Podcasts about shallots

Dr. Don and Professor Ben talk about the risks from onions and/or shallots with black mold. Dr. Don - not risky

4 x 175g fillets hake, scaled and pinboned 200ml water 15g seasalt 2 tablespoons oil 25g butter Place the water and salt in a pan and bring to a simmer until salt has dissolved. Cool completely then submerge the hake in the brine and leave for an hour. Remove and pat dry on kitchen paper. Heat the oil in a large non stick frying pan ( or line a frying pan with parchment paper to ensure no sticking). Add the oil and heat until hot. Add the hake, skin side down and press into the pan. Cook for 5 minutes or until skin is golden. Add the butter and cook for a minute then flip over a cook through on the other side for a couple of minutes. Allow to rest for a couple of minutes before serving.Cucumber and dill veloute ½ cucumber 1 shallot, finely chopped 15g butter 150ml dry white wine or dry cider 200ml chicken stock 75ml double cream 2 tablespoons chopped dill Salt to taste If you have a small melon baller, make about 20 balls out of the cucumber. If not, cut the cucumber in half lengthwise, then in half again. Scoop out the seeds and cut the cucumber into 1cm dice. Cook the shallot in the butter over low heat until soft – about 5 minutes. Crank up the heat and add the wine. Boil until reduced by half. Add the stock and boil to reduce by half again. Add the cucumber and cream and boil to spoon coating consistency. Check seasoning and add the dill. Dulse pickled shallots 2 shallots, peeled and sliced as thinly as you can 50ml cider vinegar 50ml water 2 teaspoons castor sugar 1 tablespoon dulse Bring the cider, water, sugar and dulse to boil until sugar has dissolved. Check seasoning and add the shallots. After an hour remove the dulse and shred finely. Add back to the shallots. When ready to use, drain off. Serve the hake with the sauce around and some pickled shallots on top with a few sprigs dill.

Maddie joins Caitlin to cover Red Rooms, a 2023 movie that is part horror thriller, part courtroom drama. It's one that really stuck with us, both for its masterful direction and its shocking acts of "nonphysical violence." Highly recommend. Tangents include: the Lady of Shallot, astrology (duh), Canada, eyesight, FMKs for meats and Real Housewives, cryptids in the wild, what scared us as kids, Osama Bin Laden, and pasta shapes.

What's the new Dr Pepper flavors? What's the best sandwiches in each state? 55 Itialians and 32 others walk into a bar? Who is served first?

Are you stuck in a dinner rut, relying on that familiar jar of pasta sauce for a quick weeknight meal? In this bite-sized episode, we share delicious moments about the best things we ate this week to inspire each other – and you! By the end of this episode, you'll discover an easy caramelized shallot pasta to your weekly dinner rotation (and it makes enough sauce for 2 meals!). You'll also learn one of our favorite techniques for cooking sweet potatoes so they're fluffy and tender — and topped with a flavorful sauce that takes just minutes to make!Tune in now for a quick dose of home cooking inspiration! ***Links:Alison Roman's carmelized shallot pasta recipe and videoCarla Lalli Music's steamed sweet potatoes with tahini butter ***Got a cooking question? Leave us a message on our hotline at: 323-452-9084For more recipes and cooking inspiration, sign up for our Substack here.Order Sonya's cookbook Braids for more Food Friends recipes!We love hearing from you — follow us on Instagram @foodfriendspod, or drop us a line at foodfriendspod@gmail.com!

Here is a great addition to a holiday table. Or use it on a more regular basis with roasted chicken or lamb. You can roast the grapes and the shallots at the same time, as long as you watch the individual cooking times; they are different.

Julie Biuso brings us a scrumptious and beyond belief celebratory meal. The buttery crust flakes off as you slice the lamb - make sure you spoon it on top of the sliced lamb before serving. Get the recipe here.

Creamy chickpeas, bitter broccoli rabe, sweet shallots, and a snappy red pepper puree the combination looks great and tastes good, too. In case you are thinking you might like to use canned chickpeas as a way of saving time, we don't recommend it. The texture of soaked, slowly simmered chickpeas is what you want here. 

We're watching Star Trek: Enterprise Season 1, Episode 20: “Oasis” but only Jamie has actually watched the episode. The crew comes across survivors of a ship crash and Trip flirts with a cute girl, but they have secrets and blah, blah, blah. Who are we kidding? We're all just here to see René Aubernjonois act […] The post EnterpriseSplaining 21: It's Shallot to Deal With! appeared first on The ESO Network.

The pasta salad is particularly nice for company because fresh porcini mushrooms, available only in the fall, are special. The wait for them is worth it. Use cremini, shiitake, or a combination of the two at other times. If you are serving this for a special occasion, roast tenderloin, with or without a peppercorn crust, is the ideal accompaniment. Because of the cream in the mushroom glaze, this pasta, special as it is, does not keep.

With our warm fall, we're still enjoying fresh tomatoes, peppers, greens, and zucchini from the garden. But it's also time to start thinking about planting garlic and shallots. These two alliums are easy to grow. Unlike other veggies, you plant garlic and shallots in the fall for an early summer harvest. There are two main types of garlic: hardneck and softneck. Hardneck varieties, such as 'Romanian Red' and 'German Extra Hardy', form a flower stalk or scape in spring that can be harvested and eaten. We make a mean pesto from garlic scapes. Even if you don't like eating the scape, it still should be removed to get larger garlic bulbs. Softneck varieties, such as 'New York White' and 'Inchelium Red', have soft leaves that are good for braiding. They last longer in storage than hardneck types. Plant garlic cloves 3- to 5-weeks before the ground freezes. Planting too early stimulates them to grow this fall, so wait until late October or early November to plant this year. The night before planting, break apart the bulbs into cloves. Leave them overnight to callous on the bottom, basal plate for best rooting. The next day plant, on compost amended raised beds, spacing the cloves pointy side up, 6 inches apart and a few inches below the soil deep. Water well and cover with straw or hay for winter protection. Shallots are another allium that can be fall planted. These small onions have a delicate, milder flavor than regular onions and are favorites in French cooking. Plant 'Dutch Yellow' and 'French Red' shallot varieties the same way you plant garlic.See omnystudio.com/listener for privacy information.

October is a wonderful month in the garden - crisp blue skies and fantastic autumn colour to enjoy. DIG IT's Peter Brown and Chris Day look at the month as far as places to visit, what's in the world of gardening news and timely tasks to be getting on with - so not quite the month to take your foot off the pedal!What's on5th & 6th October, 10am-4pm: Buckingham Garden Centre's Apple Weekend. Apple identifying with Gerry Edwards, apple pressing and juicing with the Mid Shires Orchard group, a Heritage Apple Display featuring over 100 varieties, Jessica Naish from the Buckingham Cut Flower Farm, a fantastic Tombola, plus The Woodland Trust and BBOWT.Saturday 5th October: Autumn Plant Fair at RHS Garden Bridgewater, Manchester.Saturday 12th October, 11am-4pm: National Alpine Garden Show at RHS Harlow Carr Gardens.26th October - 3rd November: Scarecrow Hunt at Painswick Rococo Garden Trust in Stroud.News Giant mosaic made from apples at National Trust Cotehele in Cornwall last month.Weather concerns could see tulip bulb prices rise by as much as 20% in 2025, Dutch growers warn.Britain's rarest orchid discovered after one man's 15-year hunt.New rare and endangered plant exhibition opens at Kew Gardens.Plea to use less herbicides and pesticides in our towns voiced by The Pesticide Collaboration.Tulip trees as well as storing more carbon are no longer hardwood they are now Midwood! It's all about the cells, says new study.Vegetable and flower seed merchant Dobies celebrates 130th anniversary.‘Delphinium Dad' efforts rewarded with National Plant Collection status.Artists set to champion ancient plane tree.A new garden commemorating the life of Queen Elizabeth II is to be constructed in London's Regent's Park.Upcycling facemasks left over from the pandemic to cradle developing melons by the team at Bluebird Care in Stroud and Cirencester.Butterfly numbers drop disastrously reports Butterfly Conservation.Blenheim Palace introduces bee swarms to its nine new woodlands.Huge restoration for parklands at Crystal Palace.New report sheds light on why many plants have prickles.Dame Mary Berry joins 40th anniversary celebrations of the Macmillan & National Garden Scheme partnership. During the last 40 years the NGS has raised more than £19 million for Macmillan through private garden openings.David Austin launches Bring Me Sunshine ® as Climbing English Rose.DIG IT Top 5: Climbing roses As we approach the root wrap and bare-root season learn about our bestselling roses.Product mentions: Long handled bulb planters, greenhouse disinfectant, bubble insulation, hedgehog houses, lawn rake and leaf grabbers, bird feeders ready and primed with wild bird mix, sunflowers, peanuts, and fat balls. Evergreen Autumn Fertiliser, and lawn seed for overseeding and patch repair.Plant mentions: Allium ‘Rosy Dream,' Taylors Bulb of the Year and Daffodil ‘June Allyson,' Daffodil of the Year, Dogwoods, Hostas, Salix (Willows), planning for hedges, Garlic, Onions, and Shallots to plant now, pumpkins to harvest and rhubarb propagation - remove healthier outer sections to create new crowns.Our thanks to Chiltern Music Therapy for supplying the music. Hosted on Acast. See acast.com/privacy for more information.

Join us for the exciting conclusion of our series on taste buds as we conduct live taste tests of the final two flavors: sour and umami. In this episode, we chat about the unique characteristics of these tastes, exploring how they complement our culinary experiences. From tangy citrus to savory umami-rich dishes, we'll sample and discuss a variety of flavors to understand their impact on our palates. Tune in to discover the nuances of sour and umami, and learn how these flavors enhance the enjoyment of food in different cuisines around the world.Continue the exploration into tastes and flavors with the websites and resources we mentioned in this episode:MSGBurlap & Barrel's Umami Blend Check out our episode 34 on how to tell if you're a supertasterFennel + Citrus Salad with Shallots and CapersMount Olive pickle chipsNorth Carolina State FairPickle TreatsSandwich stuffer pickles  Fish sauceVegemiteThe Hamlet (British store in Mt. Kisco, NY) Food 52 article on why umami is so hard to describe Balsamic vinegarCreamy Balsamic Vinaigrette Balsamic Marinated Pork TenderloinO & Co. Fig BalsamicAged Balsamic VinegarTomato paste tubeChicken Fajitas Asafoetida (hing/heeng) powderAshley's Grill seasoning recipe (It's delicious!)See show notes for this episodes at www.passingtheplate.org/36Thanks for tuning in to the Passing the Plate podcast! Ready to dig deeper into your kitchen adventures? Make sure to visit: Check out the Passing the Plate website. Check out our webinar and ebook on our Resource page. Ashley at Big Flavors from a Tiny Kitchen: Get inspired by delicious recipes and start cooking delicious food at home no matter your skill level. Lisa at Are You My Cousin?: Learn how to find your ancestors, grow your family tree and uncover fascinating family histories and stories that connect us through food. Stay hungry for knowledge, keep the stories simmering, and join us again for our next delicious episode!

Waar lopen we als singles tegenaan bij eten, koken en reizen? We bespreken het deze week met niemand minder dan Jonas Kooyman van Havermelkelite. Waarom is de drempel om alleen uit eten te gaan vaak zo hoog? Waar ligt de scheidslijn tussen main character vibes en een hinderlijke spotlight? En hoe ga je om met die grote gezinsverpakkingen in de supermarkt, terwijl je maar voor één kookt? Waar vind je als vrijgezel de knaken en het reisgezelschap voor een vrolijke vakantie? Of moeten we juist onze backpack uit de kast trekken en solo op avontuur gaan om onszelf te leren kennen? Wij geven onze tips and tricks om je maaltijd en reis het beste te laten verlopen.

It's National Garlic month and I've got quite the treat! Chris Kiser, Spice World CEO, stopped by to share how Spice World is celebrating 75 years in business. This company has been a staple in my family for generations. It was such an honor to get insight from inside the brand. There is a special road trip that is set to begin in a few weeks to set off this celebration. Find out about new products and so much more during this feature! Web: https://spiceworldinc.com About: At Spice World, we continue to innovate and expand our fresh line of convenient flavors with a simple goal: to elevate the way consumers eat by providing Flavor Without Boundaries. ™ It could be said that nobody does innovation better than Spice World. We've grown from our garlic roots into a category leader that is passionate about providing a variety of innovative products, from peeled, ready-to-use, and organic garlic to fresh shallots, ready-to-use and squeezable ginger, Seasoning Blends, and new Spice World Easy Onion – a minced and chopped onion in a squeezable bottle. With products that already prepared in convenient jars and easy-to-use squeezable bottles, we've helped reduce prep time so you can focus on flavor. Even a spoonful of one of our Spice World Seasoning Blends or minced garlic products will enhance your meals with bold tastes. Just like our founder, we love sharing these exciting flavors. That's why, at Spice World, we source the finest fresh produce by following the sun to ensure consistency in quality and availability. ► Luxury Women Handbag Discounts: https://www.theofficialathena.... ► Become an Equus Coach®: https://equuscoach.com/?rfsn=7... ► For $5 in ride credit, download the Lyft app using my referral link: https://www.lyft.com/ici/ASH58... ► Review Us: https://itunes.apple.com/us/po... ► Subscribe: http://www.youtube.com/c/AshSa... ► Instagram: https://www.instagram.com/1lov... ► Facebook: https://www.facebook.com/ashsa... ► Twitter: https://twitter.com/1loveAsh ► Blog: http://www.ashsaidit.com/blog #atlanta #ashsaidit #theashsaiditshow #ashblogsit #ashsaidit®Become a supporter of this podcast: https://www.spreaker.com/podcast/the-ash-said-it-show--1213325/support.

Allium Rust on garlic has become quite an issue of the past 10 years, not just in Canterbury, where I live, but in many places of New Zealand. Many people complain that this fungal disease strikes in late winter/early spring and the only thing that stops it from hammering the garlic plants is by regular spraying with Copper or copper/sulphur fungicides (Organics!). And regular might be as frequent as every fortnight.  Rust is transmitted by air movement – the spores float with the wind and can travel from great distances. If you are in a densely populated area with many gardeners that grow onions, shallots, leeks, and other Allium species, the spores will be all over the place.  Traditionally garlic used to be planted on the shortest day (third week of June) and harvested around the longest day (Just before Christmas), but I've done some trials now for the last half a dozen years or so to bring those dates forward by at least a month and a half.  With rather little success, to be frank – I still need to spray regularly and when I am on the road and miss one of the sprays, the leaves will turn that yucky yellow-orange with the rust.  This year I decided to go inside my tunnelhouse; A week ago (on the 4th of May) I planted a few narrow beds of garlic in-between the lingering Tomato plants  The tomatoes are still going for at least another month which gives the garlic enough time to develop leaves and do some photosynthesis.  The beds go north-south and will be in full sun during the winter months, especially when the tomatoes are pulled out near the shortest day. At the moment, while the soil is still relatively warm, the garlic will have enough heat to sprout the leaves in record tempo.  Just when the development of the bulbs starts to take place the spores start flying outside, but with a bit of luck those spores will find it hard to gain access to my tunnelhouse.  Fingers crossed!    Varieties available from farmers markets and Garden Shops:  Printanor is the common old garlic variety you buy at “New World”. Often it is imported from China and treated to stop it sprouting That means no good for planting!!  Buy some planting cloves that are either organic or simply not treated.  At farmers market you can sometimes purchase interesting varieties:  - Californian Red Turban – can grow into huge bulbs (15 cm diameter bulbs)  - Macedonian – strong flavour – and somewhat oily  - West Coast Miners – rather good, large cloves too  - Hard-neck garlic; gets little flowers/bulblets up the stem – edible as soft green salad component, in mid-spring  - Elephant garlic is actually a leek, with a swollen stem – not a garlic – very mild flavour  Shallots can also be planted now!  Well-drained soil, shallow planting (tip just above the ground) – 15 cm spacing. Cover with ground sheep dags (KINPACK) or fine, rich compost.  Keep moist but not overly moist, because that encourages rotting.  Harvest when the foliage dies down (in my case Early to Mid November) See omnystudio.com/listener for privacy information.

This week's guest is Lindsey Johnson who joins us from Louisville, Kentucky. Lindsey is the Founder and Creative Director at Lush Life Productions - the first dedicated Bartender Advocacy Agency. Along with her work at Lush Life, Lindsey has gone on to found and manage Camp Runamok, a Bartender Summer Camp hosted on the Kentucky Bourbon Trail and Portland Cocktail Week, a hospitality worker focused program dedicated to helping people take the next steps in their careers. Now in its 17th year, Lush Life continues to set industry standards for best practices in bartender advocacy and engagement, and Lindsey works daily to ensure hospitality workers have access to education, entertainment, and opportunities that would be out of reach otherwise. Lindsey is originally from New York City, but currently lives in Louisville, Kentucky where she owns Expo, a cocktail bar, with her partner, Nickle Morris. They have two cats, Onions and Shallots, who wish Lindsey would travel less. And a big thank you to this weeks sponsor - Civil Pours - A ready to pour, premium cocktail program that blends the highest quality, proprietary ingredients into shelf stable, top selling cocktails delivered to you in draft-ready kegs. All you do is pour, serve, and savour a seamless experience designed to captivate your customer and smooth your service. To get in touch contact sales@civilpours.com or check the website civilpours.com Links: @livethelushlife lushlifeproductions.com @lushlifeproductions Camp Runamok Portland Cocktail Week @sugarrunbar @babylonsistersbar @the_industry_podcast email us: info@theindustrypodcast.club Podcast Artwork by Zak Hannah zakhannah.co

Have you ever bought shallots before?  If the answer is no, I'm going to give you some reasons in today's episode, why you should be buying them.

Today Julie Biuso has a recipe that is a great seasonal meal. It starts off in the pan but gets finished in the oven. Julie shares how to maker her recipe of chicken breasts with bacon and shallots.

Keith & Freya are back on their allotment with a slow, wet start to spring but still managing to get the Shallots in, the strawberry plants we grew on are planted and we battle with Rooks and Pigeons on the brassica beds....... Grow along with us here every couple of weeks or so!

Episode 136  March 14,  2024   Happy Pie Day! On the Needles 4:56 ALL KNITTING LINKS GO TO RAVELRY UNLESS OTHERWISE NOTED.  Please visit our Instagram page @craftcookreadrepeat for non-Rav photos and info     Mystery Gnome KAL!   Bay Area Yarn Crawl!   ADVENTuresome Wrap by Ambah O'Brien, Canon Hand Dyes Victorian Gothic Advent set   OMG heel socks by Megan Williams, Schachenmayr Regia Pairfect Nordland in 6819    Weather or Knot Scarf by Scott Rohr, HolstGarn Coast in Butterfly, Black, Charcoal, Silver Grey, Wisteria, Freesia, Passion Flower   Popped socks by Hunter Hammerson, Three Irish Girls Springvale Sock in Second Star to the Right (nov 2012)-- revamp of original march 2009 pattern   Sun Salutation by Celia McAdams, Miss Babs Yowza in Slate and Temptress Delft and Slinky Slinky Sly       On the Easel 24:29   Secret secret! Woven seagrass chair Lots of sewing and mending On the Table 25:42 The Recipe with Kenji and Deb review   Shallot & Black Pepper stir fry by ali slagle Shallot, veggie, tempeh, ginger/pepper/soy/sherry vinegar   Tofu Shawarma Dinner Salad   Cortney's cooking rut. Using Dinner; Changing the Game by Melissa Clark for inspiration On the Nightstand 35:01 We are now a Bookshop.org affiliate!  You can visit our shop to find books we've talked about or click on the links below.  The books are supplied by local independent bookstores and a percentage goes to us at no cost to you!   One Woman Show by Christine Coulson  One Dark Window by Rachel Gillig  One Day by David Nicholls  Half a Soul by Olivia Atwater  Kids Run the Show by Delphine de Vigan, trans by Alison Anderson    One of the Good Guys by Araminta Hall The Women by Kristin Hannah

Ever wondered what the Peat ban is and how to work with Peat free compost? We try to get to the bottom of it with Dave Kerry from GroWell. It's the time of year to start thinking about setting your onions and shallots. Also an update on the sweet peas, snapdraggons and chillies. If you enjoy the Plotcast and would like to leave us a tip head to https://ko-fi.com/thepottyplotters Follow us @pottyplotters on Facebook, Instagram & Twitter  Get in touch: naughtycorner@pottyplotters.uk A podcast for help with your allotment or gardening.

We explore vinegars with Eliza Ward, the owner of Chefshop.com // We learn about Vietnamese culinary traditions to celebrate Lunar New Year, and how to keep them alive with Chefs Trinh and Yenvy // We chat Chowder // We talk through one of Thierry’s winter recipes on our Simple to Spectacular segment: Dungeness Crab Salad with Roasted Garlic, Shallots, and Pomegranate Vinaigrette accompanied with Thyme Brioche // We find out if Lorretta’s Shortcut, or Scratch? is the way to go today // John Moscrip, Chief Operating Officer of Duke’s Seafood, is here to talk about their restaurants and custom Woodford Reserve Bourbon Project

This episode is allll about Alison Roman's famous Shallot Pasta. Pasta with a shallot sauce may not be your first choice for a pasta sauce, but this recipe is here to sway you! Give it a try + let me know what you think! Recipe Link - https://www.alisoneroman.com/recipes/caramelized-shallot-pastaBe sure to follow at @thehcgpodcast.com :) xxMegan Hosted on Acast. See acast.com/privacy for more information.

Onions are the mainstay of many delicious hearty meals. Adam Frost shares how to grow them in a pot or in the garden, while Cassie Best from BBC Good Food magazine offers up some tasty recipe ideas Learn more about your ad choices. Visit podcastchoices.com/adchoices

Any financial advisor will tell their clients to strike while the iron's hot.  We're seeing trends toward a certain stock, it's low, make sure you buy now, as many as you can!  Or eh, not so sure about this investment in this market, you better sell while you still can get something for your investment. For today's episode, we're talking some sketchy insider trading secrets…don't get your hopes up, I'm not a financial advisor and you're not about to get rich from this episode, but you're sure to tear up when you hear what commodity was the topic of heated discussion, and bitter financial loss.  Grab your coffees, it's time for the Missing Chapter.  Go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Missing Chapter Podcast website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for more information, previous episodes, and professional development opportunities. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Click here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to send us a voice message of your name, where you're from, what your favorite MC story is and be featured on an upcoming episode! Don't forget to click subscribe! --- Send in a voice message: https://podcasters.spotify.com/pod/show/themissingchapter/message Support this podcast: https://podcasters.spotify.com/pod/show/themissingchapter/support

Chris, Maggie Hoffman, Jesse Szewczyk, and Kate Kassin spent an afternoon on the Dinner SOS Hotline, helping listeners like you solve their Thanksgiving emergencies. Check out yesterday's episode for even more listener questions. THE RECIPES: - A Kosher, Meatless Thanksgiving: Roasted Salmon with Citrus Salsa Verde, Foolproof Fish with Spiced Chickpeas, Creamy Yukon Golds with Crispy Potato Skins, Simple-Is-Best Stuffing - Pie Crust SOS: French Silk Pie, Simply Brilliant Banoffee Pie, Buttermilk Pie, Chess Pie, Apple Pandowdy, Actually Perfect Pie Crust - Non-traditional Thanksgiving Cookoff: Kale and Cucumber Salad with Roasted Ginger Dressing, Roasted Carrots with Creamy Nuoc Cham Dressing, Stuffing Fried Rice, Cornmeal Bao with Turkey and Black Pepper Sauce, Creamed Onions Alla Vodka, Teriyaki-Style Brussels Sprouts, Sour Cream and Onion Hasselback Potatoes, Raw Cranberry and Fuyu Persimmon Relish, Cranberry Date Relish with Ginger - Chicken for Thanksgiving: Double-Garlic Roast Chicken with Onion Gravy, Shawarma Roast Chicken with Shallots and Lemons, Miso-Butter Roast Chicken with Acorn Squash Panzanella, Chicken Under a Skillet with Lemon Pan Sauce Learn more about your ad choices. Visit podcastchoices.com/adchoices

(Talk) On this show the Blueberry Chicks Treat and Shelly Hartmann, Courtney Tolbolt and Hillary Fisher come in for the 250th episode. Romantic movie date night will be the theme as the group taste tests some Blueberry Salad, Chicken and Shallots and Blueberry Coconut cake. It's all here, right now and so much more on Rob Byrd's Moondog Show. 

(Episode 250) On this show the Blueberry Chicks Treat and Shelly Hartmann, Courtney Tolbolt and Hillary Fisher come in for the 250th episode. Romantic movie date night will be the theme as the group taste tests some Blueberry Salad, Chicken and Shallots and Blueberry Coconut cake. Mason Dixon and Amanda Jones joins the show to talk to Dr. Max Masters of Masters Chiropractic & Rehabilitation to talk about the success of the decompression table. Mason, Amanda and Rob discuss what everyone is up to, a comedy show and the crazy state of the world. Brook Blanchard joins the show by phone to tell us about YDC/pal and it's spread around the county. On Let's Talk Real with Tina Goodrich the subject will be the 1031 Exchange, the Roller Coaster of Real Estate, and of course dirty laundry. It's all here, right now and so much more on Rob Byrd's Moondog Show. 

Nick and Angela welcome Michael and Hilary Whitehall to DISH HQ. Before making his name as Jack Whitehall's TV travel companion, Michael Whitehall had an illustrious career as a theatrical agent and producer. His clients included Daniel Day-Lewis, Judi Dench, Colin Firth and Michael Fassbender. He and Hilary met while she was in search of new representation, while he, she says, was looking for a wife. Jack and Michael have made five series of Travels With My Father for Netflix and co-authored How To Survive Family Holidays with Hilary. Hilary Whitehall is a massive foodie and furnished Angela with plenty of detail on their dietary requirements. Armed with this information Angela prepares a mouth-watering pan-fried plaice with buttery capers and shallots and Nick pours one of the Whitehalls' favourites, a M De Minuty Provence Rose. The Whitehalls are hysterical and this episode is brimful of anecdotes about food, family life and famous people. Hilary shares her passion for Waitrose, Michael recalls the questionable advice he gave a Hollywood actor and we hear one of Jack Whitehall's most embarrassing moments. Just so you know, our podcast might contain the occasional mild swear word or adult theme. All recipes from this podcast can be found at waitrose.com/dishrecipes A transcript for this episode can be found at waitrose.com/dish We can't all have a Michelin star chef in the kitchen, but you can ask Angela for help. Send your dilemmas to dish@waitrose.co.uk and she'll try to answer in a future episode. Dish is an S:E Creative Studio production for Waitrose & Partners. Learn more about your ad choices. Visit podcastchoices.com/adchoices

I saw a video reel on social media the other day of a harvest of shallots, and it made me realize that I haven't grown those delicious little Allium bulbs in forever—and who knows why. The harvest video was on Hudson Valley Seed's Instagram account, and one of that New York-based organic seed company's co-founders, K Greene, is here today to talk about growing shallots ... and their more commonly grown cousin garlic ... and maybe share some other ideas for succession sowing of edibles whose planting time still lies ahead, whether for fall harvest or to overwinter and enjoy in the year ahead.

Stories this week include: Well, that would be telling! Also, we pull some gold from the old feature bin... Website: http://www.lapodcast.net/ Facebook: https://www.facebook.com/LAPodcast/ Twitter: @LAPodcast

Movies discussed: The Elderly, Space Happy, Blow Up My Life, American Meltdown, We Might Hurt Each Other, Trim Season, Hell Hath No Fury, Summoning the Spirit, Wintertide, King on Screen, A Wandering Path, Poundcake, Sour Party, Soft Liquid Center, Brutal Season, The Last Movie Ever Made, Followers, Necronomicon, Splinter (short), They Call It . . . Red Cemetery (short), Dead Enders (short), The Promotion (short), Punch the Boss (short), Solitude (short), Gnomes! (short), Greetings (short), Fin. (short), Glitch (short), The Businessman (short), Don't Let Kyle Sit Down (short), Don't Look Too Far Ahead (short), The Lizard Laughed (short), Gold and Mud (short), Shallots and Garlic (short), Likeness (short), Fetal Position (short) Behold the monster episode that covers our Chattanooga Film Festival experience! We watched so much stuff y'all. In the interest of time and everyone's sanity, we tried to focus on the stuff we liked best out of what we saw. As a result, you get an episode with reviews of mostly positive things for you to look forward to, which is more fun and useful. Thanks for being patient with us in the delay getting this one out, we had some technical difficulties. Enjoy! Next episodes assignments: Unwelcome Children […] The post Episode 460 – Giallo Shots appeared first on Horror Show Hot Dog.

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New, of-the-moment kitchen design trends? We've gathered the best from lots of sources to let you know what's in and what's out when it comes to kitchen design.We've also got another great interview in our series about food entrepreneurs: this time, Lia Safalow, owner of Blue House Bagels in Connecticut.We're Bruce Weinstein & Mark Scarbrough, the authors of thirty-six cookbooks. Welcome to our food and cooking podcast. We're happy you've found us!Here are the segments for this episode of COOKING WITH BRUCE & MARK:[01:32] What are the latest kitchen trends? What's in and what's out when you're designing or even redesigning your kitchen? What should you avoid? And what's coming in style? (Spoiler alert: Our granite-countered and stainless-steel kitchen is apparently way, way out.)[12:52] Our one-minute cooking tip: Better cocktails start with better ice.[15:40] Bruce's interview food entrepreneur Lia Safalow, the owner of and master baker at Blue House Bagels in Canton, Connecticut.[25:15] What's making us happy in food this week? Shallots roasted in chicken fat and hard cider!

This month is Pride Month, so Perri used it as an excuse to FINALLY get on the owners of her favorite LGBTQ+, women-owned vegan spot, Lady and the Shallot! Franny and Kate cover everything with her, including being vegan, coming out, and the current political climate. Honestly, they could have talked longer, so be happy this wasn't a three hour episode. Follow Lady and the Shallot on Instagram and Facebook.Check out our website here.June Book Club Book: Circe by Madeline Miller

For our weekly recipe Shared Kitchen co-founder and chef Julie Biuso has a tasty dish that will tempt even the fussiest vegetable eaters to tuck in! 

Rat prayer: nuestro show en vivo es el 30 de abril :) El #WOMoment de la semana es para Coachella 2023, intentamos encontrar el significado y propósito de SHALLOT, #MejorEnCabify: Luis Miguel regresa renovado, las canastas de Martha Stewart, ¿Curura influencer?, Carolina explica el juicio de Cathy Barriga, ¿Qué es esta ordinariez?: calzoncillos congelados, SIGNOS: Dives Tauro. Recuerden comentar y visitarnos en patreon.com/elgosip

It's Thursday and you know what that means... With International Women's Day being this week, the ladies of the Fartlek Family get together to answer YOUR questions during a very special round table discussion. Emma is joined by Lou and an unknown Parkrun correspondent for the Parkrun chat. We also have the pleasure of introducing a very special guest for the roll call...... and that's Shallot! The boys are raising money this year for the amazing Make-A-Wish UK foundation - if you enjoyed this weeks show then 'buy us a pint' by donating directly to our directly to our JUST GIVING page - thank you so much for all your support so far! Remember you can join our Fartlek Family at any time, be part of our 100+ strong community of amazing people, organising meet ups, catch ups and general nonsense all year round Make sure you keep up to date on all our goings-on, upcoming events and latest episode details by signing up to our BRAND NEW NEWSLETTER Make sure you subscribe, rate, review and checkout our social media channels: Website: What The Fartlek Podcast Instagram: @Whatthefartlek_Podcast Facebook: What The Fartlek Podcast Twitter: @WhatTheFartlek YouTube: What The Fartlek Podcast Email us at - whatthefartlekpodcast@gmail.com Music by: Graham Lindley Follow on: Facebook, Twitter, Instagram and YouTube Email at: g.lindley@hotmail.co.uk

Episode one hundred and fifty-seven of A History of Rock Music in Five Hundred Songs looks at “See Emily Play", the birth of the UK underground, and the career of Roger Barrett, known as Syd. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "First Girl I Loved" by the Incredible String Band. Tilt Araiza has assisted invaluably by doing a first-pass edit, 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/ Resources No Mixcloud this time, due to the number of Pink Floyd songs. I referred to two biographies of Barrett in this episode -- A Very Irregular Head by Rob Chapman is the one I would recommend, and the one whose narrative I have largely followed. Some of the information has been superseded by newer discoveries, but Chapman is almost unique in people writing about Barrett in that he actually seems to care about the facts and try to get things right rather than make up something more interesting. Crazy Diamond by Mike Watkinson and Pete Anderson is much less reliable, but does have quite a few interview quotes that aren't duplicated by Chapman. Information about Joe Boyd comes from Boyd's book White Bicycles. In this and future episodes on Pink Floyd I'm also relying on Nick Mason's Inside Out: A Personal History of Pink Floyd and Pink Floyd: All the Songs by Jean-Michel Guesdon and Philippe Margotin. The compilation Relics contains many of the most important tracks from Barrett's time with Pink Floyd, while Piper at the Gates of Dawn is his one full album with them. Those who want a fuller history of his time with the group will want to get Piper and also the box set Cambridge St/ation 1965-1967. Barrett only released two solo albums during his career. They're available as a bundle here. Completists will also want the rarities and outtakes collection Opel.  ERRATA: I talk about “Interstellar Overdrive” as if Barrett wrote it solo. The song is credited to all four members, but it was Barrett who came up with the riff I talk about. And annoyingly, given the lengths I went to to deal correctly with Barrett's name, I repeatedly refer to "Dave" Gilmour, when Gilmour prefers David. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A note before I begin -- this episode deals with drug use and mental illness, so anyone who might be upset by those subjects might want to skip this one. But also, there's a rather unique problem in how I deal with the name of the main artist in the story today. The man everyone knows as Syd Barrett was born Roger Barrett, used that name with his family for his whole life, and in later years very strongly disliked being called "Syd", yet everyone other than his family called him that at all times until he left the music industry, and that's the name that appears on record labels, including his solo albums. I don't believe it's right to refer to people by names they choose not to go by themselves, but the name Barrett went by throughout his brief period in the public eye was different from the one he went by later, and by all accounts he was actually distressed by its use in later years. So what I'm going to do in this episode is refer to him as "Roger Barrett" when a full name is necessary for disambiguation or just "Barrett" otherwise, but I'll leave any quotes from other people referring to "Syd" as they were originally phrased. In future episodes on Pink Floyd, I'll refer to him just as Barrett, but in episodes where I discuss his influence on other artists, I will probably have to use "Syd Barrett" because otherwise people who haven't listened to this episode won't know what on Earth I'm talking about. Anyway, on with the show. “It's gone!” sighed the Rat, sinking back in his seat again. “So beautiful and strange and new. Since it was to end so soon, I almost wish I had never heard it. For it has roused a longing in me that is pain, and nothing seems worth while but just to hear that sound once more and go on listening to it for ever. No! There it is again!” he cried, alert once more. Entranced, he was silent for a long space, spellbound. “Now it passes on and I begin to lose it,” he said presently. “O Mole! the beauty of it! The merry bubble and joy, the thin, clear, happy call of the distant piping! Such music I never dreamed of, and the call in it is stronger even than the music is sweet! Row on, Mole, row! For the music and the call must be for us.” That's a quote from a chapter titled "The Piper at the Gates of Dawn" from the classic children's book The Wind in the Willows -- a book which for most of its length is a fairly straightforward story about anthropomorphic animals having jovial adventures, but which in that one chapter has Rat and Mole suddenly encounter the Great God Pan and have a hallucinatory, transcendental experience caused by his music, one so extreme it's wiped from their minds, as they simply cannot process it. The book, and the chapter, was a favourite of Roger Barrett, a young child born in Cambridge in 1946. Barrett came from an intellectual but not especially bookish family. His father, Dr. Arthur Barrett, was a pathologist -- there's a room in Addenbrooke's Hospital named after him -- but he was also an avid watercolour painter, a world-leading authority on fungi, and a member of the Cambridge Philharmonic Society who was apparently an extraordinarily good singer; while his mother Winifred was a stay-at-home mother who was nonetheless very active in the community, organising a local Girl Guide troupe. They never particularly encouraged their family to read, but young Roger did particularly enjoy the more pastoral end of the children's literature of the time. As well as the Wind in the Willows he also loved Alice in Wonderland, and the Little Grey Men books -- a series of stories about tiny gnomes and their adventures in the countryside. But his two big passions were music and painting. He got his first ukulele at age eleven, and by the time his father died, just before Roger's sixteenth birthday, he had graduated to playing a full-sized guitar. At the time his musical tastes were largely the same as those of any other British teenager -- he liked Chubby Checker, for example -- though he did have a tendency to prefer the quirkier end of things, and some of the first songs he tried to play on the guitar were those of Joe Brown: [Excerpt: Joe Brown, "I'm Henry VIII I Am"] Barrett grew up in Cambridge, and for those who don't know it, Cambridge is an incubator of a very particular kind of eccentricity. The university tends to attract rather unworldly intellectual overachievers to the city -- people who might not be able to survive in many other situations but who can thrive in that one -- and every description of Barrett's father suggests he was such a person -- Barrett's sister Rosemary has said that she believes that most of the family were autistic, though whether this is a belief based on popular media portrayals or a deeper understanding I don't know. But certainly Cambridge is full of eccentric people with remarkable achievements, and such people tend to have children with a certain type of personality, who try simultaneously to live up to and rebel against expectations of greatness that come from having parents who are regarded as great, and to do so with rather less awareness of social norms than the typical rebel has. In the case of Roger Barrett, he, like so many others of his generation, was encouraged to go into the sciences -- as indeed his father had, both in his career as a pathologist and in his avocation as a mycologist. The fifties and sixties were a time, much like today, when what we now refer to as the STEM subjects were regarded as new and exciting and modern. But rather than following in his father's professional footsteps, Roger Barrett instead followed his hobbies. Dr. Barrett was a painter and musician in his spare time, and Roger was to turn to those things to earn his living. For much of his teens, it seemed that art would be the direction he would go in. He was, everyone agrees, a hugely talented painter, and he was particularly noted for his mastery of colours. But he was also becoming more and more interested in R&B music, especially the music of Bo Diddley, who became his new biggest influence: [Excerpt: Bo Diddley, "Who Do You Love?"] He would often spend hours with his friend Dave Gilmour, a much more advanced guitarist, trying to learn blues riffs. By this point Barrett had already received the nickname "Syd". Depending on which story you believe, he either got it when he started attending a jazz club where an elderly jazzer named Sid Barrett played, and the people were amused that their youngest attendee, like one of the oldest, was called Barrett; or, more plausibly, he turned up to a Scout meeting once wearing a flat cap rather than the normal scout beret, and he got nicknamed "Sid" because it made him look working-class and "Sid" was a working-class sort of name. In 1962, by the time he was sixteen, Barrett joined a short-lived group called Geoff Mott and the Mottoes, on rhythm guitar. The group's lead singer, Geoff Mottlow, would go on to join a band called the Boston Crabs who would have a minor hit in 1965 with a version of the Coasters song "Down in Mexico": [Excerpt: The Boston Crabs, "Down in Mexico"] The bass player from the Mottoes, Tony Sainty, and the drummer Clive Welham, would go on to form another band, The Jokers Wild, with Barrett's friend Dave Gilmour. Barrett also briefly joined another band, Those Without, but his time with them was similarly brief. Some sources -- though ones I consider generally less reliable -- say that the Mottoes' bass player wasn't Tony Sainty, but was Roger Waters, the son of one of Barrett's teachers, and that one of the reasons the band split up was that Waters had moved down to London to study architecture. I don't think that's the case, but it's definitely true that Barrett knew Waters, and when he moved to London himself the next year to go to Camberwell Art College, he moved into a house where Waters was already living. Two previous tenants at the same house, Nick Mason and Richard Wright, had formed a loose band with Waters and various other amateur musicians like Keith Noble, Shelagh Noble, and Clive Metcalfe. That band was sometimes known as the Screaming Abdabs, The Megadeaths, or The Tea Set -- the latter as a sly reference to slang terms for cannabis -- but was mostly known at first as Sigma 6, named after a manifesto by the novelist Alexander Trocchi for a kind of spontaneous university. They were also sometimes known as Leonard's Lodgers, after the landlord of the home that Barrett was moving into, Mike Leonard, who would occasionally sit in on organ and would later, as the band became more of a coherent unit, act as a roadie and put on light shows behind them -- Leonard was himself very interested in avant-garde and experimental art, and it was his idea to play around with the group's lighting. By the time Barrett moved in with Waters in 1964, the group had settled on the Tea Set name, and consisted of Waters on bass, Mason on drums, Wright on keyboards, singer Chris Dennis, and guitarist Rado Klose. Of the group, Klose was the only one who was a skilled musician -- he was a very good jazz guitarist, while the other members were barely adequate. By this time Barrett's musical interests were expanding to include folk music -- his girlfriend at the time talked later about him taking her to see Bob Dylan on his first UK tour and thinking "My first reaction was seeing all these people like Syd. It was almost as if every town had sent one Syd Barrett there. It was my first time seeing people like him." But the music he was most into was the blues. And as the Tea Set were turning into a blues band, he joined them. He even had a name for the new band that would make them more bluesy. He'd read the back of a record cover which had named two extremely obscure blues musicians -- musicians he may never even have heard. Pink Anderson: [Excerpt: Pink Anderson, "Boll Weevil"] And Floyd Council: [Excerpt: Floyd Council, "Runaway Man Blues"] Barrett suggested that they put together the names of the two bluesmen, and presumably because "Anderson Council" didn't have quite the right ring, they went for The Pink Floyd -- though for a while yet they would sometimes still perform as The Tea Set, and they were sometimes also called The Pink Floyd Sound. Dennis left soon after Barrett joined, and the new five-piece Pink Floyd Sound started trying to get more gigs. They auditioned for Ready Steady Go! and were turned down, but did get some decent support slots, including for a band called the Tridents: [Excerpt: The Tridents, "Tiger in Your Tank"] The members of the group were particularly impressed by the Tridents' guitarist and the way he altered his sound using feedback -- Barrett even sent a letter to his girlfriend with a drawing of the guitarist, one Jeff Beck, raving about how good he was. At this point, the group were mostly performing cover versions, but they did have a handful of originals, and it was these they recorded in their first demo sessions in late 1964 and early 1965. They included "Walk With Me Sydney", a song written by Roger Waters as a parody of "Work With Me Annie" and "Dance With Me Henry" -- and, given the lyrics, possibly also Hank Ballard's follow-up "Henry's Got Flat Feet (Can't Dance No More) and featuring Rick Wright's then-wife Juliette Gale as Etta James to Barrett's Richard Berry: [Excerpt: The Tea Set, "Walk With Me Sydney"] And four songs by Barrett, including one called "Double-O Bo" which was a Bo Diddley rip-off, and "Butterfly", the most interesting of these early recordings: [Excerpt: The Tea Set, "Butterfly"] At this point, Barrett was very unsure of his own vocal abilities, and wrote a letter to his girlfriend saying "Emo says why don't I give up 'cos it sounds horrible, and I would but I can't get Fred to join because he's got a group (p'raps you knew!) so I still have to sing." "Fred" was a nickname for his old friend Dave Gilmour, who was playing in his own band, Joker's Wild, at this point. Summer 1965 saw two important events in the life of the group. The first was that Barrett took LSD for the first time. The rest of the group weren't interested in trying it, and would indeed generally be one of the more sober bands in the rock business, despite the reputation their music got. The other members would for the most part try acid once or twice, around late 1966, but generally steer clear of it. Barrett, by contrast, took it on a very regular basis, and it would influence all the work he did from that point on. The other event was that Rado Klose left the group. Klose was the only really proficient musician in the group, but he had very different tastes to the other members, preferring to play jazz to R&B and pop, and he was also falling behind in his university studies, and decided to put that ahead of remaining in the band. This meant that the group members had to radically rethink the way they were making music. They couldn't rely on instrumental proficiency, so they had to rely on ideas. One of the things they started to do was use echo. They got primitive echo devices and put both Barrett's guitar and Wright's keyboard through them, allowing them to create new sounds that hadn't been heard on stage before. But they were still mostly doing the same Slim Harpo and Bo Diddley numbers everyone else was doing, and weren't able to be particularly interesting while playing them. But for a while they carried on doing the normal gigs, like a birthday party they played in late 1965, where on the same bill was a young American folk singer named Paul Simon, and Joker's Wild, the band Dave Gilmour was in, who backed Simon on a version of "Johnny B. Goode". A couple of weeks after that party, Joker's Wild went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] But The Pink Floyd Sound weren't as musically tight as Joker's Wild, and they couldn't make a living as a cover band even if they wanted to. They had to do something different. Inspiration then came from a very unexpected source. I mentioned earlier that one of the names the group had been performing under had been inspired by a manifesto for a spontaneous university by the writer Alexander Trocchi. Trocchi's ideas had actually been put into practice by an organisation calling itself the London Free School, based in Notting Hill. The London Free School was an interesting mixture of people from what was then known as the New Left, but who were already rapidly aging, the people who had been the cornerstone of radical campaigning in the late fifties and early sixties, who had run the Aldermaston marches against nuclear weapons and so on, and a new breed of countercultural people who in a year or two would be defined as hippies but at the time were not so easy to pigeonhole. These people were mostly politically radical but very privileged people -- one of the founder members of the London Free School was Peter Jenner, who was the son of a vicar and the grandson of a Labour MP -- and they were trying to put their radical ideas into practice. The London Free School was meant to be a collective of people who would help each other and themselves, and who would educate each other. You'd go to the collective wanting to learn how to do something, whether that's how to improve the housing in your area or navigate some particularly difficult piece of bureaucracy, or how to play a musical instrument, and someone who had that skill would teach you how to do it, while you hopefully taught them something else of value. The London Free School, like all such utopian schemes, ended up falling apart, but it had a wider cultural impact than most such schemes. Britain's first underground newspaper, the International Times, was put together by people involved in the Free School, and the annual Notting Hill Carnival, which is now one of the biggest outdoor events in Britain every year with a million attendees, came from the merger of outdoor events organised by the Free School with older community events. A group of musicians called AMM was associated with many of the people involved in the Free School. AMM performed totally improvised music, with no structure and no normal sense of melody and harmony: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] Keith Rowe, the guitarist in AMM, wanted to find his own technique uninfluenced by American jazz guitarists, and thought of that in terms that appealed very strongly to the painterly Barrett, saying "For the Americans to develop an American school of painting, they somehow had to ditch or lose European easel painting techniques. They had to make a break with the past. What did that possibly mean if you were a jazz guitar player? For me, symbolically, it was Pollock laying the canvas on the floor, which immediately abandons European easel technique. I could see that by laying the canvas down, it became inappropriate to apply easel techniques. I thought if I did that with a guitar, I would just lose all those techniques, because they would be physically impossible to do." Rowe's technique-free technique inspired Barrett to make similar noises with his guitar, and to think less in terms of melody and harmony than pure sound. AMM's first record came out in 1966. Four of the Free School people decided to put together their own record label, DNA, and they got an agreement with Elektra Records to distribute its first release -- Joe Boyd, the head of Elektra in the UK, was another London Free School member, and someone who had plenty of experience with disruptive art already, having been on the sound engineering team at the Newport Folk Festival when Dylan went electric. AMM went into the studio and recorded AMMMusic: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] After that came out, though, Peter Jenner, one of the people who'd started the label, came to a realisation. He said later "We'd made this one record with AMM. Great record, very seminal, seriously avant-garde, but I'd started adding up and I'd worked out that the deal we had, we got two percent of retail, out of which we, the label, had to pay for recording costs and pay ourselves. I came to the conclusion that we were going to have to sell a hell of a lot of records just to pay the recording costs, let alone pay ourselves any money and build a label, so I realised we had to have a pop band because pop bands sold a lot of records. It was as simple as that and I was as naive as that." Jenner abandoned DNA records for the moment, and he and his friend Andrew King decided they were going to become pop managers. and they found The Pink Floyd Sound playing at an event at the Marquee, one of a series of events that were variously known as Spontaneous Underground and The Trip. Other participants in those events included Soft Machine; Mose Allison; Donovan, performing improvised songs backed by sitar players; Graham Bond; a performer who played Bach pieces while backed by African drummers; and The Poison Bellows, a poetry duo consisting of Spike Hawkins and Johnny Byrne, who may of all of these performers be the one who other than Pink Floyd themselves has had the most cultural impact in the UK -- after writing the exploitation novel Groupie and co-writing a film adaptation of Spike Milligan's war memoirs, Byrne became a TV screenwriter, writing many episodes of Space: 1999 and Doctor Who before creating the long-running TV series Heartbeat. Jenner and King decided they wanted to sign The Pink Floyd Sound and make records with them, and the group agreed -- but only after their summer holidays. They were all still students, and so they dispersed during the summer. Waters and Wright went on holiday to Greece, where they tried acid for the first of only a small number of occasions and were unimpressed, while Mason went on a trip round America by Greyhound bus. Barrett, meanwhile, stayed behind, and started writing more songs, encouraged by Jenner, who insisted that the band needed to stop relying on blues covers and come up with their own material, and who saw Barrett as the focus of the group. Jenner later described them as "Four not terribly competent musicians who managed between them to create something that was extraordinary. Syd was the main creative drive behind the band - he was the singer and lead guitarist. Roger couldn't tune his bass because he was tone deaf, it had to be tuned by Rick. Rick could write a bit of a tune and Roger could knock out a couple of words if necessary. 'Set the Controls for the Heart of the Sun' was the first song Roger ever wrote, and he only did it because Syd encouraged everyone to write. Syd was very hesitant about his writing, but when he produced these great songs everyone else thought 'Well, it must be easy'" Of course, we know this isn't quite true -- Waters had written "Walk with me Sydney" -- but it is definitely the case that everyone involved thought of Barrett as the main creative force in the group, and that he was the one that Jenner was encouraging to write new material. After the summer holidays, the group reconvened, and one of their first actions was to play a benefit for the London Free School. Jenner said later "Andrew King and myself were both vicars' sons, and we knew that when you want to raise money for the parish you have to have a social. So in a very old-fashioned way we said 'let's put on a social'. Like in the Just William books, like a whist drive. We thought 'You can't have a whist drive. That's not cool. Let's have a band. That would be cool.' And the only band we knew was the band I was starting to get involved with." After a couple of these events went well, Joe Boyd suggested that they make those events a regular club night, and the UFO Club was born. Jenner and King started working on the light shows for the group, and then bringing in other people, and the light show became an integral part of the group's mystique -- rather than standing in a spotlight as other groups would, they worked in shadows, with distorted kaleidoscopic lights playing on them, distancing themselves from the audience. The highlight of their sets was a long piece called "Interstellar Overdrive", and this became one of the group's first professional recordings, when they went into the studio with Joe Boyd to record it for the soundtrack of a film titled Tonite Let's All Make Love in London. There are conflicting stories about the inspiration for the main riff for "Interstellar Overdrive". One apparent source is the riff from Love's version of the Bacharach and David song "My Little Red Book". Depending on who you ask, either Barrett was obsessed with Love's first album and copied the riff, or Peter Jenner tried to hum him the riff and Barrett copied what Jenner was humming: [Excerpt: Love, "My Little Red Book"] More prosaically, Roger Waters has always claimed that the main inspiration was from "Old Ned", Ron Grainer's theme tune for the sitcom Steptoe and Son (which for American listeners was remade over there as Sanford and Son): [Excerpt: Ron Grainer, "Old Ned"] Of course it's entirely possible, and even likely, that Barrett was inspired by both, and if so that would neatly sum up the whole range of Pink Floyd's influences at this point. "My Little Red Book" was a cover by an American garage-psych/folk-rock band of a hit by Manfred Mann, a group who were best known for pop singles but were also serious blues and jazz musicians, while Steptoe and Son was a whimsical but dark and very English sitcom about a way of life that was slowly disappearing. And you can definitely hear both influences in the main riff of the track they recorded with Boyd: [Excerpt: The Pink Floyd, "Interstellar Overdrive"] "Interstellar Overdrive" was one of two types of song that The Pink Floyd were performing at this time -- a long, extended, instrumental psychedelic excuse for freaky sounds, inspired by things like the second disc of Freak Out! by the Mothers of Invention. When they went into the studio again with Boyd later in January 1967, to record what they hoped would be their first single, they recorded two of the other kind of songs -- whimsical story songs inspired equally by the incidents of everyday life and by children's literature. What became the B-side, "Candy and a Currant Bun", was based around the riff from "Smokestack Lightnin'" by Howlin' Wolf: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] That song had become a favourite on the British blues scene, and was thus the inspiration for many songs of the type that get called "quintessentially English". Ray Davies, who was in many ways the major songwriter at this time who was closest to Barrett stylistically, would a year later use the riff for the Kinks song "Last of the Steam-Powered Trains", but in this case Barrett had originally written a song titled "Let's Roll Another One", about sexual longing and cannabis. The lyrics were hastily rewritten in the studio to remove the controversial drug references-- and supposedly this caused some conflict between Barrett and Waters, with Waters pushing for the change, while Barrett argued against it, though like many of the stories from this period this sounds like the kind of thing that gets said by people wanting to push particular images of both men. Either way, the lyric was changed to be about sweet treats rather than drugs, though the lascivious elements remained in. And some people even argue that there was another lyric change -- where Barrett sings "walk with me", there's a slight "f" sound in his vocal. As someone who does a lot of microphone work myself, it sounds to me like just one of those things that happens while recording, but a lot of people are very insistent that Barrett is deliberately singing a different word altogether: [Excerpt: The Pink Floyd, "Candy and a Currant Bun"] The A-side, meanwhile, was inspired by real life. Both Barrett and Waters had mothers who used  to take in female lodgers, and both had regularly had their lodgers' underwear stolen from washing lines. While they didn't know anything else about the thief, he became in Barrett's imagination a man who liked to dress up in the clothing after he stole it: [Excerpt: The Pink Floyd, "Arnold Layne"] After recording the two tracks with Joe Boyd, the natural assumption was that the record would be put out on Elektra, the label which Boyd worked for in the UK, but Jac Holzman, the head of Elektra records, wasn't interested, and so a bidding war began for the single, as by this point the group were the hottest thing in London. For a while it looked like they were going to sign to Track Records, the label owned by the Who's management, but in the end EMI won out. Right as they signed, the News of the World was doing a whole series of articles about pop stars and their drug use, and the last of the articles talked about The Pink Floyd and their association with LSD, even though they hadn't released a record yet. EMI had to put out a press release saying that the group were not psychedelic, insisting"The Pink Floyd are not trying to create hallucinatory effects in their audience." It was only after getting signed that the group became full-time professionals. Waters had by this point graduated from university and was working as a trainee architect, and quit his job to become a pop star. Wright dropped out of university, but Mason and Barrett took sabbaticals. Barrett in particular seems to have seen this very much as a temporary thing, talking about how he was making so much money it would be foolish not to take the opportunity while it lasted, but how he was going to resume his studies in a year. "Arnold Layne" made the top twenty, and it would have gone higher had the pirate radio station Radio London, at the time the single most popular radio station when it came to pop music, not banned the track because of its sexual content. However, it would be the only single Joe Boyd would work on with the group. EMI insisted on only using in-house producers, and so while Joe Boyd would go on to a great career as a producer, and we'll see him again, he was replaced with Norman Smith. Smith had been the chief engineer on the Beatles records up to Rubber Soul, after which he'd been promoted to being a producer in his own right, and Geoff Emerick had taken over. He also had aspirations to pop stardom himself, and a few years later would have a transatlantic hit with "Oh Babe, What Would You Say?" under the name Hurricane Smith: [Excerpt: Hurricane Smith, "Oh Babe, What Would You Say?"] Smith's production of the group would prove controversial among some of the group's longtime fans, who thought that he did too much to curtail their more experimental side, as he would try to get the group to record songs that were more structured and more commercial, and would cut down their improvisations into a more manageable form. Others, notably Peter Jenner, thought that Smith was the perfect producer for the group. They started work on their first album, which was mostly recorded in studio three of Abbey Road, while the Beatles were just finishing off work on Sgt Pepper in studio two. The album was titled The Piper at the Gates of Dawn, after the chapter from The Wind in the Willows, and other than a few extended instrumental showcases, most of the album was made up of short, whimsical, songs by Barrett that were strongly infused with imagery from late-Victorian and Edwardian children's books. This is one of the big differences between the British and American psychedelic scenes. Both the British and American undergrounds were made up of the same type of people -- a mixture of older radical activists, often Communists, who had come up in Britain in the Ban the Bomb campaigns and in America in the Civil Rights movement; and younger people, usually middle-class students with radical politics from a privileged background, who were into experimenting with drugs and alternative lifestyles. But the  social situations were different. In America, the younger members of the underground were angry and scared, as their principal interest was in stopping the war in Vietnam in which so many of them were being killed. And the music of the older generation of the underground, the Civil Rights activists, was shot through with influence from the blues, gospel, and American folk music, with a strong Black influence. So that's what the American psychedelic groups played, for the most part, very bluesy, very angry, music, By contrast, the British younger generation of hippies were not being drafted to go to war, and mostly had little to complain about, other than a feeling of being stifled by their parents' generation's expectations. And while most of them were influenced by the blues, that wasn't the music that had been popular among the older underground people, who had either been listening to experimental European art music or had been influenced by Ewan MacColl and his associates into listening instead to traditional old English ballads, things like the story of Tam Lin or Thomas the Rhymer, where someone is spirited away to the land of the fairies: [Excerpt: Ewan MacColl, "Thomas the Rhymer"] As a result, most British musicians, when exposed to the culture of the underground over here, created music that looked back to an idealised childhood of their grandparents' generation, songs that were nostalgic for a past just before the one they could remember (as opposed to their own childhoods, which had taken place in war or the immediate aftermath of it, dominated by poverty, rationing, and bomb sites (though of course Barrett's childhood in Cambridge had been far closer to this mythic idyll than those of his contemporaries from Liverpool, Birmingham, Newcastle, or London). So almost every British musician who was making music that might be called psychedelic was writing songs that were influenced both by experimental art music and by pre-War popular song, and which conjured up images from older children's books. Most notably of course at this point the Beatles were recording songs like "Strawberry Fields Forever" and "Penny Lane" about places from their childhood, and taking lyrical inspiration from Victorian circus posters and the works of Lewis Carroll, but Barrett was similarly inspired. One of the books he loved most as a child was "The Little Grey Men" by BB, a penname for Denys Watkins-Pitchford. The book told the story of three gnomes,  Baldmoney, Sneezewort, and Dodder, and their adventures on a boat when the fourth member of their little group, Cloudberry, who's a bit of a rebellious loner and more adventurous than the other three, goes exploring on his own and they have to go off and find him. Barrett's song "The Gnome" doesn't use any precise details from the book, but its combination of whimsy about a gnome named Grimble-gromble and a reverence for nature is very much in the mould of BB's work: [Excerpt: The Pink Floyd, "The Gnome"] Another huge influence on Barrett was Hillaire Belloc. Belloc is someone who is not read much any more, as sadly he is mostly known for the intense antisemitism in some of his writing, which stains it just as so much of early twentieth-century literature is stained, but he was one of the most influential writers of the early part of the twentieth century. Like his friend GK Chesterton he was simultaneously an author of Catholic apologia and a political campaigner -- he was a Liberal MP for a few years, and a strong advocate of an economic system known as Distributism, and had a peculiar mixture of very progressive and extremely reactionary ideas which resonated with a lot of the atmosphere in the British underground of the time, even though he would likely have profoundly disapproved of them. But Belloc wrote in a variety of styles, including poems for children, which are the works of his that have aged the best, and were a huge influence on later children's writers like Roald Dahl with their gleeful comic cruelty. Barrett's "Matilda Mother" had lyrics that were, other than the chorus where Barrett begs his mother to read him more of the story, taken verbatim from three poems from Belloc's Cautionary Tales for Children -- "Jim, Who Ran away from his Nurse, and was Eaten by a Lion", "Henry King (Who chewed bits of String, and was cut off in Dreadful Agonies)", and "Matilda (Who Told Lies and Was Burned to Death)" -- the titles of those give some idea of the kind of thing Belloc would write: [Excerpt: The Pink Floyd, "Matilda Mother (early version)"] Sadly for Barrett, Belloc's estate refused to allow permission for his poems to be used, and so he had to rework the lyrics, writing new fairy-tale lyrics for the finished version. Other sources of inspiration for lyrics came from books like the I Ching, which Barrett used for "Chapter 24", having bought a copy from the Indica Bookshop, the same place that John Lennon had bought The Psychedelic Experience, and there's been some suggestion that he was deliberately trying to copy Lennon in taking lyrical ideas from a book of ancient mystic wisdom. During the recording of Piper at the Gates of Dawn, the group continued playing live. As they'd now had a hit single, most of their performances were at Top Rank Ballrooms and other such venues around the country, on bills with other top chart groups, playing to audiences who seemed unimpressed or actively hostile. They also, though made two important appearances. The more well-known of these was at the 14-Hour Technicolor Dream, a benefit for International Times magazine with people including Yoko Ono, their future collaborator Ron Geesin, John's Children, Soft Machine, and The Move also performing. The 14-Hour Technicolor Dream is now largely regarded as *the* pivotal moment in the development of the UK counterculture, though even at the time some participants noted that there seemed to be a rift developing between the performers, who were often fairly straightforward beer-drinking ambitious young men who had latched on to kaftans and talk about enlightenment as the latest gimmick they could use to get ahead in the industry, and the audience who seemed to be true believers. Their other major performance was at an event called "Games for May -- Space Age Relaxation for the Climax of Spring", where they were able to do a full long set in a concert space with a quadrophonic sound system, rather than performing in the utterly sub-par environments most pop bands had to at this point. They came up with a new song written for the event, which became their second single, "See Emily Play". [Excerpt: The Pink Floyd, "See Emily Play"] Emily was apparently always a favourite name of Barrett's, and he even talked with one girlfriend about the possibility of naming their first child Emily, but the Emily of the song seems to have had a specific inspiration. One of the youngest attendees at the London Free School was an actual schoolgirl, Emily Young, who would go along to their events with her schoolfriend Anjelica Huston (who later became a well-known film star). Young is now a world-renowned artist, regarded as arguably Britain's greatest living stone sculptor, but at the time she was very like the other people at the London Free School -- she was from a very privileged background, her father was Wayland Young, 2nd Baron Kennet, a Labour Peer and minister who later joined the SDP. But being younger than the rest of the attendees, and still a little naive, she was still trying to find her own personality, and would take on attributes and attitudes of other people without fully understanding them,  hence the song's opening lines, "Emily tries, but misunderstands/She's often inclined to borrow somebody's dream til tomorrow". The song gets a little darker towards the end though, and the image in the last verse, where she puts on a gown and floats down a river forever *could* be a gentle, pastoral, image of someone going on a boat ride, but it also could be a reference to two rather darker sources. Barrett was known to pick up imagery both from classic literature and from Arthurian legend, and so the lines inevitably conjure up both the idea of Ophelia drowning herself and of the Lady of Shallot in Tennyson's Arthurian poem, who is trapped in a tower but finds a boat, and floats down the river to Camelot but dies before the boat reaches the castle: [Excerpt: The Pink Floyd, "See Emily Play"] The song also evokes very specific memories of Barrett's childhood -- according to Roger Waters, the woods mentioned in the lyrics are meant to be woods in which they had played as children, on the road out of Cambridge towards the Gog and Magog Hills. The song was apparently seven minutes long in its earliest versions, and required a great deal of editing to get down to single length, but it was worth it, as the track made the top ten. And that was where the problems started. There are two different stories told about what happened to Roger Barrett over the next forty years, and both stories are told by people with particular agendas, who want particular versions of him to become the accepted truth. Both stories are, in the extreme versions that have been popularised, utterly incompatible with each other, but both are fairly compatible with the scanty evidence we have. Possibly the truth lies somewhere between them. In one version of the story, around this time Barrett had a total mental breakdown, brought on or exacerbated by his overuse of LSD and Mandrax (a prescription drug consisting of a mixture of the antihistamine diphenhydramine and the sedative methaqualone, which was marketed in the US under the brand-name Quaalude), and that from late summer 1967 on he was unable to lead a normal life, and spent the rest of his life as a burned-out shell. The other version of the story is that Barrett was a little fragile, and did have periods of mental illness, but for the most part was able to function fairly well. In this version of the story, he was neurodivergent, and found celebrity distressing, but more than that he found the whole process of working within commercial restrictions upsetting -- having to appear on TV pop shows and go on package tours was just not something he found himself able to do, but he was responsible for a whole apparatus of people who relied on him and his group for their living. In this telling, he was surrounded by parasites who looked on him as their combination meal-ticket-cum-guru, and was simply not suited for the role and wanted to sabotage it so he could have a private life instead. Either way, *something* seems to have changed in Barrett in a profound way in the early summer of 1967. Joe Boyd talks about meeting him after not having seen him for a few weeks, and all the light being gone from his eyes. The group appeared on Top of the Pops, Britain's top pop TV show, three times to promote "See Emily Play", but by the third time Barrett didn't even pretend to mime along with the single. Towards the end of July, they were meant to record a session for the BBC's Saturday Club radio show, but Barrett walked out of the studio before completing the first song. It's notable that Barrett's non-cooperation or inability to function was very much dependent on circumstance. He was not able to perform for Saturday Club, a mainstream pop show aimed at a mass audience, but gave perfectly good performances on several sessions for John Peel's radio show The Perfumed Garden, a show firmly aimed at Pink Floyd's own underground niche. On the thirty-first of July, three days after the Saturday Club walkout, all the group's performances for the next month were cancelled, due to "nervous exhaustion". But on the eighth of August, they went back into the studio, to record "Scream Thy Last Scream", a song Barrett wrote and which Nick Mason sang: [Excerpt: Pink Floyd, "Scream Thy Last Scream"] That was scheduled as the group's next single, but the record company vetoed it, and it wouldn't see an official release for forty-nine years. Instead they recorded another single, "Apples and Oranges": [Excerpt: Pink Floyd, "Apples and Oranges"] That was the last thing the group released while Barrett was a member. In November 1967 they went on a tour of the US, making appearances on American Bandstand and the Pat Boone Show, as well as playing several gigs. According to legend, Barrett was almost catatonic on the Pat Boone show, though no footage of that appears to be available anywhere -- and the same things were said about their performance on Bandstand, and when that turned up, it turned out Barrett seemed no more uncomfortable miming to their new single than any of the rest of the band, and was no less polite when Dick Clark asked them questions about hamburgers. But on shows on the US tour, Barrett would do things like detune his guitar so it just made clanging sounds, or just play a single note throughout the show. These are, again, things that could be taken in two different ways, and I have no way to judge which is the more correct. On one level, they could be a sign of a chaotic, disordered, mind, someone dealing with severe mental health difficulties. On the other, they're the kind of thing that Barrett was applauded and praised for in the confines of the kind of avant-garde underground audience that would pay to hear AMM or Yoko Ono, the kind of people they'd been performing for less than a year earlier, but which were absolutely not appropriate for a pop group trying to promote their latest hit single. It could be that Barrett was severely unwell, or it could just be that he wanted to be an experimental artist and his bandmates wanted to be pop stars -- and one thing absolutely everyone agrees is that the rest of the group were more ambitious than Barrett was. Whichever was the case, though, something had to give. They cut the US tour short, but immediately started another British package tour, with the Jimi Hendrix Experience, the Move, Amen Corner and the Nice. After that tour they started work on their next album, A Saucerful of Secrets. Where Barrett was the lead singer and principal songwriter on Piper at the Gates of Dawn, he only sings and writes one song on A Saucerful of Secrets, which is otherwise written by Waters and Wright, and only appears at all on two more of the tracks -- by the time it was released he was out of the group. The last song he tried to get the group to record was called "Have You Got it Yet?" and it was only after spending some time rehearsing it that the rest of the band realised that the song was a practical joke on them -- every time they played it, he would change the song around so they would mess up, and pretend they just hadn't learned the song yet. They brought in Barrett's old friend Dave Gilmour, initially to be a fifth member on stage to give the band some stability in their performances, but after five shows with the five-man lineup they decided just not to bother picking Barrett up, but didn't mention he was out of the group, to avoid awkwardness. At the time, Barrett and Rick Wright were flatmates, and Wright would actually lie to Barrett and say he was just going out to buy a packet of cigarettes, and then go and play gigs without him. After a couple of months of this, it was officially announced that Barrett was leaving the group. Jenner and King went with him, convinced that he was the real talent in the group and would have a solo career, and the group carried on with new management. We'll be looking at them more in future episodes. Barrett made a start at recording a solo album in mid-1968, but didn't get very far. Jenner produced those sessions, and later said "It seemed a good idea to go into the studio because I knew he had the songs. And he would sometimes play bits and pieces and you would think 'Oh that's great.' It was a 'he's got a bit of a cold today and it might get better' approach. It wasn't a cold -- and you knew it wasn't a cold -- but I kept thinking if he did the right things he'd come back to join us. He'd gone out and maybe he'd come back. That was always the analogy in my head. I wanted to make it feel friendly for him, and that where we were was a comfortable place and that he could come back and find himself again. I obviously didn't succeed." A handful of tracks from those sessions have since been released, including a version of “Golden Hair”, a setting by Barrett of a poem by James Joyce that he would later revisit: [Excerpt: Syd Barrett, “Golden Hair (first version)”] Eleven months later, he went back into the studio again, this time with producer Malcolm Jones, to record an album that later became The Madcap Laughs, his first solo album. The recording process for the album has been the source of some controversy, as initially Jones was producing the whole album, and they were working in a way that Barrett never worked before. Where previously he had cut backing tracks first and only later overdubbed his vocals, this time he started by recording acoustic guitar and vocals, and then overdubbed on top of that. But after several sessions, Jones was pulled off the album, and Gilmour and Waters were asked to produce the rest of the sessions. This may seem a bit of a callous decision, since Gilmour was the person who had replaced Barrett in his group, but apparently the two of them had remained friends, and indeed Gilmour thought that Barrett had only got better as a songwriter since leaving the band. Where Malcolm Jones had been trying, by his account, to put out something that sounded like a serious, professional, record, Gilmour and Waters seemed to regard what they were doing more as producing a piece of audio verite documentary, including false starts and studio chatter. Jones believed that this put Barrett in a bad light, saying the outtakes "show Syd, at best as out of tune, which he rarely was, and at worst as out of control (which, again, he never was)." Gilmour and Waters, on the other hand, thought that material was necessary to provide some context for why the album wasn't as slick and professional as some might have hoped. The eventual record was a hodge-podge of different styles from different sessions, with bits from the Jenner sessions, the Jones sessions, and the Waters and Gilmour sessions all mixed together, with some tracks just Barrett badly double-tracking himself with an acoustic guitar, while other tracks feature full backing by Soft Machine. However, despite Jones' accusations that the album was more-or-less sabotaged by Gilmour and Waters, the fact remains that the best tracks on the album are the ones Barrett's former bandmates produced, and there are some magnificent moments on there. But it's a disturbing album to listen to, in the same way other albums by people with clear talent but clear mental illness are, like Skip Spence's Oar, Roky Erickson's later work, or the Beach Boys Love You. In each case, the pleasure one gets is a real pleasure from real aesthetic appreciation of the work, but entangled with an awareness that the work would not exist in that form were the creator not suffering. The pleasure doesn't come from the suffering -- these are real artists creating real art, not the kind of outsider art that is really just a modern-day freak-show -- but it's still inextricable from it: [Excerpt: Syd Barrett, "Dark Globe"] The Madcap Laughs did well enough that Barrett got to record a follow-up, titled simply Barrett. This one was recorded over a period of only a handful of months, with Gilmour and Rick Wright producing, and a band consisting of Gilmour, Wright, and drummer Jerry Shirley. The album is generally considered both more consistent and less interesting than The Madcap Laughs, with less really interesting material, though there are some enjoyable moments on it: [Excerpt: Syd Barrett, "Effervescing Elephant"] But the album is a little aimless, and people who knew him at the time seem agreed that that was a reflection of his life. He had nothing he *needed* to be doing -- no  tour dates, no deadlines, no pressure at all, and he had a bit of money from record royalties -- so he just did nothing at all. The one solo gig he ever played, with the band who backed him on Barrett, lasted four songs, and he walked off half-way through the fourth. He moved back to Cambridge for a while in the early seventies, and he tried putting together a new band with Twink, the drummer of the Pink Fairies and Pretty Things, Fred Frith, and Jack Monck, but Frith left after one gig. The other three performed a handful of shows either as "Stars" or as "Barrett, Adler, and Monck", just in the Cambridge area, but soon Barrett got bored again. He moved back to London, and in 1974 he made one final attempt to make a record, going into the studio with Peter Jenner, where he recorded a handful of tracks that were never released. But given that the titles of those tracks were things like "Boogie #1", "Boogie #2", "Slow Boogie", "Fast Boogie", "Chooka-Chooka Chug Chug" and "John Lee Hooker", I suspect we're not missing out on a lost masterpiece. Around this time there was a general resurgence in interest in Barrett, prompted by David Bowie having recorded a version of "See Emily Play" on his covers album Pin-Ups, which came out in late 1973: [Excerpt: David Bowie, "See Emily Play"] At the same time, the journalist Nick Kent wrote a long profile of Barrett, The Cracked Ballad of Syd Barrett, which like Kent's piece on Brian Wilson a year later, managed to be a remarkable piece of writing with a sense of sympathy for its subject and understanding of his music, but also a less-than-accurate piece of journalism which led to a lot of myths and disinformation being propagated. Barrett briefly visited his old bandmates in the studio in 1975 while they were recording the album Wish You Were Here -- some say even during the recording of the song "Shine On, You Crazy Diamond", which was written specifically about Barrett, though Nick Mason claims otherwise -- and they didn't recognise him at first, because by this point he had a shaved head and had put on a great deal of weight. He seemed rather sad, and that was the last time any of them saw him, apart from Roger Waters, who saw him in Harrod's a few years later. That time, as soon as Barrett recognised Waters, he dropped his bag and ran out of the shop. For the next thirty-one years, Barrett made no public appearances. The last time he ever voluntarily spoke to a journalist, other than telling them to go away, was in 1982, just after he'd moved back to Cambridge, when someone doorstopped him and he answered a few questions and posed for a photo before saying "OK! That's enough, this is distressing for me, thank you." He had the reputation for the rest of his life of being a shut-in, a recluse, an acid casualty. His family, on the other hand, have always claimed that while he was never particularly mentally or physically healthy, he wasn't a shut-in, and would go to the pub, meet up with his mother a couple of times a week to go shopping, and chat to the women behind the counter at Sainsbury's and at the pharmacy. He was also apparently very good with children who lived in the neighbourhood. Whatever the truth of his final decades, though, however mentally well or unwell he actually was, one thing is very clear, which is that he was an extremely private man, who did not want attention, and who was greatly distressed by the constant stream of people coming and looking through his letterbox, trying to take photos of him, trying to interview him, and so on. Everyone on his street knew that when people came asking which was Syd Barrett's house, they were meant to say that no-one of that name lived there -- and they were telling the truth. By the time he moved back, he had stopped answering to "Syd" altogether, and according to his sister "He came to hate the name latterly, and what it meant." He did, in 2001, go round to his sister's house to watch a documentary about himself on the TV -- he didn't own a TV himself -- but he didn't enjoy it and his only comment was that the music was too noisy. By this point he never listened to rock music, just to jazz and classical music, usually on the radio. He was financially secure -- Dave Gilmour made sure that when compilations came out they always included some music from Barrett's period in the group so he would receive royalties, even though Gilmour had no contact with him after 1975 -- and he spent most of his time painting -- he would take photos of the paintings when they were completed, and then burn the originals. There are many stories about those last few decades, but given how much he valued his privacy, it wouldn't be right to share them. This is a history of rock music, and 1975 was the last time Roger Keith Barrett ever had anything to do with rock music voluntarily. He died of cancer in 2006, and at his funeral there was a reading from The Little Grey Men, which was also quoted in the Order of Service -- "The wonder of the world, the beauty and the power, the shapes of things, their colours lights and shades; these I saw. Look ye also while life lasts.” There was no rock music played at Barrett's funeral -- instead there were a selection of pieces by Handel, Haydn, and Bach, ending with Bach's Allemande from the Partita No. IV in D major, one of his favourite pieces: [Excerpt: Glenn Gould, "Allemande from the Partita No. IV in D major"]  As they stared blankly in dumb misery deepening as they slowly realised all they had seen and all they had lost, a capricious little breeze, dancing up from the surface of the water, tossed the aspens, shook the dewy roses and blew lightly and caressingly in their faces; and with its soft touch came instant oblivion. For this is the last best gift that the kindly demi-god is careful to bestow on those to whom he has revealed himself in their helping: the gift of forgetfulness. Lest the awful remembrance should remain and grow, and overshadow mirth and pleasure, and the great haunting memory should spoil all the after-lives of little animals helped out of difficulties, in order that they should be happy and lighthearted as before. Mole rubbed his eyes and stared at Rat, who was looking about him in a puzzled sort of way. “I beg your pardon; what did you say, Rat?” he asked. “I think I was only remarking,” said Rat slowly, “that this was the right sort of place, and that here, if anywhere, we should find him. And look! Why, there he is, the little fellow!” And with a cry of delight he ran towards the slumbering Portly. But Mole stood still a moment, held in thought. As one wakened suddenly from a beautiful dream, who struggles to recall it, and can re-capture nothing but a dim sense of the beauty of it, the beauty! Till that, too, fades away in its turn, and the dreamer bitterly accepts the hard, cold waking and all its penalties; so Mole, after struggling with his memory for a brief space, shook his head sadly and followed the Rat.

In episode 035 learn how to know when shallots have gone bad. Also get some storage tips and an easy to make recipe from a fellow food blogger. In this episode, we featured a guest Kathy Berget from the blog, Beyond the Chicken Coop and the podcast, Preserving the Pantry. You need to check out her fantastic recipe for Cilantro, Shallot, Lime Compound Butter that is a great way to use up shallots! Check out our show notes page for more info and to sign up for our email series "Toss or Keep".

Are shallots worth the higher price tag? If you value taste, then yes!

The Beats are breaking down a simple, classic Persian salad recipe, Salad Shirazi! Bright, light, crispy, crunchy! The salad staples include tomatoes, cucumbers, and onions in a simple citrus dressing. Play with the ratios to suit your taste!   All Modern Persian Food podcast episodes can be found at: Episodes Co-host Beata Nazem Kelley blog: BeatsEats – Persian Girl Desperately Addicted to Food! Co-host Bita Arabian blog: Oven Hug - Healthy Persian Recipes | Modern Persian Recipes   Bita's recipe for Salad Shirazi | Persian Cucumber and Tomato Salad Beata's recipe for Maast-o-Khiar with Shallot and Salad Shirazi   Subscribe+ to the Modern Persian Food podcast on your favorite podcast player, and tell a friend.  

This pest feasts on members of the allium family, like onions, garlic and leeks. The leek moth larvae feed on the plants' foliage and that can affect the plants' growth. They can also get into your garlic bulbs and compromise the storage life of your allium.

This pest feasts on members of the allium family, like onions, garlic and leeks. The leek moth larvae feed on the plants' foliage and that can affect the plants' growth. They can also get into your garlic bulbs and compromise the storage life of your allium.

This is THEIMPACTPLAY'S MOMOCON 2022 EPISODE 169: DAY 2 COVERAGE | INTERVIEWS – So Stay Tuned and Enjoy! - Bill Farmer is an American voice actor and comedian, who is known for his role of being the current voice of the Disney character Goofy since 1987. - Justin Cook is an American Producer, Voice Actor, Line Producer, ADR Director, and Engineer. He has provided voices for a number of English language versions of Japanese anime films and series, he is most notable role being Yusuke Urameshi in YuYu Hakusho. - Alejandro Saab is a professional Voice Actor and Youtube Influencer! As an influencer he has over 480,000+ subscribers on YouTube with over 170 million+ combined views! He's lent his voice to projects such as Dragon Ball Legends as Shallot, My Hero Academia as Naomasa Tsukauchi, and many others! #MOMOCON #MOMOCON2022 *** Your Support Keeps the Lights Running and Keeps the Content Rolling, You Can Support Us Over on Anchor: ANCHOR.FM/THEIMPACTPLAY/SUPPORT via Patreon: Where Silver Recruits and above get the show ad-free. Gold Recruits and above have exclusive access to not only the Post Show, but they can also even call in to be a part of the live show experience, early access, and so much more. https://www.patreon.com/theimpactplay We are now an #EpicPartner So, for every purchase you make within The Epic Ecosystem when you use our Creator Code THEIMPACTPLAY - We do get a commission that will help support and further elevate the show and even take us to new heights at no extra cost! --- --- Show Host(s) : ITSYAGOOH : https://twitter.com/itsyagooh *** Twitch: https://www.twitch.tv/theimpactplay Listen: https://www.theimpactplay.com Merch: https://merch.streamelements.com/theimpactplay Patreon: https://www.patreon.com/theimpactplay Reader Mail: https://anchor.fm/theimpactplay/message --- Send in a voice message: https://anchor.fm/theimpactplay/message Support this podcast: https://anchor.fm/theimpactplay/support

What if your family name was associated with being not very good at something? Why is everyone cooking steaks in the woods? How do you take your shoes off? Hey, look, it's another episode of the Just Say It podcast. --- Send in a voice message: https://anchor.fm/justsayitshow/message

Join us as we explore Persian dishes that are full of vegetables, herbs, legumes, and fruits. Persian cuisine is often plant-based protein rich without needing any meat substitutes. In this podcast episode we cover off on some of our favorite vegetarian appetizers, soups, rice dishes, and luscious khoreshts plus some of our tips and tricks to get the most flavor out of your ingredients.    Learn about Bita and Beata's favorite way to treat guests in this week's “Ask the Beats” segment.    Subscribe+ to the Modern Persian Food podcast on your favorite podcast player, and tell a friend.   All Modern Persian Food podcast episodes can be found at: Episodes Co-host Beata Nazem Kelley blog: BeatsEats – Persian Girl Desperately Addicted to Food! Co-host Bita Arabian blog: Oven Hug - Healthy Persian Recipes | Modern Persian Recipes   Recipes referenced include:: Bita's recipe for Salad Shirazi Bita's recipe for Persian Yogurt Dip | Mast-o-khiar Bita's recipe for Kashk Bademjan | Persian Eggplant Dip Bita's recipe for Salad Olivier | Persian Potato Salad Bita's recipe for Sabzi Khordan | Persian Herb Appetizer Bita's recipe for Kookoo Sabzi Bita's recipe for Aash Reshteh | Persian Noodle Soup Bita's recipe for Soup eh Joe | Persian Cream of Barley Soup Bita's recipe for Lentil and Date Rice | Adas Polo Bita's recipe for Baghali Polo Bita's recipe for Khoresh Karafs   Beata's recipe for: Ash Reshteh | Persian Noodle Soup Beata's recipe for: Asheh Reshteh – Persian Noodle Soup – Original Recipe Post Beata's recipe for: Maast-o-Khiar with Shallot and Salad Shirazi Beata's recipe for: Persian Salad Olivieh Beata's recipe for: Persian Frittata Koo Koo Sabzi Beata's recipe for: Vegan Khoresh Karafs – Celery Stew With Mint and Parsley Beata's recipe for: Persian Jeweled Tahchin Beata's recipe for: Giti Joon's Famous Tacheen Recipe   Podcast production by Alvarez Audio

The Sunday Brunch, Episode 51 - On this episode, Trump's new social media app, Kanye West's new album exclusively being available on a Stem player, NASA says StarLink has too many satellites and does your brain change when you go to space? Email the Show: thesundaybrunchpod@gmail.com Leave a Voicemail: (970) 627-7445 Visit Our Site: https://www.sundaybrunchpodcast.org/ About the Show: About the Show: Join our hosts for a weekly rundown of the week's news in the areas of technology, science, medicine, and more. Hosts: Matt and Dr. Marty Terms and Conditions: https://www.sundaybrunchpodcast.org/terms-and-conditions --- Send in a voice message: https://podcasters.spotify.com/pod/show/thesundaybrunch/message Support this podcast: https://podcasters.spotify.com/pod/show/thesundaybrunch/support

Support Scripture: Ecclesiastes 5:18-6:2