Podcasts about Scandinavia

In this episode of Tech Talks Daily, I'm joined by Todd Grabowski from Johnson Controls to unpack the physics, products, and design choices shaping the next generation of data center cooling. It's a practical conversation that moves from chips and compressors to water, power, and land constraints, and what it really takes to keep modern infrastructure reliable at scale. Todd brings three decades of experience to the table and a front-row view of how Johnson Controls and the York brand have kept their focus on energy efficiency, reliability, and sustainability for more than a century. That longevity matters when the market is moving fast. He explains why cooling now sits alongside power as the defining constraint for data centers, and why roughly forty percent of a facility's energy can be spent on cooling rather than computation. If you lead technology, finance, or facilities, that single number should focus the mind. Todd walks through Johnson Controls' YVAM platform and the York magnetic bearing centrifugal compressor at its core, with real numbers on what that means in practice. Consuming around forty percent less energy than typical cooling devices of the past five years and operating in ambient conditions up to fifty-five degrees Celsius, it is designed for the reality of hotter climates and denser loads. The naval pedigree of the driveline is a nice twist, since it was originally built for quiet and high-reliability conditions long before hyperscale data centers needed the same. Sustainability threads through the entire discussion. Todd lays out how the company holds itself to internal targets while engineering solutions that reduce customer resource use. We talk about closed-loop designs that do not consume water, careful refrigerant choices with ultra-low global warming potential, and product footprints that consider carbon impact from the start. It is a useful reminder that sustainability is a systems problem, not a single feature on a spec sheet. I was especially interested in the three resources Todd says every modern cooling strategy must balance. Land, because you need somewhere to reject heat. Power, because every watt pulled into cooling is a watt not used for compute. Water, because many regions are already under stress and consumption cannot be the answer. Good design weighs these factors against the climate, the workload profile, and the operational model, then standardizes wherever possible so the same unit can run efficiently in Scandinavia or Dubai without special tweaks. We also dig into what AI means internally for Johnson Controls. It is showing up in manufacturing lines, speeding up design cycles, and improving the fidelity of compressor and heat transfer models. That translates into quicker time to market and more confidence in performance envelopes. On the market side, Todd is clear that demand has not softened. If anything, efficiencies tend to unlock more use cases, and the net effect is more workloads and continued pressure on facilities to cool them well. If your team is wrestling with when to adopt liquid cooling, how to reduce PUE through smarter chiller choices, or how to plan for climate variability across a global footprint, this episode offers an honest, grounded view from someone who has shipped the hardware and lived with its trade-offs. It also doubles as a quiet celebration of engineering craft. The kind that rarely makes headlines, yet underpins everything we build in the AI age. ********* Visit the Sponsor of Tech Talks Network: Land your first job  in tech in 6 months as a Software QA Engineering Bootcamp with Careerist https://crst.co/OGCLA    

Emmet Kennedy is joined by Adam Mills (Total Performance Data), Georgia Cox, and Jamie Wrenn to break down a weekend of drama, controversy, and potential Classic stars from Doncaster, Leopardstown, and the Curragh.

Nick is joined by RTE and Racing TV broadcaster Jane Mangan for a debrief on all the weekend's events in the racing world. They lead with "What's next for Delacroix?", before picking out other highlights on Irish Champions' Weekend, including Zavateri's National Stakes win in the company of owner Mick Mariscotti and the admirable Melbourne-bound Al Riffa with Australian Bloodstock's Jamie Lovett, plus Adam Mills considers what the options should be for Scandinavia and Lambourn after Aidan O'Brien's ninth St Leger win. Also on today's show, Kia Jooabchian delights in the 1-3 for his Amo racing in the Flying Five, while he also announces Power Blue unlikely to run again this season, elaborates on yesterday's comments on Ralph Beckett and gives details of his forthcoming sales strategy. Finally, we hear from popular jumping amateur David Maxwell following his decision to retire from riding.

It was a massive week in the world of UAPs. So enormous, in fact, that the decision was made to put out a new Episode of Unidentified History to try and stay on top of everything that went down. A monumental UAP Hearing took place this past week. Five witnesses testified to incredible events they observed, tracked, discussed, or investigated. We heard amazing stories about glowing red rectangles the size of a football field, massive black triangular craft hovering overhead, a formation of tic-tacs racing away from the USS Jackson, UFO sightings in the Soviet Union, and so much more. But, more importantly, several whistleblowers testified to the retaliation and repercussions they have faced for their decision to come forward. With the theme of the hearing being to provide greater protection for national security whistleblowers, the question of whether anything can really be done has to be asked. But then, Representative Eric Burlison showed a video that has the whole world talking. Did a UFO really deflect one of our Hellfire missiles, or was this just a video of something with a much more earthly explanation? The next day, we got an update on our friend, 3i/atlas. This supposed comet continues to do things comets are not supposed to, and this time out, it has changed color and shape. Is it time to panic yet? And then, to top it all off, NASA announced that they very well might have found signs of ancient microbial life....on Mars! Yes, you heard that right. NASA has pretty much confirmed life on another planet! Dave, Tunney, and, making his Unidentified History debut, Rob break all this down for you.In the second half of the show, the guys do a deep dive into another fascinating UAP event. The 1946 Ghost Rocket sightings captivated and terrorized much of Scandinavia. Over 2,000 of these ghost rocket sightings were made during 1946. Some of them were seen crashing into lakes, with no debris ever being found. Were these all just misidentified meteors? Were they possibly the USSR testing captured Nazi weaponry in the months after WWII? Was it just mass hysteria from citizens of a continent that had already endured the horrors of the most destructive war in world history? Or was there a more unidentified and anomalous explanation for these events? Please tune in to this special episode of Unidentified History as the guys give you their thoughts on the first true mass UFO flap in Europe in the post-WWII era.Once thought to be solely the stuff of science fiction, UAPs (UFOs) are very real to thousands around the world. In 2021, the US Government confirmed that leaked UAP video was legitimate. Ever since, there has been an explosion of interest in the topic. Yet, we are no closer to understanding UAPs, where they come from, or who/what is behind the phenomenon. In this new series, we look to bridge the gap between the past and present by looking at some of the most important UAP sightings in history and determining whether the question of "are we alone in the universe?" might have already been answered.About the Chairshot Radio NetworkLaunched in 2017, the Chairshot Radio Network presents you with the best in sports, entertainment, and sports entertainment. Wrestling and wrestling crossover podcasts + the most interesting content + the most engaging hosts = the most entertaining podcasts you'll find! MONDAY - Bandwagon Nerds (entertainment & popular culture) TUESDAY - 4 Corners Podcast (sports) WEDNESDAY - The Greg DeMarco Show (wrestling) THURSDAY - POD is WAR FRIDAY - DWI Podcast (Drunk Wrestling Intellect) SATURDAY - The Mindless Wrestling Podcast SUNDAY - Keeping the news ridiculous... The Oddity / The Front and Center Sports Podcast CHAIRSHOT RADIO NETWORK PODCAST SPECIALS Attitude Of Aggression Podcast & The Big Five Project (chronologically exploring WWE's PPV/PLE history) http://TheChairshot.com PRESENTS...IMMEDIATE POST WWE PLE REACTIONS w/ DJ(Mindless), Tunney(DWI) & Friends Patrick O'Dowd's 5X5Support this podcast at — https://redcircle.com/chairshot-radio-network/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This time, Laura talks to four women, and one man inspired and backed by women, about the role of women in the world of cycling. Spanning three continents our interviewees tell us their stories. From improving adventure cycling access in Scandinavia to the need for better gender equity in the bicycle industry, via the role of women in advocacy in the USA, to women empowering women across Europe and Nepal, this is a globe-trotting pod.All of our interviewees Laura collared at the Velo-City conference in Gdansk in June. Show notes are below for each of them.Mark Ostrow from Seattle on expanding his efforts from creating one safe street to joining a citywide campaign, Seattle Neighbourhood Greenways. Mark credits advocate Cathy Tuttle, Senator Emily Alvarado, and legislator Julia Reed for backing him and his ideas. Seattle greenways aren't what you'd think they might be…www.seattlegreenways.orgHenna Palosaari - Norway, cycle tourism expert, bike adventurer and content creator focusing on sustainable tourism and adventure marketing. Henna tells her story of the journey from novice bikepacker to advocate for mapping off-road adventure routes at a national level. https://www.velo-city-conference.com/en/programme/speakers/henna-palosaari/Carolina Cominotti - Barcelona, Spain. Citizen engagement officer at the European Institute of Innovation and Technology for Urban Mobility. Her project TandEM Women in Cycling https://engage.eiturbanmobility.eu/processes/tandemwomen?locale=en. Carolina talks of her work empowering women to cycle more and breaking down barriers to cycling access for women, from community to infrastructure and the life-changing power of this work.Anke Schȁffner - Chief Policy Officer for the German cycle industry Zweirad Industrie Verband (Bicycle Industry Association) speaks about the transformation of e-bikes' reputation and popularity in Germany, why bikes serve women so poorly and the untapped, and unmeasured, power of cycle tourism for the economy. https://www.ziv-zweirad.de/Anuradha Shrestha, an educator and advocate in Nepal, working with NGO Cycle City Network Nepal (CCNN) for the past decade, which trains women to cycle and to train other women. Anuradha speaks of the culture of celebration in Nepal and the need to train the trainers to maintain sustainable cycling growth - as well as the importance of community in fostering that growth. https://cyclecity.org.np/The book, Bikes and Bloomers, uncovers the Victorian women who invented clothing to cycle https://bikesandbloomers.com/book/More about the conference, which is held in Rimini, Italy, 16-19 June 2026 https://www.velo-city-conference.com/For ad-free listening, behind-the-scenes and bonus content and to help support the podcast - head to (https://www.patreon.com/StreetsAheadPodcast). We'll even send you some stickers! Hosted on Acast. See acast.com/privacy for more information.

This episode is available in audio format on our Let's Talk Loyalty podcast and in video format on www.Loyalty.TV.This republished episode features the SAS Group, the Swedish airline holding company originally formed in 1946 after the merger of the three Scandinavian flag carriers serving Sweden, Denmark and Norway.It is now Scandinavia's leading airline, offering the most departures to, from and within Scandinavia.Like many airlines, the SAS Group has made significant changes to its corporate structure over the years and particularly this year to its global alliance strategy.SAS was one of the original founding members of the Star Alliance in 1997 which it left on 31 August 2024 and it then joined Skyteam the very next day on September 1st 2024! It's an incredible story.Joining us to share some insights on their loyalty program and some recent award-winning loyalty-led campaigns is Olivia Wasniewski, who is the Head of the EuroBonus Program operated by SAS.Show notes:1) Olivia Wasniewski2) SAS Group3) SAS EuroBonus4) Watch the full video interview for free

In this episode of the Van Life Diaries: Europe 1985, we move on to Scandinavia. Starting off in Denmark, we looked for Lego, noticed the size of the Little Mermaid, and enjoyed spending time in Copenhagen. From Denmark it was a short ferry ride to Sweden, and while my Dad and I muse that we don't have many strong memories from our time there, my Mum's diary does the heavy lifting contributing details about our time in some seaside islands, followed by Stockholm, and an intriguing visit to a timber mill area. Finally, we chat about how much we loved Norway, including time in Oslo, the fjords and playing badminton in Bergen. This is the fifth part of a monthly, six-episode series celebrating the fact that exactly 40 years ago this year, my family and I spent six months in a striped motorhome travelling around Europe. I was nine years old and yes, this trip had an enormous impact on my life - I'm sure you wouldn't be listening to this podcast today if Van Life 1985 hadn't taken place! Throughout the series, I'll include chats recorded with my Dad this year, extracts from my late Mum's travel diary from 1985, and of course my own memories and thoughts. A big thanks to Context Travel for sponsoring this series, and an even bigger thanks to my Dad for agreeing to be part of it. Links: Context Travel - https://bit.ly/contexttravel - use the code THOUGHTFULTRAVEL to get 15% off any online booking. Context Travel operate walking tours in cities around the world, and have interesting and qualified subject-matter experts leading your walk Listen to Part 1 of Van Life Diaries: Episode 348 - https://notaballerina.com/348 Listen to Part 2 of Van Life Diaries: Episode 351 - https://notaballerina.com/351 Listen to Part 3 of Van Life Diaries: Episode 355 - https://notaballerina.com/355 Listen to Part 4 of Van Life Diaries: Episode 359 - https://notaballerina.com/359 Join our Facebook group for Thoughtful Travellers - https://www.facebook.com/groups/thoughtfultravellers Join our LinkedIn group for Thoughtful Travellers - https://notaballerina.com/linkedin Sign up for the Thoughtful Travellers newsletter at Substack - https://thoughtfultravel.substack.com Show notes: https://notaballerina.com/359 Support the show: https://thoughtfultravel.substack.com/See omnystudio.com/listener for privacy information.

When we think of Scandinavia, three countries come immediately to mind: Norway, Sweden, and Denmark. Together, they form the heart of what we call Scandinavia, although Finland and Iceland are often included in the broader Nordic family.These countries share linguistic, cultural, and historical ties, yet each has its own distinct character, traditions, and contributions to the world.Scandinavia is often associated with breathtaking fjords, long winter nights, the Northern Lights, Viking heritage, and modern innovation. It's a blend of the old and the new, the natural and the urban.In this episode, we will uncover the essence of each Scandinavian country, explore what binds them together, and what sets them apaLet's begin with Denmark, the smallest of the Scandinavian countries, yet historically one of the most influential.Denmark sits on the Jutland Peninsula and over 400 islands, with Copenhagen as its vibrant capital city. Its geography makes it a crossroads between continental Europe and the Nordic world.Known for its maritime legacy, Denmark was once home to some of the most feared Viking raiders and traders who left a permanent mark on European history.Today, Denmark is recognized as one of the happiest countries in the world, frequently topping global rankings for quality of life, education, and social welfare.Copenhagen is not only the political and cultural hub of Denmark but also a model city for sustainability, with its bike-friendly streets and commitment to green energy.Danish culture emphasizes simplicity, comfort, and balance—a concept captured by the famous word “hygge,”which embodies coziness and well-being.The country is also known for design excellence, from furniture and architecture to its globally respected culinary scene, led by restaurants like Noma.With a small population of about six million, Denmark punches far above its weight in culture, economics, and international influence. Hosted on Acast. See acast.com/privacy for more information.

I went to Copenhagen one Monday morning in June and had coffee and a conversation with Pastor Brian Zahnd and his wife Peri Zahnd. They were on a tour to Scandinavia and their last stop was Copenhagen. Brian is the founder and lead pastor of Word of Life Church in St Joseph Missouri. He is also a pastor-theologian who has authored eleven books, including Sinners In the Hands of a Loving God, When Everything's on Fire, and The Wood Between the Worlds. Brian is enthusiastic about music, literature, mountains, and long-distance pilgrimages. We had a wonderful time and since we sat outside the audio is less than optimal, but it also gives a sense of relaxation. So welcome to listen in on our conversation.   Like and share this episode on Social media and to your friends. Follow the podcast on Facebook; Instagram and the Blog and if you want, write your thoughts and comments in the comment section under the episode on these platforms.  

This week, Wiedo and Diego reunite after a five-week Scandinavia road trip—complete with charging stops, supermarket pit-stops, and tales of Finland's early school starts as summer fades fast. With sore thumbs from too much messaging, Wiedo dives into control hacks (Quake jump on the mouse, keyboard over D-pads) to keep gaming pain-free.On the games front, Wiedo brings along a free Squid Game demake on the Gameboy, while Diego spotlights Yandex comp standouts Cubix and Kubanoid for the ZX Spectrum—a clever, dice-driven, Columns-style puzzler that squeezes surprising depth out of tiny memory.We also gush over the C64 Mini Black, packed with 25 modern homebrew hits like Sam's Journey, before signing off with Andy still away on holiday.

Geographically, Denmark is situated in Northern Europe. It consists of the Jutland Peninsula and more than 400 islands, though only about 70 of them are inhabited. Its location makes it a bridge between mainland Europe and the Nordic countries.Denmark's closest neighbors are Germany to the south, Sweden across the Öresund Strait, and Norway to the north. With the Baltic Sea on one side and the North Sea on the other, Denmark has always been shaped by water.Despite its modest size, Denmark covers about 43,000 square kilometers, making it smaller than many of its European neighbors. Its population is around 6 million people, concentrated in cities like Copenhagen, Aarhus, and Odense. Hosted on Acast. See acast.com/privacy for more information.

Send us a textWhat if you could design your table the way you design your home? In this episode of yourHOME by Design, we tour dining cultures - from Spain's late-night sobremesa and Japan's washoku rituals to France's layered elegance, India's abundant thali, and Scandinavia's light-filled simplicity and translate them into practical choices for your space. We cover the ergonomics of a comfortable dining room, how lighting and texture shape mood and digestion, why plate and bowl design can change portion perception, and small rituals that turn dinner into connection.You'll leave with simple, high-impact tweaks: a 15-minute linger rule after meals, calm visual cues to slow eating, ways to reclaim a catch-all table, and ideas for both relaxed and elevated settings (indoors or al fresco). When you design your table with intention, you design how you live.If this episode sparks ideas, share it with a friend and explore more resources at yourparo.com. Create space, and let your table tell the story of the life you want to live.Key takeawaysDesign your table like your home: choose rituals, lighting, and textures that deliver the life you want.Try a 15-minute linger after dinner (hello, sobremesa) to boost connection and lower stress.Create visual calm: Japan-inspired balance and simple settings naturally slow eating.Elevate weeknights: layer linens, glassware, and a focal light for French-level “this matters.”Plates shape portions: wide rims and bowl sizes change how much your brain thinks you're eating.Make it a team sport: Scandinavian style-shared prep, punctual dinners, everyone clears.Texture sets tone: rustic = relaxed and inviting; glossy = formal and careful.Outdoor counts: design al fresco to be as casual or as refined as your values.Reclaim the table: clear the catch-all zone and set a daily cue (runner, candles, flowers).Get on teh waitlist and get 15% off codeSupport the showWebsite: https://www.yourparo.com/Resources: Free Living Room Know How. Free Bathroom Serenity Guide. Get the Free Guides Here! https://www.yourparo.com/free-guides Digital Course: Design Your Home for Better Living https://www.yourparo.com/course

China shows off new weapons at expensive military parade. Then: Britain’s new warship deal with Scandinavia. Plus: uproar as Abba is left off a Swedish cultural-heritage list.See omnystudio.com/listener for privacy information.

Aftonmora Friesians in Sweden is Scandinavia's leading stud farm for Friesian horses and is home to KFPS approved stallions Tymon 456 and Mees 497. Aftonmora Friesians is dedicated to preserving the beauty, temperament, and athleticism of this remarkable breed, with a strong focus on genetics and health. Join us as we dive into their story, their vision, and what makes Friesians so truly unforgettable.

Phillip Black and Michail Katkoff break down why they left the Nordics, trading modesty-maxxing for Mediterranean chaos and a bit more sun. The two dive into the quiet conservatism baked into Scandinavian life, the erosion of hunger that comes with too much comfort, and the calculus behind moving to Cyprus and Greece. 00:00 The Conservative Psyop of Scandinavia04:31 Cultural Reflections and Personal Experiences in Sweden09:07 Transitioning to Cyprus: Opportunities and Challenges13:37 Understanding the Swedish Welfare State18:03 Career Reflections and the Consulting Path24:30 Navigating the Gaming Industry's Landscape26:54 The Challenges of Client Management29:51 Decisiveness in Consulting32:41 The Emotional Rollercoaster of Consulting34:36 Building a Sustainable Deal Flow37:26 Establishing Expertise vs. Personality41:39 Life Choices and Career Reflections42:34 Balancing Work and Personal Life46:13 Relocation and Family Decisions48:58 Cultural Differences and Education Challenges55:28 Economic Growth and Finland's Future61:04 Reflections and Future Aspirations

Back at work trying my best to stay sane. Some cool concerts in my fall calender though so that's nice. I'll even swing by Germany to see bands that chose to skip Scandinavia this time around. On the playlist you'll some punk, garage, hard rock, thrash...

Back at work trying my best to stay sane. Some cool concerts in my fall calender though so that's nice. I'll even swing by Germany to see bands that chose to skip Scandinavia this time around. On the playlist you'll find some punk, garage, hard rock, thrash, soul and alternative.

The breathtaking land of Sweden—a country that perfectly balances natural beauty, cultural depth, and modern innovation. Known as one of the happiest nations on earth, Sweden is more than just IKEA furniture and ABBA songs; it's a country that thrives on history, sustainability, and creativity.Situated in Northern Europe, Sweden is the largest country in Scandinavia and the fifth largest in Europe by area. With coastlines along the Baltic Sea and the Gulf of Bothnia, and borders shared with Norway and Finland, Sweden's geography is a tapestry of forests, mountains, lakes, and islands that provide endless opportunities for exploration.The capital city, Stockholm, is often called the “Venice of the North.” Built across 14 islands and connected by over 50 bridges, the city blends medieval architecture with modern design. From the cobblestone streets of Gamla Stan, the old town, to the futuristic architecture of its business district, Stockholm reflects both history and progress. Hosted on Acast. See acast.com/privacy for more information.

Greg Jenner is joined in medieval Scandinavia by historian Dr Eleanor Barraclough and comedian Chloe Petts to learn about the fascinating women of the Viking age. The popular stereotype of the Vikings is pretty macho: bearded men on boats, heading out to raid, pillage and burn down monasteries. There are some famous images of Viking warrior women: shieldmaidens, Valkyries and various goddesses. But what about the lives led by ordinary women in medieval Scandinavia and across the Viking world? In this episode we look at the real history behind the myths and stereotypes, exploring daily life for Viking women: their roles as wives and mothers, the work they did as weavers and healers, the gods they prayed to, the archaeological traces they left behind, as well as the sad reality that many women in the Viking world were enslaved. We also look at women who lived lives out of the ordinary – as queens, sorceresses, and warriors. If you're a fan of feminist history, the intimate details of daily life in the past, and fantastical myths and legends, you'll love our episode on Viking Women. If you want to know more about the Vikings, check out our episodes on Leif Erikson and Old Norse Literature. And for more fearsome warrior women, there's our episode on Njinga of Ndongo and Matamba. You're Dead To Me is the comedy podcast that takes history seriously. Every episode, Greg Jenner brings together the best names in history and comedy to learn and laugh about the past. Hosted by: Greg Jenner Research by: Clara Chamberlain Written by: Clara Chamberlain, Emmie Rose Price-Goodfellow, Emma Nagouse, and Greg Jenner Produced by: Emmie Rose Price-Goodfellow and Greg Jenner Audio Producer: Steve Hankey Production Coordinator: Gill Huggett Senior Producer: Emma Nagouse Executive Editor: Philip Sellars

In this episode, we slip into the uncanny world of changeling lore — the ancient belief that a loved one could be stolen away by the fae, replaced with an uncanny double. From the eerie ballads of Ireland to the shadowy forests of Scandinavia, we explore how different cultures have told, feared, and tried to undo the changeling exchange.We'll revisit the haunting true story of Bridget Cleary, often called “the last witch burned in Ireland” (though she was no witch at all), and uncover the protective charms, salt lines, and rituals once believed to bring the real soul home. Then, we turn our gaze to Practical Magic — where, if you know how to look, you might just find a changeling story woven into Gillian Owens' possession by Jimmy.Whether you believe in fairy abductions or see them as metaphors for loss and transformation, changeling tales remind us of one timeless truth: love knows the real you, even when you've been lost.SOCIALS:⁠Link Tree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠HERO SOURCES DISCLAIMER:The Magnolia Street Podcast intends to discuss the movie, “Practical Magic” in its entirety. This will evidently result in spoilers and it is recommended that you watch and or read the following. Alice Hoffman's: Practical Magic, Rules of Magic, Magic Lessons, Book of Magic. The Magnolia Street Podcast is for entertainment and informational purposes and should not be used as a substitute for professional or medical advice. Do not attempt any of the discussed actions, solutions, or remedies without first consulting a qualified professional. It should be noted that we are not medical professionals and therefore we are not responsible or liable for any injuries or illnesses resulting from the use of any information on our website or in our media.The Magnolia Street Podcast presenters, Kristina Babich and Justina Carubia are passionate fans of Alice Hoffman's work and the Practical Magic word she has created. There is no copyright infringement intended, all characters and story lines are that of Alice Hoffman. We do not own any of that material as well as any of the move score music shared within the podcast.All intellectual property rights concerning personally written music and or shared art are vested in Magnolia Street Podcast. Copying, distributing and any other use of these materials is not permitted without the written permission from Kristina Babich and Justina Carubia.

In this episode, Conor and Bryce chat about some open source projects, podcast recommendations, our upcoming trip to Europe and much more!Link to Episode 249 on WebsiteDiscuss this episode, leave a comment, or ask a question (on GitHub)SocialsADSP: The Podcast: TwitterConor Hoekstra: Twitter | BlueSky | MastodonBryce Adelstein Lelbach: TwitterShow NotesDate Recorded: 2025-08-21Date Released: 2025-08-29Astro Bot VideoADSP Episode 176:

Lots of talk these days about ultra-processed foods (UPFs). Along with confusion about what in the heck they are or what they're not, how bad they are for us, and what ought to be done about them. A landmark in the discussion of ultra-processed foods has been the publication of a book entitled Ultra-processed People, Why We Can't Stop Eating Food That Isn't Food. The author of that book, Dr. Chris van Tulleken, joins us today. Dr. van Tulleken is a physician and is professor of Infection and Global Health at University College London. He also has a PhD in molecular virology and is an award-winning broadcaster on the BBC. His book on Ultra-processed People is a bestseller. Interview Summary Chris, sometimes somebody comes along that takes a complicated topic and makes it accessible and understandable and brings it to lots of people. You're a very fine scientist and scholar and academic, but you also have that ability to communicate effectively with lots of people, which I very much admire. So, thanks for doing that, and thank you for joining us. Oh, Kelly, it's such a pleasure. You know, I begin some of my talks now with a clipping from the New York Times. And it's a picture of you and an interview you gave in 1995. So exactly three decades ago. And in this article, you just beautifully communicate everything that 30 years later I'm still saying. So, yeah. I wonder if communication, it's necessary, but insufficient. I think we are needing to think of other means to bring about change. I totally agree. Well, thank you by the way. And I hope I've learned something over those 30 years. Tell us, please, what are ultra-processed foods? People hear the term a lot, but I don't think a lot of people know exactly what it means. The most important thing to know, I think, is that it's not a casual term. It's not like 'junk food' or 'fast food.' It is a formal scientific definition. It's been used in hundreds of research studies. The definition is very long. It's 11 paragraphs long. And I would urge anyone who's really interested in this topic, go to the United Nations Food and Agricultural Organization website. You can type in NFAO Ultra and you'll get the full 11 paragraph definition. It's an incredibly sophisticated piece of science. But it boils down to if you as a consumer, someone listening to this podcast, want to know if the thing you are eating right now is ultra-processed, look at the ingredients list. If there are ingredients on that list that you do not normally find in a domestic kitchen like an emulsifier, a coloring, a flavoring, a non-nutritive sweetener, then that product will be ultra-processed. And it's a way of describing this huge range of foods that kind of has taken over the American and the British and in fact diets all over the world. How come the food companies put this stuff in the foods? And the reason I ask is in talks I give I'll show an ingredient list from a food that most people would recognize. And ask people if they can guess what the food is from the ingredient list. And almost nobody can. There are 35 things on the ingredient list. Sugar is in there, four different forms. And then there are all kinds of things that are hard to pronounce. There are lots of strange things in there. They get in there through loopholes and government regulation. Why are they there in the first place? So, when I started looking at this I also noticed this long list of fancy sounding ingredients. And even things like peanut butter will have palm oil and emulsifiers. Cream cheese will have xanthum gum and emulsifiers. And you think, well, wouldn't it just be cheaper to make your peanut butter out of peanuts. In fact, every ingredient is in there to make money in one of two ways. Either it drives down the cost of production or storage. If you imagine using a real strawberry in your strawberry ice cream. Strawberries are expensive. They're not always in season. They rot. You've got to have a whole supply chain. Why would you use a strawberry if you could use ethyl methylphenylglycidate and pink dye and it'll taste the same. It'll look great. You could then put in a little chunky bit of modified corn starch that'll be chewy if you get it in the right gel mix. And there you go. You've got strawberries and you haven't had to deal with strawberry farmers or any supply chain. It's just you just buy bags and bottles of white powder and liquids. The other way is to extend the shelf life. Strawberries as I say, or fresh food, real food - food we might call it rots on shelves. It decays very quickly. If you can store something at room temperature in a warehouse for months and months, that saves enormous amounts of money. So, one thing is production, but the other thing is the additives allow us to consume to excess or encourage us to consume ultra-processed food to excess. So, I interviewed a scientist who was a food industry development scientist. And they said, you know, most ultra-processed food would be gray if it wasn't dyed, for example. So, if you want to make cheap food using these pastes and powders, unless you dye it and you flavor it, it will be inedible. But if you dye it and flavor it and add just the right amount of salt, sugar, flavor enhancers, then you can make these very addictive products. So that's the logic of UPF. Its purpose is to make money. And that's part of the definition. Right. So, a consumer might decide that there's, you know, beneficial trade-off for them at the end of the day. That they get things that have long shelf life. The price goes down because of the companies don't have to deal with the strawberry farmers and things like that. But if there's harm coming in waves from these things, then it changes the equation. And you found out some of that on your own. So as an experiment you did with a single person - you, you ate ultra-processed foods for a month. What did you eat and how did it affect your body, your mood, your sleep? What happened when you did this? So, what's really exciting, actually Kelly, is while it was an n=1, you know, one participant experiment, I was actually the pilot participant in a much larger study that we have published in Nature Medicine. One of the most reputable and high impact scientific journals there is. So, I was the first participant in a randomized control trial. I allowed us to gather the data about what we would then measure in a much larger number. Now we'll come back and talk about that study, which I think was really important. It was great to see it published. So, I was a bit skeptical. Partly it was with my research team at UCL, but we were also filming it for a BBC documentary. And I went into this going I'm going to eat a diet of 80% of my calories will come from ultra-processed food for four weeks. And this is a normal diet. A lifelong diet for a British teenager. We know around 20% of people in the UK and the US eat this as their normal food. They get 80% of their calories from ultra-processed products. I thought, well, nothing is going to happen to me, a middle-aged man, doing this for four weeks. But anyway, we did it kind of as a bit of fun. And we thought, well, if nothing happens, we don't have to do a bigger study. We can just publish this as a case report, and we'll leave it out of the documentary. Three big things happened. I gained a massive amount of weight, so six kilos. And I wasn't force feeding myself. I was just eating when I wanted. In American terms, that's about 15 pounds in four weeks. And that's very consistent with the other published trials that have been done on ultra-processed food. There have been two other RCTs (randomized control trials); ours is the third. There is one in Japan, one done at the NIH. So, people gain a lot of weight. I ate massively more calories. So much so that if I'd continued on the diet, I would've almost doubled my body weight in a year. And that may sound absurd, but I have an identical twin brother who did this natural experiment. He went to Harvard for a year. He did his masters there. During his year at Harvard he gained, let's see, 26 kilos, so almost 60 pounds just living in Cambridge, Massachusetts. But how did you decide how much of it to eat? Did you eat until you just kind of felt naturally full? I did what most people do most of the time, which is I just ate what I wanted when I felt like it. Which actually for me as a physician, I probably took the breaks off a bit because I don't normally have cocoa pops for breakfast. But I ate cocoa pops and if I felt like two bowls, I'd have two bowls. It turned out what I felt like a lot of mornings was four bowls and that was fine. I was barely full. So, I wasn't force feeding myself. It wasn't 'supersize' me. I was eating to appetite, which is how these experiments run. And then what we've done in the trials. So, I gained weight, then we measured my hormone response to a meal. When you eat, I mean, it's absurd to explain this to YOU. But when you eat, you have fullness hormones that go up and hunger hormones that go down, so you feel full and less hungry. And we measured my response to a standard meal at the beginning and at the end of this four-week diet. What we found is that I had a normal response to eating a big meal at the beginning of the diet. At the end of eating ultra-processed foods, the same meal caused a very blunted rise in the satiety hormones. In the 'fullness' hormones. So, I didn't feel as full. And my hunger hormones remained high. And so, the food is altering our response to all meals, not merely within the meal that we're eating. Then we did some MRI scans and again, I thought this would be a huge waste of time. But we saw at four weeks, and then again eight weeks later, very robust changes in the communication between the habit-forming bits at the back of the brain. So, the automatic behavior bits, the cerebellum. Very conscious I'm talking to YOU about this, Kelly. And the kind of addiction reward bits in the middle. Now these changes were physiological, not structural. They're about the two bits of the brain talking to each other. There's not really a new wire going between them. But we think if this kind of communication is happening a lot, that maybe a new pathway would form. And I think no one, I mean we did this with very expert neuroscientists at our National Center for Neuroscience and Neurosurgery, no one really knows what it means. But the general feeling was these are the kind of changes we might expect if we'd given someone, or a person or an animal, an addictive substance for four weeks. They're consistent with, you know, habit formation and addiction. And the fact that they happened so quickly, and they were so robust - they remained the same eight weeks after I stopped the diet, I think is really worrying from a kid's perspective. So, in a period of four weeks, it re-altered the way your brain works. It affected the way your hunger and satiety were working. And then you ended up with this massive weight. And heaven knows what sort of cardiovascular effects or other things like that might have been going on or had the early signs of that over time could have been really pretty severe, I imagine. I think one of the main effects was that I became very empathetic with my patients. Because we did actually a lot of, sort of, psychological testing as well. And there's an experience where, obviously in clinic, I mainly treat patients with infections. But many of my patients are living with other, sort of, disorders of modern life. They live with excess weight and cardiovascular disease and type two diabetes and metabolic problems and so on. And I felt in four weeks like I'd gone from being in my early 30, early 40s at the time, I felt like I'd just gone to my early 50s or 60s. I ached. I felt terrible. My sleep was bad. And it was like, oh! So many of the problems of modern life: waking up to pee in the middle of the night is because you've eaten so much sodium with your dinner. You've drunk all this water, and then you're trying to get rid of it all night. Then you're constipated. It's a low fiber diet, so you develop piles. Pain in your bum. The sleep deprivation then makes you eat more. And so, you get in this vicious cycle where the problem didn't feel like the food until I stopped and I went cold turkey. I virtually have not touched it since. It cured me of wanting UPF. That was the other amazing bit of the experience that I write about in the book is it eating it and understanding it made me not want it. It was like being told to smoke. You know, you get caught smoking as a kid and your parents are like, hey, now you finish the pack. It was that. It was an aversion experience. So, it gave me a lot of empathy with my patients that many of those kinds of things we regard as being normal aging, those symptoms are often to do with the way we are living our lives. Chris, I've talked to a lot of people about ultra-processed foods. You're the first one who's mentioned pain in the bum as one of the problems, so thank you. When I first became a physician, I trained as a surgeon, and I did a year doing colorectal surgery. So, I have a wealth of experience of where a low fiber diet leaves you. And many people listening to this podcast, I mean, look, we're all going to get piles. Everyone gets these, you know, anal fishes and so on. And bum pain it's funny to talk about it. No, not the... it destroys people's lives, so, you know, anyway. Right. I didn't want to make light of it. No, no. Okay. So, your own experiment would suggest that these foods are really bad actors and having this broad range of highly negative effects. But what does research say about these things beyond your own personal experience, including your own research? So, the food industry has been very skillful at portraying this as a kind of fad issue. As ultra-processed food is this sort of niche thing. Or it's a snobby thing. It's not a real classification. I want to be absolutely clear. UPF, the definition is used by the World Health Organization and the United Nations Food and Agricultural Organization to monitor global diet quality, okay? It's a legitimate way of thinking about food. The last time I looked, there are more than 30 meta-analyses - that is reviews of big studies. And the kind of high-quality studies that we use to say cigarettes cause lung cancer. So, we've got this what we call epidemiological evidence, population data. We now have probably more than a hundred of these prospective cohort studies. And they're really powerful tools. They need to be used in conjunction with other evidence, but they now link ultra-processed food to this very wide range of what we euphemistically call negative health outcomes. You know, problems that cause human suffering, mental health problems, anxiety, depression, multiple forms of cancer, inflammatory diseases like Crohn's disease and ulcerative colitis, metabolic disease, cardiovascular disease, Alzheimer's and dementia. Of course, weight gain and obesity. And all cause mortality so you die earlier of all causes. And there are others too. So, the epidemiological evidence is strong and that's very plausible. So, we take that epidemiological evidence, as you well know, and we go, well look, association and causation are different things. You know, do matches cause cancer or does cigarettes cause cancer? Because people who buy lots of matches are also getting the lung cancer. And obviously epidemiologists are very sophisticated at teasing all this out. But we look at it in the context then of other evidence. My group published the third randomized control trial where we put a group of people, in a very controlled way, on a diet of either minimally processed food or ultra-processed food and looked at health outcomes. And we found what the other two trials did. We looked at weight gain as a primary outcome. It was a short trial, eight weeks. And we saw people just eat more calories on the ultra-processed food. This is food that is engineered to be consumed to excess. That's its purpose. So maybe to really understand the effect of it, you have to imagine if you are a food development engineer working in product design at a big food company - if you develop a food that's cheap to make and people will just eat loads of it and enjoy it, and then come back for it again and again and again, and eat it every day and almost become addicted to it, you are going to get promoted. That product is going to do well on the shelves. If you invent a food that's not addictive, it's very healthy, it's very satisfying, people eat it and then they're done for the day. And they don't consume it to excess. You are not going to keep your job. So that's a really important way of understanding the development process of the foods. So let me ask a question about industry and intent. Because one could say that the industry engineers these things to have long shelf life and nice physical properties and the right colors and things like this. And these effects on metabolism and appetite and stuff are unpleasant and difficult side effects, but the foods weren't made to produce those things. They weren't made to produce over consumption and then in turn produce those negative consequences. You're saying something different. That you think that they're intentionally designed to promote over consumption. And in some ways, how could the industry do otherwise? I mean, every industry in the world wants people to over consume or consume as much of their product as they can. The food industry is no different. That is exactly right. The food industry behaves like every other corporation. In my view, they commit evil acts sometimes, but they're not institutionally evil. And I have dear friends who work in big food, who work in big pharma. I have friends who work in tobacco. These are not evil people. They're constrained by commercial incentives, right? So, when I say I think the food is engineered, I don't think it. I know it because I've gone and interviewed loads of people in product development at big food companies. I put some of these interviewees in a BBC documentary called Irresistible. So rather than me in the documentary going, oh, ultra-processed food is bad. And everyone going, well, you are, you're a public health bore. I just got industry insiders to say, yes, this is how we make the food. And going back to Howard Moskovitz, in the 1970s, I think he was working for the Campbell Soup Company. And Howard, who was a psychologist by training, outlined the development process. And what he said was then underlined by many other people I've spoken to. You develop two different products. This one's a little bit saltier than the next, and you test them on a bunch of people. People like the saltier ones. So now you keep the saltier one and you develop a third product and this one's got a bit more sugar in it. And if this one does better, well you keep this one and you keep AB testing until you get people buying and eating lots. And one of the crucial things that food companies measure in product development is how fast do people eat and how quickly do they eat. And these kind of development tools were pioneered by the tobacco industry. I mean, Laura Schmidt has done a huge amount of the work on this. She's at University of California, San Francisco (UCSF), in California. And we know the tobacco industry bought the food industry and for a while in the '80s and '90s, the biggest food companies in the world were also the biggest tobacco companies in the world. And they used their flavor molecules and their marketing techniques and their distribution systems. You know, they've got a set of convenience tools selling cigarettes all over the country. Well, why don't we sell long shelf-life food marketed in the same way? And one thing that the tobacco industry was extremely good at was figuring out how to get the most rapid delivery of the drug possible into the human body when people smoke. Do you think that some of that same thing is true for food, rapid delivery of sugar, let's say? How close does the drug parallel fit, do you think? So, that's part of the reason the speed of consumption is important. Now, I think Ashley Gearhardt has done some of the most incredible work on this. And what Ashley says is we think of addictive drugs as like it's the molecule that's addictive. It's nicotine, it's caffeine, cocaine, diamorphine, heroin, the amphetamines. What we get addicted to is the molecule. And that Ashley says no. The processing of that molecule is crucially important. If you have slow-release nicotine in a chewing gum, that can actually treat your nicotine addiction. It's not very addictive. Slow-release amphetamine we use to treat children with attention and behavioral problems. Slow-release cocaine is an anesthetic. You use it for dentistry. No one ever gets addicted to dental anesthetics. And the food is the same. The rewarding molecules in the food we think are mainly the fat and the sugar. And food that requires a lot of chewing and is slow eaten slowly, you don't deliver the reward as quickly. And it tends not to be very addictive. Very soft foods or liquid foods with particular fat sugar ratios, if you deliver the nutrients into the gut fast, that seems to be really important for driving excessive consumption. And I think the growing evidence around addiction is very persuasive. I mean, my patients report feeling addicted to the food. And I don't feel it's legitimate to question their experience. Chris, a little interesting story about that concept of food and addiction. So going back several decades I was a professor at Yale, and I was teaching a graduate course. Ashley Gerhardt was a student in that course. And, she was there to study addiction, not in the context of food, but I brought up the issue of, you know, could food be addictive? There's some interesting research on this. It's consistent with what we're hearing from people, and that seems a really interesting topic. And Ashley, I give her credit, took this on as her life's work and now she's like the leading expert in the world on this very important topic. And what's nice for me to recall that story is that how fast the science on this is developed. And now something's coming out on this almost every day. It's some new research on the neuroscience of food and addiction and how the food is hijacking in the brain. And that whole concept of addiction seems really important in this context. And I know you've talked a lot about that yourself. She has reframed, I think, this idea about the way that addictive substances and behaviors really work. I mean it turns everything on its head to go the processing is important. The thing the food companies have always been able to say is, look, you can't say food is addictive. It doesn't contain any addictive molecules. And with Ashley's work you go, no, but the thing is it contains rewarding molecules and actually the spectrum of molecules that we can find rewarding and we can deliver fast is much, much broader than the traditionally addictive substances. For policy, it's vital because part of regulating the tobacco industry was about showing they know they are making addictive products. And I think this is where Ashley's work and Laura Schmidt's work are coming together. With Laura's digging in the tobacco archive, Ashley's doing the science on addiction, and I think these two things are going to come together. And I think it's just going to be a really exciting space to watch. I completely agree. You know when most people think about the word addiction, they basically kind of default to thinking about how much you want something. How much, you know, you desire something. But there are other parts of it that are really relevant here too. I mean one is how do you feel if you don't have it and sort of classic withdrawal. And people talk about, for example, being on high sugar drinks and stopping them and having withdrawal symptoms and things like that. And the other part of it that I think is really interesting here is tolerance. You know whether you need more of the substance over time in order to get the same reward benefit. And that hasn't been studied as much as the other part of addiction. But there's a lot to the picture other than just kind of craving things. And I would say that the thing I like about this is it chimes with my. Personal experience, which is, I have tried alcohol and cigarettes and I should probably end that list there. But I've never had any real desire for more of them. They aren't the things that tickle my brain. Whereas the food is a thing that I continue to struggle with. I would say in some senses, although I no longer like ultra-processed food at some level, I still want it. And I think of myself to some degree, without trivializing anyone's experience, to some degree I think I'm in sort of recovery from it. And it remains that tussle. I mean I don't know what you think about the difference between the kind of wanting and liking of different substances. Some scientists think those two things are quite, quite different. That you can like things you don't want, and you can want things you don't like. Well, that's exactly right. In the context of food and traditional substances of abuse, for many of them, people start consuming because they produce some sort of desired effect. But that pretty quickly goes away, and people then need the substance because if they don't have it, they feel terrible. So, you know, morphine or heroin or something like that always produces positive effects. But that initial part of the equation where you just take it because you like it turns into this needing it and having to have it. And whether that same thing exists with food is an interesting topic. I think the other really important part of the addiction argument in policy terms is that one counterargument by industrial scientists and advocates is by raising awareness around ultra-processed food we are at risk of driving, eating disorders. You know? The phenomenon of orthorexia, food avoidance, anorexia. Because all food is good food. There should be no moral value attached to food and we mustn't drive any food anxiety. And I think there are some really strong voices in the United Kingdom Eating Disorder scientists. People like Agnes Ayton, who are starting to say, look, when food is engineered, using brain scanners and using scientific development techniques to be consumed to excess, is it any wonder that people develop a disordered relationship with the food? And there may be a way of thinking about the rise of eating disorders, which is parallel to the rise of our consumption of ultra-processed food, that eating disorders are a reasonable response to a disordered food environment. And I think that's where I say all that somewhat tentatively. I feel like this is a safe space where you will correct me if I go off piste. But I think it's important to at least explore that question and go, you know, this is food with which it is very hard, I would say, to have a healthy relationship. That's my experience. And I think the early research is bearing that out. Tell us how these foods affect your hunger, how full you feel, your microbiome. That whole sort of interactive set of signals that might put people in harmony with food in a normal environment but gets thrown off when the foods get processed like this. Oh, I love that question. At some level as I'm understanding that question, one way of trying to answer that question is to go, well, what is the normal physiological response to food? Or maybe how do wild animals find, consume, and then interpret metabolically the food that they eat. And it is staggering how little we know about how we learn what food is safe and what food nourishes us. What's very clear is that wild mammals, and in fact all wild animals, are able to maintain near perfect energy balance. Obesity is basically unheard of in the wild. And, perfect nutritional intake, I mean, obviously there are famines in wild animals, but broadly, animals can do this without being literate, without being given packaging, without any nutritional advice at all. So, if you imagine an ungulate, an herbivore on the plains of the Serengeti, it has a huge difficulty. The carnivore turning herbivore into carnivore is fairly easy. They're made of the same stuff. Turning plant material into mammal is really complicated. And somehow the herbivore can do this without gaining weight, whilst maintaining total precision over its selenium intake, its manganese, its cobalt, its iron, all of which are terrible if you have too little and also terrible if you have too much. We understand there's some work done in a few wild animals, goats, and rats about how this works. Clearly, we have an ability to sense the nutrition we want. What we understand much more about is the sort of quantities needed. And so, we've ended up with a system of nutritional advice that says, well, just eat these numbers. And if you can stick to the numbers, 2,500 calories a day, 2300 milligrams of sodium, no more than 5% of your calories from free sugar or 10%, whatever it is, you know, you stick to these numbers, you'll be okay. And also, these many milligrams of cobalt, manganese, selenium, iron, zinc, all the rest of it. And obviously people can't really do that even with the packaging. This is a very long-winded answer. So, there's this system that is exquisitely sensitive at regulating micronutrient and energy intake. And what we understand, what the Academy understands about how ultra-processed food subverts this is, I would say there are sort of three or four big things that ultra-processed does that real food doesn't. It's generally very soft. And it's generally very energy dense. And that is true of even the foods that we think of as being healthy. That's like your supermarket whole grain bread. It's incredibly energy dense. It's incredibly soft. You eat calories very fast, and this research was done in the '90s, you know we've known that that kind of food promotes excessive intake. I guess in simple terms, and you would finesse this, you consume calories before your body has time to go, well, you've eaten enough. You can consume an excess. Then there's the ratios of fat, salt, and sugar and the way you can balance them, and any good cook knows if you can get the acid, fat, salt, sugar ratios right, you can make incredibly delicious food. That's kind of what I would call hyper palatability. And a lot of that work's being done in the states (US) by some incredible people. Then the food may be that because it's low in fiber and low in protein, quite often it's not satiating. And there may be, because it's also low in micronutrients and general nutrition, it may be that, and this is a little bit theoretical, but there's some evidence for this. Part of what drives the excess consumption is you're kind of searching for the nutrients. The nutrients are so dilute that you have to eat loads of it in order to get enough. Do you think, does that, is that how you understand it? It does, it makes perfect sense. In fact, I'm glad you brought up one particular issue because part of the ultra-processing that makes foods difficult for the body to deal with involves what gets put in, but also what gets taken out. And there was a study that got published recently that I think you and I might have discussed earlier on American breakfast cereals. And this study looked at how the formulation of them had changed over a period of about 20 years. And what they found is that the industry had systematically removed the protein and the fiber and then put in more things like sugar. So there, there's both what goes in and what gets taken out of foods that affects the body in this way. You know, what I hear you saying, and what I, you know, believe myself from the science, is the body's pretty capable of handling the food environment if food comes from the natural environment. You know, if you sit down to a meal of baked chicken and some beans and some leafy greens and maybe a little fruit or something, you're not going to overdo it. Over time you'd end up with the right mix of nutrients and things like that and you'd be pretty healthy. But all bets are off when these foods get processed and engineered, so you over consume them. You found that out in the experiment that you did on yourself. And then that's what science shows too. So, it's not like these things are sort of benign. People overeat them and they ought to just push away from the table. There's a lot more going on here in terms of hijacking the brain chemistry. Overriding the body signals. Really thwarting normal biology. Do you think it's important to add that we think of obesity as being the kind of dominant public health problem? That's the thing we all worry about. But the obesity is going hand in hand with stunting, for example. So, height as you reach adulthood in the US, at 19 US adults are something like eight or nine centimeters shorter than their counterparts in Northern Europe, Scandinavia, where people still eat more whole food. And we should come back to that evidence around harms, because I think the really important thing to say around the evidence is it has now reached the threshold for causality. So, we can say a dietary pattern high in ultra-processed food causes all of these negative health outcomes. That doesn't mean that any one product is going to kill you. It just means if this is the way you get your food, it's going to be harmful. And if all the evidence says, I mean, we've known this for decades. If you can cook the kind of meal, you just described at home, which is more or less the way that high income people eat, you are likely to have way better health outcomes across the board. Let me ask you about the title of your book. So, the subtitle of your book is Why We Can't Stop Eating Food That Isn't Food. So, what is it? The ultra-processed definition is something I want to pay credit for. It's really important to pay a bit of credit here. Carlos Montero was the scientist in Brazil who led a team who together came up with this definition. And, I was speaking to Fernanda Rauber who was on that team, and we were trying to discuss some research we were doing. And every time I said food, she'd correct me and go, it is not, it's not food, Chris. It's an industrially produced edible substance. And that was a really helpful thing for me personally, it's something it went into my brain, and I sat down that night. I was actually on the UPF diet, and I sat down to eat some fried chicken wings from a popular chain that many people will know. And was unable to finish them. I think our shared understanding of the purpose of food is surely that its purpose is to nourish us. Whether it's, you know, sold by someone for this purpose, or whether it's made by someone at home. You know it should nourish us spiritually, socially, culturally, and of course physically and mentally. And ultra-processed food nourishes us in no dimension whatsoever. It destroys traditional knowledge, traditional land, food culture. You don't sit down with your family and break, you know, ultra-processed, you know, crisps together. You know, you break bread. To me that's a kind of very obvious distortion of what it's become. So, I don't think it is food. You know, I think it's not too hard of a stretch to see a time when people might consider these things non-food. Because if you think of food, what's edible and whether it's food or not is completely socially constructed. I mean, some parts of the world, people eat cockroaches or ants or other insects. And in other parts of the world that's considered non-food. So just because something's edible doesn't mean that it's food. And I wonder if at some point we might start to think of these things as, oh my God, these are awful. They're really bad for us. The companies are preying on us, and it's just not food. And yeah, totally your book helps push us in that direction. I love your optimism. The consumer facing marketing budget of a big food company is often in excess of $10 billion a year. And depends how you calculate it. I'll give you a quick quiz on this. So, for a while, the Robert Wood Johnson Foundation was by far the biggest funder of research in the world on childhood obesity. And they were spending $500 million a year to address this problem. Just by which day of the year the food industry has already spent $500 million just advertising just junk food just to children. Okay, so the Robert V. Wood Foundation is spending it and they were spending that annually. Annually, right. So, what's, by what day of the year is the food industry already spent that amount? Just junk food advertising just to kids. I'm going to say by somewhere in early spring. No. January 4th. I mean, it's hysterical, but it's also horrifying. So, this is the genius of ultra-processed food, of the definition and the science, is that it creates this category which is discretionary. And so at least in theory, of course, for many people in the US it's not discretionary at all. It's the only stuff they can afford. But this is why the food industry hate it so much is because it offers the possibility of going, we can redefine food. And there is all this real food over there. And there is this UPF stuff that isn't food over here. But industry's very sophisticated, you know. I mean, they push back very hard against me in many different ways and forms. And they're very good at going, well, you're a snob. How dare you say that families with low incomes, that they're not eating food. Are you calling them dupes? Are you calling them stupid? You know, they're very, very sophisticated at positioning. Isn't it nice how concerned they are about the wellbeing of people without means? I mean they have created a pricing structure and a food subsidy environment and a tax environment where essentially people with low incomes in your country, in my country, are forced to eat food that harms them. So, one of the tells I think is if you're hearing someone criticize ultra-processed food, and you'll read them in the New York Times. And often their conflicts of interest won't be reported. They may be quite hidden. The clue is, are they demanding to seriously improve the food environment in a very clear way, or are they only criticizing the evidence around ultra-processed food? And if they're only criticizing that evidence? I'll bet you a pound to a pinch of salt they'll be food-industry funded. Let's talk about that. Let's talk about that a little more. So, there's a clear pattern of scientists who take money from industry finding things that favor industry. Otherwise, industry wouldn't pay that money. They're not stupid in the way they invest. And, you and I have talked about this before, but we did a study some years ago where we looked at industry and non-industry funded study on the health effects of consuming sugar sweetened beverages. And it's like the ocean parted. It's one of my favorites. And it was something like 98 or 99% of the independently funded studies found that sugar sweetened beverages do cause harm. And 98 or 99% of the industry funded studies funded by Snapple and Coke and a whole bunch of other companies found that they did not cause harm. It was that stark, was it? It was. And so you and I pay attention to the little print in these scientific studies about who's funded them and who might have conflicts of interest. And maybe you and I and other people who follow science closely might be able to dismiss those conflicted studies. But they have a big impact out there in the world, don't they? I had a meeting in London with someone recently, that they themselves were conflicted and they said, look, if a health study's funded by a big sugary drink company, if it's good science, that's fine. We should publish it and we should take it at face value. And in the discussion with them, I kind of accepted that, we were talking about other things. And afterwards I was like, no. If a study on human health is funded by a sugary drink corporation, in my opinion, we could just tear that up. None of that should be published. No journals should publish those studies and scientists should not really call themselves scientists who are doing it. It is better thought of as marketing and food industry-funded scientists who study human health, in my opinion, are better thought of as really an extension of the marketing division of the companies. You know, it's interesting when you talk to scientists, and you ask them do people who take money from industry is their work influenced by that money? They'll say yes. Yeah, but if you say, but if you take money from industry, will your work be influenced? They'll always say no. Oh yeah. There's this tremendous arrogance, blind spot, whatever it is that. I can remain untarnished. I can remain objective, and I can help change the industry from within. In the meantime, I'm having enough money to buy a house in the mountains, you know, from what they're paying me, and it's really pretty striking. Well, the money is a huge issue. You know, science, modern science it's not a very lucrative career compared to if someone like you went and worked in industry, you would add a zero to the end of your salary, possibly more. And the same is true of me. I think one of the things that adds real heft to the independent science is that the scientists are taking a pay cut to do it. So how do children figure in? Do you think children are being groomed by the industry to eat these foods? A senator, I think in Chile, got in hot water for comparing big food companies to kind of sex offenders. He made, in my view, a fairly legitimate comparison. I mean, the companies are knowingly selling harmful products that have addictive properties using the language of addiction to children who even if they could read warning labels, the warning labels aren't on the packs. So, I mean, we have breakfast cereals called Crave. We have slogans like, once you stop, once you pop, you can't stop. Bet you can't just eat one. Yeah, I think it is predatory and children are the most vulnerable group in our society. And you can't just blame the parents. Once kids get to 10, they have a little bit of money. They get their pocket money, they're walking to school, they walk past stores. You know, you have to rely on them making decisions. And at the moment, they're in a very poor environment to make good decisions. Perhaps the most important question of all what can be done. So, I'm speaking to you at a kind of funny moment because I've been feeling that a lot of my research and advocacy, broadcasting... you know, I've made documentaries, podcasts, I've written a book, I've published these papers. I've been in most of the major newspapers and during the time I've been doing this, you know, a little under 10 years I've been really focused on food. Much less time than you. Everything has got worse. Everything I've done has really failed totally. And I think this is a discussion about power, about unregulated corporate power. And the one glimmer of hope is this complaint that's been filed in Pennsylvania by a big US law firm. It's a very detailed complaint and some lawyers on behalf of a young person called Bryce Martinez are suing the food industry for causing kidney problems and type two diabetes. And I think that in the end is what's going to be needed. Strategic litigation. That's the only thing that worked with tobacco. All of the science, it eventually was useful, but the science on its own and the advocacy and the campaigning and all of it did no good until the lawyers said we would like billions and billions of dollars in compensation please. You know, this is an exciting moment, but there were a great many failed lawsuits for tobacco before the master settlement agreement in the '90s really sort of changed the game. You know, I agree with you. Are you, are you optimistic? I mean, what do you think? I am, and for exactly the same reason you are. You know, the poor people that worked on public health and tobacco labored for decades without anything happening long, long after the health consequences of cigarette smoking were well known. And we've done the same thing. I mean, those us who have been working in the field for all these years have seen precious little in the ways of policy advances. Now tobacco has undergone a complete transformation with high taxes on cigarettes, and marketing restrictions, and non-smoking in public places, laws, and things like that, that really have completely driven down the consumption of cigarettes, which has been a great public health victory. But what made those policies possible was the litigation that occurred by the state attorneys general, less so the private litigating attorneys. But the state attorneys general in the US that had discovery documents released. People began to understand more fully the duplicity of the tobacco companies. That gave cover for the politicians to start passing the policies that ultimately made the big difference. I think that same history is playing out here. The state attorneys general, as we both know, are starting to get interested in this. I say hurray to that. There is the private lawsuit that you mentioned, and there's some others in the mix as well. I think those things will bring a lot of propel the release of internal documents that will show people what the industry has been doing and how much of this they've known all along. And then all of a sudden some of these policy things like taxes, for example, on sugared beverages, might come in and really make a difference. That's my hope. But it makes me optimistic. Well, I'm really pleased to hear that because I think in your position it would be possible. You know, I'm still, two decades behind where I might be in my pessimism. One of the kind of engines of this problem to me is these conflicts of interest where people who say, I'm a physician, I'm a scientist, I believe all this. And they're quietly paid by the food industry. This was the major way the tobacco industry had a kind of social license. They were respectable. And I do hope the lawsuits, one of their functions is it becomes a little bit embarrassing to say my research institute is funded [by a company that keeps making headlines every day because more documents are coming out in court, and they're being sued by more and more people. So, I hope that this will diminish the conflict, particularly between scientists and physicians in the food industry. Because that to me, those are my biggest opponents. The food industry is really nice. They throw money at me. But it's the conflicted scientists that are really hard to argue with because they appear so respectable. Bio Dr. Chris van Tulleken is a physician and a professor of Infection and Global Health at University College London. He trained at Oxford and earned his PhD in molecular virology from University College London. His research focuses on how corporations affect human health especially in the context of child nutrition and he works with UNICEF and The World Health Organization on this area. He is the author of a book entitled Ultraprocessed People: Why We Can't Stop Eating Food That Isn't Food. As one of the BBC's leading broadcasters for children and adults his work has won two BAFTAs. He lives in London with his wife and two children.

Singer, Songwriter, and fellow Jonas Brothers fan Robert Cole Jr. stops by the podcast to chat all things Jonas Brothers with B.B., and the current campaign to sing Kevin Jonas's solo song "Scandinavia" at the upcoming Phoenix date of their current 'Greetings From Your Hometown' tour celebrating 20 years of the band. Learn More and Support Robert: IG/Tiktok: @Robertcolejr__4 (There are two underscores)Linktree: https://linktr.ee/Robertcolejr__4Shoutout Arizona Article: https://shoutoutarizona.com/meet-robert-cole-jr-singer-songwriter-musician/Voyage Phoenix Article: https://voyagephoenix.com/interview/rising-stars-meet-robert-cole-jr-of-scottsdaleStream Robert's debut single "Home" available on ALL platforms: https://artists.landr.com/990591113466Audio and Video provided by our friends at Riverside.FM!Learn More about Trending Topics with BB Podcast: https://linktr.ee/ttwithbbLearn More about BB Media Industries, LLC: https://linktr.ee/bbmediaindustries

With a large domestic market for wine, US producers often don't focus a lot on exports. Honore Comfort, VP of International Marketing for Wine Institute, lays out the benefits and challenges of exporting wines globally. She covers the top markets for US wine globally, the role Wine Institute plays in helping US exports, and the potential impacts of the current trade war. Detailed Show Notes: Wine Institute overviewMembers are CA wineries (>1,000)Public policy organization focused on legislation (e.g., DTC shipping)Member dues are a sliding scale (based on prior year revenue & volume), baseline is a few hundred dollarsCA is the 4th largest wine region in the world after France, Italy, and SpainLargest market in the USThe US market is 75% domestic (80% from CA), 25% importsExport is 4% (by value), 95% is CATraditionally lower-priced wines, now a barbell (both low and high, but not mid-priced wines)Other countries have high taxes, duties, and tariffs on imported wines (int'l pricing often 2-3x US retail, 10x for India)Cost to produce is high in CA (heavily regulated - environmental & labor force protections; land costs high)Goal to showcase the diversity of CA wine globally, but only a sliver is available Key int'l markets - Canada (#1 until Feb 2025; ~30% of US exports - premiers took all wine off shelves as part of trade war); Europe #2 (Germany is hard w/ strong domestic, low priced market; Scandinavia big); UK #3 (punches above its weight as oldest wine market, lots of wine writers, critics, traders; one of the broadest selections of CA wine); China, Japan, Korea, MexicoWine Institute has active programs in >30 countries for CA winesBenefits of exporting wine: importers sell wine for you (no 3-tier system like the US), build brand visibility, position wines next to other great wines of the worldChallenges of exporting wine - takes investment, needs face-to-face storytellingSmall Napa producer (

In this empowering and insightful episode, we sit down with the legendary Dr. Eric Berg, one of the world's most recognized educators in the keto and intermittent fasting space. With over 28 million YouTube subscribers and content translated into 20+ languages, Dr. Berg has helped millions transform their health through what he calls Healthy Keto — a clean, nutrient-dense, and sustainable approach to low-carb living.Although he's never been to Norway, Dr. Berg shares a special connection to Scandinavia — his family is originally from Sweden, and he's a big fan of Norwegian fish for its purity and omega-3 power. This episode brings a personal touch as we connect across continents to explore the science, the myths, and the mindset behind real, lasting health.Together, we dive into the science and nuance behind keto — starting with Dr. Berg's own transformation as a 28-year-old struggling with fatigue, weight gain, and multiple health issues. From there, we explore everything from cholesterol myths and hormone health, to why some people regain weight, and how keto impacts the gut, stress levels, and heart health.Many women in perimenopause or menopause struggle with hormone imbalances and in this episode, Dr. Berg shares why supporting testosterone is actually essential during this time. As he explains, a significant portion of estrogen during menopause is converted from testosterone — meaning that helping the body maintain healthy testosterone levels can support overall hormonal balance, energy, and fat loss.Whether you're keto-curious or a long-time low-carb advocate, this conversation is full of powerful takeaways — especially for women navigating perimenopause and hormonal changes.What You'll Learn in This Episode:Dr. Eric Berg's personal journey into keto — and what sparked his mission to educate the worldHow to follow a keto lifestyle without raising LDL cholesterolThe connection between keto, SHBG, testosterone, and hormonesKeto for women in perimenopause and menopause — what to focus on and what to avoidWhy some people regain weight on keto, and what to do about itThe truth about fiber, gut health, and bloating on a low-carb dietShould you stay in ketosis long-term or use keto in cycles?What heart rate variability (HRV), cortisol, and stress tell us about keto's impactWho shouldn't do keto, and red flags to watch forWhat the latest research says about keto and heart healthWhy lactate levels and mitochondrial function matter in biohackingThe biggest myths about keto that need to be bustedDr. Berg's top 3 tips for women using keto as a biohacking toolGuest: Dr. Eric Berg: Website: www.drberg.comYouTube: Dr. Eric Berg DC instagram: @drericbergTakk til vår samarbeidspartner:Oslo skinlab: Osloskinlab.no: rabattkode: bio60 @osloskinlabBoken vår BIOHACKING, - 18 uker på BESTSELGERLISTEN den finner du her:https://www.ark.no/produkt/boker/hobbyboker-og-fritid/biohacking-9788205611474Nysgjerrig på neste Biohacking Weekend 21 og 22 mars 2026? Mail: christin@kongresspartner.no

#ComedyLegend #CircusComedy #AcrobaticLegend #Mensgymnastics WAS Hall of Fame Videohttps://www.youtube.com/watch?v=19WJkb8recsAttend World Acrobatics Society Congress 2025-https://worldacro.comOn this episode of the Circuspreneur Podcast, host Shenea Stiletto interviews gymnastics and circus acrobatic comedy legend Bobby Dixon. Bobby began his entertainment career in water shows, sports shows, and half-time shows, performing comedy trampoline, tumbling, comedy P-bars, hand-balancing, comedy diving & high-diving, and even comedy flying trapeze. He was the “Head Clown” every year for the annual Dolphin Show at the University of Iowa. After the final Olympic Trials in 1972, Bobby studied comedy acrobatics with Iowa gymnastics legend, Larry Griswold, and began performing Larry's comedy act with a 3 meter diving board and a trampoline in 1973.Bob started out performing in gala shows and circuses. His first contract outside the United States was in a South African circus in 1974. From Africa he went to a season of amusement parks in Scandinavia and then to a Spanish circus for a couple of years. After that, he began expanding his possibilities to include other venues. From 1999 he also performed several visual comedy acts with his much funnier companion, best friend, and personal sports massage therapist for the past 40 years… his wonderful Dutch wife Anoushka.Bobby is an Acrobatic Legend and is now Associate Editor of ACROnews for the World Acrobatics Society, which has its upcoming congress in Las Vegas this coming September 5-7th and is open to the circus public.

This Sunday, we're honored to welcome Greg Schultz, missionary to Norway, as he shares an inspiring update on the incredible work God is doing through their ministry overseas. From stories of lives being changed to the unique challenges and opportunities of serving in Scandinavia, Greg brings a powerful perspective on what it means to live on mission. Along with this exciting update, Greg delivers a timely message from God's Word that will challenge and encourage us to carry the gospel wherever we are planted. Don't miss this chance to hear how God is moving globally—and how He's calling us locally, too.

Pro wrestling championships often have some sort of regional designation in their name to distinguish them, à la the United States Championship or the Intercontinental Championship. The WWE European Championship was one such title (though its list of champions wasn't exactly a map of the EU). On this episode, Andrew is joined by returning guest Paul Völsch (Emerald FlowShow) to play artists who are from Continental Europe. To clarify, there will be no UK or Ireland representation, but Scandinavia and Iceland are included. Artists featured include Röyksopp (Norway), Peter Fox (Germany), Air (France), Måneskin (Italy), Björk (Iceland), Sabaton (Sweden), DJ Sammy (Spain), and many more. Grab a Eurail Pass and pack a bag, we're heading on a European tour!Theme song: "Hemispheres" by Silent PartnerBluesky: @MusicoftheMat / @justandrewAll VOW podcasts, articles, previews, and reviews: VoicesofWrestling.comJoin the VOW Discord to discuss Music of the Mat and other shows/topics: VoicesofWrestling.com/DiscordDonate to Music of the Mat and other VOW podcasts: VoicesofWrestling.com/DonateAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Weird Denmark and Scandinavia: Steve welcomes Danish school teacher Qiriye to discuss haunted castles, the fae, and more from Scandanavian region.Become a supporter of this podcast: https://www.spreaker.com/podcast/missing-persons-mysteries--5624803/support.

For the season finale, we sit down with Sherilyn Nicolette Hellberg, an up-and-coming American translator of Scandinavian fiction and non-fiction. After falling in love with Danish literature at school, she swapped Long Island for Copenhagen — and hasn't looked back.From deciphering Danish idioms to navigating Copenhagen's literary "hothouse," Sherilyn shares her translation journey. You'll hear about learning a language that can sound like "French underwater", translating books that blur poetry and prose, and why AI can't match the human touch for capturing nuance.Whether you're a bookworm or a language lover, this episode is a delightful deep dive into the art and joy of bringing Danish stories to the world.Links:Sherilyn's official websiteWaist Deep by Linea Maja ErnstAfter the Sun by Jonas EikaDeficit by Emma HoltenThe Employees by Olga RavnMy Work by Olga RavnVisit www.archipelagoaudio.com for more information.

Welcome to the Fundraising Everywhere Podcast, today, we've got something a little bit different for you. To celebrate our upcoming recruitment and careers conference coming up on Thursday 20th November, we've decided to hand the mic over to our guest host Rory White in this special series of episodes called 'It Started On The Street'. Rory will be chatting to some brilliant leaders in the charity sector and beyond about their journeys since they started their careers as dialogue fundraisers. "I was really intrigued when I first spoke to Seth Piper. He's someone who started his career in face-to-face fundraising in the UK, before moving over to Scandinavia, where his path took an unexpected turn. Seth went on to work with Greenpeace, playing a key role in establishing their face-to-face operations in Scandinavia.Now, he's brought that wealth of experience into the world of politics and grassroots activism — training campaigners and organisers on how to engage with people effectively. I found that crossover from face-to-face fundraising to political and grassroots work absolutely fascinating. It's not something I'd come across before, and I think it offers a lot of insights for anyone working in engagement, campaigning, or advocacy. So, I hope you enjoy this conversation with Seth Piper" You can learn more about our upcoming Fundraising Recruitment and Careers Conference happening on Thursday 20th November here If you enjoyed this episode, don't forget to hit follow and enable notifications so you'll get notified to be first to hear of future podcast episodes. We'd love to see you back again! And thank you to our friends at JustGiving who make the Fundraising Everywhere Podcast possible.

This week we began with a brief but vital chat about sitting on a d4. Look, we had it, so you need to listen to it. Mercifully, we then moved on to discussing I (the character, not the me) taking control of the narrative. We talked about the Gloam camp - what the players were expecting and how those expectations were confounded by reality. This led to discussion of overthinking and overplanning when it comes to encounters, and how the players can sometimes be their own worst enemies. Still, there was time to revel in a rare instance of a plan going off without a hitch. We ruminated on what was next for Mina Lavigne - widow of Azrel - and whether she would be able to avoid falling into the clutches of a midlife crisis, ending in her getting involved in one of the many multi level marketing schemes that blight Reliquiae. And that's canon now.An extended discussion of bad smells and the fermented foods of Scandinavia led us (somehow) back to Somnium, body horror and the constraints that the three realms of existence place on Harry's use of certain monsters. Our dear DM then went on what we can only describe as a bit of a rant about Reliable Talent being overpowered, and - speaking of overpowered - we discussed the potential destructive capacity of the greatsword Elowen looted from the body of Lilith.We finished by looking ahead to what might be lurking within the caves as the path leads ever downward towards… well, that's for next time. Hosted on Acast. See acast.com/privacy for more information.

Dr. Alessi welcomes Dr. Stephanie Alessi LaRosa, director of Sports Neurology at Hartford Healthcare, for a timely discussion on sports related brain injuries ahead of the scholastic sports season. They cover the Sports Neurology program at Hartford Healthcare and strategies to help protect children and grandchildren involved in high impact sports. Dr. Alessi also reflects on his recent travels through Europe and Scandinavia, sharing conversations he had with locals about their healthcare systems and offering his perspective on how those systems compare to healthcare in the United States.

Henrik Knudsen is the Elvis Presley superfan who built Memphis Mansion — a brick-for-brick replica of Graceland in the Danish city of Randers.From his 148 pilgrimages to America to the legal showdown with Elvis Presley Enterprises, Henrik's story is a rollercoaster of obsession, risk, and rock history. This episode is a love letter to fandom, a testament to following your wildest ideas, and a reminder that sometimes, the craziest dreams make the best stories.Visit https://www.memphismansion.dk/ for more.Visit www.archipelagoaudio.com for more information.

What a week at Glorious Goodwood — and we've got every major angle covered. Emmet Kennedy is joined by Adam Mills and Jamie Wrenn to unpack a seismic week on the Downs. From a record-breaking 150/1 shock in the Sussex Stakes to major Arc and St Leger implications, this is your full recap with betting angles, bold predictions, and explosive opinions.

We're back on track for Day 2 of the Qatar Good Festival and Nick is alongside Matt Chapman this morning, dressed beautifully as ever. They spin through yesterday's racing and discuss just how good Scandinavia could be with. Word from his jockey Wayne Lordan and Nick and Matt pay tribute to Trueshan, who suffered a fatal injury in the Goodwood Cup. Eve Johnson Haughton reflects on her success yesterday whilst Richard Brown of Wathnan and James Doyle look forward to their runners this afternoon. Tom Savill, assistant manager at Plumpton Racecourse, joins via FaceTime to propose a new funding idea for the sport and is tackled hard by Nick on the proposal. Hugo Palmer and Ed Sackville make a cameo appearance whilst Timeform offer their perspective of yesterday and Jane Mangan has our bulletin from Galway.

The Human Library is a groundbreaking initiative founded in Copenhagen in 2000, where instead of borrowing books, visitors "borrow" people — volunteers who share their personal stories and experiences to challenge prejudice and foster understanding.In this episode, founder Ronni Abergel shares the origins of the project, its global expansion to over 80 countries, and the careful process of selecting and supporting "books" to ensure a safe, respectful environment for both storytellers and readers.The episode delves into the transformative power of these encounters, both for the volunteers and the public, and discusses the challenges of maintaining the project in a changing social and corporate landscape. This is the extraordinary story of an ongoing mission to break down barriers, one conversation at a time.Find out more about the Human Library at https://humanlibrary.org/.Visit www.archipelagoaudio.com for more information.

We're back on track for Day 2 of the Qatar Good Festival and Nick is alongside Matt Chapman this morning, dressed beautifully as ever. They spin through yesterday's racing and discuss just how good Scandinavia could be with. Word from his jockey Wayne Lordan and Nick and Matt pay tribute to Trueshan, who suffered a fatal injury in the Goodwood Cup. Eve Johnson Haughton reflects on her success yesterday whilst Richard Brown of Wathnan and James Doyle look forward to their runners this afternoon. Tom Savill, assistant manager at Plumpton Racecourse, joins via FaceTime to propose a new funding idea for the sport and is tackled hard by Nick on the proposal. Hugo Palmer and Ed Sackville make a cameo appearance whilst Timeform offer their perspective of yesterday and Jane Mangan has our bulletin from Galway.

The Season Premiere of Mythos University, Season 2: Summer Break! The mythical students and alumni of the mythical college are BACK! But we're not at school anymore, it's summer! So our heroes are getting aboard a cruiseline in the magical and mysterious lands of Scandinavia! What has everyone been up to? And what is in store for them here and now? Check it out! The Cast: Nova - Taylor https://beacons.ai/spunkytaylor Evan - Connie https://linktr.ee/cameraconnie V-lock - Meadow https://beacons.ai/howdylovedarlingm Kairos - Daniel H. https://linktr.ee/danielkhargrove Hedone - ClassicSamNYGM https://linktr.ee/classicsamnygm Icarus - Taylor H. https://linktr.ee/soyouwannabeadm Dungeon Master - Justin G. https://linktr.ee/soyouwannabeadm CONTENT WARNING: Parental death, Abandonment, Heights, Toxic work relationships, Alcohol/Drug Use, and Betrayal. If you feel we missed one, please email us so we can update it. And remember to give us 5 Stars ⭐️⭐️⭐️⭐️⭐️ AND a positive review! This helps us so much! Tell your friends!  --------------------------- Reach out to us at Soyouwannabeadm@gmail.com And CLICK HERE to support us on Patreon, chat with us on Discord, follow us on TikTok, Instagram, Twitch, and more!  WE HAVE MERCH! Click the link above!  

Steve welcomes Danish school teacher Qiriye to discuss haunted castles, the fae, and more from Scandanavian region.Become a supporter of this podcast: https://www.spreaker.com/podcast/missing-persons-mysteries--5624803/support.

Swedish Lapphund and the Genetics of the Arctic Spitz Breeds [caption id="attachment_14251" align="alignleft" width="540"] Desiree Ramirez with one of her Swedish Lapphunds.[/caption] Host Laura Reeves is joined by Desiree Ramirez to discuss the Swedish Lapphund and the genetics of the arctic spitz “archetype” that developed into landrace dogs and then different breeds over centuries. Swedish Lapphunds are not Finnish Laphunds or Finnish Spitz or Norwegian Buhunds or Norwegian Elkhounds or Samoyeds or Karelian Bear Dogs. Currently registered by AKC in the FSS, there are only about 40 dogs in the US. They are their own unique breed developed in the same region of the Scandinavian countries by the Sami people of Lappland (northern Norway, Sweden, Finland and northwest Russia). But these breeds all developed in the same basic region of the world. “We have archeological evidence of these lap -ish dogs going back four to 8 ,000 years,” Ramirez said. “Like some of the first dogs in Scandinavia and Europe. They were the landrace archetype. “And these dogs all are in haplogroup D and specifically when we talk about genetics specifically subclade group D1. Now haplogroup D is the most recent haplogroup in dog genetics that has the most recent wolf ancestry, barring any, you know, modern wolf mixes that we have. It is the most recent dog breed, dog type with wolf ancestry. [caption id="attachment_14250" align="alignright" width="536"] Swedish Lapphund puppy.[/caption] “That's why a lot of these dogs are these spitzy. That's why they looked so wolfy, they have a lot of those holdover traits because they're so close. Subclade Group D is specific to these Scandinavian breeds. So you're Finnish Lapphund, your Swedish Lapphund, Lapponian herders, all the elk hounds, they're all coming from that one subclade D. “(One) thing that makes them really different (from the Finnish Lapphund). This is where they really shine between the two of them is their temperament. OK, Swedish Lapphunds are a little bit more drivey. The first comparison I ever heard between the two of them was it's like comparing a V6 and a V8 engine. “The Swedish Lapphund is just going to drive and push and they really want to work, but they're the ones that will turn around and look at you in the yard and be like, OK, what are we doing next that? The handler focus that they have is extreme. They're always looking for you for that next thing that you want to do. “The Swedish Lapphund or the Lappish dogs were from the Sami people. And these dogs had to be versatile. They had to do everything. So hunting, herding, guarding, keeping the people warm, they had to do it all. There was no ability to specialize, right, if the owner needed it, that dog was doing it. “And to this day they still like to have a variety within the litter. So you might have a dog that's really good at hunting, which we still have dogs hunting and you might have one that herds and you might have one that is really just a great couch potato and they love that. They love that versatility and variety of temperament within the breed.”

Nick is joined by David Yates of the Mirror to discuss the latest from around the racing world. Among topics today, the first Oisin Murphy broadcast interview since his court appearance, the precarious Lord Allen situation, and the reversal of syndicate criteria by Weatherbys, on which subject Nick talks to Value Racing Club supremo James Couldwell. Also on today's show, Ed Walker eyes up a 12th stakes win of 2025 with Mgheera this weekend and reflects on number 11 with Qilin Queen, while Rod Millman continues his love affair with the Super Sprint courtesy of Anthelia. Dan Barber has the Timeform perspective on Leger hopeful Scandinavia, while New Zealand breeding giant John Thompson of Rich Hill Stud is today's Weatherbys Bloodstock Guest.

Nick is joined by David Yates of the Mirror to discuss the latest from around the racing world. Among topics today, the first Oisin Murphy broadcast interview since his court appearance, the precarious Lord Allen situation, and the reversal of syndicate criteria by Weatherbys, on which subject Nick talks to Value Racing Club supremo James Couldwell. Also on today's show, Ed Walker eyes up a 12th stakes win of 2025 with Mgheera this weekend and reflects on number 11 with Qilin Queen, while Rod Millman continues his love affair with the Super Sprint courtesy of Anthelia. Dan Barber has the Timeform perspective on Leger hopeful Scandinavia, while New Zealand breeding giant John Thompson of Rich Hill Stud is today's Weatherbys Bloodstock Guest.

Laurent had the pleasure and privilege of sitting down with Markus Rauroma, CEO of Fortum, during the Eurelectric “Power Play” conference in Brussels this June.  Fortum, the Finnish energy company also active in Sweden and Poland, finds itself right on the front line when it comes to tensions with Russia—not exactly your average utility boardroom drama.   The conversation kicks off with Markus's recent election as President of Eurelectric, taking over from none other than Leo “the Great” Birnbaum, CEO of E.ON.We talk about the challenges Markus has faced so far, including how Fortum managed to steer through the stormy waters of the Ukraine war, and what's ahead for the industry. Spoiler: it's not all doom and gloom—there's strategy, resilience, and some surprisingly good teamwork. Markus rolls out Eurelectric's Manifesto centred on customers, security of supply and digitisation (AI).  Markus introduces his vice-presidential duo: Georgios Stassis (CEO of PPC) and Catherine MacGregor (CEO of Engie). According to him, it's a well-balanced trio—think energy world's version of the Avengers, but with spreadsheets and grid stability. He also gives kudos to Kristian Ruby, Secretary General of Eurelectric, and the Brussels team for their stellar behind-the-scenes work.The chat then shifts to the Baltics, one of the rare places in Europe where electricity demand is actually growing. Fortum's been ahead of the game there too: Markus reveals they now have over 1.3 GW of capacity lined up and ready to power new datacenters—because TikTok videos don't host themselves.  Of course, we couldn't ignore the constant cyber-attacks and sabotage attempts coming from Russia. Markus shares how Fortum has learned to deal with them—let's just say they don't flinch easily anymore.  And finally, a public mea culpa: Laurent repeatedly referred to Finland as part of Scandinavia. A common slip-up. For the record: Finland is next to Scandinavia, but it's not in it. The Finns are Nordic, not Scandinavian—but much like their neighbours to the west, they handled the mix-up with trademark cool. No sauna ban issued.  We thank Kristian Ruby and all the Eurelectric team for organising this recording and putting together such a great summit.

Actor Magnus Bruun, (voice of male Eivor in Assassin's Creed Valhalla!), joins Lexie to chat about his love for storytelling and the rich history and mythology of Scandinavia that shaped his artistic vision, playing Cnut in "The Last Kingdom”, the challenges of portraying characters in both television and video games, and share some behind-the-scenes stories from working on Assassin's Creed Valhalla. So tuck in your togas and hop aboard Trireme Transit for this week's exciting odyssey! Don't forget to follow us on Twitter, Facebook & Instagram or visit our website www.theozymandiasproject.com! Originally recorded January 5, 2025. Follow Magnus on Instagram: https://www.instagram.com/magnusbruun/?hl=en Find all of his projects on his IMDb page: https://www.imdb.com/name/nm2422401/Support us on Patreon: https://www.patreon.com/TheOzymandiasProject Custom music by Brent Arehart of Arehart Sounds and edited by Dan Maday. Hosted on Acast. See acast.com/privacy for more information.

Most people mess up not on what they observe… but on the conclusions they draw. In this episode, I break down how to train your brain for deeper thinking, challenge your “ipso facto” logic, and avoid the unknown unknowns that sabotage your success. I cover everything from using AI (ChatGPT) in the shower to rewire your beliefs, to why Scandinavia and the Amish have cracked the code on happiness, love, and health. Whether you're chasing wealth, better relationships, or purpose — this episode will give you a new lens to see the world through.Want me and my team to build your personal brand or marketing systems?Book a call at:

In the summer of 1946, the skies over Scandinavia were alive with unexplained activity. Strange lights and cigar-shaped objects had been seen darting across the sky, often moving too fast and too precisely to be dismissed as meteors. They came without sound, left no debris, and vanished before they could be traced.But in the Swedish town of Ängelholm, just as that wave of sightings was peaking, something else happened, something far more direct.A man claimed he didn't just see a strange object flying overhead. He said it landed. He said he approached it. And he said the encounter was unlike anything he had ever experienced before or since.Brief Encounters is a tightly produced, narrative podcast that dives headfirst into the world of UFO sightings, the paranormal, cryptids, myths, and unexplained legends. From ancient sky wars to modern close encounters, each episode takes listeners on a journey through some of the most mysterious and compelling cases in human history. Whether it's a well-documented military sighting or an eerie village legend whispered across generations, Brief Encounters delivers each story with atmosphere, depth, and cinematic storytelling. Episodes are short and binge-worthy perfect for curious minds on the go. In just 5 to 10 minutes, listeners are pulled into carefully researched accounts that blend historical context, eyewitness testimony, and chilling details. The series moves between eras and continents, uncovering not only the famous cases you've heard of, but also the forgotten incidents that deserve a closer look. Each story is treated with respect, skepticism, and wonder offering both seasoned enthusiasts and casual listeners something fresh to consider. Whether it's a 15th-century sky battle over Europe, a cryptid sighting in a remote forest, or a modern-day abduction report from rural America, Brief Encounters is your guide through the shadows of our world and the stories that refuse to be explained.UFO Chronicles Podcast can be found on all podcast players and on the website: https://ufochroniclespodcast.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/ufo-chronicles-podcast--3395068/support.

Tai Lopez breaks down why no single place in the world gives you everything—health, wealth, love, and happiness. From working on the farm to flying to Europe, he shares the real trade-offs between city and country, America and Scandinavia, ambition and peace. This isn’t just theory—this is lifestyle architecture grounded in hard-earned experience. Want a better life? Understand the trade-offs.

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

Set across three distinct eras—Viking-era Scandinavia, feudal Japan, and World War II in the skies—the film follows three legendary warriors: Viking Queen Ursa on a brutal vengeance quest alongside her son; samurai brothers Kenji and Kiyoshi torn by honor and betrayal; and U.S. Navy pilot Johnny Torres dogfighting in a Predator-infested Atlantic. Each vignette pits human skill and courage against the alien hunters, culminating in a thrilling convergence on the Predator homeworld, where the trio must unite to survive a gladiatorial showdown. With razor-sharp painterly animation, inventive Predator tech, and a sweeping score, Killer of Killers deepens Predator lore while delivering visceral, globe-spanning sci-fi action.