Podcasts about santa monica

Okay, y'all… this one hit me right in the gut - in the best way. I got to sit down with the absolute powerhouse that is Melissa Dlugolecki and wow, just… wow. We went everywhere - grief, burnout, building big things without losing yourself, and why “should” might just be the most dangerous word in your vocabulary. She's bold, she's honest, and she's proof that scar tissue tells a far better story than wounds ever could. You're gonna walk away from this one a little shook and a lot inspired.Highlights:(06:43) After life support was removed(10:15) The moment you drop the word ‘should'(13:40) Grief taught me I'm entitled to nothing(27:17) Failure? Nah, just really helpful feedback(33:22) Millionaires vs. visible abs - you'll cackle(49:10) Branding is not your colour paletteFind out more about Melissa: WebsiteLinkedIn: Melissa DlugoleckiInstagram: @melissadlugoleckiFacebook: Melissa DlugoleckiTikTok: MelissadlugoleckiScar Tissue BookQualia Mind - click hereCoupon Code: SHOCKANDYALL (15% off any purchase)Visit Nicole's on demand fitness platform for live weekly classes and a recorded library of yoga, strength training, guided audio meditations and mobility (Kinstretch) classes, as well: https://www.sweatandstillness.comGrab Nicole's bestselling children's book and enter your email for A FREE GIFT: https://www.yolkedbook.comFind Nicole on Instagram:https://www.instagram.com/nicolesciacca/Tik Tok: https://www.tiktok.com/@thenicolesciaccaFacebook: https://www.facebook.com/nicolesciaccayoga/Youtube:https://www.youtube.com/channel/UC1X8PPWCQa2werd4unex1eAPractice yoga with Nicole in person in Santa Monica, CA at Aviator Nation Ride. Get the App to book in: https://apps.apple.com/us/app/aviator-nation-ride/id1610561929Book a discovery call or virtual assessment with Nicole here: https://www.calendly.com/nicolesciaccaThis Podcast is proudly produced by Wavemakers Audio

Send us a textIn this episode of Your Child is Normal, Dr. Jessica Hochman is joined by Dr. Tara McCannel—retinal surgeon, ocular oncologist, and co-founder of Seyhart Acupuncture in Santa Monica, California. They discuss how acupuncture can be a powerful, evidence-informed, and low-risk option to support anxiety—especially in children who present with physical symptoms like headaches, stomach aches, or sleep disturbances. Whether you're a parent seeking alternatives to medication, or simply curious about the science behind acupuncture, this episode is full of practical insights and thoughtful reflection.Dr Jessica Hochman is a board certified pediatrician, mom to three children, and she is very passionate about the health and well being of children. Most of her educational videos are targeted towards general pediatric topics and presented in an easy to understand manner. For more content from Dr Jessica Hochman:Instagram: @AskDrJessicaYouTube channel: Ask Dr JessicaWebsite: www.askdrjessicamd.com-For a plant-based, USDA Organic certified vitamin supplement, check out : Llama Naturals Vitamin and use discount code: DRJESSICA20-To test your child's microbiome and get recommendations, check out: Tiny Health using code: DRJESSICA Do you have a future topic you'd like Dr Jessica Hochman to discuss? Email Dr Jessica Hochman askdrjessicamd@gmail.com.The information presented in Ask Dr Jessica is for general educational purposes only. She does not diagnose medical conditions or formulate treatment plans for specific individuals. If you have a concern about your child's health, be sure to call your child's health care provider.

Geoffrey Blake Take a walk with me down Fascination Street as I get to know Geoffrey Blake. You know Geoffrey from such iconic hits as: Young Guns, Forrest Gump, Contact, Midway, and more. In this episode, we chat about almost none of those projects. Instead, we get to know Geoffrey. We find out how & where he grew up, why they moved around so much, how his health is these days, and some crazy stories about his family. Next, we move into some of the acting classes that he was part of when he was just getting started, as well as the acting class that he teaches these days. Naturally, we touch on Young Guns, and his work with Emilio Estevez & Lou Diamond Phillips. He shares a crazy story about paparazzi in Santa Monica, involving him, Ben Affleck, Jennifer Garner, and the city council. This story is insane. Of course, we talk about some of his past and upcoming writing projects, and so much more! Geoffrey has promised to come back on the show for round 2, and maybe THEN he will share the story of the time he met Lizzo!

Disneyland offering Anaheim discount on parking passes. Burbank Butt-Sniffing Bandit caught again. LASD Sheriff Luna Press conference update on the explosion that killed 3 LASD Deputies. One grenade is missing from LASD facility // LASD presser – two grenades confiscated in Santa Monica, one exploded – they have been searching for the other one // What could've happened to that other grenade? Celebrating Crozier's birthday, he has never had a physical. What is the fastest growing city in America? Princeton Texas // West Corona Fire near 91-Freeway. Possibly due to Homeless encampment. 91 EB traffic impacted. #greenFire 

This week on Dopey! Dave returns from vacation and rants about Instagram deleting and reinstating the Dopey page. He shouts out the Dopey Nation warriors who helped get it back, including Justin Cambria and the mysterious Sour Linus from Meta. Dave reads listener emails about Quaker Oat Squares and sketchy pink drugs in the UK, then plays a voicemail from Jake in Oregon who paid $400 for what turned out to be a jar of honey and turned it into a dorm room cookie hustle.Then, a massive deep-dive with Spun writer and speed enthusiast Will De Los Santos. Will shares his life story: being the child of a statutory rape, watching his stepfather survive a gunshot suicide attempt, freebasing coke with his half-brothers, and falling into crank addiction while making a UCLA film school reel. He explains how crank fueled his creativity and led to writing Spun, how he got high in Jason Schwartzman's trailer, and how Bob Dylan lit his cigarette outside a Santa Monica boxing gym. He also opens up about relapsing after 8 years clean, the damage to his relationship with his ex Weiwei, and his long climb back through Oro, Betty Ford, and sober living—with support from Jay Mohr.Will's new project Spaghetti is a recovery redemption story born during his relapse, and he's now 8 months sober and ready for a new life.JOIN PATREON AND GET EXTRA!www.patreon.com/dopeypodcast  

At the end of a long night fighting with her boyfriend, a young aspiring actress and model living in Santa Monica, Calif. invites a stranger into her home. Their conversation turns into a fight. And before the night is over, she's strangled and left for dead.   The 2008 murder of Juliana Redding is the beginning. Detectives soon stumble into a storage space filled with boxes detailing a scam operation to the tune of $150 million. And an enigmatic orthopedic surgeon who, prosecutors say, is the “mastermind of fraud.”   Doctor's Orders is produced by Western Sound for Sony Music Entertainment's The Binge. Subscribe to The Binge to get all episodes, all at once, all ad-free as soon as they drop on August 1st. Visit The Binge channel on Apple Podcasts and hit ‘subscribe' or visit GetTheBinge.com to get access. The Binge – feed your true crime obsession. Learn more about your ad choices. Visit podcastchoices.com/adchoices Learn more about your ad choices. Visit podcastchoices.com/adchoices

EV PARNAS & THE TRUMP INSANITY; The incredible LEV PARNAS tells us an astonishing story of the dark money & deep betrayal that is Donald Trump.   Born in Ukraine, Lev was raised in the mobbed-up corners of Brooklyn, leading to the unlikely depths of the Trump miasma.   As the star of “From Russia with Lev” by Rachel Maddow, Lev answers some of the most critical questions of Trump's pending demise.   In this is an unforgettable insider hour; Lev gives us unique, powerful insights into the seismic Trumpian madness now shaking our world. Solartopia co-host MYLA RESON introduces Donald & William Barr into this rogue's gallery of global embarrassment.   Progressive PR maven ILENE PROCTOR tells us about Ghislaine Maxwell and more.   Alabama Doctor RUTH STRAUSS argues that the “Apprentice” movies goes too easy on Trump.   Long-time activist HEIDI VERTHAILER chimes in.   Co-convenor MIKE HERSH adds a dimension on Watergate.   Health Care activist CHUCK PENACCHIO explains his sterling campaign for the public wellbeing.   Cal Care proponent PAUL NEWMAN checks in from Santa Monica on AB2200 which was killed by Gavin Newsom.   Doctor NANCY NIPARKO adds her usual brilliance to the discussion of universal health care.   Broadcast legend DAVID SALTMAN wants us to challenge Joe Rogan to a debate on atomic power.   Producer STEVE CARUSO promises grater things….like next week's interview with the great Bob Fitrakis….   From Florida, NICOLE UNG reminds us of the outrage that is Ron DeSantis.   LAUREN TAYLOR refers to the Godfather movies as “revealed truth."

Dennis is joined via Zoom by actor-director-producer Ellen Geer who is the Producing Artistic Director of one of Dennis's favorite spots in Los Angeles, The Will Geer Theatricum Botanicum in Topange Canyon. Dennis has been going to see plays at the outdoor amphitheater since the early 90's and has seen Ellen perform in scores of shows there as well as seeing just as many that she directed and produced. This season, she co-directed the play Strife by Nobel Prize-winning writer John Galsworthy. The show, about a labor strike in rural Pennsylvania, was written in the early 1900's but feels like it could have been written in 2025. The wealthy board of directors feel like the today's financially insatiable oligarchs and the workers are dealing with the same type of injustices that workers face today. Ellen talks about why she chose Strife for this "Season of Resilience," her own history as an activist and the pleasure of co-directing with her daughter Willow Geer. She also discusses the rich history of her family and the property, which was acquired by her parents in the 1950's when her father, the actor Will Geer, was blacklisted during the McCarthy Era and the entire family was ostracized from Hollywood and their Santa Monica community. In the 1950's-60's, the Botanicum property became a safe place for blacklisted artists to seek refuge and practice their craft. In the 1970's, after Will Geer found fame as Grandpa Walton on The Waltons, the place officially opened to the public as The Will Geer Theatricum Botanicum. Ellen talks about her favorite spot on the property, her encounters with animals like bears, deer, mountain lions and rattlesnakes and the challenges of doing theater in such a unique outdoor place. Other topics include: why her father loved plants, losing all her friends as a child because of the blacklist, Jimmy Stewart being sweet to her on The Jimmy Stewart Show, how the current resistance movement could use some good folk songs, and that time her father taught her that reading Shakespeare could be just as enlightening as going to therapy. www.theatricum.com

Growing up in a small town in central Minnesota, Chantell Walsh's creativity took the form of graph paper floorplans and endless hours outdoors inventing adventures. A pivotal job shadow at local architecture firm KKE Architects during high school solidified her path.After earning her degree in architecture, Walsh landed in Chicago, working under a mentor who taught her to embrace process over perfection. That ethos followed her to Strategic Hotels & Resorts, where she joined as a consultant in 2010.Fifteen years later and now vice president of design and construction, Walsh leads design efforts across the company's evolving portfolio, which includes Regent's U.S. debut property in Santa Monica, California and the highly anticipated transformation of the Waldorf Astoria New York.For Walsh, success lies in crafting spaces that evoke emotion and above all tell a story.Thank you for listening! For more of our great interviews, find us at hospitalitydesign.com.

It's the summer of ‘25 and we're heading to Syracuse, New York, in search of an act of reciprocal pleasure. In the Salt City, we discover the latest film from American High, a sultry and silly affair directed by Jillian Bell in her directorial debut, and written by Bell, Liz Nico, and Jules Byrne. When naive high school senior Abby vows to wow her crush Max by performing his favorite sex act, she needs the tutelage of stripper Santa Monica in order to do the deed and seal the  deal. Meanwhile, Santa Monica is staring down her own hairy scenario as ownership of her strip club dangles in front of her. Starring Abby Morelos, Chloe Fineman, Matt Cornett, Paula Pell, Natalie Morales, and Charlie Day, this flick premiered at SXSW back in March before being released by Hulu in May. But does this teen comedy satisfy our hosts equally? Or is it all risky business and no reward? Join us as things get hot and heavy with Summer of 69!   For more geeky podcasts visit GonnaGeek.com    You can find us on iTunes under ''Legends Podcast''. Please subscribe and give us a positive review. You can also follow us on Twitter @LegendsPodcast or even better, send us an e-mail: LegendsPodcastS@gmail.com    You can write to Rum Daddy directly: rumdaddylegends@gmail.com    You can find all our contact information here on the Network page of GonnaGeek.com Our complete archive is always available at www.legendspodcast.com, www.legendspodcast.libsyn.com  Music: Title Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 https://creativecommons.org/licenses/by/4.0/

Okay friends, this one's big. Today I'm sitting down with Kathryn Henry - on the actual day her beautiful book A Dime to Say I Love You launches into the world (and yep, it's already sold out on Amazon). What makes this episode even more meaningful? It's also the birthday of her late wife, Lisa, who the book is all about. We talk about love, loss, and those unexplainable little moments that somehow remind you you're still connected. Kathryn shares so honestly and with so much heart - you're going to feel this one.Highlights:(01:15) Book launch + Lisa's birthday = divine timing(08:42) What grief really feels like in the body(15:30) The meaning behind “dime moments”(24:55) Strength training as emotional processing tool(32:10) Why AFGOs are actually a gift(44:40) Writing the book with Lisa still presentConnect with Kathryn:WebsiteLinkedInInstagramA Dime to Say I Love YouQualia Mind - click hereCoupon Code: SHOCKANDYALL (15% off any purchase)Visit Nicole's on demand fitness platform for live weekly classes and a recorded library of yoga, strength training, guided audio meditations and mobility (Kinstretch) classes, as well: https://www.sweatandstillness.comGrab Nicole's bestselling children's book and enter your email for A FREE GIFT: https://www.yolkedbook.comFind Nicole on Instagram:https://www.instagram.com/nicolesciacca/Tik Tok: https://www.tiktok.com/@thenicolesciaccaFacebook: https://www.facebook.com/nicolesciaccayoga/Youtube:https://www.youtube.com/channel/UC1X8PPWCQa2werd4unex1eAPractice yoga with Nicole in person in Santa Monica, CA at Aviator Nation Ride. Get the App to book in: https://apps.apple.com/us/app/aviator-nation-ride/id1610561929Book a discovery call or virtual assessment with Nicole here: https://www.calendly.com/nicolesciaccaThis Podcast is proudly produced by Wavemakers Audio

Dreams in Migrations: AAPI Identity, Diaspora, and Resistance in Contemporary Art In this special live episode of What's My Thesis?, host Javier Proenza moderates a closing panel discussion at BG Gallery for Dreams in Migrations—the third annual AAPI (Asian American and Pacific Islander) exhibition curated by artist and organizer Sung-Hee Son. This timely conversation assembles a multigenerational roster of artists whose practices interrogate identity, memory, imperialism, and the myth of the model minority through distinct formal languages and lived experiences. Featuring artists Dave Young Kim, Mei Xian Qiu, and others, the episode moves fluidly between personal narrative and structural critique. Kim speaks candidly about growing up Korean American in Los Angeles, navigating ADHD through drawing, and finding community through both art and street culture. He reflects on his work's deep connection to place—evoking the layered histories of Koreatown through archival images, signage, and symbolic compositions. Mei Xian Qiu offers a moving account of displacement, spiritual ritual, and postcolonial trauma. Born into Indonesia's Chinese diaspora, she discusses her early artistic impulse to create “sacred objects” as a means of processing survival and systemic erasure. Her multimedia works—reminiscent of stained glass and batik—expose the mechanisms of propaganda and the cultural inheritance of violence. Her series Let a Thousand Flowers Bloom revisits China's Hundred Flowers Campaign with a provocative inversion: a mock invasion of the U.S. staged entirely by AAPI artists and academics. Together, the panelists explore diasporic kinship, cross-cultural solidarity, and the politics of visibility within the art world. Proenza draws compelling parallels between the AAPI and Latinx experiences, from forced assimilation and linguistic loss to state violence and Cold War geopolitics. The conversation challenges the flattening effects of labels like “model minority,” advocating instead for nuance, specificity, and coalition-building. The episode concludes with reflections on the power of artist collectives, including the Korean American Artists Collective co-founded by Kim, and a roll call of exhibiting artists whose works are transforming the gallery into a space of resistance, celebration, and shared memory. Featured Artists in the Exhibition: Dave Young Kim Mei Xian Qiu Bryan Ida Tia (Otis MFA ‘23) Miki Yokoyama Key Topics: AAPI identity in fine art Postcolonial trauma and Chinese-Indonesian history Korean American experience in L.A. Propaganda, memory, and resistance The myth of the model minority Artist collectives and community organizing Explore how contemporary AAPI artists are reshaping cultural narratives and reclaiming space through radical aesthetics and collaborative practice.

Sony-owned Santa Monica Studio is one of PlayStation's first party powerhouses. Responsible for the God of War franchise -- and, other than Kinetica early in the PS2 era, only the God of War franchise -- there was some excitement building about what was next. But what if it's just more God of War... at least kinda? New rumors indicate that Santa Monica is working on something more familiar than we might have hoped, and from our perspective, that can only mean one thing. We discuss. Plus: Sucker Punch expresses interest in returning to Infamous, Ghost of Yotei gets special edition PS5 hardware and a DualSense, HBO's second season of The Last of Us earns a ton of Emmy nominations, concept art for Deviation's cancelled PlayStation exclusive emerges, Dragon Quest VII is apparently being remade at Square Enix, and more. Then: Listener inquiries! With the demise of Xbox's Turn 10 Studio, is it time for PlayStation to port Gran Turismo to its rival's machine? Is Colin totally off-base with his desire for Arc System Works to create a PlayStation fighter instead of a Marvel one? What's the worst example in our personal gaming lives of losing a save file? Should Dustin enter into an illicit relationship with an eager listener? Please keep in mind that our timestamps are approximate, and will often be slightly off due to dynamic ad placement. 0:00:00 - Intro0:44:52 - Dustin's cry for help0:52:56 - Sacred Streaming1:07:46 - Stand down Chrissy1:11:43 - What is Santa Monica working on?1:33:34 - Ghost of Yotei PS5 special edition1:38:23 - Restock of 30th Anniversary gear1:41:11 - 16 Emmys for TLOU season 2 + Season 32:00:46- Art from Deviation's canceled game2:08:21 - Dragon Quest VII remake rumors2:15:09 - Ubisoft announces new co-CEOs2:35:35 - Iron Galaxy's guitar hero joke2:52:39 - What We're Playing3:30:11 - Favorite video game merch3:37:11 - Custom Powerwash simulator levels3:40:53 - GT7 on Xbox3:45:52 - Demands to Spider-Man on Xbox3:52:55 - PlayStation fighter vs Marvel Tokon4:01:18 - Accidentally deleting your save Learn more about your ad choices. Visit podcastchoices.com/adchoices

30 people died in January's unprecedented fires in Los Angeles County– most of them older, and many with disabilities. LAist recently obtained 911 calls from two disabled Eaton Fire victims through a public records request. The calls shed light on why, and how emergency planning continues to leave people with disabilities behind. Reporter: Erin Stone, LAist The Los Angeles County Sheriff's Department is currently investigating an apartment complex in Santa Monica. It may be connected with an explosion Friday morning at one of the department's training facilities, which left three deputies dead. Siskiyou County has declared a local emergency over the use of dangerous pesticides at illegal cannabis grows. Reporter: Justin Higginbottom, Jefferson Public Radio Learn more about your ad choices. Visit megaphone.fm/adchoices

As Southern California continues to grapple with an unprecedented tragedy—the loss of three LASD deputies in an accidental explosion—Tim Conway Jr. welcomes former Deputy Johnny Hanson, who provides an insider's perspective on the meticulous forensic investigation ahead. Hanson offers personal insights, humanizing the fallen deputies and underscoring the profound impact of this loss. Tim covers reactions from political leaders like Mayor Bass and Attorney General Bonta, dives deeper into theories behind the accident, and emphasizes how much worse the outcome could have been. Homeland Security expert Hal Kemper joins the show, spotlighting Santa Monica as the epicenter of the investigation into the deadly explosives. Finally, Tim shifts gears, closing the hour with another explosive story making national headlines: former President Trump's $10 billion lawsuit against the Wall Street Journal.

GTA 6 COM CERTEZA vai ser campeão absoluto de vendas, mas quanto será que ele vai faturar logo de cara? Analistas estão levando a alturas, falando que o próximo jogo da Rockstar pode chegar a faturar 7 bilhões de dólares só nos dois primeiros meses! Além disso, vazaram os preços dos portáteis Xbox. Será que vem preço alto por aí? Tem também o elenco do longa-metragem de Zelda, o próximo projeto da Santa Monica e muito mais!Vem que o Flow Games News de hoje tá

This week, we present our second interview in the past year and a half with Marvin Zuckerman. Our first took place in his warm and welcoming home in LA's Pacific Palisades, where the walls were adorned with beautiful paintings and lined with bookshelves holding thousands of volumes. Unfortunately, that house was destroyed in the LA fires of January 2025. Marvin and his wife, Kathy Kohner Zuckerman, have since relocated to a rental apartment in Santa Monica, where we conducted this follow-up interview on June 26, 2025. In this conversation, Zuckerman reflects on the devastating fire and shares further insights from his remarkable and multifaceted life. Zuckerman was raised in the Yiddish-speaking milieu of the Jewish Labor Bund in the Bronx, New York. He later became a professor of English at a Los Angeles college and co-authored the well-regarded Yiddish textbook Learning Yiddish in Easy Stages as well as several other works in the field of Yiddish. He also translated the memoir of prominent Bundist Bernard Goldstein, Twenty Years with the Jewish Labor Bund: A Memoir of Interwar Poland (Purdue University Press, 2016). His latest book is Dickinson in Yiddish & Other Essays & Translations (Brass Tacks Press, 2024). Music: Sveta Kundish & Patrick Farrell: Ikh un di Velt (words by Avrom Reyzen) Ida Gillner & Livet Nord:Mayn heym – Mitt hem (words by Anna Margolin; Swedish translation by Beila Engelhardt Titelman) Levyosn: Fisher-Lid (words by Aliza Greenblatt) Levyosn: Fun der Khupe / Moh Rabu / Kleyne Printsesin Intro instrumental music: DEM HELFANDS TANTS from Jeff Warschauer: The Singing Waltz Air Date: July 15, 2025

Mirabai Starr and Sr Greta Ronningon discuss Mirabai Starr's new book, Ordinary Mysticism, where she reveals how to discover the sacred in everyday life. In Ordinary Mysticism, Mirabai Starr invites us to embrace mysticism not as a distant or exclusive practice, but as a direct, personal experience of the divine woven into the fabric of our daily routines. Drawing on wisdom from spiritual luminaries like Julian of Norwich and Ram Dass, along with her own journey through love, loss, and healing, Starr offers profound insights, storytelling, and practices to awaken to the magic in ordinary moments. Ordinary Mysticism has received praise from the likes of Anne Lamott, V (formerly Eve Ensler), Mark Nepo, Valarie Kaur, Pete Holmes.Mirabai Starr is an award-winning author, internationally acclaimed speaker, and leading teacher of interspiritual dialogue. In 2020, she was named one of Watkins' 100 Most Spiritually Influential Living People. Drawing from 20 years of teaching Philosophy and World Religions at the University of New Mexico-Taos, she now travels globally, sharing her insights on contemplative living, writing as a spiritual practice, and the transformative power of grief. Her books include Wild Mercy, Caravan of No Despair, and God of Love. Mirabai's acclaimed translations of mystics like John of the Cross and Teresa of Ávila offer a fresh, lyrical voice. She lives in northern New Mexico and teaches through her online community, Wild Heart. More at www.mirabaistarr.com.Sister Greta Ronningen is an Episcopal monastic, spiritual teacher, and chaplain. She began her journey in the 1970s at the Ojai Foundation with Dr. (Roshi) Joan Halifax, exploring various Eastern traditions, and later traveled to Nepal, where she took refuge with His Holiness Dudjum Rinpoche. In the 1980s, she co-founded Yoga Works in Santa Monica and Yoga Zone in New York with her husband, a second-generation yoga master of the ISHTA tradition. After 35 years of yoga teaching, she felt drawn to the Christian contemplative path, co-founding the Community of Divine Love in San Gabriel, CA. Greta holds an MA in Spiritual Formation from Claremont School of Theology and serves as a chaplain at Twin Towers Correctional Facility and Los Padrinos Juvenile Hall.

Todd Taylor started as a full time firefighter for 7 years. He went to the PD to be able to have full custody of his son, something a FF schedule wouldn't allow. He never intended to stay with the PD but it happened. He was put into special units fairly quickly and was a definite shit magnet! Todd worked patrol, narcotics, and was a member of the state task force team.  He suffered from a broken back on duty which he healed from eventually, until it broke two more times.  Todd has some amazing stories and is one hell of a tough guy! Follow Todd on Instagram @toddtaylorimages   ProForce Law Enforcement - Instagram @proforcelawenforcement / 1-800-367-5855 Special Discount Link for TPS listeners! http://tps.proforceonline.com   Support the show by joining the Patreon community today! https://www.patreon.com/user?u=27353055 steve@thingspolicesee.com

‘Organisations will never succeed in bringing about peace because human beings individually, collectively, nationally, are in conflict.' This episode on Organisations has six sections. The first extract (2:40) is from a phonograph recording of Krishnamurti, and is titled: Truth Cannot Be Organised. The second extract (8:18) is from the first talk in Santa Monica 1971, and is titled: Organisations Have Not Solved Our Problems. The third extract (26:16) is from Krishnamurti's talk at the United Nations in 1985, and is titled: Organisations Cannot Help Us Live Peacefully The fourth extract (48:33) is from the first talk at Brockwood Park in 1979, and is titled: The Divisive Nature of Authority and Organisations. The fifth extract (55:15) is from Krishnamurti's first talk in Madras 1972, and is titled: Organisations Will Not Bring About Transformation. The final extract in this episode (1:01:15) is from the second question and answer meeting at Brockwood Park in 1979, and is titled: Why Are There Krishnamurti Organisations? Each episode of the Krishnamurti podcast is based on a significant theme of his talks. Extracts from the archives have been selected to represent Krishnamurti's different approaches to these universal and timelessly relevant topics. This episode's theme is Organisations. Upcoming topics are The Heart, and Awakening. This is a podcast from Krishnamurti Foundation Trust. Please visit our website at kfoundation.org, where you can find a popular collection of quotes, a variety of featured articles, along with a wide selection of curated material in the Index of Topics. This allows easy access to book, audio and video extracts. Our online store stocks the best of Krishnamurti's books and ships worldwide. We also offer free downloads, including a selection of booklets. You can also find our regular Krishnamurti quotes and videos on Instagram, TikTok and Facebook at Krishnamurti Foundation Trust. If you enjoy the podcast, please leave a review or rating on your podcast app.

Jeff Klein started his hospitality career in 1993 as a bellman at The Franklin Hotel, where he learned the ropes of running a hotel in various operational roles. His first hotel project was the successful repositioning of a midtown office building into The City Club hotel. After The City Club, Jeff raised capital to acquire the dilapidated Argyle Hotel on Sunset Boulevard, and repositioned it to The Sunset Tower Hotel, an iconic LA destination.  The Tower Bar at that hotel was his first restaurant, and remains an elegant destination for celebrities, Hollywood elite, and cultural tastemakers. In 2013, Jeff acquired the San Vicente Inn, which was a run-down seedy motel in the heart of West Hollywood, and transformed it into the San Vicente Bungalows, an exclusive private members club known for attracting high profile industry executives. Most recently, due to the demand for the privacy and discretion that the club distinctly offers, Jeff has expanded San Vicente Bungalows to Santa Monica on Ocean Boulevard and at the Jane Hotel in New York's West Village. Jeff is one of the rare hospitality entrepreneurs that has an intuitive understanding of how to buy good real estate and how to curate a timeless experience that fosters longevity and loyalty. In this interview, Jeff shares the stories behind the deals that made his career, and the valuable lessons learned along the way. Thank you Peoplevine for making this podcast possible. Peoplevine is trusted by the best brands in the members club business. Book a free demo to see why at ⁠⁠⁠⁠⁠peoplevine.com.⁠ ⁠Interview Highlights:How Jeff got his start in hospitalityCreating the Sunset Tower HotelJeff's various investors in Sunset TowerWhat makes a great capital partner?Opening the Monkey Bar with Graydon CarterThe subconscious elements have big impactThe acquisition story behind San Vicente BungalowsFundraising challenges with SVBBuilding properties loved by HollywoodHospitality is the business of emotionsLessons about human nature Advice for emerging hoteliersLearn more about JK Hotel Group here.Follow The Stanza on InstagramSubscribe to The Stanza on Substack

So, apparently all it takes is four emails telling me you liked the solo episode for me to get back on the mic - here we are. Today's episode is short, slightly chaotic, and all about the difference between suffering and hard work. Big topic, big feelings, but don't worry, it's under 13 minutes and I manage to spiral only once or twice. If you've ever found yourself pushing through something just because that's what you were taught to do, this one's for you. Lets dive right in.Highlights: (00:40) Only took four compliments to get me back(02:05) Suffering vs. hard work - know the difference(04:48) You can literally choose discomfort. Wild, right?(06:32) Your actions are louder than your words(09:10) Maybe you're living someone else's values. Oof(12:25) Suffering? Or just good old discipline? DecideQualia Mind - click hereCoupon Code: SHOCKANDYALL (15% off any purchase)Visit Nicole's on demand fitness platform for live weekly classes and a recorded library of yoga, strength training, guided audio meditations and mobility (Kinstretch) classes, as well: https://www.sweatandstillness.comGrab Nicole's bestselling children's book and enter your email for A FREE GIFT: https://www.yolkedbook.comFind Nicole on Instagram:https://www.instagram.com/nicolesciacca/Tik Tok: https://www.tiktok.com/@thenicolesciaccaFacebook: https://www.facebook.com/nicolesciaccayoga/Youtube:https://www.youtube.com/channel/UC1X8PPWCQa2werd4unex1eAPractice yoga with Nicole in person in Santa Monica, CA at Aviator Nation Ride. Get the App to book in: https://apps.apple.com/us/app/aviator-nation-ride/id1610561929Book a discovery call or virtual assessment with Nicole here: https://www.calendly.com/nicolesciaccaThis Podcast is proudly produced by Wavemakers Audio

Gillian Bellinger is an SAG character actor. To watch her character bits, follow her on Instagram @gillianbellinger.She has played roles on Hulu's "How I Met Your Father", "Disney's "Just Roll with It" as well as being a principal in commercials for Harris Bank, Time Warner, NorthShore Healthcare, and Unitrin Auto Insurance. She's also rocked out a bunch of short films, industrials, and starred in Red Letter Media's Feeding Frenzy, a comedic horror flick. So if you're watching TV late at night and think, "Was that...?" Probably. Gillian studied improv in Chicago at The Second City, I.O. Theater, The Annoyance Theater, and The Groundlings. Gillian is very fancy and attended The London Academy of Theatre, The National Theater Institute, and Hamline University.She was an ensemble member on Second City House teams in LA and Chicago, ComedySportz Chicago and Minneapolis, the Del Tones at I.O. West, Laugh Out Loud Theater in Chicago, Westside Comedy Theater in Santa Monica, and Improv Acadia in Bar Harbor, Maine.She has taught improv & acting at The Second City Hollywood, Intentional Acting Studio, Improv Utopia, AMDA, and Westside Comedy Theater. She has been a guest teacher at Finest City Improv, All Out Comedy Theater, Alchemy Comedy Theater, Think Fast Theater, Asheville Improv Collective, and Curious Comedy Theater.She is now the Artistic Director of Misfit Improv in Asheville, NC. Hosted on Acast. See acast.com/privacy for more information.

Julie is founding partners of award winning Santa Monica based architecture firm, KoningEizenberg Architecture. Together with partner Hank Koning, Julie has been awarded the American Institute of Architects Los Angeles chapter Gold medal in 2012 and the Australian Institute of Architects Gold Medal in 2019. Listen in to hear about Julie's architectural career between Australia and the US from her "outsider" perspective.

On this episode, we're joined by Vytas, a seasoned yoga teacher with over 20 years of experience in Los Angeles and online.Giana has taken his classes many times throughout her travels to LA and has always been curious about his journey, especially during the heyday of sweaty, packed vinyasa classes that defined a certain golden era of yoga in the city. Vytas shares a raw and powerful story that brought him to the mat, including his struggles with heroin addiction as a teen, time in prison, and the pivotal moment when friends pushed him toward yoga.He found a mentor in Bryan Kest, whose approachable style resonated deeply, and eventually began teaching at Power Yoga in Santa Monica. Vytas walks us through his transition into teaching, staying rooted in one studio for two decades, and opens up about the Power Yoga studio split. Oh yes, we got some tea.True to form, Vytas keeps it real. He's blunt, direct, and totally unfiltered, which had us both jaw-dropped and cracking up. His intense teaching style even earned him the nickname “The Punisher.” But we also loved hearing how fatherhood, sobriety, and stepping into his 40s have softened him in surprising ways. Along the way, we dive into the culture of mirrors in yoga studios, the struggle with mouth breathing, the importance of diversifying your income as a teacher, and a few of the wildest stories we've ever heard- one involving pushing a student too far, and another that ended in a full-blown attack.You don't want to miss this one.Find Vytas on the FitOn app or in person at Power Yoga East and Open.Thanks for listening!Find Vytas Online:IG: @vytasyogaWEB: vytasyoga.com

Seth and Marc finally rip off the Weezer band aid and talk about the beginning of the decline of the band with their first post-Matt Sharp single Hash Pipe. What is it, what is it about, and how was it written? Does anything matter anymore?

Send us a textIn this captivating episode of Entertain This!, we sit down with the immensely talented Valentina Latyna, a Colombian-born, Los Angeles-based actress and voiceover artist whose dynamic range and cultural versatility have made her a standout in the entertainment industry.Fresh off her role in Netflix's critically acclaimed series Griselda alongside Sofía Vergara and her starring performance in Paramount+'s live-action film Dora and the Search for Sol Dorado. We dive into her experience providing descriptive English audio for blind audiences in Griselda, voicing every female character, and explore how her powerhouse vocal talent has earned her two Society of Voice Arts and Sciences Awards and thirteen nominations. From dubbing iconic roles in Spanish for shows like Poker Face and The Bold & the Beautiful, Valentina shares the artistry and passion behind her craft.Beyond her on-screen and voiceover success, Valentina is a trailblazer as the founder of Latyna Studios, a creative hub that became a lifeline for high-profile projects during the industry's shift to remote recording in 2020. We also discuss her exciting return to the stage in 2025, with roles in Daughter Knows Best at the Brisk Festival in Santa Monica and Tanya Saracho's Enfrascada with the Big Bear Theater Project. Join us for an inspiring conversation about Valentina's multifaceted career, her commitment to storytelling, and how she's shaping the future of voice acting and performance.Call Me By Your Gamea nostalgic video game podcastListen on: Apple Podcasts Spotify The Gaming BlenderWe mash genres. We pitch games. You question our sanity.Listen on: Apple Podcasts SpotifySupport the show

I'm a size extra small, What are you all on? I lost all of ya'll And then some Sitting on the wall, But I went over once And once and for all I went over up I'll take breakfast At Jimmy and Molly's At Jimmy and Molly's. I'm a mom. I'll take dinner at Jimmy and Molly's A bottle of law for the shrubs and a handful of Molly. I'm in love and a little bit fucked up I don't know what you want, I'm a extra small, bruh I'm a mom And a model I'll have brunch over Jimmy and Molly's Jimmy and Molly. I'll have breakfast at Jimmy and Molly's (At Jimmy and Molly's) I'm at dinner at Jimmy and Molly's And I brought a bottle This is grown folks talk I just watered the shrubs I might go to the club Then the pub in the morning The party at Jimmy and Molly's was awesome I got gin and some tonic I'm probably in love with the — SUNNI BLU blacks out in the SHRUBS after the wild party at [Shrubs] —well, it started at Jimmy Kimmel's house. Where did you learn how to load a gun? Nowhere! [rapid machine gun fire] I taught myself. This is the worst map ever. THE MAP IS OPEN. Location: HIGHLINE PARK, MANHATTAN. THIS IS THE BEST MAP EVER. What the FUCK is wrong with you. Get down! Ahaha! Ahaha! Ppppppppppppllllllltttt! —shing! Bullets ricochet off of the giant pigeon statue. SUNNI BLU How much is it? How much is what? The bird. IVAN You want— to buy my art. Yes. I will buy this. This? This. It was the most beautiful thing I'd ever seen in Manhattan. No neck tattoos. I can't be thinking about you While I'm thinking about Not thinking about you I can never get off on a handjob Unless you reach for th heart, Then claw, for the lobster I need a vasectomy The more I orgasm about you the more Kayla's and Katie's and Madison's and Marrianne's and Nancy's. The harder I want you to fuck me The more the Lillies and Emma's, and Kimberlee's, Lexies and Annie's. (Can't forget Ashley) I just bought a submarine A submarine A submarine I just hawked a wedding ring An ice cream truck And a paraglider I despise these guys Should I try the spider Either or Fuck Mother's Day Teacher's appreciation Polyamorouses, Models, Bottle service girls And other whores. What a putrid fallacy you have What's a project— Fantasies in your habit m Now's a nun And a number I been celibate three years And I'm still not hungry enough To reach low on the totem pole For the frog Holding us all up I gotta call my doctor Just to show up the pope! Shut up, work harder I work hard enough getting Don't be dumb. I'm not being dumb. You're dumb. I'm— not— Don't be dumb. DILLON FRANCIS and SUNNI BLU sit awkwardly in the indiscriminate parked car, facing towards the beach, as the Californian fog begins to roll in and obscure the clear view of the night sea. It has been a long a turbulent week since the tabloids and press got ahold of their —can or worms —book of secrets! Whatever shut up. It's been a long week. DILLON FRACIS You know, you don't have to talk like that. SUNNI BLU Talk like what, Dillon Francis? DILLON FRANCIS You can just— be yourself around me. [beat, and a long pause. The awkward tension turns to a deep and complex, serious silence] SUNNI BLU This is my real self, now, Dillon Francis. Holy shit that weird clown statue in Santa Monica almost wants to make sense now. DILLON FRANCIS And you don't have to call me ‘Dillon Francis' anymore. SUNNI BLU Yes I do, Dillon Francis— because it's your name. DILLON FRANCIS I meant— SUNNI BLU Besides, you wouldn't like anything else I'd call you. KENAN THOMPSON is an EXRAODINARY RAPPER— he is SECOND IN THE WORLE after SUNNI BLU and wants to put their ONGOING BEEF and DIFFERENCRS aside for THE REALEST COLLABORATION OF ALL TIME. BITCH. However, Once beginning on the endeavor, the two rappers find it increasingly hard to get along with one another. ABitch. —watch out. {Enter The Multiverse} [The Festival Project™ ] {Enter The Multiverse} L E G E N D S: ICONS Tales of A Superstar DJ The Secret Life of Sunnï Blū Ascension Deathwish -Ū. Copyright © The Festival Project, Inc. ™ | Copyright The Complex Collective © 2019-2025 ™ All Rights Reserved. -Ū.

Dr. Andy Franklyn-Miller discusses Plant Peptides with Dr. Ben Weitz. [If you enjoy this podcast, please give us a rating and review on Apple Podcasts, so more people will find The Rational Wellness Podcast. Also check out the video version on my WeitzChiro YouTube page.]   Podcast Highlights         ____________________________________________________________________ Dr. Andy Franklyn-Miller is the Chief Medical and Innovation Officer for Nuritas, the world-renowned pioneer in AI-based peptide discovery. The website for Nuritas is Nuritas.com. Dr. Ben Weitz is available for Functional Nutrition consultations specializing in Functional Gastrointestinal Disorders like IBS/SIBO and Reflux and also Cardiometabolic Risk Factors like elevated lipids, high blood sugar, and high blood pressure.  Dr. Weitz has also successfully helped many patients with managing their weight and improving their athletic performance, as well as sports chiropractic work by calling his Santa Monica office 310-395-3111.

Santa Monica's dining scene wouldn't be what it is without Chef Raphael Lunetta. This week on The LA Food Podcast, host Luca Servodio sits down with the legendary chef behind Lunetta, Marelle, and the iconic JiRaffe to reflect on nearly 40 years in the kitchen. From pioneering California cuisine alongside Josiah Citrin to becoming a regular haunt for Larry David (yes, Curb Your Enthusiasm fans, this one's for you), Lunetta shares stories, insights, and what keeps him inspired.Plus: the shocking closure of Cole's after 117 years, the return of Gladstone's, the El Gato Night Market, and a farewell to The Angel—one of LA's most essential independent food publications. Oh, and Luca issues a heartfelt apology to Evan Funke.Also check out our sister shows Taqueando with Bill Esparza and Let It Rip, the companion pod for FX's The Bear.

Simply put, there is nothing trifling about Kathleen Wirt. Running the legendary 4th Street Studios in Santa Monica for 35 years, she's seen it all and then some. And yet she continues to be passionate about music and the arts, and curious about the human condition. It's a fascinating conversation.  

In this episode of The Adam Carolla Show, comedian Greg Fitzsimmons joins Adam in the studio! They kick things off by sharing their thoughts on the best types of audiences for stand-up comedy and why having friends in the crowd isn't always ideal. Greg recounts a time he got into a fight at a comedy club, while Adam explores a theory on rising aggression among women. The two also react to a clip of Martha Stewart admitting to an affair and debate the etiquette of dog-walking and cleaning up after pets. Adam recalls a traffic altercation in Santa Monica, and Greg shares a nerve-wracking memory of getting a flat tire outside Yankee Stadium at 17—and being rescued by a mysterious stranger. In the news, comedian Mike Dawson joins Adam and Greg to discuss the headlines. First up is the strange case of Vice President Kamala Harris' appearance on a TikTok show called Subway Takes, where her interview was reportedly so uncomfortable and incoherent that she and the host agreed to delete it entirely. They also react to the TSA's recent announcement that it will end the long-standing rule requiring passengers to remove their shoes during airport security screenings—a move that could streamline travel but has people questioning whether it'll actually speed things up or lead to new headaches.YouTubers and ghost hunters Kris Collins and Celina Myers stop by to talk about their new film House on Eden. The conversation dives into the world of ghosts—what causes someone to become one, the cultures most fascinated by the supernatural, and the latest tech used to track paranormal activity. Kris and Celina also share their most compelling ghost encounters and what it was like making a movie for the first time. To close out, they ask Adam what he believes about the afterlife—and who he might choose to haunt if he ever became a ghost himself.Get it on.FOR MORE WITH GREG FITZSIMMONS:INSTAGRAM: @gregfitzsimmonsTWITTER: @gregfitzshowWEBSITE: www.gregfitzsimmons.comFOR MORE WITH KRIS COLLINS & CELENA MYERS:MOVIE: The House on Eden (In theaters July 25)INSTAGRAM: @kriscollinsINSTAGRAM: @celinaspookybooThank you for supporting our sponsors:BetOnlineGet $10 Off @BRUNT with code Adam at https://www.bruntworkwear.com/Adam #BRUNTpodchime.com/AdamHomes.comoreillyauto.com/ADAMPluto.tvLife insurance is never cheaper than it is today. Get the right life insurance for YOU, for LESS, and save more than fifty percent at selectquote.com/carollaSHOPIFY.COM/carollaLIVE SHOWS: July 10 - Irvine, CA (Live Podcast)July 11-12 - Covina, CA (4 shows)July 16 - Rosemont, ILJuly 17 - Plymouth, WISee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Nordstrom is officially closing its Santa Monica Place location after nearly 15 years in business. The iconic three-story store, just blocks from the beach, will shut its doors for good on August 26, 2025. This follows a growing trend of major retailers downsizing or closing stores across the country.

How do we dreamifest our wildest dreams into reality? I met with the extraordinary Jeffrey Segal—founder of Mystic Journey andauthor of TheTiny Book of Big Manifesting to explore his simple but profound manifesting steps. Jeffrey shares how he transitioned from ahigh-powered legal career and overcame cancer to follow his true calling, usingthe very manifestation tools he now teaches. We taped this show LIVE from the Mystic Journey in SantaMonica, CA. So you will hear a few airplanes overhead...the price we were happy to pay to record this amid his crystal gardeden. Tune in for a heart-opening,mind-expanding journey into the art of Dreamifestation!https://mysticjourneyla.com/https://www.kellysullivanwalden.com/dreamifesting#Manifesting #Dreamifesting #MysticJourney #Crystals#TinyBookOfBigManifesting

From suburban swimming pools and SUVs to White Lives Matter rallies, the Johns Hopkins anthropologist Anand Pandian has been exploring the everyday walls of American life. In his new book, Something Between Us, Pandian travels across the United States in his search to both climb and overcome these walls. What he finds is a nation tragically at war with itself. Through intimate portraits of communities divided by race, class, and ideology, Pandian reveals how ordinary public spaces have become literal battlegrounds for identity and belonging. From gated suburban neighborhoods in Florida to online echo chambers, his ethnographic journey exposes the invisible barriers that shape American social life. But he concludes with a degree of optimism. We can overcome those walls, he says, with the kind of collective political action that brings people of different ideological persuasions together.1. Anthropological Method Reveals America's Hidden Divisions"Ethnographic research is based on the idea that the best way of understanding the life of people in a particular social, cultural, historical situation is to immerse [in] the day-to-day circumstances of those people as much as possible, to imagine what it's like to live in those environments... and to try to see what the world would look like from that concrete point of view."Pandian applies traditional anthropological methods—typically used to study distant cultures—to examine contemporary American society, revealing how divisions operate in everyday spaces.2. Personal Experience Sparked Academic Investigation"My own father was yelled at one day when he was walking down the road in Santa Monica, California, go back to your own country. I recount in the book an incident that my own son faced that fall of 2016 at the swimming pool where he was learning how to swim at the age of eight."The 2016 election cycle and personal encounters with racism motivated Pandian to turn his anthropological lens on America, particularly after his son faced racial taunts at a historically segregated Baltimore pool.3. Understanding Radicalization Through Everyday Logic"I think it's really important to try to figure out how it is that radical positions, sometimes even monstrous positions, can grow out of really everyday banal circumstances... that gentleman in particular, I remember him making sense of this idea of the ethnostate by talking about how it is that when you're on an airplane, you're always advised to put your own mask on before you take care of anyone else."Rather than dismissing white nationalists, Pandian seeks to understand how ordinary reasoning can lead to extremist positions.4. Walls Are Both Physical and Mental"I talk about circumstances that are really difficult. I talk the fact that a fifth of all Americans who live in residential communities now live in communities that are gated. I talk about what the 80 percent market share that SUVs and light trucks now enjoy in the American automotive market represents with regard to the zenith of certain ideas of protecting oneself at any cost."The book examines how physical barriers (gated communities, SUVs) combine with mental walls (social media echo chambers) to deepen American divisions.5. Unlikely Coalitions Offer Hope for Change"I focus on... The certain kind of paradox that we might see, how do we make sense of the fact that in the same years that we saw the tightening of restrictions on reproductive rights in a state like Ohio, we saw a rollback of this particular measure [the pink tax], which advocates argued was discriminatory... that political opening grew out of some pretty unlikely coalitions that formed between people on the right and the left."Despite deep polarization, Pandian finds examples of successful cross-partisan organizing around specific issues, suggesting possibilities for bridging divides through shared concerns rather than comprehensive ideological agreement.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Oh hey - it's a solo cast, y'all. Just you, me, and possibly my dryer in the background. I'm talking about how strength training has quite literally changed my insides - not just my body, but my breath, my thoughts, my actual sense of self. We're getting into the real stuff - how movement becomes a mirror, a portal, and sometimes a straight-up punch in the gut... in the best way. If you've ever trained through heartbreak, exhaustion, or just sheer stubbornness, you're gonna feel this one.Highlights:(02:41) You are the compass, not the noise(06:55) Training makes old versions of you die(10:08) Grief, workouts, and going full dark mode(14:33) EMDR therapy legit saved my life(19:05) Stop romanticising red light, start training(29:40) Just survive an hour, then something shiftsQualia Mind - click hereCoupon Code: SHOCKANDYALL (15% off any purchase)Visit Nicole's on demand fitness platform for live weekly classes and a recorded library of yoga, strength training, guided audio meditations and mobility (Kinstretch) classes, as well: https://www.sweatandstillness.comGrab Nicole's bestselling children's book and enter your email for A FREE GIFT: https://www.yolkedbook.comFind Nicole on Instagram:https://www.instagram.com/nicolesciacca/Tik Tok: https://www.tiktok.com/@thenicolesciaccaFacebook: https://www.facebook.com/nicolesciaccayoga/Youtube:https://www.youtube.com/channel/UC1X8PPWCQa2werd4unex1eAPractice yoga with Nicole in person in Santa Monica, CA at Aviator Nation Ride. Get the App to book in: https://apps.apple.com/us/app/aviator-nation-ride/id1610561929Book a discovery call or virtual assessment with Nicole here: https://www.calendly.com/nicolesciaccaThis Podcast is proudly produced by Wavemakers Audio

Age & AttitudeIn this episode I'm talking with Helen K. Garber, known for her photography, installation and mixed media projects with work in numerous museum collections in the US and abroad. If you go to her website, helenkgarber.com you can see the full bio of all her accomplishments. Quite impressive.  She was born in Brooklyn and left New York to chasethe California Dream soon after college. I met her in Santa Monica where we were neighbors. Every day she biked to her art studio in Venice. Around age 60 she traded in the bike for a horse. Today, she lives with her husband, 3 horsesand 5 dogs on their Rancho de Sueños in Santa Fe, New Mexico. Connect with Helen K. GarberInstagram: https://www.instagram.com/helenkgarberWebsite: http://www.helenkgarber.com/ Her husband's magical formula to improve bone strength: https://drgarbers.com/products/bone-strengthConnect with Age & Attitude's Crew and SponsorHost: Malin Svensson: info@nordicbody.com Sound Editor: Stephen Zipper:  szipper@hotmail.com Sponsor Nordic Body https://www.instagram.com/nordicbodyhttps://www.facebook.com/nordicbody Email:  info@nordicbody.comWebsite :https://www.nordicbody.com/Free Workout Video: https://www.nordicbody.com/Online Nordic Body Classes: https://www.nordicbody.com/calendarOnline MembershipsExperience https://www.nordicbody.com/experience/Commit https://www.nordicbody.com/commit/Transform https://www.nordicbody.com/transform/

Send us a textThis show reflects on what it means to see the future too clearly and the cost of carrying that vision alone.A few weeks ago, America burned on the monitor behind me. Cameras rolled in Santa Monica. Steve Drobny, founder of Clocktower Group, advisor in global hedge funds, told me to sit straight, but I didn't care. We discussed the future and America's possibly undead economy.The previous night, a girl at a Venice Beach bar asked where I'm from. “The future,” I replied. She was 30, blond, beautiful blue eyes, an image I haven't shaken off. When you return from the future, you're never whole. Details are too sharp, too strange. People blink. They don't want to hear it. That's why I wear goggles. That's why they call me unhinged.Knowing what's next doesn't give control. It gives doubt. It exiles you from Main Street.I vibed on John Buchan's The Gap in the Curtain. A country house, a strange German professor, a handful of guests glimpsing a year ahead. One sees a financial headline. Distant words that unravel everything. Once you've seen what's coming, you carry it like a tumor made of light.I drew a line from that story to Saint Peter in Gethsemane. His denial wasn't betrayal; it was fear dressed as certainty. The same fear I see in markets, politics, people I've loved. We say "impossible" when scared. But the future doesn't knock. It slides in through the back door. Think of me as The Back Door Man.That's the curse, not that no one believes you, but that eventually, you stop believing yourself.Our conversation shifted between memories: Blanc Bleu, my house in St. Barts, Bitcoin, bond markets, old debates with giants like Niall Ferguson. Moments I stood and said what no one wanted to hear.Being early feels like being wrong until the chart catches up.The Curse of Knowing isn't about money, it's about myth. Trading safety for clarity. Leaving comfort to speak truths no one's ready for. It's about friends reunited, because ultimately, the only constants are those you love(d).HughSupport the show⬇️ Subscribe on Patreon or Substack for full episodes ⬇️https://www.patreon.com/HughHendryhttps://hughhendry.substack.comhttps://www.instagram.com/hughhendryofficialhttps://blancbleustbarts.comhttps://www.instagram.com/blancbleuofficial⭐⭐⭐⭐⭐ Leave a five star review and comment on Apple Podcasts!

How do we prepare for a world where AI agents work together, networks think for themselves, and quantum teleportation is no longer just science fiction? I recently caught up once again with Vijoy Pandey, SVP and GM of Outshift by Cisco, live at Cisco Live in San Diego, for a wide-ranging conversation about what comes next at the edge of AI and quantum innovation. We begin with Cisco's evolving quantum strategy and the recent unveiling of its Quantum Network Entanglement chip, a research prototype capable of generating 200 million entangled photons per second over standard telecom infrastructure.  Vijoy explains how this chip, along with new research at Cisco's lab in Santa Monica, brings us closer to distributed quantum computing by connecting compute nodes and scaling quantum capabilities beyond the lab. Even more interestingly, these quantum foundations are already demonstrating value in classical use cases, such as eavesdropping detection and real-time coordination. Our conversation also explores the momentum behind agentic AI. Rather than single prompts triggering single outputs, the future lies in distributed ecosystems of intelligent agents that work together to solve complex business problems.  Vijoy introduces Cisco's vision for the Internet of Agents, supported by an open-source collective called AGNTCY. It is designed to help diverse agents communicate, collaborate, and operate with trust and transparency across cloud environments and organizational boundaries. Throughout our conversation, Vijoy focuses on the practical impact rather than hype. From network automation and SRE workflows to use cases in cybersecurity and infrastructure management, he highlights how these technologies are being applied in real-world scenarios, not just theorized. His team at Outshift is building the connective tissue that brings these innovations to life inside the enterprise. So what do you think? Are quantum networking and AI agents a part of your roadmap? And what steps can businesses take today to ensure they are building on trustworthy, open, and scalable foundations? Join the conversation and share your perspective.

Noel catches up with Melanie Chartoff. She's best known for her comedy work on the ABC series Fridays and in the 1990s Fox sitcom Parker Lewis Can't Lose. She voiced both Didi Pickles and Grandma Minka on Nickelodeon's Rugrats. Melanie played George's girlfriend, Robin, on Seinfeld. Besides being an amazing actress, she's also a very talented author. Melanie's first book, Odd Woman Out: Exposure in Essays and Stories, is an entertaining listen (she does the narration). Melanie will be featured at the Santa Monica public library on July 17 for Home: Finding Our Place in the World. In August, she will be headed to Mohegan Sun for TerrifiCon on August 8-10. melaniechartoff.com charismatizing.com

He made the journey all the way from Santa Monica to celebrate the end of Pride with Meatball and Big Dipper; it's Sam Sanders! This trio really yaps it up as they talk about hosting on the radio, riding in cars with bears, and their love of Beyoncé. Follow @samsanders Listen to Sloppy Seconds Ad-Free AND One Day Early on MOM Plus⁠ Call us with your sex stories at 213-536-9180! Or e-mail us at ⁠sloppysecondspod@gmail.com⁠ ⁠FOLLOW SLOPPY SECONDS⁠ ⁠FOLLOW BIG DIPPER⁠ ⁠FOLLOW MEATBALL⁠ ⁠SLOPPY SECONDS IS A FOREVER DOG AND MOGULS OF MEDIA (M.O.M.) PODCAST Learn more about your ad choices. Visit megaphone.fm/adchoices

Do you see the appeal of wandering around the 3rd street promenade with drink in hand?See omnystudio.com/listener for privacy information.

You got Monks'ed - Tim opens the show with Michael Monks discussing his now-trending display-model couch story, which has a new ending twist, and then they discuss the ongoing tension between the Justice Department and the leadership of Los Angeles, namely, Mayor Karen Bass. // Tim gives an update on the Inland Empire fires which seem to thankfully be dissipating. And then Conway moves on to discuss some sad changes happening in Santa Monica, including the famous Nordstrom store closing. // California Gubernatorial candidate, Stephen Cloobeck joins the show to talk about his campaign and vision for Los Angeles. // Conway shifts to discussing dating apps and warns listeners to be careful of the scams going on – people are losing their life savings – and Tim questions what goes in the con process that someone would send money to a stranger they've never met. Tim plays a news clip of a tragic story about a mother who went on a date and wound-up dead.  

BEST OF KILBORN. The popular Fan Questions are back. Lord Kilby covers a variety of topics including the malcontents going overboard criticizing the gifted Karl Anthony Towns, a list of stellar movies Kilby has been watching, and rave reviews for a couple Santa Monica restaurants. Ohhh...The Life Gorgeous is ready for summer.  And remember, for the  world's best steak experience, enjoy Omaha Steaks. Visit OmahaSteaks.com for guaranteed-perfect gifts that deliver legendary quality. And for an extra $35 off, use Promo Code GORGEOUS at checkout. See site for details. Learn more about your ad choices. Visit megaphone.fm/adchoices

Oh hey y'all. Today's episode is raw, hilarious, and full of heart - just like my guest.Jen Pastiloff is one of my dearest friends, and somehow this conversation manages to be both wildly unfiltered and deeply wise.We get into everything: her new book Proof of Life, choosing “sober-ish,” the magic of her retreats, being a deaf lip-reading unicorn, and what it really means to live without permission slips. It's messy, magical, and totally Jen.Highlights:(03:12) She's deaf, raw, hilarious, and magic(12:45) Pre-orders, panic, and doing love(22:19) Proof of Life isn't what you think(34:50) Community is where I find God(42:06) Screw happy, I want joy(49:11) Money, safety, and hustling for worthFind out more about Jen:WebsiteInstagram: @jenpastiloffFacebook: Jennifer PastiloffX: Jenlpastiloff Qualia Mind - click hereCoupon Code: SHOCKANDYALL (15% off any purchase)Visit Nicole's on demand fitness platform for live weekly classes and a recorded library of yoga, strength training, guided audio meditations and mobility (Kinstretch) classes, as well: https://www.sweatandstillness.comGrab Nicole's bestselling children's book and enter your email for A FREE GIFT: https://www.yolkedbook.comFind Nicole on Instagram:https://www.instagram.com/nicolesciacca/Tik Tok: https://www.tiktok.com/@thenicolesciaccaFacebook: https://www.facebook.com/nicolesciaccayoga/Youtube:https://www.youtube.com/channel/UC1X8PPWCQa2werd4unex1eAPractice yoga with Nicole in person in Santa Monica, CA at Aviator Nation Ride. Get the App to book in: https://apps.apple.com/us/app/aviator-nation-ride/id1610561929Book a discovery call or virtual assessment with Nicole here: https://www.calendly.com/nicolesciaccaThis Podcast is proudly produced by Wavemakers AudioMentioned in this episode:www.Neurohacker.com/shockandyall and use the code SHOCKANDYALL to get 15% off your first order

Alex Stone, there is a growing call in California for federal agents who are conducting immigration enforcement to drop masks and wear gear that looks more like traditional law enforcement.  The agents are typically covering their faces, wearing sports team baseball caps and street clothing like hoodies and jeans with vests that often only say "Police" or "Federal Agent" on them.  They drive civilian-looking cars and toss arrestees in them and drive off. // Michael Monks, Zero tolerance for illegal fireworks. Hollywood has its first public bathroom. Huntington Beach has more E-bikes than any other city. They have implemented 70-minute classes like drivers-ed.  // A possible suspect in custody in the shooting of an officer in Santa Monica  // Suspect in previous shooting fires shot at officer near Santa Monica mall  #ICERaids #LAW #IllegalFireworks #Fireworks #Hollywood #EBikes #SantaMonica 

Like a lot of you, I was moved by the passing of film director David Lynch this past January. Much more than I thought I would be, to be honest. A lot of it had to do with the timing. He was such a part of Los Angeles. He made movies set here. He did a daily weather report. He talked at length about how much he loved the light, the feeling of Old Hollywood, the smell of night-blooming jasmine, and he left as the city was on literally burning down around us. On top of that, we were four days away from a new president who is the embodiment of everything Lynch is not. It was like Dale Cooper died four days before Bob become President. Everywhere you turned on the news there was another scumbag asshole winning the lottery, and just when things could not get worse, reality said, “Wait! I got one more!” While struggling to fight the fires, with thousands of people in the Pacific Palisades and Altadena losing everything the city was now mourning its coolest resident. And if you don't live here I really cannot understate what a presence he is. There is a rotating sculpture of his head in head in Santa Monica. People gathered at the Bob's Big Boy in Toluca Lake where he used to go for coffee and a chocolate shake every day at 2:00 PM. The gathered at Jumbo's Clown Room, the Hollywood Boulevard strip club where he, as legend has it, he wrote Blue Velvet. Every sidewalk sandwich board in town bore a chalk drawing of his iconic quiff. So, as I began the next podcast, I figured I would dedicate the True Tales From Weirdsville segment to Mr. Lynch. But it quickly became apparent that it was way too much story for just one segment and it eventually stretched over three episodes.  And so, for your listening pleasure, we stitched ‘em together, and here they are. Enjoy. https://www.DanaGould.com

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

It's Pickleball day! After the show Klein & Ally will head to Pickle Pop in Santa Monica so Ally can eat her words and take on two 11-year old listeners with zero pickleball experience. We learned that Johnny might be on 'the 'tism' in Johnny Doesn't Know, chatted with Cheech Marin on his way to celebrate the world's first 'Cheech Marin Day' in LA, got Johnny's re-do on his Trader Joe's audio, and Ally revealed a horrible move she pulled as a Lyft driver in this week's Box of Shame. In Add news, we covered a benches-clearing brawl and manager ejections at a Dodgers game following tensions over ICE's alleged presence, new details about celebrity chef Anne Burrell's death in her shower, headstone thefts by metal scrappers in the Inland Empire, ICE reportedly appearing at more locations despite official denials, a rise in gambling and shopping addictions highlighted by Drake's $8M loss, Fat Joe being sued for sexual abuse and financial crimes, anniversaries for Brokeback Mountain and Jaws, and reports that Ozempic may be affecting men's genitals.

Santa Monica, CA. March 16, 2008. 21-year-old Juliana Redding was found strangled to death in her bungalow apartment. When authorities arrived to the scene they smelled gas and saw a candle. Not only was Juliana murdered, but whoever was responsible had intended to blow the crime scene up.For bonus episodes and outtakes visit: patreon.com/generationwhyListen ad free with Wondery+. Join Wondery+ for exclusives, binges, early access, and ad free listening. Available in the Wondery App. https://wondery.app.link/generationwhy.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.