Podcasts about sloths

Science-loving late night host Stephen Colbert brings you all the latest scientific developments from the world of science. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

This week we are back to our BYTW ways. Aaron hosts three games between Augie and Stevie for fakey points.Game 1 - Have I Got Bad News For You Story 1: Science is Important - Video Documents World's First Recorded Sloth Fart - https://www.livescience.com/animals/scientists-thought-sloths-dont-fart-then-one-was-caught-tooting-on-camera Story 2: Chimpanzees Following New Fashion Trend of Wearing Grass in Their Ears or Up Their Butts - https://brill.com/view/journals/beh/162/6-8/article-p459_2.xml Story 3: Australian Man Arrested After Stealing Huge Load of Bull Semen - https://www.police.nsw.gov.au/news/news_article?sq_content_src=%2BdXJsPWh0dHBzJTNBJTJGJTJGZWJpenByZC5wb2xpY2UubnN3Lmdvdi5hdSUyRm1lZGlhJTJGMTE5MjkxLmh0bWwmYWxsPTE%3DGame 2 - Tinfoil Hat Weave me a conspiracy theory as crazy as you can without losing me involving these three things: Chuck Woolery The Speak and Spell educational toy The rice scandal that toppled Japan's Agriculture ministerGame 3 - No More BastardsPromos : @supermediabros @beerinfrontProudly Sponsored by Peace, Love, & Budhttps://www.plbud.com/Shoutouts to our Patrons; Mexi, Justin B, Kristin F ,Jeramey F ,Flaose, Todd, Jim, Flaos, Bridget F., David M., Dave A, Erin S, Donna/Colin Maggs,The GateLeapers, Kacey S., William M., Crunchie, DJ Xanthus, Crystal D., Jeff S, Gina W.Free Followers on Patreon: Joáo C, Joep, Leonardo, Irsya Cahyo, Teanna Cm Lucho D.Founding Members of @OddPodsMedia https://www.patreon.com/BFYTWShow Music by @KeroseneLetter and @Mexigun Our Merch Available by contacting us.https://www.youtube.com/channel/UCyJG-PDn6su32Et_eSiC6RQwww.BFYTWpod.com

Degens Andy S and Brandon Bombay decided to bring their degenerate sensibilities to a kids classic as they discussed 'Goonies.' Andy starts with a bang as he remembers playing around with dynamite like the gang uses in the film, but the results were far more frightening than what was depicted on screen. Then the boys talk about a movie that found the perfect '80s alchemy, and is so steeped in nostalgia it seems slightly AI-created. First they tackle the tough subjects, such as 60% of the film's runtime revolving around ripping on Chunk being overweight, and Sloth being mentally challenged. In the case of Chunk the on-camera shaming seemed to work as the real life actor went on to become a major player in Hollywood. It wasn't only those characters who had it rough, but Andy makes a case for the Fratelli family, who besides their murderous traits are just your typical Long Island crew. Bombay recalls the movie inspiring him and friends to go on an underground adventure in the sewers, and how it was far more harrowing than this Richard Donner-directed flick made it appear. Basically the episode devolves into the guys confessing all their sins just like Chunk being interrogated, except with less stories about pouring puke on people at the theater. By the end of the ep you'll find yourself doing the Truffle Shuffle.

Happy CoreyVersary: One year since LO SERV ILL and Jim and Them have a full year of Corey Feldman part ones. Congratulations everyone. Corey's Cameo: Corey has some doozies on Cameo between a gay marriage congratulations and paranoia over Jim and Them. Corey Feldman Birthday Bash: The Corey Birthday Bash has a surprising amount of good moments, but Corey still has plenty of bad habits that need to break. COREY FELDMAN!, SHOW STOPPER!, LET'S JUST TALK!, DON CHEADLE!, BOOGIE NIGHTS!, JIM AND THEM IS POP CULTURE!, YOU KNOW THAT!, HAPPY COREYVERSARY!, CONVULUTED!, LO SERV ILL!, JEFF LEAVES!, REAL ONES!, NMAN!, SCAVENGER HUNT!, MARRIED WITH CHILDREN!, WHY DID JEFF LEAVE?!, LEGENDARY COREY FELDMAN VIDEO!, FELDMANSION!, GOONIES NEVER SAY DAD!, EXPERTS!, PROFESSIONAL HATERS!, CAMEO!, MARRIAGE!, CONGRATULATIONS!, SLOTH!, COSPLAY!, REAL PERSON!, ROCK AND ROLL HIGH SCHOOL!, CORRADO!, GOONIES!, KERRI GREEN!, CAMEO!, RICH STUFF!, WALK AWAY!, SNIFFING THE LACE!, PRENUP!, STRIP CLUB!, COREY CONTEST!, ANDY!, WINNER!, ZACK!, HDM!, CALLS!, ADRIEN SKYE!, JARED LETO JOKER GIRLFRIEND!, TATTOOS!, WOLF PACK!, ASCENSION MILLENIUM!, EDIT!, PERFORMANCE!, PURE JOY!, RELAPSE!, TEACUP PIG!, VOCALIZING!, LOVE LEFT!, TENSION!, JUKE MY DICK!, DENIRO!,  You can find the videos from this episode at our Discord RIGHT HERE!

On this week's New Flesh podcast, friend of the show Max Sloth returns to take on Alison Brie and Dave Franco in TOGETHER. Before that main event, so much horror news of the week. Check out Max's podcast Anticipation Blvd wherever you get your podcasts https://podcasts.apple.com/us/podcast/anticipation-blvd/id1788223540

Pirates and Fratellis and bats, oh my! Wheelers and Mombi and electroshock therapy, oh my! It's the 100th episode of Release Date Rewind, and what a way to celebrate with an adventurous summer 1985 double feature of The Goonies and Return to Oz. Mark welcomes '80s girl Solana Sorrento back on the pod to go on a bike ride (The Goonies walked so Stranger Things could run!) and try on a few pretty heads (Disney's Oz is intense!). Before we had TikTok, there was Tik-Tok! Also, find out how The Goonies is connected to Burlesque and where the abandoned Land of Oz amusement park is.

Something went wrong at a wedding! Could Jesus fix it? Would he even do a miracle to bring joy to the wedding? Find out what strange thing Jesus told his helpers to do and also learn about the slow moving sloth in part B. Mem vs. John 2:5. Check out this week's coloring pages at https://startingwithjesus.com/spb-cp/ Child helpers: Cora, Eliza, Patience, and Heidi. Recorded and produced by: Ashley B. Larson Don't forget to check out the coloring pages that go along with each lesson! https://startingwithjesus.com/spb-cp/ If you have enjoyed this program and would like to know more, go to our website: www.startingwithjesus.com The Bible and nature story material used in today's devotional podcast has been used with permission from My Bible First. If you would like your own copy, please visit their website-or call 1-877-242-5317. If you would like to purchase your own Memory Verse CD or Songbook, go to Ouachita Hills Store (https://www.ouachitahillsacademy.org/store?page=1&store_category_id=0&sort_by=title&is_ascending=1&search=). Songs from: Little Voices Praise Him, SDA Hymnal, Sabbath Songs For Tiny Tots, New Sabbath Songs For Tiny Tots, Memory Verse Verse Songs for Cradle Roll, Children's Songs For Jesus, and Scripture Songs and Little Lessons All Bible verses are from the NKJV. Singers for this Quarter: Tory, Caleb, and Enoch Hall, Hudson Reeves, Michael and Amy Nelson Editing assist: Dillon Austin and Josh Larson Music Recording and Editing: Rachel Nelson and Kristy Hall Coloring Pages: Rachel Lamming, Lily Canada, and Evie Rodriguez Theme Music: Lindsey Mills- www.lindseymillsmusic.com  God: who gives talents for us to use for Him

Whether you're a beginner or seasoned meditator, this episode offers deep insights on transforming hindrances into stepping stones for success. In this podcast, Bhante Sathi explores the nature of meditation hindrances—how awareness and determination help us recognize and overcome challenges like restlessness, sleepiness, and self-judgment. Discover practical techniques to stay committed, keep the mind awake, and gently face obstacles in meditation and daily life.

Aug 03 2025 Freedom from Sloth Pastor Skylar Falardeau by The Father's House Church Morinville

Rhyss Taylor Lemoine is a postdoctoral researcher in extinction, megafauna, rewilding, and novel ecosystems. Today he speaks to us about the late quaternary extinction. We discuss what megafauna are, their key roles in ecosystems, and the worldwide number and types that died off during the extinction of the late quaternary period (including the present).  Rhyss discusses the two main theories about what drove -- and still drives -- these extinctions, overKILL and overCHILL. He then tells us why he and his research team posit that climate change was a lesser factor driving these extinctions. For Rhyss, the extinctions are best explained by the introduction of a novel, insatiable, armed predator. One that could attack the largest and most dangerous animals from a distance with relatively little risk to itself. In other words, humans did it.One of the evidences he considers is that the extinctions of the late quaternary continue to this day, and the current culprit in large animal extinction is not in dispute.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-history-of-being-human--5806452/support.

Send us a text Welcome back to another episode of Whipped Cream Salmon! Brian catches up on his pizza-making skills from the week, while Ronnie talks about the trials of learning a new kitchen, ordering supplies, and battling imposter syndrome after his first few weeks as a pizza manager. Brian also recaps his sister's visit and all the great food they made, including a fantastic ratatouille and a discussion about how kebabs are actually not a great way to cook food.The conversation goes from the simple to the complex as the guys get into the intricacies of foie gras terrine and share some stories from the old days at Plump Jack's. Stay tuned for a good time!What We DrankRonnie - Scrimshaw Pilsner - North Coast BrewingBrian - Better Days- BirdsongSTAY CREAMY

Garth Heckman The David Alliance TDAgiantSlayer@Gmail.com    I spoke in a boys prison… these were boys who didn't just steal a car or beat up someone or rob someone. These were boys who murdered, raped and bombed people. A few different people got up to speak to them before me… none had very little success in getting them to listen… I was praying God what should I say. And he gave me these words… You are not here because you are tough kids, you are not here because you did bad things, stupid things or dumb things… you are here because you did the easy thing. You all think you are all so bad and tough… but you all sit here in the prison because you chose the EASY way….    What is the easy way? Well it comes in many forms… one form is going along with the crowd, falling into peer pressure. Those boys could have done the hard thing… study, go to school, got a job…but they chose the easy things… steal, murder, rape, kill… anyone can do that. One of the other easy things we all do is procrastinate.  While the Bible doesn't use the specific word "procrastination," it strongly addresses the concepts of diligence, idleness, slothfulness, and the wise use of time. These teachings offer clear guidance on how to avoid delaying important tasks and responsibilities. Here are some key themes and verses related to procrastination: 1. Condemnation of Sloth and Laziness: The book of Proverbs, in particular, has a lot to say about the "sluggard" or lazy person, and the negative consequences of their inaction. Proverbs 6:6-11: "Go to the ant, you sluggard; consider its ways and be wise! It has no commander, no overseer or ruler, yet it stores its provisions in summer and gathers its food at harvest. How long will you lie there, you sluggard? When will you get up from your sleep? A little sleep, a little slumber, a little folding of the hands to rest—and poverty will come on you like a thief and scarcity like an armed man." (This is a vivid picture of the consequences of delaying necessary work.) Scripture points out an amazing insight… you can learn from anyone or anything that practices hard work? You can see it in an ant, a beaver, a Female bald eagle, a Mother who is 8 months pregnant, a start up business owner, a young kid trying to make the team. Point is- what are you focusing on. If you focus on what you don't want to do… you won't do it. If you focus on what you need to do and how you see others tackling the same daily grind, it can help push you into that first step.  Proverbs 10:4: "Lazy hands make for poverty, but diligent hands bring wealth." Proverbs 12:24: "Diligent hands will rule, but laziness ends in forced labor." Proverbs 20:4: "Sluggards do not plow in season; so at harvest time they look but find nothing.” Right now You are either eating what you planted or starving from what you did not plant. If you practice your seasons you always have something to eat - even in the winter. But there are seasons that are made for growth, planting, investing. I used to sleep only 4 hours a day from my 20's through my early 40's… I had energy for days… but I can't say I always used it for the best.  Proverbs 24:30-34: Describes the ruin of a lazy person's field and house, emphasizing how "a little sleep, a little slumber, a a little folding of the hands to rest" leads to poverty. Again the point here is not a few days and life falls apart, it is stating a few days and all of a sudden a habit is formed, then a lifestyle and then a culture and finally a destiny… its not worth it.  2. Emphasis on Diligence and Hard Work: The Bible consistently promotes diligence, industry, and working with all your might.   Colossians 3:23: "Whatever you do, work at it with all your heart, as working for the Lord, not for human masters." (This verse provides a strong motivation: doing your best for God's glory.) What does a person who procrastinates really need? Motivation. A father is trying to get his son to mow the lawn. He keeps nagging at him and finally the wife ways to her husband I will get him to mow the lawn… good luck the father cackles… but when the father comes home from work that night his son is feverishly mowing the lawn… he walks in and asks his wife… how did you get him to mow the lawn- I tried everything. Simple she said “he has a date tonight and I told him I lost the keys in the laws today chasing the dog”.  YEP motivation comes in all forms… what you need is simply something that is motivating… and it starts by asking God why should I take this on - Now thats working for the Lord.  3. The Importance of Timeliness and Seizing Opportunity: Several passages highlight the fleeting nature of time and the importance of acting when the opportunity arises. Ecclesiastes 11:4: "Whoever watches the wind will not plant; whoever looks at the clouds will not reap." (This speaks to paralysis by analysis or waiting for perfect conditions.) You know what the say… when is the best time to plant a tree? A hundred years ago. The second best time is today. Invest money today. Look for a new job today? Tell someone about Jesus Today. Tell your kids you love them today. Plan a family vacation today. Go join the gym today. Rate my podcast today… sorry a shameless plug. One thing the Bible is clear on is not living by feelings… so if you are waiting for the procrastination to leave… it won't. You have to create your own feelings by what you believe in scripture and what you tell yourself. Motivation starts first with what you tell yourself… and in time you will believe it and act on it. 

To get live links to the music we play and resources we offer, visit www.WOSPodcast.comThis show includes the following songs:Della Rose - Avenue K FOLLOW ON SPOTIFYApril Reed - Kiss the Sun FOLLOW ON SPOTIFYHaleigh Bright - More Than Cigarettes FOLLOW ON SPOTIFYBrittany Rogers - Falling FOLLOW ON SPOTIFYFELIN - Bitter FOLLOW ON SPOTIFYKitty Montague - I See You In Me (Radio Edit) FOLLOW ON SPOTIFYMandy Ventrice - Have You Cried.wav FOLLOW ON SPOTIFYAvery Grace - payphone FOLLOW ON SPOTIFYChazzy L. - Wild West FOLLOW ON SPOTIFYAlma Samiri & Alfred YAO - Upstairs FOLLOW ON SPOTIFYLADY SLOTH - Disaster FOLLOW ON SPOTIFYKristina Evonne - Bankrupt FOLLOW ON SPOTIFYClaire Heywood - Good Information, Bad News FOLLOW ON SPOTIFYmel denisse - Like a Fiend FOLLOW ON SPOTIFYMortal and Strong - The Anthem FOLLOW ON SPOTIFYFor Music Biz Resources Visit www.FEMusician.com and www.ProfitableMusician.comVisit our Sponsor Profitable Musician Newsletter at profitablemusician.com/joinVisit our Sponsor Bethany Rae Worship at bethanyraeworships.comVisit our Sponsor Jennifer Harper at jenniferharpermusic.comVisit www.wosradio.com for more details and to submit music to our review board for consideration.Visit our resources for Indie Artists: https://www.wosradio.com/resourcesBecome more Profitable in just 3 minutes per day. http://profitablemusician.com/join

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Sloth kills callings—sometimes we pray, fast, and weep, but never move to build. Drawing inspiration from the story of Nehemiah, Dr. Gabe highlights the dangers of prolonged grief, the imperative of spiritual discipline, and an often-ignored enemy—the spirit of sloth. After seasons of prayer and fasting, step up to build what God has shown you.Support the showText encounteratl to 94000 to stay up-to-date on all things Encounter.Worship with EncounterSundays at 9 AM ET | Wednesdays at 7:30 PM ETSupport EncounterText egive to 77977 Connect with EncounterFacebook | Instagram | TikTok | YouTube | WebsiteConnect with Dr. GabeInstagram | YouTube | Website

Homily - 17th Sunday in Ordinary Time - Seek or Sloth

Dateline: July 25, 2025. Rossifari Zoo News is back with a round up of the latest news in the world of zoos, aquariums, conservation, and animal weirdness!   We start off celebrating the fifth anniversary of the podcast! Then it's time for a quick little catch up on me. We then move on to our births for the week, featuring red pandas at Zoo Lodz and Idaho Falls Zoo, and other animals from the Bronx Zoo, Chester Zoo, the Kansas City Zoo and Aquarium, Smithsonian's National Zoo and Conservation Biology Institute, and Cleveland Metroparks Zoo. We then say goodbye to animals from the Aquarium of Niagara and North Carolina Zoo.We have additional Zoo News stories from the ZAA, Oklahoma Aquarium, and the SeaWorld Foundation.Conservation News stories includes robo-bunnies and a look at how crimefighting techniques are being applied to conservation efforts. And in Other News, we talk sloth farts!ROSSIFARI LINKS: patreon.com/rossifari to support the pod rossifari.com @rossifari on socials @rossifaripod on TikTok 

Rory accidentally finds himself on a nudist beach while Drew's making DIY sunscreen with AI. And if that wasn't crazy enough, this episode is a full live teardown of Midjourney video loops and end frame control—features built for creating cinematic AI video workflows. Drew and Rory show how to use loops, start/end frames, and extended keyframes to build seamless sequences, plus what to avoid so you don't burn through credits.You'll also learn:✓ Keyframe Extensions – chaining multiple shots for longer, smoother videos✓ JSON Prompting – precision timing and motion control (with live tests)✓ Runway Act Two – motion capture updates and creative comparisons✓ Midjourney Style Explorer & V8 Preview – what's next for AI-driven video creationWhether you're a creative director, designer, marketer, or experimenting with AI video workflows, you'll get practical prompts, iteration techniques, and creative hacks to level up your Midjourney results.Watch now to see how these new features work, what to avoid, and how to produce cinematic AI videos faster.---MJ:FH Buddy (GPT)https://chatgpt.com/g/g-68755521d2348191a5ea8f6457412d51-mj-fh-buddy---⏱️ Midjourney Fast Hour00:00 – Intro & accidental nudist beach adventure02:50 – DIY sunscreen & unexpected AI life hacks07:00 – Midjourney video update overview (looping, 720p, start/end frames)10:20 – Upscalers, Magnific precision, and V8 development focus15:30 – Personalization codes & base model quality debate17:30 – Custom GPT for Midjourney knowledge recall21:10 – Mood boards, micro-styles, and avoiding “homogenous AI look”24:40 – Style Explorer, aesthetic preference survey, and upcoming features27:10 – Live first-frame/last-frame keyframe testing38:30 – Loop functionality and extended multi-keyframe workflows45:40 – Iterative prompting lessons and fixing motion quirks53:30 – JSON prompting explained and social-ready video hacks58:00 – Runway Act Two motion capture tests and impressions01:07:30 – Sloth race cars, Trump in Lord of the Rings & other AI absurdities01:09:40 – Key takeaways and what's coming next

Today, of course, we'll check out what's happening around your neck of the woods before an awesome HANG OUT, literally with Chewbacca, aka Chewy the sloth, at the Hattiesburg Zoo Sloth Experience with trainer Stephanie Buckley, before a final sit down with Grammy Award Winner, and the bridge between blues, soul and R&B, Dexter Allen to talk blues and his upcoming show at Ground Zero Biloxi and more! Stay tuned, buckle up and hold on tight for your Next Stop, Mississippi!"What's Happening Around Your Neck of the Woods" Event Listing:Christmas in July Demo Day @ MS Craftsmen's GuildUnion Market @ Union StationNardo Blackmon: I Ain't Even Posed To Be HereWatch this episode on MPB's YouTube Channel: Next Stop, Mississippi | Hattiesburg Zoo Sloth Experience & Dexter Allen @ Ground Zero Blues ClubNext Stop, Mississippi is your #1 on-air source for information about upcoming events and attractions across the state. Get to know the real Mississippi! Each week the show's hosts, Germaine Flood and entertainment attorney Kamel King, highlight well-known and unknown places in Mississippi with the best food, parks, music and arts. Check out our Sipp Events calendar to help plan your next trip! Hosted on Acast. See acast.com/privacy for more information.

What a Weird Week gets you caught up on the odd, interesting, strange, fun, and weird news that happened this week. Ten stories in 15 minutes!See https://www.shownotes.page or "What a Weird Week" where you get podcasts.Hi friends, I'm Scott and this is What a Weird Week, a look at the odd, interesting, strange, fun and weird stories that made news this week. See bottom of shownotes page for a transcript of the podcast episode.  To Subscribe/ get in touch/ other/ see www.shownotes.page.Thanks for rating and reviewing and also subscribing!These are the shownotes for Season 6, Ep 29 first published Fri July 18, 2025 Casino for the rest of us! UNO at the casino https://www.newsweek.com/new-uno-social-club-casino-las-vegas-2098544Mysterious ship goo is baffling the sciencers https://www.popsci.com/science/ship-goo-great-lakes-mystery/ Really old movie prop sells for record amount https://www.upi.com/Odd_News/2025/07/17/Heritage-Auctions-Rosebud-Citizen-Kane/6941752775517/Online movie streaming servicesHow to sleep better but yer not gonna like it maybe https://www.sciencedaily.com/releases/2025/07/250716000856.htm Impossible egg record has finally been cracked! https://www.upi.com/Odd_News/2025/07/16/Guinness-World-Records-largest-scotch-egg/1951752684454/ Sloths and more specifically sloth gas makes science headlines https://www.livescience.com/animals/scientists-thought-sloths-dont-fart-then-one-was-caught-tooting-on-camera Pooch TV preferences may surprise you #study https://studyfinds.org/dogs-watching-tv-habits/ Has the Green Pigeon shown up in your feeds yet? Earlier this summer it started to gain momentum. I thought it was fake. https://www.bbc.com/news/articles/cg5zdyy4lrgo The science of delicious campfire food https://www.popsci.com/science/why-food-around-campfire-tastes-better/ Why do we feel guilty about using our vacation days? (If you don't, you're winning). https://studyfinds.org/why-do-so-many-american-workers-feel-guilty-about-taking-vacation-days/ The million dollar relationship question that you should NOT bring up with your partner https://studyfinds.org/would-you-leave-your-partner-for-million-dollars/

Are sloths really lazy?  Jasmine is not sure because they do sleep all day.   Kind of like cats!!!  They may look like monkeys with their long arms, but sloths are not part of the monkey family.  Find out all about sloths and why they are so slow.  Did you know algae grows on them?  Jasmine says "Yuck!"

We remember the life of Dr. John MacArthur who passed away on July 14. Then we turn to our topic. Seth Troutt has these words of encouragement for young men: Don't be a sluggard. Don't be lazy. He believes the inability or unwillingness to work hard is corrosive, lethal, and tempting. How is sloth ruining the lives of the next generation? And how do we ruthlessly eliminate it? Don't miss the conversation on Chris Fabry Live. Featured resource:The Ruthless Elimination of Sloth: An Appeal to Young Men (article) Mentioned resource:Chris Fabry Live interview with John MacArthur, January 8, 2019 July thank you gift:Drive Through the Bible by Colin S. Smith Chris Fabry Live is listener-supported. To support the program, click here.Become a Back Fence Partner: https://moodyradio.org/donateto/chrisfabrylive/partnersSee omnystudio.com/listener for privacy information.

In the late quaternary period, from about 50 to 10 thousand years ago, vast populations of large animals died out.  Among them are some of the most iconic of prehistoric creatures -- mammoths, mastodons, woolly rhinoceri, dire wolves, smilodons, giant sloths, cave bears, and on and on.  In North America, more than 70% of species over 40kg (about 100lb) disappeared. In South America, it was even more.  Eurasia and Australia lost most of their large animals, including mammals, birds, and reptiles.What happened?Did the opportinistic pathogen known as Homo sapiens sapiens wipe them out?  Or was it the climactic upheaval of the ending of the last ice age?  Something else entirely?Lively and ongoing debate surrounds this topic still.  In this episode we go over the theories proposed and the relative merits of each.  Become a supporter of this podcast: https://www.spreaker.com/podcast/the-history-of-being-human--5806452/support.

Here's a taster of our new Premium-only story. To hear it in full, please join our Premium Subscription service. Become a PREMIUM SubscriberYou can now enjoy Animal Tales by becoming a Premium Subscriber. This gets you:All episodes in our catalogue advert freeBonus Premium-only episodes (every Friday) which will never be used on the main podcastWe guarantee to use one of your animal suggestions in a storyYou can sign up through Apple Podcasts or through Supercast and there are both monthly and yearly plans available. You can find more Animal Tales at https://www.spreaker.com/show/animal-tales-the-kids-story-podcast

Hij is haar cliënt, en meer dan dat zal hij nooit worden. Toch? Uitgegeven door Love Books Sprekers: Saskia Lammers, Rémi Groot

Life unwound, a will that fades, your life has stalled. Your goals, unmade. Your family lingers, you feel dull and slow. And all around you, the seasons, they flowContent warnings include: themes of death // desecration of a corpse // gore // misophonia // religious undertones // mentions of blood // complex family dynamics // depictions of mental illness // depictions of vomiting // depictions of disease // disordered eating // class inequality // depictions of spirits & the undead // mutilationSin Eater: Absolution is performed by Jess Lupini and Adam Lucas. Special thanks to our campaign artist, Cenzi, who you can find as @cenzi03 on Instagram. Music and effects by Epidemic Sound and Si Rutherford. For more stories, come follow us everywhere at @blackwaterdnd, and make sure to check out our Main Campaign on Monday nights at 8pm PST at twitch.tv/blackwaterdnd. This show is made possible by our sponsors who support us and allow us to tell the stories we want to share. We are grateful to be sponsored by Hero Forge, who offer fully customizable miniatures made with their online 3D character creator! Head on over and design your own Sin Eater, and get them printed in a variety of materials, including colour printing options! With new content added each week, check out www.heroforge.com to start bringing your character to life! We would also like to thank our sponsor Hunter's Entertainment. Hunter's Entertainment is a premier purveyor of tabletop RPGs and board games, providing amazing alternative systems for whatever setting or scenario you want to bring to the table. With titles like Kids on Bikes, Alice is Missing, God's of Metal: Ragnarok, and of course, Sin Eater, Hunter's brings beautifully written & designed books to dive into with your players. Check them out at huntersentertainment.com and sink your teeth into something new. Finally, we're thankful for our Patrons for joining us on our first adventure within Shura. You too can come join us on Patreon, where you can check out behind the scenes info, our talkback show Chatwater, as well as exclusive Sin Eater bonus content and so much more. Head on over to patreon.com/blackwaterdnd for all the info. Thank you for listening, stay hungry and be safe. 

In this episode of The Catholic Man Show, hosts Adam Minihan and David Niles dive into the topic of spiritual idleness, drawing from Father Frederick Faber's Growth in Holiness: Progress of the Spiritual Life. Recorded around the Fourth of July, the episode begins with a celebration of small-town Americana, from mutton busting at the local rodeo to the ordination of their friend, Father Robert Williams. The hosts then explore seven developments of spiritual idleness—dissipation, sadness, sloth, and more—offering practical insights on how to stay vigilant and prioritize a life oriented toward God. Sipping on Balvenie's American Oak 12-Year Scotch, Adam and David discuss how modern distractions, like smartphones and excessive communication, fragment our focus and hinder our prayer life, and share strategies for cultivating presence, joy, and intentionality in both spiritual and daily routines.Key Discussion Points:Small-Town Americana: The hosts celebrate the Heart of America rodeo, mutton busting, and the communal prayer and patriotism of small-town events, reflecting on their importance in fostering connection.Priestly Ordination: David shares a moving story of his son's emotional response to Father Robert Williams' ordination, highlighting the eternal nature of the priesthood and the call to discernment.Spiritual Idleness Defined: Drawing from Father Faber's Growth in Holiness, the hosts unpack seven developments of spiritual idleness: dissipation (misprioritizing tasks), sadness (rooted in self-love), sloth (hatred of existence), useless industry (excessive communication), and general indifference to time.Dissipation's Impact: Putting less important tasks first disrupts the hierarchy of goods, leading to a loss of peace and distractions in prayer, as Faber notes: “He who is diligent will soon be cheerful.”Sadness and Self-Love: Sadness, driven by self-improvement rather than God, gives the devil power over the soul, undermining spiritual progress.Sloth as a Culmination: Sloth combines dissipation and sadness, fostering a distaste for existence and duties, disrupting the tranquility of order (Aquinas' definition of peace).Useless Industry: Faber's critique of excessive letter-writing in the 1800s applies to today's text messaging and social media, which fragment focus and reduce meaningful communication.Indifference to Time: Wasting time, especially on addictive platforms like YouTube Shorts, is a “stupid” sin that squanders the precious, irrevocable gift of time, which Faber calls “the stuff out of which eternity is made.”Focus and Presence: True focus requires saying “no” to distractions to prioritize God's will, fostering presence in both daily life and prayer, as exemplified by a man eating lunch under a tree without multitasking.Leisure Done Right: Leisure must align with one's state in life, be tethered to joy, and have a contemplative aspect, avoiding compulsory or utilitarian ends.Notable Quotes from Father Frederick Faber:“Dissipation… consists in putting things off beyond their proper times so that one duty treads upon the heels of another, and all duties are felt as irksome obligations.”“He who is diligent will soon be cheerful.”“The soul of sadness is self-love… How many are there whose real end in the spiritual life is self-improvement rather than God?”“Nothing gives the devil so much power over us [as sadness].”“Time is the stuff out of which...

Stay informed about all the latest trends in Colorado and beyond! Jeff Bezos tied the knot, and Tom Brady was spotted spending time with Sydney Sweeney. Plus, there are some fantastic FREE summer activities for kids, and the zoo has welcomed new Sloths!The fun continues on our social media pages!Jeremy, Katy & Josh Facebook: CLICK HERE Jeremy, Katy & Josh Instagram: CLICK HERE

Barry, Abigail, and special guest Pete Coe discuss Pete's “Phone-a-Friend” submission, 13 Songs by Fugazi, and sample Rust and Ruin, Avulsion, and Inhume from Ghost Town Brewing in Oakland, California.We talked a bit about Ian MacKaye, the frontman of Fugazi and owner/co-founder of Dischord Records, the famous Washington, D.C.-based independent punk rock label. Read more about Dischord Records.Pete Coe's band Shack once opened for Deftones! (Later, Shack changed its name to Zeta Reticuli.)See the famous photo of Guy Picciotto singing while hanging from a basketball hoop.Ghost Town's can art/aesthetic reminded Abigail of the can art/aesthetic of Burial Beer Co. in Asheville, North Carolina. You can listen to our review of Burial's beer on our season one episode: Consumers of the Barley (The Raconteurs and Burial Beer Co.).Pete also plugged Healthy Spirits, a San Francisco-based liquor store where he bought today's beer selection.Abigail heard the “Midnight Oil pipe bang” in Burning. Pete shared that it was Brendan Canty's bell, which you can see as part of the drum kit in this photo!Barry entered Suggestion into the Abigail Hummel School of Speaking Smartly About Music with a comparison to Secret Journey by The Police.Pete compared Ian MacKaye's style of octave guitar playing to that of Wes Montgomery, a famous jazz guitarist.Much like Burning has a sequel in Burning Too, originally from separate EPs, Provisional has a sequel in Reprovisional on Fugazi's subsequent album, Repeater + 3 Songs.Pete is currently narrating for the Bloomberg Weekend Edition, which can be heard on their app. He also voiced Mo the Sloth, who teaches children about mindfulness and meditation, for tonies®.Up next… HIT ME HARD AND SOFT by Billie EilishJingles are by our friend Pete Coe.Visit Anosmia Awareness for more information on Barry's condition.Follow Barry or Abigail on Untappd to see what we're drinking when we're not on mic!Leave us a rating or a review on Apple Podcasts or Spotify!Facebook | Instagram | Bluesky | YouTube | Substack | Website | Email us | Virtual Jukebox | Beer Media Group

Send us a textHow can a children's book spark a lifelong passion for conservation and inspire young activists to protect our planet's endangered species? Today we learn how "toucan" help endangered species. Dynamic author-illustrator duo Hayley and John Rocco discuss the power of storytelling to empower young conservationists. We celebrate the book birthday of Hello, I'm a Toucan, the latest offering in their Meet the Wild Things series, and learn some interesting nuggets of information about these vibrantly beaked birds. Discover how the Meet the Wild Things series (Pangolin, Axolotl, Quokka, Sloth, Toucan, and soon to be Loris) brings endangered animals into fun focus, encouraging kids to become champions of the natural world. Hayley and John co-founded Children's Book Creators for Conservation to be the connective tissue between young readers and the conservationists in the field. As ambassadors for Wild Tomorrow, a nonprofit focused on conservation and rewilding South Africa, Hayley and John travels the world in search of stories they can bring back and share with readers everywhere. I am excited to join them in September.Before dedicating herself to writing for children full-time, Hayley Rocco worked as a publicist at several major publishers. John Rocco is the #1 New York Times bestselling author and illustrator of many acclaimed books for children, including Blackout, the recipient of a Caldecott Honor, and How We Got to the Moon, which received a Sibert Honor and was longlisted for the National Book Award. Chapters:1:03 Toucan Do It Too! Inspiring Conservation Through Children's Books16:51 Children's Book Creators for Conservation and Wild Tomorrow26:28 Supporting Young ConservationistsLinks:Visit Hayley at hayleyrocco.com and follow her on Instagram @hayleyroccobooks.Visit John at roccoart.com and follow him on Instagram @roccoart.Learn more about Children's Book Creators for Conservation and Support the showSubscribe & Follow: Stay updated with our latest episodes and follow us on Instagram, LinkedIn, and the Adventures in Learning website. Don't forget to subscribe on Apple Podcasts, Spotify, or wherever you get your podcasts! *Disclosure: I am a Bookshop.org. affiliate.

For those who haven't heard the announcement I posted, songs from this point on will sometimes be split among multiple episodes, so this is the second part of a two-episode look at the song “Who Knows Where The Time Goes?” by Fairport Convention, and the intertwining careers of Joe Boyd, Sandy Denny, and Richard Thompson. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-one-minute bonus episode available, on Judy Collins’ version of this song. Tilt Araiza has assisted invaluably by editing, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum For about an hour this was uploaded with the wrong Elton John clip in place of “Saturday Sun”. This has now been fixed. Resources Because of the increasing problems with Mixcloud’s restrictions, I have decided to start sharing streaming playlists of the songs used in episodes instead of Mixcloud ones. This Tunemymusic link will let you listen to the playlist I created on your streaming platform of choice — however please note that not all the songs excerpted are currently available on streaming. The songs missing from the Tidal version are “Shanten Bells” by the Ian Campbell Folk Group, “Tom’s Gone to Hilo” by A.L. Lloyd, two by Paul McNeill and Linda Peters, three by Elton John & Linda Peters, “What Will I Do With Tomorrow” by Sandy Denny and “You Never Know” by Charlie Drake, but the other fifty-nine are there. Other songs may be missing from other services. The main books I used on Fairport Convention as a whole were Patrick Humphries' Meet On The Ledge, Clinton Heylin's What We Did Instead of Holidays, and Kevan Furbank's Fairport Convention on Track. Rob Young's Electric Eden is the most important book on the British folk-rock movement. Information on Richard Thompson comes from Patrick Humphries' Richard Thompson: Strange Affair and Thompson's own autobiography Beeswing.  Information on Sandy Denny comes from Clinton Heylin's No More Sad Refrains and Mick Houghton's I've Always Kept a Unicorn. I also used Joe Boyd's autobiography White Bicycles and Chris Blackwell's The Islander.  And this three-CD set is the best introduction to Fairport's music currently in print. Transcript Before we begin, this episode contains reference to alcohol and cocaine abuse and medical neglect leading to death. It also starts with some discussion of the fatal car accident that ended last episode. There’s also some mention of child neglect and spousal violence. If that’s likely to upset you, you might want to skip this episode or read the transcript. One of the inspirations for this podcast when I started it back in 2018 was a project by Richard Thompson, which appears (like many things in Thompson’s life) to have started out of sheer bloody-mindedness. In 1999 Playboy magazine asked various people to list their “songs of the Millennium”, and most of them, understanding the brief, chose a handful of songs from the latter half of the twentieth century. But Thompson determined that he was going to list his favourite songs *of the millennium*. He didn’t quite manage that, but he did cover seven hundred and forty years, and when Playboy chose not to publish it, he decided to turn it into a touring show, in which he covered all his favourite songs from “Sumer Is Icumen In” from 1260: [Excerpt: Richard Thompson, “Sumer is Icumen In”] Through numerous traditional folk songs, union songs like “Blackleg Miner”, pieces by early-modern composers, Victorian and Edwardian music hall songs, and songs by the Beatles, the Ink Spots, the Kinks, and the Who, all the way to “Oops! I Did It Again”: [Excerpt: Richard Thompson, “Oops! I Did it Again”] And to finish the show, and to show how all this music actually ties together, he would play what he described as a “medieval tune from Brittany”, “Marry, Ageyn Hic Hev Donne Yt”: [Excerpt: Richard Thompson, “Marry, Ageyn Hic Hev Donne Yt”] We have said many times in this podcast that there is no first anything, but there’s a reason that Liege and Lief, Fairport Convention’s third album of 1969, and the album other than Unhalfbricking on which their reputation largely rests, was advertised with the slogan “The first (literally) British folk rock album ever”. Folk-rock, as the term had come to be known, and as it is still usually used today, had very little to do with traditional folk music. Rather, the records of bands like The Byrds or Simon and Garfunkel were essentially taking the sounds of British beat groups of the early sixties, particularly the Searchers, and applying those sounds to material by contemporary singer-songwriters. People like Paul Simon and Bob Dylan had come up through folk clubs, and their songs were called folk music because of that, but they weren’t what folk music had meant up to that point — songs that had been collected after being handed down through the folk process, changed by each individual singer, with no single identifiable author. They were authored songs by very idiosyncratic writers. But over their last few albums, Fairport Convention had done one or two tracks per album that weren’t like that, that were instead recordings of traditional folk songs, but arranged with rock instrumentation. They were not necessarily the first band to try traditional folk music with electric instruments — around the same time that Fairport started experimenting with the idea, so did an Irish band named Sweeney’s Men, who brought in a young electric guitarist named Henry McCullough briefly. But they do seem to have been the first to have fully embraced the idea. They had done so to an extent with “A Sailor’s Life” on Unhalfbricking, but now they were going to go much further: [Excerpt: Fairport Convention, “Matty Groves” (from about 4:30)] There had been some doubt as to whether Fairport Convention would even continue to exist — by the time Unhalfbricking, their second album of the year, was released, they had been through the terrible car accident that had killed Martin Lamble, the band’s drummer, and Jeannie Franklyn, Richard Thompson’s girlfriend. Most of the rest of the band had been seriously injured, and they had made a conscious decision not to discuss the future of the band until they were all out of hospital. Ashley Hutchings was hospitalised the longest, and Simon Nicol, Richard Thompson, and Sandy Denny, the other three surviving members of the band, flew over to LA with their producer and manager, Joe Boyd, to recuperate there and get to know the American music scene. When they came back, the group all met up in the flat belonging to Denny’s boyfriend Trevor Lucas, and decided that they were going to continue the band. They made a few decisions then — they needed a new drummer, and as well as a drummer they wanted to get in Dave Swarbrick. Swarbrick had played violin on several tracks on Unhalfbricking as a session player, and they had all been thrilled to work with him. Swarbrick was one of the most experienced musicians on the British folk circuit. He had started out in the fifties playing guitar with Beryl Marriott’s Ceilidh Band before switching to fiddle, and in 1963, long before Fairport had formed, he had already appeared on TV with the Ian Campbell Folk Group, led by Ian Campbell, the father of Ali and Robin Campbell, later of UB40: [Excerpt: The Ian Campbell Folk Group, “Shanten Bells (medley on Hullaballoo!)”] He’d sung with Ewan MacColl and A.L. Lloyd: [Excerpt: A.L. Lloyd, “Tom’s Gone to Hilo” ] And he’d formed his hugely successful duo with Martin Carthy, releasing records like “Byker Hill” which are often considered among the best British folk music of all time: [Excerpt: Martin Carthy and Dave Swarbrick, “Byker Hill”] By the time Fairport had invited him to play on Unhalfbricking, Swarbrick had already performed on twenty albums as a core band member, plus dozens more EPs, singles, and odd tracks on compilations. They had no reason to think they could actually get him to join their band. But they had three advantages. The first was that Swarbrick was sick of the traditional folk scene at the time, saying later “I didn’t like seven-eighths of the people involved in it, and it was extremely opportune to leave. I was suddenly presented with the possibilities of exploring the dramatic content of the songs to the full.” The second was that he was hugely excited to be playing with Richard Thompson, who was one of the most innovative guitarists of his generation, and Martin Carthy remembers him raving about Thompson after their initial sessions. (Carthy himself was and is no slouch on the guitar of course, and there was even talk of getting him to join the band at this point, though they decided against it — much to the relief of rhythm guitarist Simon Nicol, who is a perfectly fine player himself but didn’t want to be outclassed by *two* of the best guitarists in Britain at the same time). And the third was that Joe Boyd told him that Fairport were doing so well — they had a single just about to hit the charts with “Si Tu Dois Partir” — that he would only have to play a dozen gigs with Fairport in order to retire. As it turned out, Swarbrick would play with the group for a decade, and would never retire — I saw him on his last tour in 2015, only eight months before he died. The drummer the group picked was also a far more experienced musician than any of the rest, though in a very different genre. Dave Mattacks had no knowledge at all of the kind of music they played, having previously been a player in dance bands. When asked by Hutchings if he wanted to join the band, Mattacks’ response was “I don’t know anything about the music. I don’t understand it… I can’t tell one tune from another, they all sound the same… but if you want me to join the group, fine, because I really like it. I’m enjoying myself musically.” Mattacks brought a new level of professionalism to the band, thanks to his different background. Nicol said of him later “He was dilligent, clean, used to taking three white shirts to a gig… The application he could bring to his playing was amazing. With us, you only played well when you were feeling well.” This distinction applied to his playing as well. Nicol would later describe the difference between Mattacks’ drumming and Lamble’s by saying “Martin’s strength was as an imaginative drummer. DM came in with a strongly developed sense of rhythm, through keeping a big band of drunken saxophone players in order. A great time-keeper.” With this new line-up and a new sense of purpose, the group did as many of their contemporaries were doing and “got their heads together in the country”. Joe Boyd rented the group a mansion, Farley House, in Farley Chamberlayne, Hampshire, and they stayed there together for three months. At the start, the group seem to have thought that they were going to make another record like Unhalfbricking, with some originals, some songs by American songwriters, and a few traditional songs. Even after their stay in Farley Chamberlayne, in fact, they recorded a few of the American songs they’d rehearsed at the start of the process, Richard Farina’s “Quiet Joys of Brotherhood” and Bob Dylan and Roger McGuinn’s “Ballad of Easy Rider”: [Excerpt: Fairport Convention, “Ballad of Easy Rider”] Indeed, the whole idea of “getting our heads together in the country” (as the cliche quickly became in the late sixties as half of the bands in Britain went through much the same kind of process as Fairport were doing — but usually for reasons more to do with drug burnout or trend following than recovering from serious life-changing trauma) seems to have been inspired by Bob Dylan and the Band getting together in Big Pink. But very quickly they decided to follow the lead of Ashley Hutchings, who had had something of a Damascene conversion to the cause of traditional English folk music. They were listening mostly to Music From Big Pink by the Band, and to the first album by Sweeney’s Men: [Excerpt: Sweeney’s Men, “The Handsome Cabin Boy”] And they decided that they were going to make something that was as English as those records were North American and Irish (though in the event there were also a few Scottish songs included on the record). Hutchings in particular was becoming something of a scholar of traditional music, regularly visiting Cecil Sharp House and having long conversations with A.L. Lloyd, discovering versions of different traditional songs he’d never encountered before. This was both amusing and bemusing Sandy Denny, who had joined a rock group in part to get away from traditional music; but she was comfortable singing the material, and knew a lot of it and could make a lot of suggestions herself. Swarbrick obviously knew the repertoire intimately, and Nicol was amenable, while Mattacks was utterly clueless about the folk tradition at this point but knew this was the music he wanted to make. Thompson knew very little about traditional music, and of all the band members except Denny he was the one who has shown the least interest in the genre in his subsequent career — but as we heard at the beginning, showing the least interest in the genre is a relative thing, and while Thompson was not hugely familiar with the genre, he *was* able to work with it, and was also more than capable of writing songs that fit in with the genre. Of the eleven songs on the album, which was titled Liege and Lief (which means, roughly, Lord and Loyalty), there were no cover versions of singer-songwriters. Eight were traditional songs, and three were originals, all written in the style of traditional songs. The album opened with “Come All Ye”, an introduction written by Denny and Hutchings (the only time the two would ever write together): [Excerpt: Fairport Convention, “Come All Ye”] The other two originals were songs where Thompson had written new lyrics to traditional melodies. On “Crazy Man Michael”, Swarbrick had said to Thompson that the tune to which he had set his new words was weaker than the lyrics, to which Thompson had replied that if Swarbrick felt that way he should feel free to write a new melody. He did, and it became the first of the small number of Thompson/Swarbrick collaborations: [Excerpt: Fairport Convention, “Crazy Man Michael”] Thompson and Swarbrick would become a brief songwriting team, but as much as anything else it was down to proximity — the two respected each other as musicians, but never got on very well. In 1981 Swarbrick would say “Richard and I never got on in the early days of FC… we thought we did, but we never did. We composed some bloody good songs together, but it was purely on a basis of “you write that and I’ll write this, and we’ll put it together.” But we never sat down and had real good chats.” The third original on the album, and by far the most affecting, is another song where Thompson put lyrics to a traditional tune. In this case he thought he was putting the lyrics to the tune of “Willie O'Winsbury”, but he was basing it on a recording by Sweeney’s Men. The problem was that Sweeney’s Men had accidentally sung the lyrics of “Willie O'Winsbury'” to the tune of a totally different song, “Fause Foodrage”: [Excerpt: Sweeney’s Men, “Willie O’Winsbury”] Thompson took that melody, and set to it lyrics about loss and separation. Thompson has never been one to discuss the meanings of his lyrics in any great detail, and in the case of this one has said “I really don't know what it means. This song came out of a dream, and I pretty much wrote it as I dreamt it (it was the sixties), and didn't spend very long analyzing it. So interpret as you wish – or replace with your own lines.” But in the context of the traffic accident that had killed his tailor girlfriend and a bandmate, and injured most of his other bandmates, the lyrics about lonely travellers, the winding road, bruised and beaten sons, saying goodbye, and never cutting cloth, seem fairly self-explanatory: [Excerpt: Fairport Convention, “Farewell, Farewell”] The rest of the album, though, was taken up by traditional tunes. There was a long medley of four different fiddle reels; a version of “Reynardine” (a song about a seductive man — or is he a fox? Or perhaps both — which had been recorded by Swarbrick and Carthy on their most recent album); a 19th century song about a deserter saved from the firing squad by Prince Albert; and a long take on “Tam Lin”, one of the most famous pieces in the Scottish folk music canon, a song that has been adapted in different ways by everyone from the experimental noise band Current 93 to the dub poet Benjamin Zephaniah to the comics writer Grant Morrison: [Excerpt: Fairport Convention, “Tam Lin”] And “Matty Groves”, a song about a man killing his cheating wife and her lover, which actually has a surprisingly similar story to that of “1921” from another great concept album from that year, the Who’s Tommy. “Matty Groves” became an excuse for long solos and shows of instrumental virtuosity: [Excerpt: Fairport Convention, “Matty Groves”] The album was recorded in September 1969, after their return from their break in the country and a triumphal performance at the Royal Festival Hall, headlining over fellow Witchseason artists John and Beverly Martyn and Nick Drake. It became a classic of the traditional folk genre — arguably *the* classic of the traditional folk genre. In 2007 BBC Radio 2’s Folk Music Awards gave it an award for most influential folk album of all time, and while such things are hard to measure, I doubt there’s anyone with even the most cursory knowledge of British folk and folk-rock music who would not at least consider that a reasonable claim. But once again, by the time the album came out in November, the band had changed lineups yet again. There was a fundamental split in the band – on one side were Sandy Denny and Richard Thompson, whose stance was, roughly, that Liege and Lief was a great experiment and a fun thing to do once, but really the band had two first-rate songwriters in themselves, and that they should be concentrating on their own new material, not doing these old songs, good as they were. They wanted to take the form of the traditional songs and use that form for new material — they wanted to make British folk-rock, but with the emphasis on the rock side of things. Hutchings, on the other hand, was equally sure that he wanted to make traditional music and go further down the rabbit hole of antiquity. With the zeal of the convert he had gone in a couple of years from being the leader of a band who were labelled “the British Jefferson Airplane” to becoming a serious scholar of traditional folk music. Denny was tired of touring, as well — she wanted to spend more time at home with Trevor Lucas, who was sleeping with other women when she was away and making her insecure. When the time came for the group to go on a tour of Denmark, Denny decided she couldn’t make it, and Hutchings was jubilant — he decided he was going to get A.L. Lloyd into the band in her place and become a *real* folk group. Then Denny reconsidered, and Hutchings was crushed. He realised that while he had always been the leader, he wasn’t going to be able to lead the band any further in the traditionalist direction, and quit the group — but not before he was delegated by the other band members to fire Denny. Until the publication of Richard Thompson’s autobiography in 2022, every book on the group or its members said that Denny quit the band again, which was presumably a polite fiction that the band agreed, but according to Thompson “Before we flew home, we decided to fire Sandy. I don't remember who asked her to leave – it was probably Ashley, who usually did the dirty work. She was reportedly shocked that we would take that step. She may have been fragile beneath the confident facade, but she still knew her worth.” Thompson goes on to explain that the reasons for kicking her out were that “I suppose we felt that in her mind she had already left” and that “We were probably suffering from post-traumatic stress disorder, though there wasn't a name for it back then.” They had considered inviting Trevor Lucas to join the band to make Denny more comfortable, but came to the (probably correct) conclusion that while he was someone they got on well with personally, he would be another big ego in a band that already had several, and that being around Denny and Lucas’ volatile relationship would, in Thompson’s phrasing, “have not always given one a feeling of peace and stability.” Hutchings originally decided he was going to join Sweeney’s Men, but that group were falling apart, and their first rehearsal with Hutchings would also be their last as a group, with only Hutchings and guitarist and mandolin player Terry Woods left in the band. They added Woods’ wife Gay, and another couple, Tim Hart and Maddy Prior, and formed a group called Steeleye Span, a name given them by Martin Carthy. That group, like Fairport, went to “get their heads together in the country” for three months and recorded an album of electric versions of traditional songs, Hark the Village Wait, on which Mattacks and another drummer, Gerry Conway, guested as Steeleye Span didn’t at the time have their own drummer: [Excerpt: Steeleye Span, “Blackleg Miner”] Steeleye Span would go on to have a moderately successful chart career in the seventies, but by that time most of the original lineup, including Hutchings, had left — Hutchings stayed with them for a few albums, then went on to form the first of a series of bands, all called the Albion Band or variations on that name, which continue to this day. And this is something that needs to be pointed out at this point — it is impossible to follow every single individual in this narrative as they move between bands. There is enough material in the history of the British folk-rock scene that someone could do a 500 Songs-style podcast just on that, and every time someone left Fairport, or Steeleye Span, or the Albion Band, or Matthews’ Southern Comfort, or any of the other bands we have mentioned or will mention, they would go off and form another band which would then fission, and some of its members would often join one of those other bands. There was a point in the mid-1970s where the Albion Band had two original members of Fairport Convention while Fairport Convention had none. So just in order to keep the narrative anything like wieldy, I’m going to keep the narrative concentrated on the two figures from Fairport — Sandy Denny and Richard Thompson — whose work outside the group has had the most influence on the wider world of rock music more broadly, and only deal with the other members when, as they often did, their careers intersected with those two. That doesn’t mean the other members are not themselves hugely important musicians, just that their importance has been primarily to the folk side of the folk-rock genre, and so somewhat outside the scope of this podcast. While Hutchings decided to form a band that would allow him to go deeper and deeper into traditional folk music, Sandy Denny’s next venture was rather different. For a long time she had been writing far more songs than she had ever played for her bandmates, like “Nothing More”, a song that many have suggested is about Thompson: [Excerpt: Fotheringay, “Nothing More”] When Joe Boyd heard that Denny was leaving Fairport Convention, he was at first elated. Fairport’s records were being distributed by A&M in the US at that point, but Island Records was in the process of opening up a new US subsidiary which would then release all future Fairport product — *but*, as far as A&M were concerned, Sandy Denny *was* Fairport Convention. They were only interested in her. Boyd, on the other hand, loved Denny’s work intensely, but from his point of view *Richard Thompson* was Fairport Convention. If he could get Denny signed directly to A&M as a solo artist before Island started its US operations, Witchseason could get a huge advance on her first solo record, while Fairport could continue making records for Island — he’d have two lucrative acts, on different labels. Boyd went over and spoke to A&M and got an agreement in principle that they would give Denny a forty-thousand-dollar advance on her first solo album — twice what they were paying for Fairport albums. The problem was that Denny didn’t want to be a solo act. She wanted to be the lead singer of a band. She gave many reasons for this — the one she gave to many journalists was that she had seen a Judy Collins show and been impressed, but noticed that Collins’ band were definitely a “backing group”, and as she put it “But that's all they were – a backing group. I suddenly thought, If you're playing together on a stage you might as well be TOGETHER.” Most other people in her life, though, say that the main reason for her wanting to be in a band was her desire to be with her boyfriend, Trevor Lucas. Partly this was due to a genuine desire to spend more time with someone with whom she was very much in love, partly it was a fear that he would cheat on her if she was away from him for long periods of time, and part of it seems to have been Lucas’ dislike of being *too* overshadowed by his talented girlfriend — he didn’t mind acknowledging that she was a major talent, but he wanted to be thought of as at least a minor one. So instead of going solo, Denny formed Fotheringay, named after the song she had written for Fairport. This new band consisted at first of Denny on vocals and occasional piano, Lucas on vocals and rhythm guitar, and Lucas’ old Eclection bandmate Gerry Conway on drums. For a lead guitarist, they asked Richard Thompson who the best guitarist in Britain was, and he told them Albert Lee. Lee in turn brought in bass player Pat Donaldson, but this lineup of the band barely survived a fortnight. Lee *was* arguably the best guitarist in Britain, certainly a reasonable candidate if you could ever have a singular best (as indeed was Thompson himself), but he was the best *country* guitarist in Britain, and his style simply didn’t fit with Fotheringay’s folk-influenced songs. He was replaced by American guitarist Jerry Donahue, who was not anything like as proficient as Lee, but who was still very good, and fit the band’s style much better. The new group rehearsed together for a few weeks, did a quick tour, and then went into the recording studio to record their debut, self-titled, album. Joe Boyd produced the album, but admitted himself that he only paid attention to those songs he considered worthwhile — the album contained one song by Lucas, “The Ballad of Ned Kelly”, and two cover versions of American singer-songwriter material with Lucas singing lead. But everyone knew that the songs that actually *mattered* were Sandy Denny’s, and Boyd was far more interested in them, particularly the songs “The Sea” and “The Pond and the Stream”: [Excerpt: Fotheringay, “The Pond and the Stream”] Fotheringay almost immediately hit financial problems, though. While other Witchseason acts were used to touring on the cheap, all packed together in the back of a Transit van with inexpensive equipment, Trevor Lucas had ambitions of being a rock star and wanted to put together a touring production to match, with expensive transport and equipment, including a speaker system that got nicknamed “Stonehenge” — but at the same time, Denny was unhappy being on the road, and didn’t play many gigs. As well as the band itself, the Fotheringay album also featured backing vocals from a couple of other people, including Denny’s friend Linda Peters. Peters was another singer from the folk clubs, and a good one, though less well-known than Denny — at this point she had only released a couple of singles, and those singles seemed to have been as much as anything else released as a novelty. The first of those, a version of Dylan’s “You Ain’t Goin’ Nowhere” had been released as by “Paul McNeill and Linda Peters”: [Excerpt: Paul McNeill and Linda Peters, “You Ain’t Goin’ Nowhere”] But their second single, a version of John D. Loudermilk’s “You’re Taking My Bag”, was released on the tiny Page One label, owned by Larry Page, and was released under the name “Paul and Linda”, clearly with the intent of confusing particularly gullible members of the record-buying public into thinking this was the McCartneys: [Excerpt: Paul and Linda, “You’re Taking My Bag”] Peters was though more financially successful than almost anyone else in this story, as she was making a great deal of money as a session singer. She actually did another session involving most of Fotheringay around this time. Witchseason had a number of excellent songwriters on its roster, and had had some success getting covers by people like Judy Collins, but Joe Boyd thought that they might possibly do better at getting cover versions if they were performed in less idiosyncratic arrangements. Donahue, Donaldson, and Conway went into the studio to record backing tracks, and vocals were added by Peters and another session singer, who according to some sources also provided piano. They cut songs by Mike Heron of the Incredible String Band: [Excerpt: Linda Peters, “You Get Brighter”] Ed Carter, formerly of The New Nadir but by this time firmly ensconced in the Beach Boys’ touring band where he would remain for the next quarter-century: [Excerpt: Linda Peters, “I Don’t Mind”] John and Beverly Martyn, and Nick Drake: [Excerpt: Elton John, “Saturday Sun”] There are different lineups of musicians credited for those sessions in different sources, but I tend to believe that it’s mostly Fotheringay for the simple reason that Donahue says it was him, Donaldson and Conway who talked Lucas and Denny into the mistake that destroyed Fotheringay because of these sessions. Fotheringay were in financial trouble already, spending far more money than they were bringing in, but their album made the top twenty and they were getting respect both from critics and from the public — in September, Sandy Denny was voted best British female singer by the readers of Melody Maker in their annual poll, which led to shocked headlines in the tabloids about how this “unknown” could have beaten such big names as Dusty Springfield and Cilla Black. Only a couple of weeks after that, they were due to headline at the Albert Hall. It should have been a triumph. But Donahue, Donaldson, and Conway had asked that singing pianist to be their support act. As Donahue said later “That was a terrible miscast. It was our fault. He asked if [he] could do it. Actually Pat, Gerry and I had to talk Sandy and Trevor into [it]… We'd done these demos and the way he was playing – he was a wonderful piano player – he was sensitive enough. We knew very little about his stage-show. We thought he'd be a really good opener for us.” Unfortunately, Elton John was rather *too* good. As Donahue continued “we had no idea what he had in mind, that he was going to do the most incredible rock & roll show ever. He pretty much blew us off the stage before we even got on the stage.” To make matters worse, Fotheringay’s set, which was mostly comprised of new material, was underrehearsed and sloppy, and from that point on no matter what they did people were counting the hours until the band split up. They struggled along for a while though, and started working on a second record, with Boyd again producing, though as Boyd later said “I probably shouldn't have been producing the record. My lack of respect for the group was clear, and couldn't have helped the atmosphere. We'd put out a record that had sold disappointingly, A&M was unhappy. Sandy's tracks on the first record are among the best things she ever did – the rest of it, who cares? And the artwork, Trevor's sister, was terrible. It would have been one thing if I'd been unhappy with it and it sold, and the group was working all the time, making money, but that wasn't the case … I knew what Sandy was capable of, and it was very upsetting to me.” The record would not be released for thirty-eight years: [Excerpt: Fotheringay, “Wild Mountain Thyme”] Witchseason was going badly into debt. Given all the fissioning of bands that we’ve already been talking about, Boyd had been stretched thin — he produced sixteen albums in 1970, and almost all of them lost money for the company. And he was getting more and more disillusioned with the people he was producing. He loved Beverly Martyn’s work, but had little time for her abusive husband John, who was dominating her recording and life more and more and would soon become a solo artist while making her stay at home (and stealing her ideas without giving her songwriting credit). The Incredible String Band were great, but they had recently converted to Scientology, which Boyd found annoying, and while he was working with all sorts of exciting artists like Vashti Bunyan and Nico, he was finding himself less and less important to the artists he mentored. Fairport Convention were a good example of this. After Denny and Hutchings had left the group, they’d decided to carry on as an electric folk group, performing an equal mix of originals by the Swarbrick and Thompson songwriting team and arrangements of traditional songs. The group were now far enough away from the “British Jefferson Airplane” label that they decided they didn’t need a female vocalist — and more realistically, while they’d been able to replace Judy Dyble, nobody was going to replace Sandy Denny. Though it’s rather surprising when one considers Thompson’s subsequent career that nobody seems to have thought of bringing in Denny’s friend Linda Peters, who was dating Joe Boyd at the time (as Denny had been before she met Lucas) as Denny’s replacement. Instead, they decided that Swarbrick and Thompson were going to share the vocals between them. They did, though, need a bass player to replace Hutchings. Swarbrick wanted to bring in Dave Pegg, with whom he had played in the Ian Campbell Folk Group, but the other band members initially thought the idea was a bad one. At the time, while they respected Swarbrick as a musician, they didn’t think he fully understood rock and roll yet, and they thought the idea of getting in a folkie who had played double bass rather than an electric rock bassist ridiculous. But they auditioned him to mollify Swarbrick, and found that he was exactly what they needed. As Joe Boyd later said “All those bass lines were great, Ashley invented them all, but he never could play them that well. He thought of them, but he was technically not a terrific bass player. He was a very inventive, melodic, bass player, but not a very powerful one technically. But having had the part explained to him once, Pegg was playing it better than Ashley had ever played it… In some rock bands, I think, ultimately, the bands that sound great, you can generally trace it to the bass player… it was at that point they became a great band, when they had Pegg.” The new lineup of Fairport decided to move in together, and found a former pub called the Angel, into which all the band members moved, along with their partners and children (Thompson was the only one who was single at this point) and their roadies. The group lived together quite happily, and one gets the impression that this was the period when they were most comfortable with each other, even though by this point they were a disparate group with disparate tastes, in music as in everything else. Several people have said that the only music all the band members could agree they liked at this point was the first two albums by The Band. With the departure of Hutchings from the band, Swarbrick and Thompson, as the strongest personalities and soloists, became in effect the joint leaders of the group, and they became collaborators as songwriters, trying to write new songs that were inspired by traditional music. Thompson described the process as “let’s take one line of this reel and slow it down and move it up a minor third and see what that does to it; let’s take one line of this ballad and make a whole song out of it. Chopping up the tradition to find new things to do… like a collage.” Generally speaking, Swarbrick and Thompson would sit by the fire and Swarbrick would play a melody he’d been working on, the two would work on it for a while, and Thompson would then go away and write the lyrics. This is how the two came up with songs like the nine-minute “Sloth”, a highlight of the next album, Full House, and one that would remain in Fairport’s live set for much of their career: [Excerpt: Fairport Convention, “Sloth”] “Sloth” was titled that way because Thompson and Swarbrick were working on two tunes, a slow one and a fast one, and they jokingly named them “Sloth” and “Fasth”, but the latter got renamed to “Walk Awhile”, while “Sloth” kept its working title. But by this point, Boyd and Thompson were having a lot of conflict in the studio. Boyd was never the most technical of producers — he was one of those producers whose job is to gently guide the artists in the studio and create a space for the music to flourish, rather than the Joe Meek type with an intimate technical knowledge of the studio — and as the artists he was working with gained confidence in their own work they felt they had less and less need of him. During the making of the Full House album, Thompson and Boyd, according to Boyd, clashed on everything — every time Boyd thought Thompson had done a good solo, Thompson would say to erase it and let him have another go, while every time Boyd thought Thompson could do better, Thompson would say that was the take to keep. One of their biggest clashes was over Thompson’s song “Poor Will and the Jolly Hangman”, which was originally intended for release on the album, and is included in current reissues of it: [Excerpt: Fairport Convention, “Poor Will and the Jolly Hangman”] Thompson had written that song inspired by what he thought was the unjust treatment of Alex Bramham, the driver in Fairport’s fatal car crash, by the courts — Bramham had been given a prison sentence of a few months for dangerous driving, while the group members thought he had not been at fault. Boyd thought it was one of the best things recorded for the album, but Thompson wasn’t happy with his vocal — there was one note at the top of the melody that he couldn’t quite hit — and insisted it be kept off the record, even though that meant it would be a shorter album than normal. He did this at such a late stage that early copies of the album actually had the title printed on the sleeve, but then blacked out. He now says in his autobiography “I could have persevered, double-tracked the voice, warmed up for longer – anything. It was a good track, and the record was lacking without it. When the album was re-released, the track was restored with a more confident vocal, and it has stayed there ever since.” During the sessions for Full House the group also recorded one non-album single, Thompson and Swarbrick’s “Now Be Thankful”: [Excerpt, Fairport Convention, “Now Be Thankful”] The B-side to that was a medley of two traditional tunes plus a Swarbrick original, but was given the deliberately ridiculous title “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”: [Excerpt: Fairport Convention, “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”] The B. McKenzie in the title was a reference to the comic-strip character Barry McKenzie, a stereotype drunk Australian created for Private Eye magazine by the comedian Barry Humphries (later to become better known for his Dame Edna Everage character) but the title was chosen for one reason only — to get into the Guinness Book of Records for the song with the longest title. Which they did, though they were later displaced by the industrial band Test Dept, and their song “Long Live British Democracy Which Flourishes and Is Constantly Perfected Under the Immaculate Guidance of the Great, Honourable, Generous and Correct Margaret Hilda Thatcher. She Is the Blue Sky in the Hearts of All Nations. Our People Pay Homage and Bow in Deep Respect and Gratitude to Her. The Milk of Human Kindness”. Full House got excellent reviews in the music press, with Rolling Stone saying “The music shows that England has finally gotten her own equivalent to The Band… By calling Fairport an English equivalent of the Band, I meant that they have soaked up enough of the tradition of their countryfolk that it begins to show all over, while they maintain their roots in rock.” Off the back of this, the group went on their first US tour, culminating in a series of shows at the Troubadour in LA, on the same bill as Rick Nelson, which were recorded and later released as a live album: [Excerpt: Fairport Convention, “Sloth (live)”] The Troubadour was one of the hippest venues at the time, and over their residency there the group got seen by many celebrities, some of whom joined them on stage. The first was Linda Ronstadt, who initially demurred, saying she didn’t know any of their songs. On being told they knew all of hers, she joined in with a rendition of “Silver Threads and Golden Needles”. Thompson was later asked to join Ronstadt’s backing band, who would go on to become the Eagles, but he said later of this offer “I would have hated it. I’d have hated being on the road with four or five miserable Americans — they always seem miserable. And if you see them now, they still look miserable on stage — like they don’t want to be there and they don’t like each other.” The group were also joined on stage at the Troubadour on one memorable night by some former bandmates of Pegg’s. Before joining the Ian Campbell Folk Group, Pegg had played around the Birmingham beat scene, and had been in bands with John Bonham and Robert Plant, who turned up to the Troubadour with their Led Zeppelin bandmate Jimmy Page (reports differ on whether the fourth member of Zeppelin, John Paul Jones, also came along). They all got up on stage together and jammed on songs like “Hey Joe”, “Louie Louie”, and various old Elvis tunes. The show was recorded, and the tapes are apparently still in the possession of Joe Boyd, who has said he refuses to release them in case he is murdered by the ghost of Peter Grant. According to Thompson, that night ended in a three-way drinking contest between Pegg, Bonham, and Janis Joplin, and it’s testament to how strong the drinking culture is around Fairport and the British folk scene in general that Pegg outdrank both of them. According to Thompson, Bonham was found naked by a swimming pool two days later, having missed two gigs. For all their hard rock image, Led Zeppelin were admirers of a lot of the British folk and folk-rock scene, and a few months later Sandy Denny would become the only outside vocalist ever to appear on a Led Zeppelin record when she duetted with Plant on “The Battle of Evermore” on the group’s fourth album: [Excerpt: Led Zeppelin, “The Battle of Evermore”] Denny would never actually get paid for her appearance on one of the best-selling albums of all time. That was, incidentally, not the only session that Denny was involved in around this time — she also sang on the soundtrack to a soft porn film titled Swedish Fly Girls, whose soundtrack was produced by Manfred Mann: [Excerpt: Sandy Denny, “What Will I Do With Tomorrow?”] Shortly after Fairport’s trip to America, Joe Boyd decided he was giving up on Witchseason. The company was now losing money, and he was finding himself having to produce work for more and more acts as the various bands fissioned. The only ones he really cared about were Richard Thompson, who he was finding it more and more difficult to work with, Nick Drake, who wanted to do his next album with just an acoustic guitar anyway, Sandy Denny, who he felt was wasting her talents in Fotheringay, and Mike Heron of the Incredible String Band, who was more distant since his conversion to Scientology. Boyd did make some attempts to keep the company going. On a trip to Sweden, he negotiated an agreement with the manager and publisher of a Swedish band whose songs he’d found intriguing, the Hep Stars. Boyd was going to publish their songs in the UK, and in return that publisher, Stig Anderson, would get the rights to Witchseason’s catalogue in Scandinavia — a straight swap, with no money changing hands. But before Boyd could get round to signing the paperwork, he got a better offer from Mo Ostin of Warners — Ostin wanted Boyd to come over to LA and head up Warners’ new film music department. Boyd sold Witchseason to Island Records and moved to LA with his fiancee Linda Peters, spending the next few years working on music for films like Deliverance and A Clockwork Orange, as well as making his own documentary about Jimi Hendrix, and thus missed out on getting the UK publishing rights for ABBA, and all the income that would have brought him, for no money. And it was that decision that led to the breakup of Fotheringay. Just before Christmas 1970, Fotheringay were having a difficult session, recording the track “John the Gun”: [Excerpt: Fotheringay, “John the Gun”] Boyd got frustrated and kicked everyone out of the session, and went for a meal and several drinks with Denny. He kept insisting that she should dump the band and just go solo, and then something happened that the two of them would always describe differently. She asked him if he would continue to produce her records if she went solo, and he said he would. According to Boyd’s recollection of the events, he meant that he would fly back from California at some point to produce her records. According to Denny, he told her that if she went solo he would stay in Britain and not take the job in LA. This miscommunication was only discovered after Denny told the rest of Fotheringay after the Christmas break that she was splitting the band. Jerry Donahue has described that as the worst moment of his life, and Denny felt very guilty about breaking up a band with some of her closest friends in — and then when Boyd went over to the US anyway she felt a profound betrayal. Two days before Fotheringay’s final concert, in January 1971, Sandy Denny signed a solo deal with Island records, but her first solo album would not end up produced by Joe Boyd. Instead, The North Star Grassman and the Ravens was co-produced by Denny, John Wood — the engineer who had worked with Boyd on pretty much everything he’d produced, and Richard Thompson, who had just quit Fairport Convention, though he continued living with them at the Angel, at least until a truck crashed into the building in February 1971, destroying its entire front wall and forcing them to relocate. The songs chosen for The North Star Grassman and the Ravens reflected the kind of choices Denny would make on her future albums, and her eclectic taste in music. There was, of course, the obligatory Dylan cover, and the traditional folk ballad “Blackwaterside”, but there was also a cover version of Brenda Lee’s “Let’s Jump the Broomstick”: [Excerpt: Sandy Denny, “Let’s Jump the Broomstick”] Most of the album, though, was made up of originals about various people in Denny’s life, like “Next Time Around”, about her ex-boyfriend Jackson C Frank: [Excerpt: Sandy Denny, “Next Time Around”] The album made the top forty in the UK — Denny’s only solo album to do so — and led to her once again winning the “best female singer” award in Melody Maker’s readers’ poll that year — the male singer award was won by Rod Stewart. Both Stewart and Denny appeared the next year on the London Symphony Orchestra’s all-star version of The Who’s Tommy, which had originally been intended as a vehicle for Stewart before Roger Daltrey got involved. Stewart’s role was reduced to a single song, “Pinball Wizard”, while Denny sang on “It’s a Boy”: [Excerpt: Sandy Denny, “It’s a Boy”] While Fotheringay had split up, all the band members play on The North Star Grassman and the Ravens. Guitarists Donahue and Lucas only play on a couple of the tracks, with Richard Thompson playing most of the guitar on the record. But Fotheringay’s rhythm section of Pat Donaldson and Gerry Conway play on almost every track. Another musician on the album, Ian Whiteman, would possibly have a profound effect on the future direction of Richard Thompson’s career and life. Whiteman was the former keyboard player for the mod band The Action, having joined them just before they became the blues-rock band Mighty Baby. But Mighty Baby had split up when all of the band except the lead singer had converted to Islam. Richard Thompson was on his own spiritual journey at this point, and became a Sufi – the same branch of Islam as Whiteman – soon after the session, though Thompson has said that his conversion was independent of Whiteman’s. The two did become very close and work together a lot in the mid-seventies though. Thompson had supposedly left Fairport because he was writing material that wasn’t suited to the band, but he spent more than a year after quitting the group working on sessions rather than doing anything with his own material, and these sessions tended to involve the same core group of musicians. One of the more unusual was a folk-rock supergroup called The Bunch, put together by Trevor Lucas. Richard Branson had recently bought a recording studio, and wanted a band to test it out before opening it up for commercial customers, so with this free studio time Lucas decided to record a set of fifties rock and roll covers. He gathered together Thompson, Denny, Whiteman, Ashley Hutchings, Dave Mattacks, Pat Donaldson, Gerry Conway, pianist Tony Cox, the horn section that would later form the core of the Average White Band, and Linda Peters, who had now split up with Joe Boyd and returned to the UK, and who had started dating Thompson. They recorded an album of covers of songs by Jerry Lee Lewis, the Everly Brothers, Johnny Otis and others: [Excerpt: The Bunch, “Willie and the Hand Jive”] The early seventies was a hugely productive time for this group of musicians, as they all continued playing on each other’s projects. One notable album was No Roses by Shirley Collins, which featured Thompson, Mattacks, Whiteman, Simon Nicol, Lal and Mike Waterson, and Ashley Hutchings, who was at that point married to Collins, as well as some more unusual musicians like the free jazz saxophonist Lol Coxhill: [Excerpt: Shirley Collins and the Albion Country Band, “Claudy Banks”] Collins was at the time the most respected female singer in British traditional music, and already had a substantial career including a series of important records made with her sister Dolly, work with guitarists like Davey Graham, and time spent in the 1950s collecting folk songs in the Southern US with her then partner Alan Lomax – according to Collins she did much of the actual work, but Lomax only mentioned her in a single sentence in his book on this work. Some of the same group of musicians went on to work on an album of traditional Morris dancing tunes, titled Morris On, credited to “Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield”, with Collins singing lead on two tracks: [Excerpt: Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield with Shirley Collins, “The Willow Tree”] Thompson thought that that album was the best of the various side projects he was involved in at the time, comparing it favourably to Rock On, which he thought was rather slight, saying later “Conceptually, Fairport, Ashley and myself and Sandy were developing a more fragile style of music that nobody else was particularly interested in, a British Folk Rock idea that had a logical development to it, although we all presented it our own way. Morris On was rather more true to what we were doing. Rock On was rather a retro step. I'm not sure it was lasting enough as a record but Sandy did sing really well on the Buddy Holly songs.” Hutchings used the musicians on No Roses and Morris On as the basis for his band the Albion Band, which continues to this day. Simon Nicol and Dave Mattacks both quit Fairport to join the Albion Band, though Mattacks soon returned. Nicol would not return to Fairport for several years, though, and for a long period in the mid-seventies Fairport Convention had no original members. Unfortunately, while Collins was involved in the Albion Band early on, she and Hutchings ended up divorcing, and the stress from the divorce led to Collins developing spasmodic dysphonia, a stress-related illness which makes it impossible for the sufferer to sing. She did eventually regain her vocal ability, but between 1978 and 2016 she was unable to perform at all, and lost decades of her career. Richard Thompson occasionally performed with the Albion Band early on, but he was getting stretched a little thin with all these sessions. Linda Peters said later of him “When I came back from America, he was working in Sandy’s band, and doing sessions by the score. Always with Pat Donaldson and Dave Mattacks. Richard would turn up with his guitar, one day he went along to do a session with one of those folkie lady singers — and there were Pat and DM. They all cracked. Richard smashed his amp and said “Right! No more sessions!” In 1972 he got round to releasing his first solo album, Henry the Human Fly, which featured guest appearances by Linda Peters and Sandy Denny among others: [Excerpt: Richard Thompson, “The Angels Took My Racehorse Away”] Unfortunately, while that album has later become regarded as one of the classics of its genre, at the time it was absolutely slated by the music press. The review in Melody Maker, for example, read in part “Some of Richard Thompson’s ideas sound great – which is really the saving grace of this album, because most of the music doesn’t. The tragedy is that Thompson’s “British rock music” is such an unconvincing concoction… Even the songs that do integrate rock and traditional styles of electric guitar rhythms and accordion and fiddle decoration – and also include explicit, meaningful lyrics are marred by bottle-up vocals, uninspiring guitar phrases and a general lack of conviction in performance.” Henry the Human Fly was released in the US by Warners, who had a reciprocal licensing deal with Island (and for whom Joe Boyd was working at the time, which may have had something to do with that) but according to Thompson it became the lowest-selling record that Warners ever put out (though I’ve also seen that claim made about Van Dyke Parks’ Song Cycle, another album that has later been rediscovered). Thompson was hugely depressed by this reaction, and blamed his own singing. Happily, though, by this point he and Linda had become a couple — they would marry in 1972 — and they started playing folk clubs as a duo, or sometimes in a trio with Simon Nicol. Thompson was also playing with Sandy Denny’s backing band at this point, and played on every track on her second solo album, Sandy. This album was meant to be her big commercial breakthrough, with a glamorous cover photo by David Bailey, and with a more American sound, including steel guitar by Sneaky Pete Kleinow of the Flying Burrito Brothers (whose overdubs were supervised in LA by Joe Boyd): [Excerpt: Sandy Denny, “Tomorrow is a Long Time”] The album was given a big marketing push by Island, and “Listen, Listen” was made single of the week on the Radio 1 Breakfast show: [Excerpt: Sandy Denny, “Listen, Listen”] But it did even worse than the previous album, sending her into something of a depression. Linda Thompson (as the former Linda Peters now was) said of this period “After the Sandy album, it got her down that her popularity didn't suddenly increase in leaps and bounds, and that was the start of her really fretting about the way her career was going. Things only escalated after that. People like me or Martin Carthy or Norma Waterson would think, ‘What are you on about? This is folk music.'” After Sandy’s release, Denny realised she could no longer afford to tour with a band, and so went back to performing just acoustically or on piano. The only new music to be released by either of these ex-members of Fairport Convention in 1973 was, oddly, on an album by the band they were no longer members of. After Thompson had left Fairport, the group had managed to release two whole albums with the same lineup — Swarbrick, Nicol, Pegg, and Mattacks. But then Nicol and Mattacks had both quit the band to join the Albion Band with their former bandmate Ashley Hutchings, leading to a situation where the Albion Band had two original members of Fairport plus their longtime drummer while Fairport Convention itself had no original members and was down to just Swarbrick and Pegg. Needing to fulfil their contracts, they then recruited three former members of Fotheringay — Lucas on vocals and rhythm guitar, Donahue on lead guitar, and Conway on drums. Conway was only a session player at the time, and Mattacks soon returned to the band, but Lucas and Donahue became full-time members. This new lineup of Fairport Convention released two albums in 1973, widely regarded as the group’s most inconsistent records, and on the title track of the first, “Rosie”, Richard Thompson guested on guitar, with Sandy Denny and Linda Thompson on backing vocals: [Excerpt: Fairport Convention, “Rosie”] Neither Sandy Denny nor Richard Thompson released a record themselves in 1973, but in neither case was this through the artists’ choice. The record industry was changing in the early 1970s, as we’ll see in later episodes, and was less inclined to throw good money after bad in the pursuit of art. Island Records prided itself on being a home for great artists, but it was still a business, and needed to make money. We’ll talk about the OPEC oil crisis and its effect on the music industry much more when the podcast gets to 1973, but in brief, the production of oil by the US peaked in 1970 and started to decrease, leading to them importing more and more oil from the Middle East. As a result of this, oil prices rose slowly between 1971 and 1973, then very quickly towards the end of 1973 as a result of the Arab-Israeli conflict that year. As vinyl is made of oil, suddenly producing records became much more expensive, and in this period a lot of labels decided not to release already-completed albums, until what they hoped would be a brief period of shortages passed. Both Denny and Thompson recorded albums at this point that got put to one side by Island. In the case of Thompson, it was the first album by Richard and Linda as a duo, I Want to See the Bright Lights Tonight: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Today, I Want to See the Bright Lights Tonight is widely regarded as one of the greatest albums of all time, and as one of the two masterpieces that bookended Richard and Linda’s career as a duo and their marriage. But when they recorded the album, full of Richard’s dark songs, it was the opposite of commercial. Even a song that’s more or less a boy-girl song, like “Has He Got a Friend for Me?” has lyrics like “He wouldn’t notice me passing by/I could be in the gutter, or dangling down from a tree” [Excerpt: Richard and Linda Thompson, “Has He got a Friend For Me?”] While something like “The Calvary Cross” is oblique and haunted, and seems to cast a pall over the entire album: [Excerpt: Richard and Linda Thompson, “The Calvary Cross”] The album itself had been cheap to make — it had been recorded in only a week, with Thompson bringing in musicians he knew well and had worked with a lot previously to cut the tracks as-live in only a handful of takes — but Island didn’t think it was worth releasing. The record stayed on the shelf for nearly a year after recording, until Island got a new head of A&R, Richard Williams. Williams said of the album’s release “Muff Winwood had been doing A&R, but he was more interested in production… I had a conversation with Muff as soon as I got there, and he said there are a few hangovers, some outstanding problems. And one of them was Richard Thompson. He said there’s this album we gave him the money to make — which was I Want to See the Bright Lights Tonight — and nobody’s very interested in it. Henry the Human Fly had been a bit of a commercial disappointment, and although Island was altruistic and independent and known for only recording good stuff, success was important… Either a record had to do well or somebody had to believe in it a lot. And it seemed as if neither of those things were true at that point of Richard.” Williams, though, was hugely impressed when he listened to the album. He compared Richard Thompson’s guitar playing to John Coltrane’s sax, and called Thompson “the folk poet of the rainy streets”, but also said “Linda brightened it, made it more commercial. and I thought that “Bright Lights” itself seemed a really commercial song.” The rest of the management at Island got caught up in Williams’ enthusiasm, and even decided to release the title track as a single: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Neither single nor album charted — indeed it would not be until 1991 that Richard Thompson would make a record that made the top forty in the UK — but the album got enough critical respect that Richard and Linda released two albums the year after. The first of these, Hokey Pokey, is a much more upbeat record than their previous one — Richard Thompson has called it “quite a music-hall influenced record” and cited the influence of George Formby and Harry Lauder. For once, the claim of music hall influence is audible in the music. Usually when a British musician is claimed to have a music ha

The Apostle Paul tells us in his letter to the Romans in chapter 3, verse 23 that “all have sinned and fallen short of the glory of God.” It's true. We are all sinners and in need of God's forgiveness and grace. Early Christians began to group sins together, and by the 6th century, a list of seven sins had emerged. They were called the “seven deadly sins” because they lead to death. Others called them the “cardinal sins” or “capital vices” because they were the worst of the sins. In this series, each of our pastors will explore one of the deadly sins even as we give thanks for God's grace that frees us from sin. Today's scripture reading is Luke 10:38-42. Support the showContact Village Presbyterian Churchvillagepres.orgcommunications@villagepres.org913-262-4200Have a prayer request? pastoral-care@villagepres.orgFacebook @villagepresInstagram @villagepreschurchYouTube @villagepresbyterianchurchTo join in the mission and ministry of Village Church, go to villagepres.org/giving

Dan, Manny, & Billy invite friend & fan of the pod Meghan P. Nolan to put the 1985 action/adventure comedy The Goonies to the ultimate test—THE NOSTALGIA TEST! “I had this epiphany while I was watching it this time where I was like, ‘Holy shit! Like Goonies are just like a bunch of nerds, they're all just sitting around playing D&D, Mikey is the dungeon master, and this is their quest.” -Meghan P. Nolan Around 2 years ago, Meghan sent us a suggestion to put The Goonies to the ultimate test and because Dan is super lazy it took him this long to get her on the pod. This episode is off the rails from the start filled with classic Nostalgia Test drops and a live Zoom audience of one, (haha! it's a start) Courtney from the Fiction Fixation Podcast who added some hilarious ideas while Billy dealt with his North Carolina internet service. The gang talks about “Goonies” comes from their town name The Goon Docks, what did the parents of these kids do to get all their houses foreclosed on, why was Troy and his flunkies hanging around a wishing well, are the Fratellis really Italian, and who was resetting One Eyed Willie's booby traps in the 1600s. They also analyze all the amazing characters, unpack the stereotypes, plot holes, and put Cindy Lauper's song to a quick Nostalgia Test. Most importantly, they talk about the real heroes of this movie Rosalita and Sloth. This episode is what The Nostalgia Test is all about, laughter, hot takes, and a bunch of hypothetical scenarios for what a Goonies sequel or TV series might look like. This is a must-listen for any fan of 80s classics. Email us (thenostalgiatest@gmail.com) your thoughts, opinions, and questions about this episode or anything else nostalgic on your mind and we'll read it for next time on the pod!   APPROXIMATE RUN OF SHOW: 00:00 Introduction to the Nostalgia Test Podcast 00:45 Welcoming the Hosts and Guest 01:15 Discussing The Goonies and Nostalgia 02:10 The Goonies' Cultural Impact 04:08 Analyzing Characters and Stereotypes 10:07 Plot Holes and Funny Observations 15:47 The Goonies' Opening Scene and PG Rating 26:51 Music and Product Placement in The Goonies 30:41 Kids' Reactions to The Goonies 31:36 Comparing The Goonies to Other 80s Movies 33:35 Modern Movie Music and Final Thoughts 36:06 Revisiting 'The Goonies': Childhood Memories and Cable TV 37:03 Tree Climbing Adventures and Childhood Mischief 38:24 The Goonies' Treasure Hunt Begins 39:03 Decoding the Pirate Map and Family Dynamics 40:27 The Goonies' Quest: Booby Traps and Town Secrets 42:19 Character Dynamics and 80s Stereotypes 50:14 The Fratelli Family: Villains or Victims? 52:21 Sloth: The Unlikely Hero 56:21 The Goonies' Final Adventure: Treasure and Triumph 01:10:35 Nostalgic Jail Cell Memories 01:11:02 The Idiot Mob in Astoria 01:11:42 Chunk's Hilarious Car Encounter 01:12:22 Goonies Theme Park and Escape Room Ideas 01:14:21 Mikey's Iconic Speech 01:16:02 Speculating on the Goonies Sequel 01:22:25 The Goonies' Legacy and Trivia 01:34:56 Final Thoughts and Nostalgia Test   Meghan P. Nolan, MFA, MA, PhD, is an Associate Professor of English and Chair of the Honors program at State University of New York, Rockland. She is a recipient of the SUNY Chancellor's Award for Excellence in Teaching. She is a multi-genre writer, who focuses on(Neo-)Victorian and Modern literature/ crime writing and fragmented perceptions of self-hood through academic works, fiction, non-fiction, and poetry. Her book The Crossroads of Crime Writing: Unseen Structures and Uncertain Spaces was published by Anthem Press (March 2024). She is the author of the poetry collection, Stratification (2008) and her poems have been in many literary journals over the years. Recently, her works have been on public display as a part of the “Writing on the Walls” exhibits at the Hudson Valley Museum of Contemporary Art (HVMOCA) and she regularly performs her poetry and monologues as a part of productions by both Studio Theater in Exile and Tutti Bravi respectively. Her works have appeared in Approaches to Teaching the Works of Fernando Pessoa (2025), Mean Streets (2021), Persona Studies (2021 and 2015), Transnational Crime Fiction: Mobility, Borders, and Detection (2020), Exquisite Corpse: Studio Art-Based Writing in the Academy (2019), The 100 Greatest Detectives (2018), and Thread (2017). For more info visit mpnolan.com.  Order Meghan's book The Crossroads of Crime Writing: Unseen Structures and Uncertain Spaces at Barnes & Nobel & Amazon   Book The Nostalgia Test Podcast Bring The Nostalgia Test Podcast's high energy fun and comedy on your podcast, to host your themed parties & special events!  The Nostalgia Test Podcast will create an unforgettable Nostalgic experience for any occasion because we are the party! We are the most dedicated guests! We bring it 100% of the time! Email us at thenostalgiatest@gmail.com or fill out the form at this link. LET'S GET NOSTALGIC!     Keep up with all things The Nostalgia Test Podcast on Instagram | Substack | Discord | TikTok | Bluesky | YouTube | Facebook   The intro and outro music ('Neon Attack 80s') is by Emanmusic. The Lithology Brewing ad music ("Red, White, Black, & Blue") is by PEG and the Rejected

You are invited to eagerly pursue the life God has set before you. 

In this episode, Pastor Rick and Evan Perrow (RC congregant and Goodyear employee) talk about how Christians can and should strive for excellence at work. Sloth or Ant sermon: https://tinyurl.com/4ps96wpc. Church values on website: https://tinyurl.com/y533acn3.

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In today's episode of Shark Theory, host Baylor Barbee explores a powerful truth hidden behind an unlikely metaphor: the sloth. From being called a “weird duck” in an interview to breaking down why some of the most successful people on the planet are unconventional, Baylor makes the case for embracing your authentic self—even if it makes you stand out. Especially if it makes you stand out. Using lessons from his book No One Prays for the Lion, Baylor introduces the concept of the “sloth superpower”—a unique trait that goes against societal norms but becomes your greatest strength when you embrace it fully. This isn't about being trendy. It's about longevity. It's about the power of being real in a world full of filters. If you've ever felt like you had to dim your light to fit in or dilute your greatness to be accepted, this episode is your call to return to the purest version of you. Key Takeaways: Unapologetic authenticity is your greatest advantage in a copycat world. Longevity and impact often stem from doing things differently, not faster. Your “too much” may actually be your superpower. Pretending to be someone else wastes more energy than being yourself. Winning isn't always about being the best—sometimes it's about staying true the longest. Notable Quotes: “Weird just means you're the opposite of the general norm—so why not wear that with pride?” “Sloths survive not by speed, but by being exactly who they are.” “What do you get out of being a diluted version of yourself?”

Energy with a grain of saltResearchers have developed a new sodium metal powered fuel cell with up to triple the output for its weight of a lithium-ion battery. The team from  MIT, including Yet-Ming Chiang, think these fuel cells could have enormous potential for electric vehicles — including flight. They say sodium can be electrically produced from salt on a large scale to facilitate this technology. The research was published in the journal Joule.Plants hear their pollinators, and produce sweet nectar in responseA new study has found that plants can respond to the distinctive vibrations of pollinating insects by activating sugar-producing genes to produce rich nectar. In contrast they respond to the sound of nectar-stealing non-pollinators by cutting back on sugar. Francesca Barbero, from the University of Turin in Italy, presented this work at a recent joint meeting of the Acoustical Society of America and 25th International Congress on Acoustics.Penguin poop helps create the cooling clouds over Antarctica Penguin guano is rich in ammonia, and when it accumulates in penguin rookeries in Antarctica, that ammonia is released into the atmosphere, encouraging cloud production. Those clouds reflect sunlight into space, but can also trap sunlight reflected from the ice, so have complex climate interactions. This connection was discovered by University of Helsinki researcher Matthew Boyer, and was published in the journal Nature.Giant sloth family tree suggests trees are just a recent part of itSloths used to be giants the size of bears and even elephants before disappearing around 12,000 years ago. An international group of paleontologists including University of Toronto's Gerry De Iuliis have assembled a comprehensive family tree of the sloth to understand how a group that used to dominate the landscape was winnowed away to only a handful of relatively small, tree dwelling species. The research was published in the journal Science.Eradicating diseases — Can we wipe out ancient and modern plagues forever?In 1980 the World Health Organization declared Smallpox officially eradicated, meaning that for the first time, a plague that killed hundreds of millions of people had been eliminated by human ingenuity. It opened the question of whether we could do this for other lethal threats? We look at efforts to eradicate Polio, an ancient plague, and HIV, a more modern epidemic, to understand how researchers are trying to eradicate these diseases , how close they've come, and what's preventing their final victory.Quirks spoke to Stan Houston, an infectious disease specialist and professor of medicine and public health at the University of Alberta in Edmonton. He's worked on treating HIV and tuberculosis in places such as Zimbabwe, South Sudan, Ecuador and Alberta.Catherine Hankins was the chief scientific adviser for the Joint United Nations Program on HIV/AIDS in Geneva, Switzerland. And in 2013, she was named to the Order of Canada and in 2023 was inducted in the Canadian Medical Hall of Fame. She is currently an adjunct professor at the School of Population and Global Health at McGill University and a senior fellow at the Amsterdam Institute for Global Health and Development.

Female three-fingered sloths use loud, high-pitched screams to attract mates when they're in heat.

Pitbull a.k.a Mr. Worldwide inspires a new edition of Ask The Nation and Yesterday's Quizzer, Kieran impersonates a sexy sloth. Plus, Jess attempts to grab herself festival tickets and it's Thursday, so we Thurs-Waaaaaay!

Send us a textThe anniversary of a beloved 1980s film. The debut of a game-changing cable channel. Some fast food favorites we wish were back full-time.Episode 198 celebrates the unofficial start of summer by bringing the warm and fuzzy nostalgia.It all starts off with the 40th anniversary of a staple of 1980s kids, The Goonies. A fun story, relatable characters, a unique setting, and infinitely quotable lines, this film was a rite of passage for so many who grew up back then. We will do a deep dive into why it's still so popular.Children's television changed forever in 1983 with the launch of the Disney Channel. Chock full of the classic cartoons and films kids knew of the channel, also introduced many new shows that became staples of the daily lives of 80s and 90s kids. We'll dust off our Mickey Mouse ears and reminisce about Disney's leap into cable. Some fast food items come and go with few batting an eye. On this week's Top 5 we're going to go in the opposite direction. We will examine some discontinued fast food items that were popular, some of which occasionally make a return to tease us momentarily.There is as always a new This Week In History and Time Capsule that seeks to answer the question: What exactly was Betamax?Don't forget to become a free member and to go vote in the polls for Listener's Choice Episode 200 over on Patreon!Helpful Links from this EpisodePurchase My New Book Cape Cod Beyond the Beach!In My Footsteps: A Cape Cod Travel Guide(2nd Edition)Hooked By Kiwi - Etsy.comDJ Williams MusicKeeKee's Cape Cod KitchenChristopher Setterlund.comCape Cod Living - Zazzle StoreSubscribe on YouTube!Initial Impressions 2.0 BlogWebcam Weekly Wrapup PodcastCJSetterlundPhotos on EtsyThe Old Men of the Mountain DocumentaryListen to Episode 197 hereSupport the show

Music by:Inspiration by MIxaund - https://mixaund.bandcamp.comMusic promoted by:https://www.free-stock-music.com

Send us a textWe dive into the fascinating world of extinct giant sloths, explore how dogs are inspiring better swimming robots, and discuss the alarming resurgence of measles with immunologist Dr. Elisabeth Marnick.• Ancient sloths evolved wide body size diversity based primarily on their habitat preference• Tree-dwelling sloths evolved to be smaller while ground-dwelling species became massive• The largest ground sloths were predated by enormous short-faced bears and likely hunted by humans• Engineers created an amphibious robot that mimics dogs' swimming motion rather than reptiles or insects• The dog-inspired robot achieves better transition between land and water with superior stabilityAnd our guest: • Dr. Elizabeth Marnick explains that measles causes "immune amnesia," erasing the body's memory of other infections• The MMR vaccine is 97% effective at preventing measles infection with two doses• One in four measles cases requires hospitalization, with potentially severe complications• Subacute sclerosing panencephalitis can appear 7-10 years after measles infection and is 100% fatal• Science communicators face significant challenges combating misinformation on social mediaDr. Marnick's LinksInstagramSubstackOur links:Our Website!  www.bunsenbernerbmd.comSign up for our Weekly Newsletter!Bunsen and Beaker on Twitter:Bunsen and Beaker on TikTokSupport the showFor Science, Empathy, and Cuteness!Being Kind is a Superpower.https://twitter.com/bunsenbernerbmd

If you could be one of those animals, or let's say for a minute you had to be one of those animals, which would you be?

This mid season finale, better know as a Selah, collides with the last but not least of the deadly sins: Sloth. The Seven Deadly Sins: Mini Series. Let's explore each individual energy, to understand how to heal, grow, learn and transmute them. In this series “sin” is anything that keeps us disconnected from love. Gift

Welcome back to Oddities the podcast were no topic is too *~*StRaNgE*~*! This week we have some cryptids and some history! First up the Tennessee Cave sloth! Could this be Big Foots lil sibling?? Up next have you ever thought of nuking the moon? Well it has been thought of! Buckle up and hear all about Project A119!Support the showFollow along on social media:FacebookInstagramWebsiteEmail: Oddities.talk@gmail.comHuge shout out to Kyle Head for our awesome new intro! Check out his amazing Music! Thank you Mana Peach for our adorable prattling cows! Check out her designs!Check out Lindsey Bidwell's designs (merch and new logo!)Check out the Moose Cottage! Check out our merch!

Preaching: Mike RothIn Eastertide, we ponder the mystery of resurrection. Like the flowers bursting out again in spring, like the Spirit hovering over chaos and nurturing creation, like the Christ rising from the tomb on the third day—even so, we often bear witness to new, fruitful ways of living coming to life out of the darkest places. In this series, we will explore the way our disintegrated and disregulated attempts to cope with life, can become invitations into wise, honest, human ways of flourishing.Pearl Church exists to express a sacred story and to extend a common table that animate life by love. A primary expression of our sacred story is the weekly sermon. If our sermons inspire you to ponder the sacred, to consider the mystery and love of God, and to live bountifully, would you consider supporting our work? You can donate easily and securely at our website: pearlchurch.org. Thank you for partnering with us in expressing this sacred story.

Hello Wholigans! On today's episode of the call-in show, we chat about the highly publicized dinner between Harry/Meghan and Brooklyn/Nicola and uncover the TRUTH regarding their encounter. Moving on we learn that Anna Camp is dating a woman, Brie Larson is releasing a cookbook with her new best friend Courtney McBroom, Han Gi-chan has pivoted from aspiring singer to successful actor, and so much more.  As always, call in at 619.WHO.THEM to leave questions, comments & concerns for a future episode of Who's There?. Get a ton of bonus content over on ⁠⁠⁠⁠⁠Patreon.com/WhoWeekly⁠⁠⁠. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Learn how to waste precious fishing time by harassing wildlife that may or may not go into turbo mode and kill you. 

 SCP-2774 is an unidentified cognitohazardous humanoid, believed to be wearing a sloth costume.Content Warnings:  Suicidal Ideation, Involuntary Euthanasia, HelplessnessTranscript Cast & Crew SCP Archives was created by Pacific S. Obadiah & Jon Grilz.SCP-2774  was written by MoohabScript by Kevin WhitlockNarrator -  Jon GrilzDr. Chung- Elissa ParkSubject 0886 - Russ MoreSubject 7444 - Kale BrownSubject 9225 -Terrell Worrell Sound Design- Derrick ValenTheme Song- Matt Roi BergerArt by Eduardo Valdés-HeviaShowrunner- Daisy McNamaraThe Creative Director- Pacific S. ObadiahExecutive Producers- Tom Owen and Brad Miska. A Bloody FM show. Presented by Bloody FMwww.Bloody-Disgusting.comwww.SCParchives.com Patreon: https://www.patreon.com/scp_podStore: https://store.dftba.com/collections/scp-archivesInstagram: https://www.instagram.com/scp_pod/Bluesky: https://bsky.app/profile/scparchives.bsky.socialDiscord: https://discord.gg/tJEeNUzeZXTikTok: https://www.tiktok.com/@scppodYouTube: https://www.youtube.com/c/scparchives