdítjaforced: erőltetettterror: rettegésérőlapproaching: közelgőbuzzing: zsongdetermined: eltökéltconfidently: magabiztosandoubt: kétséglinger: bujkálhowls: süvíthinder: hátráltatniskill: ügyességgelcounter: ellensúlyozzawillpower: akarattalacknowledgment: elismerőenrelief: megkönnyebbüléscollaborated: együttműködnicheerfulness: derűjévelovercome: legyőztevast: óriásineck and neck: fej-fej melletttest: próbára teszi

Popeye the Sailor 36-11-23 Popeye Meets The Giant

Vi tager på rejse gennem Georg Kajanus' musikalske karriere – fra det ikoniske band Sailor, over hans soloprojekter, til den elektroniske 80'er-æra med bandet Data. En farverig fortælling om en ofte overset, men dybt fascinerende kunstner.

Thoughts about Voltron, cherry angiomas, and hair color changes. Scott saw Mickey 17 and loved Robert Pattinson's gig in it. They discuss Hello Kitty Island Adventure, vibe coding, AI tools, and fish tacos. Family tattoos, Deckard's new cement slab obsession, kids' smartwatch messages, and their distaste for landlocked seafood bias. Plus loads of your feedback! Hosted on Acast. See acast.com/privacy for more information.

Thoughts about Voltron, cherry angiomas, and hair color changes. Scott saw Mickey 17 and loved Robert Pattinson's gig in it. They discuss Hello Kitty Island Adventure, vibe coding, AI tools, and fish tacos. Family tattoos, Deckard's new cement slab obsession, kids' smartwatch messages, and their distaste for landlocked seafood bias. Plus loads of your feedback! Hosted on Acast. See acast.com/privacy for more information.

While popular memory may have forgotten them, about half of the sailors, soldiers, missionaries, tradesmen, and colonists that made up the Spanish Empire were black, people who were part of the African diaspora. Studying their history allows scholars new ways to research and interpret Spanish colonialism, perhaps especially in the Pacific context. Dr. Leo Garofalo, Virginia Eason Weinmann 1951 Professor of History at Connecticut College, is laying the foundation for generations of new research on the Black Pacific. In his work on Afro-Andeans he has illuminated the central role played by the black people of Spanish Peru in the expansion of Iberian power across the Pacific Ocean. As skilled sailors and shipbuilders they built and operated the ships, charted the routes, and advanced the missions that formed the very marrow of imperial might. Focus on the African diaspora as it emanated across the Atlantic and Indian oceans accompanying and staffing Iberian imperial projects, underscores the intersection of the two streams in the Pacific and the creation of a Black Pacific world. In support of his work Garofalo received funding from the Center for the History of Business, Technology, and Society at the Hagley Museum and Library. For more information, and more Hagley History Hangouts, visit us online at hagley.org. To make a donation underwriting this program and others like it please visit our Eventbrite page: https://www.eventbrite.com/e/underwriting-donation-tickets-1470779985529?aff=oddtdtcreator

Today we discuss the contradictions between Sefer MEalkhim and Chronicles. And we discuss the music that has been the soundtrack of our podcast:Lyrics of the song HebrewEnglish Versions of the songTraditional version - Elana RubinaJazz version - Avishai CohenA little more about the poem/song - here

This week on the Minnesota Military Radio Hour, we dive into the story of Minnesota's only Air Force Reserve unit, the 934th Airlift Wing, known as the “Flying Vikings.” Learn about their critical missions, training, and role in national defense. We also get the latest updates from the Minnesota Patriot Guard, honoring veterans and supporting […] The post Minnesota Military Spotlight: 934th Airlift Wing & Patriot Guard Update appeared first on Minnesota Military Radio.

In Episode 286 of Kickin' It with KoolKard, we set sail on a journey through untold waters with H.E. Ross, a seasoned maritime historian and the self-proclaimed Soul Sailor. From shipwrecks to freedom routes, Ross dives into the powerful legacy of Black mariners in the Caribbean basin and beyond.Tap in as he shares stories buried beneath the waves, reflects on the resilience of Black sailors, and explains why our history on the sea is just as deep as the ocean itself.

This week I sit down with Joe Halliday of Hello Sailor Effects. Joe and I share a lot of similar experiences with military service and mind set. Joe has one of the best back stories Ive ever heard and his pedals are aesthetically pleasing but sound amazing too. Check out all from Hello Sailor Effects here https://hellosailoreffects.com Check out all I'm up to as wellhttps://linktr.ee/manthehelm

Another sonic adventure. Yotto drops tracks from Hunter Game & Sailor & I, Jos & Eli, Massano, Matt Fax, Cristoph, and more.Odd One Out Intro 00:00:0001. Hunter Game, Sailor & I – Faith (Henrik Schwarz Remix) 00:3202. Jos & Eli – I Wish 06:4103. Massano, TH;EN & Carlo Whale – Touch Me 10:4704. Matt Fax – Versa 15:3805. Cristoph – Tha Music (Layer J Extended Remix) 20:3006. Momery – Oi Oi 25:1407. Christian Nielsen – Open Your Eyes 29:3108. Marc Romboy – Psilocybin 34:0009. of Norway & Island Hill – In My Mind (Ivory Extended Reflection) 38:5510. Adam Sellouk & Doriann – Nocturnal 43:4211. Solee – Loslassen 45:4512. BLR & Amber Revival – Feeling Good 51:3613. Rauschhaus & Peer Kusiv – Friction 54:4414. Sydenham & Ferrer – Sandcastles 57:12

Show SummaryOn today's episode, feature a conversation with Rear Admiral Terry Kraft, US Navy, Retired. Terry is the President and CEO of the USS Midway Museum, the longest-serving aircraft carrier int eh 20th Century that is now a museum in San Diego. Terry also serves on the board of directors for PsychArmor, and we talk about both of those roles in our conversation.  Provide FeedbackAs a dedicated member of the audience, we would like to hear from you about the show. Please take a few minutes to share your thoughts about the show in this short feedback survey. By doing so, you will be entered to receive a signed copy of one of our host's three books on military and veteran mental health. About Today's GuestRetired RADM Terry B. Kraft's military service spanned a remarkable 34-year Navy career highlighted by unparalleled leadership across diverse domains. As the son of a Navy captain, he graduated from the U.S. Naval Academy in 1981 and earned his designation as a Naval Flight Officer in 1982. His academic achievements include a master's degree in political science from Auburn University, a fellowship at Harvard's Kennedy School of Government, and graduation from the Navy Nuclear Power Program. Throughout his military service, RADM Kraft excelled in operational and strategic roles. He commanded aviation squadrons, ships, and a carrier strike group. As Executive Officer of the USS Theodore Roosevelt, he contributed to major operations including Desert Storm, Iraqi Freedom, and Enduring Freedom. His pivotal shore assignments included roles with VA-128, the Air Command and Staff College, U.S. Pacific Command, and the Chief of Naval Operations staff. His leadership in Maritime Aviation, Unmanned Aerial Systems, and Intelligence and Surveillance capabilities reflects his strategic vision and innovative approach. Additionally, he commanded the Navy Warfare Development Command and U.S. Naval Forces Japan, where he spearheaded critical initiatives to advance naval operations.After retiring from the Navy, Terry continued to demonstrate exceptional leadership in the private sector. From 2015 to 2023, he held senior management roles at General Atomics, driving technological and strategic advancements. Now, as President and CEO of the USS Midway Museum, he combines a commitment to preserving naval history with a passion for public education—values closely aligned with PsychArmor's mission. Terry and his wife, a fellow Navy veteran, reside in San Diego, where they enjoy attending music concerts and spending time with their children sailing around San Diego Bay. Links Mentioned During the EpisodeUSS Midway Museum WebsiteTerry's Bio on PsychArmorPsychArmor Resource of the WeekThis week's PsychArmor Resource of the Week is the PsychArmor Course, the Basics of Military Culture. Understand key values, customs, and experiences unique to service members and veterans through stories from six American service members. Perfect for employers, healthcare providers, and anyone working with military-connected individuals. You can find the resource here:  https://learn.psycharmor.org/courses/military-culture-series Episode Partner: Are you an organization that engages with or supports the military affiliated community? Would you like to partner with an engaged and dynamic audience of like-minded professionals? Reach out to Inquire about Partnership Opportunities Contact Us and Join Us on Social Media Email PsychArmorPsychArmor on TwitterPsychArmor on FacebookPsychArmor on YouTubePsychArmor on LinkedInPsychArmor on InstagramTheme MusicOur theme music Don't Kill the Messenger was written and performed by Navy Veteran Jerry Maniscalco, in cooperation with Operation Encore, a non profit committed to supporting singer/songwriter and musicians across the military and Veteran communities.Producer and Host Duane France is a retired Army Noncommissioned Officer, combat veteran, and clinical mental health counselor for service members, veterans, and their families.  You can find more about the work that he is doing at www.veteranmentalhealth.com  

Remembering Gen. "Mad" Anthony Wayne and the Battle of Stony Point THE INTERVIEW Former Cro-Mags and Bad Brains singer John Joseph emerged from an abusive childhood in a foster home to serve in the Navy and then forge his punk rock career. Joseph rose through the ranks, along with others in the early 1980s scene including Henry Rollins, the Beastie Boys and others to become a successful singer. Now he inspires others as a vegan triathlete. SCUTTLEBUTT Reddit Rabbit Hole: Best posters seen during a triathalon Army bringing in big tech executives as lieutenant colonels American airmen in Japan test AI tool to streamline flight scheduling Special Guest: John Joseph.

Oliver's monologue on a Tuesday

Damo opens Episode 152 with a personal and emotional story about the tragic death of Azir Harris, who was shot and killed in Philadelphia over the Fourth of July weekend. That pain sets the tone for a wide-ranging, unfiltered conversation with CWO2 Donald Banks—a discussion that spans grief, leadership, Detroit culture, chronic illness, and purpose. From gun violence in his hometown to navigating life with Multiple Sclerosis, CWO2 Banks brings insight, heart, and an unwavering sense of service to the mic. Donald shares what drew him into the Navy straight out of Detroit, why he doesn't want a retirement ceremony, and how his MS diagnosis has reshaped his day-to-day responsibilities, family dynamics, and leadership style. He offers firsthand knowledge of the Navy's EMPLOY program—an alternative path that allows Sailors with medical diagnoses to remain active duty—and discusses how it helped him stay in uniform while managing symptoms like fatigue, vision loss, and nerve pain. The conversation moves through everything from beard policies and CPAP struggles to Navy vs. civilian dental experiences and the emotional toll of recent national tragedies, including the death of CSSN Angelina Resendiz and widespread flooding in Texas. The episode also celebrates Detroit's impact on hip-hop culture, with top-five rapper debates, reflections on the city's sound influencing the mainstream, and shout-outs to artists like Blade Icewood, Payroll Giovanni, Royce da 5'9”, and Obie Trice. From discussing emotional intelligence in leadership to breaking down why “Burger Day” fell off and why some morale events just don't hit the mark, this conversation is as real as it gets. Whether it's reflecting on books like Chop Wood, Carry Water and The Way of the Superior Man, or calling out the silent weight that leaders carry as they rise through the ranks, this episode captures the soul of what it means to serve and survive—physically, emotionally, and culturally. ⸻ About Our Guest Chief Warrant Officer 2 Donald Banks is a Detroit native and 22-year Navy veteran currently serving as a Food Service Officer. Rising through the enlisted ranks before commissioning, he is known for his authentic leadership style, deep connection to his Sailors, and transparency about his personal challenges—including his recent diagnosis of Multiple Sclerosis. CWO2 Banks is a passionate advocate for the Navy's EMPLOY program, an avid hip-hop fan, and the mind behind the personal lifestyle brand “Stag,” symbolized by the monarch butterfly. With a strong belief in legacy over recognition, he continues to serve with resilience, humility, and a drive to elevate others.       To have your “Do Better” reviewed on a future episode, please get in touch with us at ptsfpodcast@gmail.com     Keep up with the ‘Permission to Speak Freely' podcast on our social media and YouTube - https://linktr.ee/Ptsfpodcast       Keep up with CWO2 Banks on Social Media and other sites:   “Stang” Merch Website: https://mustanglife247.company.site/   Facebook: https://www.facebook.com/donald.banks.iii/   Instagram: https://www.instagram.com/bagz313/   LinkedIn: https://www.linkedin.com/in/donald-banks-64a900126/   Youtube: https://www.youtube.com/channel/UCkiGHJ4aic3khwtup7nRCoA   Wavy 10 News Article: https://www.wavy.com/news/health/navy-officer-faces-ms-diagnosis-head-on/   Additional Credits: PTSF “Theme Music” - Produced by Lim0

The former Bluejay was drafted by the Kansas City Royals organization earlier today in the 4th Round. He joins us to talk about the logistics of being drafted, his dream coming true, and more.

This week, we explore educational opportunities and support for Minnesota's military community at Saint Paul College, delve into inclusion efforts and the 35th anniversary of the ADA with the Minnesota Department of Veterans Affairs, and get an update from the Minneapolis VA Health Care System. Guests include: Alan Duff – Saint Paul College Julie Severson […] The post Saint Paul College and 35th Anniversary of the ADA appeared first on Minnesota Military Radio.

Deep South Women's Champion Gemma Jewels spoke with WrestleZone's Ella Jay about claiming the title after 40 years of vacancy, meeting former titleholder Joyce Grable, training with Eric Adamz and Nick Patrick, excitement for WWE Evolution in Atlanta, a spontaneous encounter with LA Knight & Bianca Belair, wrestling as Sailor Moon, trips to the Dominican Republic, and more!

(00:00-26:16) It's a foggy Wednesday; be careful driving. Martin gave up on the Redbirds with the rain delay and power outage. Sonny Gray needs to pitch every game. The Pirates haven't won since sweeping the Cardinals. What's the difference in a B+ and an A-? Not many people at the game last night. Wireless electricity.(26:24-58:08) Carpen, Carpen, Carpenter. Audio of Oli Marmol talking about the starting rotation. I'm confused, Doug, I don't understand. More Marmol audio talking about the Fedde and MIkolas situation. Marmol on Sonny Gray's regiment and going 5 innings. Happy Jeff Fisher Day.(58:18-1:18:34) What are you, a Motley Crue guy? Early-era Plowsy. Sailor tattoos. Jack LaLanne. Roger Clemens has a case for the best pitcher of all time. Chat GPT's best pitchers ever.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this enlightening episode, Dr. Alain Salas shares his journey from living on a sail boat in France to becoming a chiropractor and healer in the United States. He discusses the importance of understanding the subconscious mind, the impact of limiting beliefs, and how mind clearing can empower individuals to overcome challenges and achieve their goals. Dr. Salas emphasizes the need for a deeper connection between the mind and body, and how true healing comes from within. He also provides insights into the flaws of traditional goal-setting approaches and offers practical advice for personal growth and transformation.Want to be a guest on Stories from Real Life? Send Melvin Edwards a message on PodMatch, here: https://www.podmatch.com/hostdetailpreview/storiesfromreallife. www.podcastreallife.comhttps://themindclearing.com/contact-us/ For the listeners who are interested, i have a one time limited offer: 30% off on the complete package basic mind clearing and goal & success clearing. 20% off Goal & Success Clearing treatmentsTakeawaysDr. Salas transitioned from a sailing lifestyle to healing due to a calling to help others.He emphasizes the importance of understanding the subconscious mind in personal development.Limiting beliefs can sabotage success and promote failure.Mind clearing techniques can help individuals overcome emotional and physical challenges.Cultural differences in food and socialization impact personal experiences.Dr. Salas faced significant challenges, including divorce and health issues, which shaped his perspective.The mind-body connection is crucial for holistic healing.Self-sabotage often stems from subconscious programming established in early life.Goal setting should incorporate both conscious and subconscious strategies for success.True empowerment comes from within, allowing individuals to take control of their lives. Get full access to Melvin E. Edwards at storiesfromreallife.substack.com/subscribe

Deborah Hammett began sailing later in life and is the author of the book "Young Salt at Sixty." She sails a Jenneau Sun Odyssey 36 out of Martha's Vineyard, Mass. We talk about Martha's Vineyard, seeing your hometown from the water, scaling down, what inspired her to become a sailor, The Bahamas, riding out a storm in Georgetown at anchor, anchors, the Dominican Republic, her boat, unexpected difficulties, sailing in the ICW solo, sleeping when solo sailing, favorite anchorages on the east coast of the US, sobriety and sailing, changing an impeller, losing power, her book, writing, and more. Photos and links can be found on the shownotes page Support the show through Patreon

TAKE THIS PERSONALLY WITH MORGAN: Morgan sits down with three extraordinary residents of Abe’s Garden — Dave, Sandra, and Carol — whose life stories are rich with love, loss, resilience, and reinvention. Dave reflects on his 24 years in the Navy, the serendipitous moment he met his wife, and his candid thoughts on the state of the world. Sandra shares how she became a first-time published author at 83, and why getting divorced was one of the best things that ever happened to her. And Carol opens up about her 56-year marriage, raising five children, and the quiet strength it takes to face life’s twists and turns. These heartfelt conversations are full of humor, wisdom, and timeless reminders that it’s never too late to grow, dream, and keep writing your story. Abe's Garden: www.abesgarden.org Sandra's book: Sweet Adversity: A Southern Writer Finds Stories—and Good—in Everything Follow Morgan: @webgirlmorgan Follow Take This Personally: @takethispersonallySee omnystudio.com/listener for privacy information.

Published 6 July 2025This week we speak to former 470 German Sailing Team member, Lena Stuekl. Lena has also provided commentary for a bunch of sailing events including Sailing Champions League and Kieler Woche TV. She now fits a bit of 5-oh sailing in around her engineering career changing the future for us all. Lena is a great sailor and human and someone we have wanted to have on the show for a while. Enjoy!#kielerwochesailing #international505sailing #505sailinggermany #470olympicsailing #vaikobi #vaikobisail #radixnutrition #barkarate #sailingpodcast #barkarateconversations #worldsailingofficial #sailing #boat #ocean #sport #voile #sail #sea #offshore #sailors #sailingworld #extremesailing #foils #yacht #yachts #saillife #instayacht #sailingblog #instasail

This week, we discover the podcast The Sinking of the USS Indianapolis and the Atomic Bomb: The Price Paid for Liberty and join us as we connect with the Minnesota Association of County Veterans Service Officers. Guests include: Ron Duffy – Ron Duffy Art Josh Beninga – Minnesota Association of County Veteran Service Officers Click […] The post The Sinking of the USS Indianapolis and the Atomic Bomb: The Price Paid For Liberty appeared first on Minnesota Military Radio.

Many Great Pioneer Women helped establish the French colony of New France during the 1600s, including Marguerite Bourgeoys. Check out the YouTube version of this episode at https://youtu.be/LNONSYQqFtU which has accompanying visuals including maps, charts, timelines, photos, illustrations, and diagrams. The Saint of the Day podcast at https://amzn.to/4cpIyyt Saint of the Day podcast at https://ourcatholicradio.org/programs/saint-day Divine Office Liturgy of the Hours The Maine Catholic Guide at https://amzn.to/4nAdn9k Faith Full Catholic Podcast at https://amzn.to/4ntJdo1 Marguerite Bourgeoys books at https://amzn.to/3GhUQh6 History of Montreal books at https://amzn.to/4bY9vYQ New France books available at https://amzn.to/3nXKYzy ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's HISTORICAL JESUS podcast at https://parthenonpodcast.com/historical-jesus Mark's TIMELINE video channel: https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 Twitter: https://twitter.com/MarkVinet_HNA Instagram: https://www.instagram.com/denarynovels Mark's books: https://amzn.to/3k8qrGM Audio credits: The Saint of The Day Podcast: St. Marguerite Bourgeoys Jan. 12, 2024; Saint of The Day podcast with Mike Roberts, Saint Marguerite Bourgeoys, 12jan2024; Walking With the Saints podcast: St. Marguerite Bourgeoys 12jan2025 (Catholic Concepts); Divine Office Liturgy of the Hours: The Maine Catholic Guide Saint of the Day-St. Marguerite Bourgeoys (Jan. 12, 2023); Sailors and the King’s daughters connected to Montreal’s Oldest Chapel! Sept. 13, 2022 (Viewpoints–Placecloud); Faith Full Catholic Podcast: Mary and Montreal's Oldest Catholic Church, Notre-Dame-de-Bon-Secours (Our Lady of Good Help) Dec. 28, 2023 Audio excerpts reproduced under the Fair Use (Fair Dealings) Legal Doctrine for purposes such as criticism, comment, teaching, education, scholarship, research and news reporting.See omnystudio.com/listener for privacy information.

On this episode of The 3DO Experience, we are joined by Alex from G&C to talk about the 1995 Sailor Moon fighting game for the 3DO created by Tose only in Japan!Check Out Call of Duty: Thrak Ops: https://superpodnetwork.com/podcast/call-of-duty-thrak-opsProud Member of https://superpodnetwork.com/Follow us at: https://linktr.ee/ThebarberwhogamesFollow Thrak at: https://bsky.app/profile/thrak.bsky.socialCheck out Thraks streams at: https://www.twitch.tv/thrak94

When a woman's body was found at the base of a 350ft canyon in December 1987, authorities in Yosemite National Park were quick to write it off as an accident. But an important witness comes forward who helps federal investigators nab a cunning killer who had a lot to gain from the woman's untimely demise.View source material and photos for this episode at: parkpredators.com/the-sailor Park Predators is an audiochuck production. Connect with us on social media:Instagram: @parkpredators | @audiochuckTwitter: @ParkPredators | @audiochuckFacebook: /ParkPredators  | /audiochuckllc TikTok:  @audiochuck

The next installment in our series on David Lynch was made shortly after the booming popularity of the premiere of Twin Peaks. WILD AT HEART, based on a book by Barry Gifford, tells the story of Sailor (Nicolas Cage) and Lula (Laura Dern), two exuberant and impulsive lovers who set out on a cross-country trek fleeing an array of strange characters who are all trying to kill Sailor on behalf of Lula's mother Marrieta (Diane Ladd).Although carrying some key signature aspects of Lynch's work, Wild at Heart was unconventional as a subject for Lynch. Its merits remain widely debated to this day, even by us this week as we're joined by Lindsey Dunn and new friend of the FoG Steve Barnes. There's a reckless quality to this story, fitting for its main characters, that paints a difficult picture of a world that's "wild at heart and weird on top."We have a blast talking about this truly unique film and we really hope you enjoy our conversation.4:07 - Two Questions with Steve Barnes11:35 - WILD AT HEARTSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Hour 1 KSL NewsRadio host Greg Skordas Jake Retzlaff future  What You May Have Missed Hour 2 Utah Jazz intro Ace Bailey and othe rookies at presser over the weekend. 60 in 60 Watchlist Whole World News Hour 3 BYU insider Mitch Harper Sports Roulette Final thoughts

In episode 6 of the Bitcoin for Corporations Show, Pierre Rochard sits down with Alex Thorn, Head of Research at Galaxy Digital, for a wide-ranging and high-signal discussion on the emerging wave of Bitcoin treasury strategy companies.Thorn breaks down the mechanics of Strategy's (formerly MicroStrategy) success, the role of financial engineering, and how Michael Saylor created a model that's difficult—if not impossible—for others to replicate. He introduces the concept of a "great filter" facing the next generation of Bitcoin-focused public companies: only a few will pass through it.⭐ This episode of the Bitcoin for Corporations Show is sponsored by Ledn, a leading provider of Bitcoin-backed loans.

Morgan sits down with three extraordinary residents of Abe’s Garden — Dave, Sandra, and Carol — whose life stories are rich with love, loss, resilience, and reinvention. Dave reflects on his 24 years in the Navy, the serendipitous moment he met his wife, and his candid thoughts on the state of the world. Sandra shares how she became a first-time published author at 83, and why getting divorced was one of the best things that ever happened to her. And Carol opens up about her 56-year marriage, raising five children, and the quiet strength it takes to face life’s twists and turns. These heartfelt conversations are full of humor, wisdom, and timeless reminders that it’s never too late to grow, dream, and keep writing your story. Abe's Garden: www.abesgarden.org Sandra's book: Sweet Adversity: A Southern Writer Finds Stories—and Good—in Everything Follow Morgan: @webgirlmorgan Follow Take This Personally: @takethispersonallySee omnystudio.com/listener for privacy information.

Story Time with Katie & Allie. Grab a glass and pour a drink. Let's talk about Queen Amelia & Sailor Moon

In the late 90's two young men would be discovered dead. Their heads had been smashed with a baseball bat and each of their bodies would be located exactly a year apart. Allan Grimson was picked up for these murders to which he confessed. Another sailor would disappear 11 years earlier, on the exact same date the other two young men were murdered...coincidence? Not likely. True Crime Quickie from South Africa in August of 2024.https://www.patreon.com/c/rainbowcrimesPromo for Love & MurderIntro: Shire Girl by David FesilyanOutro: Beating Heart by David RendaResources:https://www.theguardian.com/uk/2001/mar/28/1https://www.independent.co.uk/news/uk/home-news/simon-parkes-death-missing-gibraltar-police-search-hms-illustrious-allan-grimson-a9228871.htmlhttps://www.independent.co.uk/news/world/europe/police-search-gibraltar-for-sailor-missing-since-1986-109945.htmlhttps://www.telegraph.co.uk/news/uknews/1328146/Sailor-was-serial-killer-in-name-if-not-number.html?ICID=continue_without_subscribing_reg_firsthttps://news.sky.com/story/simon-parkes-police-to-search-cemetery-for-navy-sailor-missing-since-1986-11876092https://news.sky.com/story/simon-parkes-police-to-search-cemetery-for-navy-sailor-missing-since-1986-11876092https://www.heraldscotland.com/news/12179269.life-for-serial-killer-sailor/https://www.leicestermercury.co.uk/news/leicester-news/fresh-search-alleged-victim-allan-9040853https://www.ebar.com/story/76789https://www.washingtonblade.com/2024/09/10/lesbian-couple-murdered-in-south-africa/https://www.thepinknews.com/2024/09/04/lesbian-couple-very-much-in-love-killed-in-south-africa-leaving-friends-shocked-and-heartbroken/https://www.nbcnews.com/health/health-news/fda-hiv-prevention-drug-prep-lenacapavir-rcna208387Become a supporter of this podcast: https://www.spreaker.com/podcast/beyond-the-rainbow-podcast--4398945/support.

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

Jump in with Carlos Juico and Gavin Ruta on episode 239 of Jumpers Jump. This episode we discuss: 50 Cent & Son beef, Inheritance debate, Travis Scott theory, Crazy Michele Lamy interview, Witchcraft, Unluckiest number, Friday the 13th origin, Matching Energy, The Bali Breakup curse, Hidden meanings, Spirituality, Most Dangerous prayer, Path to heaven feels like hell, Murder case in our neighborhood, Red string theory, God's timing, The Nicholas Prosper case, The Brandon Risner case, Using Ai as a tool, Real life final destination, Divine intervention, Practice what you preach, Ruined million dollar art, Selling a story, Trend hopping, Sailor sea legs and much more.  Thanks to our Sponsors: Sign up for your one-dollar-per-month trial and start selling today at https://SHOPIFY.COM/jumpers Find exactly what you're booking for at ⁠https://Booking.com⁠ Visit ⁠https://northwestregisteredagent.com/jumpers⁠ and start building something amazing!  Download the app and sign up with code JUMPPOD. Take the featured slot for a spin, and explore thousands of others in the DraftKings game library. Check back daily to claim the hottest offers and promos on DraftKings Casino. The Crown is Yours. Gambling problem? Call one eight hundred GAMBLER. In Connecticut, help is available for problem gambling call eight eight eight seven eight nine seven seven seven seven or visit C C P G dot org. Please play responsibly. Twenty-one plus. Physically present in Michigan, New Jersey, Pennsylvania, West Virginia only. Void in Connecticut and Ontario. Eligibility restrictions apply. New customers only. Non-withdrawable Casino Spins valid for featured game only and expire in one hundred sixty eight hours. See terms at casino dot draftkings dot com slash promos. Ends June twenty second twenty twenty five at eleven fifty nine PM Eastern Time. Learn more about your ad choices. Visit podcastchoices.com/adchoices