Podcasts about Sumer

Thank you for joining us for our 2nd Cabral HouseCall of the weekend!   I'm looking forward to sharing with you some of our community's questions that have come in over the past few weeks…   Michelle: Hi Dr. Cabral! Thank you for ALL that you do! During the summer I hardly use my sauna because I'm sweating most days between early morning runs (super humid here), trail maintenance, trail runs, afternoon walks, etc. I'm sure I'm missing out on other benefits of using the sauna, however? Should I still be incorporating a 20-30 minute sauna 4-5 days per week?       Jackie: My husband has mcas, and has full body itch/flush triggered by temperature change, loud stimulus and is hyper sensitive to smell/light. We tried histpro and vitamin C and it made his symptoms much worse by day 3 we stopped after day 5 and it took about a week to go back to his baseline. Any thoughts as to what happened? He Wants to do 21 day detox but really struggles to keep weight on as it is staying above 9% bf is a challenge . For context eats auto immune paleo,no alcohol and strength training is light to moderate 4 days /week.for over a decade. If you had to estimate what % of the benefit that comes from a 21 day detox is attributed to the 2 day fast and reduced calories?       Trish: Good morning! QQ on women's health post-menopausal. Somewhat intimate question listeners for small children. Your opinion please on using a low dosage of women's estrogen vaginal cream to help keep the vagina tissues from thinning etc.. Thank you in advance. You are an amazing human being and are so appreciated for all you do to help us with longevity and aging gracefully.       Richard: Hi Dr. Cabral, my question is on the origins of AYU medicine, I hope thats ok. I have always been fascinated with our ancient history & am wondering which civilization came up with AYU medicine. Was it the Indus Valley Civilization? You mention the system is at least 6k years old but the earliest dates of the IVC I can find are around 3300BC. Its widely accepted that Sumer was the earliest civilization which started around 4000BC but that was in Mesopotamia and not modern day India. The dates don't add up. I believe you 100% I just want to know more info on this & Im wondering if this is a case of manipulating history by the archeology industry. I have listened to podcasts with Graham Hancock & many others talking about our ancient history. They reveal convincing evidence that modern archeology is intentionally covering up certain structures, incorrectly dating them & fabricating info about civilizations. When I tried researching AYU many sources claim that its pseudoscience. Would love to hear your thoughts on all this, the truth about the origins of AYU and in what language were the texts written in 6000 years ago. Thank you!!       Erin: Hi! This has been happening randomly for years & no dr has solved it. I go to sleep easily but I will wake up feeling awful & it's usually around 12:30-1am. Armpits sweating, muscles crampy, heart rate is so fast, stomach looks 6 months pregnant. I will eat something, drink and once i can start burping the heart rate slows back down and i start feeling better. I have noticed it happening more when it's really hot and humid out and certain molds are high. I have also noticed it happening when I eat around 1500 calories. I am a female and macros say i should be at 2,000-2200 for my activity level. Would this difference in calories cause this? I am wanting to loose some weight and it has been impossible due to this. My gut says adrenals but why did this start happening? So frustrated     Thank you for tuning into this weekend's Cabral HouseCalls and be sure to check back tomorrow for our Mindset & Motivation Monday show to get your week started off right!   - - - Show Notes and Resources: StephenCabral.com/3831 - - - Get a FREE Copy of Dr. Cabral's Book: The Rain Barrel Effect - - - Join the Community & Get Your Questions Answered: CabralSupportGroup.com - - - Dr. Cabral's Most Popular At-Home Lab Tests: > Complete Minerals & Metals Test (Test for mineral imbalances & heavy metal toxicity) - - - > Complete Candida, Metabolic & Vitamins Test (Test for 75 biomarkers including yeast & bacterial gut overgrowth, as well as vitamin levels) - - - > Complete Stress, Mood & Metabolism Test (Discover your complete thyroid, adrenal, hormone, vitamin D & insulin levels) - - - > Complete Food Sensitivity Test (Find out your hidden food sensitivities) - - - > Complete Omega-3 & Inflammation Test (Discover your levels of inflammation related to your omega-6 to omega-3 levels) - - - Get Your Question Answered On An Upcoming HouseCall: StephenCabral.com/askcabral - - - Would You Take 30 Seconds To Rate & Review The Cabral Concept? The best way to help me spread our mission of true natural health is to pass on the good word, and I read and appreciate every review!  

What made America different from every kingdom that came before it? Bestselling author and American Minute founder Bill Federer joins Refining Rhetoric for our Celebrating 250 Years series to trace the improbable, providential story of the American experiment. From the invention of writing in ancient Sumer to the empire on which the sun never set, Federer explains how humanity's default form of government has always been kings—until ancient Israel became the first literate, self-governing people in history, and America flipped the flow of power from the top down to "We the People." Discover the providential moments most Americans have never heard: the mysterious fog that shrouded Washington's midnight retreat across the East River, and the last-minute discovery of Benedict Arnold's plot to hand West Point to the British. Federer unpacks "the laws of nature and of nature's God," why the Founders saw no war between science and faith, and how the First Amendment was written to keep the federal government out of the states' religious affairs, not to scrub God from public life. He charts the nation's drift from a Judeo-Christian past into secular "neutral" and toward an aggressive Islamic future, exposes the psychological "psyops" shaping kids through social emotional learning, and calls families to anchor their children's identity in Christ. If you want to remember why America is worth defending, and to leave your own testimony of what God can do again, this episode is for you. Resources: https://americanminute.com/ Books mentioned in this episode: Miracles in American History, Who Is the King in America?, Silence Equals Consent, and What Every American Needs to Know About the Qur'an.

July 19, 2026 - Sumer Through the Psalms - "A Praise and a Petition" by Southwest Christian Church

Wir reden immer offener darüber, was wir am Wochenende genommen haben, ob auf dem Festival, im Club oder beim Spaziergang in den Bergen. Doch wird der Rausch dadurch auch ungefährlicher? Und waren wir als Menschheit nicht eigentlich schon immer high, mit Ritualen, die uns dabei seit Jahrtausenden begleiten? Thilo spricht in dieser Folge mit Norman Ohler. Er ist Schriftsteller und Autor, unter anderem des Bestsellers „Der totale Rausch", in dem er sich mit dem Einsatz von Substanzen bei den Nazis beschäftigt hat. Gemeinsam eröffnen die beiden den Sommer der Drogen, eine Reihe, in der in den kommenden Wochen aus unterschiedlichen Perspektiven über Substanzen gesprochen wird. Norman und Thilo blicken zurück bis zu den Iboga-Ritualen im zentralafrikanischen Regenwald und den ersten Königen im alten Sumer und fragen, wie aus Schamanen irgendwann Herrscher und aus Ritualen Machtinstrumente wurden. Sie sprechen über die Rolle der katholischen Kirche in der Geschichte der Drogenprohibition, über Ibogain und Psilocybin als medizinische Hoffnungsträger gegen Sucht, Demenz und Depression und darüber, was im Gehirn passiert, wenn das sogenannte Default Mode Network zur Ruhe kommt. Ein Gespräch über Kontrolle und Kontrollverlust, über deutsche Drogenpolitik und die Frage, was sich verändern würde, wenn Friedrich Merz und Lars Klingbeil sich gemeinsam einem psychedelischen Ritual unterziehen würden. Hast du Fragen, Feedback oder Anmerkungen? Schreib uns eine Nachricht an amr@pqpp2.de oder auf Instagram: https://www.instagram.com/allesmussraus_podcast/ und wenn du möchtest unterstütze unsere Arbeit auf Patreon: https://www.patreon.com/c/AllesMussRaus?l=de Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/allesmussrauspodcast Du möchtest in „Alles Muss Raus" werben? Dann hier* entlang: https://podstars.de/kontakt/?utm_source=podcast&utm_campaign=shownotes_alles-muss-raus

"We're strong, and we're only delicate if you tell us that we're delicate."

What's been true since Sumer, 5,000 years ago. It is still true today. But something structural is changing. Solar, wind, batteries, AI, and robotics share a property no previous technology has had: they require resources only to build, then produce output indefinitely. Like a star. When AI reaches the point of self-improvement, the growth imperative that drove every civilization in history loses its advantage. And when that engine stops, who we are changes with it. This is a conversation about civilization, meaning, leadership, and the three levels of change that are either going to take us somewhere new or leave us blindly racing toward a dystopia where all the technology is captured by the extractive ownership structures that already exist. Dov pushes on the contradictions: batteries built on conflict minerals, political resistance to clean energy, human beings conditioned by extraction for millennia, and the meaning crisis that arrives when work and accumulation no longer provide identity. Jamie answers every challenge with nine years of research and a framework built on intellectual rigor, not optimism. Key themes: Civilizational phase change, extraction economy, stellar technologies, distributed energy systems, AI and labor disruption, meaning and identity beyond accumulation, the edge as origin of systemic change, antifragilityIn this episode: Why the problems we've been trying to solve for 50 years are features, not bugs, of the extraction system The Neolithic Package: why private ownership, hierarchy, and inequality keep recurring across every civilization Why solar, wind, and batteries are structurally different from every previous energy technology The three levels of change required: technological, systems, and human Why AI being embedded in the old extractive system produces exactly the problems we are seeing now What a stellar energy system actually looks like built from scratch vs. shoehorned into existing infrastructure Ukraine as a real-world case study for distributed energy resilience What changes in human behavior when the fear of scarcity no longer has a structural advantage Why meaning extracted from accumulation and status becomes a crisis when the extraction system ends What 2036 could look like in a city or region that chose to build differently How change historically comes from the edge, not the center, and what that means for leaders now Jamie Arbib Resources:https://stellarworld.com | https://rethinkx.com Book: Stellar by James Arbib and Tony Seba Connect with Dov: https://DovBaron.com | dov@dovbaron.com Please rate, review, and subscribe. It makes a significant difference. #Leadership #CivilizationChange #Extraction #AIFuture #DovBaronShow Connect with Dov Baron:https://DovBaron.comdov@dovbaron.comRate, review, and send this episode to the most thoughtful builder you know. That is how the algorithm finds the people who still ask why. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this episode Dr. Robert Farrell is talking about his book 'The Science Behind Alien Encounters'. The reader will have a brief history of UFO sightings and encounters. How is the religious community dealing with the prospect of extraterrestrial life more advanced technologically and perhaps, spiritually? Why are the governments of the world so desperately trying to hide the existence of ETs? Despite governments' downplaying the ET question, there is continuing research to find evidence of ETs beyond Earth and even on Earth in the form of designs in crops. What is the ET connection to the world's oldest civilization in Sumer as well as that in Egypt? Many researchers over the decades have concluded that UFOs propel themselves by using gravitational fields. How is it theoretically possible to create a gravitational field? How has it been done in laboratories and even through serendipity? With such advanced technology, why do UFOs crash? What are these extraterrestrial visitors up to? In 2016, two species of bodies dated to have died over one thousand years ago, were found near Nazca, Peru. Both species are bipedal and tridactyl. One has only a 25% match to human DNA! The other appears to be reptilian and has DNA that does not match any known living organism! Are these two species extraterrestrials? Bio Dr. Robert E. Farrell received his Bachelor of Science in mechanical engineering from The Ohio State University, his MBA from Western New England College and his Doctor of Engineering from the University of Massachusetts. He is now retired from Penn State University as Associate Professor Emeritus. For most of his life, Dr. Farrell has been interested in ufology. Twenty years ago, he began doing serious research for his science fiction series of novels, Alien Log, Alien Log II: The New World Order, and Alien Log III: The Dulce Affair (Spring 2013). He believes good science fiction is based on good science. To that extent, Dr. Farrell is following the style of Michael Crichton (Andromeda Strain, Jurassic Park, and many others) and Arthur C. Clarke in his Odyssey series. Recently, he has completed a nonfiction book The Science Behind Alien Encounters. It is available as both an E-book print version. This book is based on his lecture series of the same name. Another nonfiction book in the works is a co-authored work explaining how the universe began WITHOUT a Big Bang. Dr. Farrell has lectured many times at universities, science centers, MUFON meetings, book stores, clubs, and senior centers around the country, and has appeared on numerous TV and radio shows including Coast-To-Coast AM with George Noory. https://www.amazon.com/Science-Behind-Alien-Encounters/dp/0996358714 http://www.alienlog.com/ https://www.pastliveshypnosis.co.uk/https://www.patreon.com/alienufopodcasthttps://simonbown.com/My new book, Aspects of Alien Abduction https://www.amazon.com/dp/B0GRRPCT9YZen AI bit.ly/zenAI_bpp_ufo Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

An examination of the deepest level of the Ancient Mesopotamia iceberg, commonly labeled "Theories and Speculative Ideas." The video reviews each claim against primary sources from Sumer, Akkad, Babylon, and Assyria, including cuneiform tablets, excavation reports, and geological data, to demonstrate how historical method evaluates extraordinary claims.Coverage includes: Ancient Astronauts and the Annunaki: the origin of the theory in Zecharia Sitchin, what the Akkadian term actually means in Mesopotamian religion, and the evidential standards for alien contact claims. Great Flood myths: comparison of the Epic of Gilgamesh, Genesis, and other flood traditions with evidence for Persian Gulf and Black Sea inundations. Gilgamesh's tomb discovered in 2003: the Uruk excavation, the Iraq War interruption, and why no inscription links the tomb to the historical king. Hanging Gardens location: the case for Nineveh and Dur-Sharrukin, Archimedes screw technology by 700 BC, and why Babylon remains plausible. Nimrud Lens and Saturn's rings: what the 3x quartz lens can and cannot do, and the absence of telescopic astronomy in Assyrian records. Annunaki gold-mining slaves: the actual Mesopotamian creation motive of humans as laborers for the gods versus modern reinterpretations. Abraham from Ur: the biblical text, the Amorite migrations circa 2000 BCE, and the northern vs southern Ur debate. Sumerian King List long reigns: hundreds of thousands of years, symbolic numbers, and attempts at dynastic or calendrical readings. Sumerian origins: language isolate status, the Persian Gulf marsh hypothesis, and pre-flood settlement theories. Nibiru and the 12th planet: claims of hidden planets in tablets and the current state of translation work. 4.2 kiloyear event: climate data and its role in the fall of the Akkadian Empire alongside Gutian pressure. Structures beneath Eridu: the E-Abzu temple's 18 rebuild phases and what lies under ziggurat foundations. Linguistic fringe theories: proposed links between Sumerian and Turkic, Hungarian, Elamite, and Dravidian. Meluhha trade network: Indus Valley contacts, Neo-Assyrian memory loss, and claims of an Ethiopia-to-India empire. Nuclear war dark ages: why nuclear events leave unmistakable geological signaturesSumerian copper from Lake Michigan: sourcing from Cyprus and Iran versus New World contact hypotheses. Sacred marriage as genetic experiment: Ishtar priestess rituals and kingship legitimation. Ur III bala system as socialism: command economy, ration payments, and modern ideological projections. King List as doomsday calendar, Nam-Shub virus, 676 BC simulation, and Enki vs Enlil secret societies: modern fiction, numerology, and conspiracy narrativesThe purpose is not to ridicule speculation, but to show what counts as evidence in early Mesopotamian studies, where the limits of knowledge currently lie, and what kind of discovery would be required to reopen closed questions.Keywords: ancient Mesopotamia, Sumerian history, Akkadian Empire, Babylon, Assyria, Annunaki explained, ancient aliens debunked, Sumerian King List, Gilgamesh tomb 2003, Nibiru 12th planet, Hanging Gardens Nineveh, Nimrud lens, flood myth, 4.2 kiloyear event, Mesopotamia iceberg

"Thanks for listening! For more information, visit churchoftheharvest.com. Don't forget to follow us on Facebook and YouTube @cothcleveland.

Why did the civilisation that invented writing, cities, and law destroy the very soil that made it possible — and why are sixty to seventy percent of those same fields still poisoned by salt today? How did two scholars at the University of Chicago, reading cuneiform grain records from 2400 BC, discover that the fall of Sumer was not caused by war or plague but by a slow, invisible chemical process that no amount of ingenuity could stop? And what does it mean that the Sumerians could see it happening, recorded it meticulously on clay tablets, and kept irrigating anyway?John tells the story of Iraq and the land between the rivers — the white crust on the fields of Uruk, the dying date palms of Basra, and the most quietly devastating title in the history of academic writing...----------In Sponsorship with Cornell University: Dyson Cornell SC Johnson College of Business-----------Join the History of Fresh Produce Club for ad-free listening, bonus episodes, book discounts and access to an exclusive chatroom community.Support us!Share this episode with your friendsGive a 5-star ratingWrite a review-----------Subscribe to our biweekly newsletter here for extra stories related to recent episodes, book recommendations, a sneak peek of upcoming episodes and more.-----------Instagram, TikTok, Threads:@historyoffreshproduceEmail: historyoffreshproduce@gmail.com

For this episode, we go where no podcast has gone before - welcome to Three Ravens Live @ Great Dunmow BookFest!During a one day festival where an entire Essex town famous for giving out sides of bacon to married couples turned itself into a bookshop, we were warmly welcomed to Jack's 1952, an outdoor goods shop who gave us a space in their basement and several dozen camping chairs to record a free 45 minute show. Our audience ranged from newborn children gurgling away up to retirees, along with hardened Three Ravens fans, and plenty of people who had never heard of us before!With regular interruptions from the beeping sounds of the shop's door being opened upstairs, and customers popping by to purchase hiking boots, we carried on regardless, with Eleanor joined by our friend and regular collaborator Katie Sommers to sing a capella versions of Three Ravens, Sumer is icumen in, and We Gets Up In The Morn.Between these musical highlights we dig into some of our favourite bits of Essex's folklore, including the ghostly goings-on at Borley Rectory and the legend of Old King Cole, the county's six distinct dragon tales, the Canvey Island Monster, Boudica's rampage, and the sad fate of Anglo Saxon queen Edith Swan-neck. Also including Eleanor's telling of the tale of the weather witch Sarah Moore of Leigh on Sea in the form of Three Knots, it's a slightly mad show, and hopefully an interesting listen!We really hope you enjoy the episode, and will speak to you again on Monday for the penultimate episode of our Bonus Series Magus, all about the magical life of 16th century occultist, scholar, and theologian Cornelius Agrippa!Three Ravens is an English myth and folklore podcast hosted by Eleanor Conlon and Martin Vaux.Released on Mondays, each weekly episode focuses on one of England or Wales' 39 historic counties, exploring the history, folklore and traditions of the area, from ghosts and mermaids to mythical monsters, half-forgotten heroes, bloody legends, and much, much more. Then, and most importantly, the pair take turns to tell a new version of a traditional story from that county - all before discussing what that tale might mean, where it might have come from, and the truths it reveals about England's hidden past...Bonus Episodes are released on Thursdays plus Local Legends episodes - interviews with acclaimed authors, folklorists, podcasters and historians with unique perspectives on that week's county - and Live Shows come out on Saturdays.With a range of exclusive content on Patreon too, including audio ghost tours, the Three Ravens Newsletter, and monthly Three Ravens Film Club episodes about folk horror films from across the decades, why not join us around the campfire and listen in?REGISTER FOR THE TALES OF SOUTHERN ENGLAND TOURVisit our website Join our Patreon Social media channels and sponsors Hosted on Acast. See acast.com/privacy for more information.

Antes de que existiera la historia oficial, alguien ya vivía bajo tierra. No en cuevas primitivas. En ciudades. Con ventilación cruzada, sistemas de agua, almacenes de alimento, puertas que solo abren desde adentro y capacidad para veinte mil personas. Derinkuyu tiene ochenta y cinco metros de profundidad y dieciocho niveles. El Hipogeo de Malta tiene una cámara diseñada para alterar la actividad neurológica del ocupante a una frecuencia específica, documentada en revistas científicas. Las Cuevas de Longyou en China tienen veinticuatro cámaras sin registro en ninguna fuente histórica de ningún período: no hay herramientas, no hay cerámica, no hay inscripciones. Y hay más de doscientas ciudades identificadas solo en Capadocia, la mayoría sin explorar, con niveles que el Ministerio de Cultura turco mantiene cerrados sin explicación técnica.Lo que une a todas estas estructuras no es la religión ni la región ni el período: es el patrón. El mismo patrón que Sumer, Egipto, los mayas, los hindúes y los nórdicos describieron con exactitud milimétrica en sus textos más antiguos: siete puertas, guardianes, un río subterráneo, un mundo organizado bajo el nuestro. Demasiados detalles idénticos en culturas sin contacto para que la explicación sea la casualidad. En este episodio descendemos al misterio de las ciudades subterráneas de la antigüedad. Hosted on Acast. See acast.com/privacy for more information.

A pharaoh becomes lightning. A body dissolves into rainbow light. Five civilizations. No contact. One process. They didn't carve a machine. They carved a map of you.Where Are We Swerving?Are the ancient stargates carved into Egyptian temples religious mythology — or did someone leave step-by-step instructions that we've been misreading for 4,000 years?I deep dive into investigative mythologist William Henry's three-decade investigation, which started with a single ceiling carving at Dendera — a shape that has no business existing in a building completed millennia before Einstein was born.I investigate what happens when you reassemble a biblical artifact everyone assumed was complete, because the components no one accounts for change what the device looks like — and what it was for.Topics (among others):The Hieroglyph at Saqqara: Sixty feet beneath a ruined pyramid, the oldest sacred writings in Egypt contain a glyph that matches a physics diagram that wouldn't be drawn for another 4,000 years.The Missing Inventory: For 2,500 years, everyone chased the Ark of the Covenant's golden box — but the Bible lists components no one talks about, and the fully assembled shape resembles something that shouldn't be possible in the ancient world.The Procedure: A mathematician argued the Egyptians didn't just depict transformation — they recorded a protocol, and all three of its elements converge in a single artifact most tourists walk right past in the Cairo Museum.The Pattern Across Oceans: Four civilizations with no known contact — Egypt, Sumer, the Maya, Tibet — describe the same bodily transformation using nearly identical symbols.➡️ Listen on Patreon Today: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.patreon.com/theswervepodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Exclusive episode only on Patreon in The Producer Vault.What is The Producer Vault? Double the episodes. Your name on the show. Access to everything.2 exclusive deep dives every monthUnlock “The File Room” — full archive accessUnlock “The Producer Vault” — episodes only Producers ever hearYour name in the credits — read on every main public episodeEarly access — episodes drop Sunday (public waits until Wednesday)Ad-free listeningShoutout on the podcastWelcome kit — holographic sticker pack shipped to your door (one-time)How It Works: You get a private RSS link when you join Patreon. Drop it into Apple Podcasts, Spotify, Overcast—wherever you already listen. No extra app. No logging in. Episodes just appear.Most of your day is dead time. Commutes, work, errands, chores, tasks that don't need your full attention. The Producer Vault fills all of it with something you actually want to hear.Make dead time the best part of your day.$10 a month. Cancel anytime.I'll see you in The Producer Vault!#AncientMystery #AncientMysteries #Stargates #Eygpt #ConspiracyTheories

Tous les matins à 6h35 on écoute vos messages laissés sur l'insta et FB du réveil Chérie !

A Sumer time remix so you to can pickle the dog like a true American baseball guy.

Interview with Baran D. Sumer, MD, and Lauren Gabra, MD, authors of Body Mass Index and Nutritional Status With Immunotherapy Response in Head and Neck Cancer. Hosted by Paul C. Bryson, MD, MBA. Related Content: Body Mass Index and Nutritional Status With Immunotherapy Response in Head and Neck Cancer

Interview with Baran D. Sumer, MD, and Lauren Gabra, MD, authors of Body Mass Index and Nutritional Status With Immunotherapy Response in Head and Neck Cancer. Hosted by Paul C. Bryson, MD, MBA. Related Content: Body Mass Index and Nutritional Status With Immunotherapy Response in Head and Neck Cancer

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Si pregunteu a qualsevol amant de la fantasia o jugador de rol on comença una gran aventura, la resposta gairebé sempre és la mateixa: en una taverna. Però, d'on neix aquesta institució? Per trobar les primeres tavernes de la història hem de viatjar quatre mil anys enrere, a les grans ciutats de l'antiga Mesopotàmia. De fet, podem dir que l'ordi i el blat fermentats són el fonament de les grans civilitzacions antigues. A Babilònia i a Sumer, la vida quotidiana girava al voltant del temple, el palau i la cervesa. En aquest món, les primeres tavernes van esdevenir el centre de la vida social, regentades normalment per dones exposades a un codi legal molt exigent. Avui, amb els nostres mecenes, viatgem a la barra de bar més antiga del món i brindem amb Ninkasi. Benvinguts a les tavernes de Babilònia, benvinguts A les Portes de Troia.Escucha este episodio completo y accede a todo el contenido exclusivo de A les Portes de Troia. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/86177

Nouveaux pilotes, un brin déjantés, à bord de la Libre Antenne sur RMC ! Jean-Christophe Drouet et Julien Cazarre prennent le relais. Après les grands matchs, quand la lumière reste allumée pour les vrais passionnés, place à la Libre Antenne : un espace à part, entre passion, humour et dérision, débats enflammés, franc-parler et second degré. Un rendez-vous nocturne à la Cazarre, où l'on parle foot bien sûr, mais aussi mauvaise foi, vannes, imitations et grands moments de radio imprévisibles !

Nouveaux pilotes, un brin déjantés, à bord de la Libre Antenne sur RMC ! Jean-Christophe Drouet et Julien Cazarre prennent le relais. Après les grands matchs, quand la lumière reste allumée pour les vrais passionnés, place à la Libre Antenne : un espace à part, entre passion, humour et dérision, débats enflammés, franc-parler et second degré. Un rendez-vous nocturne à la Cazarre, où l'on parle foot bien sûr, mais aussi mauvaise foi, vannes, imitations et grands moments de radio imprévisibles !

Strange fire and divine fire; Ananias and Sophira; Superstition; Holy Spirit; Heave and wave offerings; Taking care of the needy of society; Turtledove goddess of Sumer?; Lev 11:1 beasts ye shall eat; Why eating important?; Hygiene?; Loving neighbor as yourself; Health, education and welfare; Sacrifice; Charity alone; Peaceful conquest of Canaan; Parasites; Realizing divine inspiration; Seed oils; Unhealthy foods; Canaanites; Republican ways; Defiling men; Sacrificing for others; Bringing about your own downfall; Biting your neighbor?; Ruminants?; Tapeworms; Hygiene; Air/water filters; Coney?; God's answer; Accumulating toxins; Exercising authority; Taking care of the needy of your society; Swine?; Pork and waterfowl; Timing of food laws; Abominations; shin-kuf-set incompatible with holiness; Holiness?; Bottom-feeders; Regulate or warn?; Sin?; Koran; Not subject to private interpretation; Holy Spirit guidance; Deut 14:15; Sewer systems; Unclean fowl; Leaping bugs?; Celibacy?; Inheritance of property; Enriching your neighbor; Allowing choice to all; Manifesting care; John the Baptist Parthian; Locusts?; Alfalfa; Altering the nature of your society; Attitude creating appetite; Pope vs president; Removing honoring of parents; v23 eating out our substance; Legal charity; Constantine's church; Veto?; Our relationship to government; Horns of authority; Rightly dividing bread; Repentance; Following Christ's WAY; "Religion"; Diet for the kingdom; Spirit of parasites - feeding on host victims; Spirit of righteousness?; Cliff goats; Meditative contemplation; Are you listening to God speaking to you?; James 1:8; Sharing your blessings; Carcasses; Making covenants with government (Babylon); Romulus and Remus; Blood money?; Spiritual significance; Leaving baggage behind; Join the Living Network.

Ever since my own ADHD diagnosis in my mid-forties, I'm on the lookout for other women who are talking about their later-in-life diagnosis. I stumbled across Sumur Williams on LinkedIn, and her posts on ADHD consistently resonated with me. So, I reached out to ask her to join me on the show to talk about high-performing women who have ADHD.  Sumur Williams is the founder of The Unpolished Brain, and an ADHD coach and AI strategist for late-diagnosed professionals. She helps newly diagnosed adults finally understand how their brain actually works and build systems that support their current needs. She is passionate about changing how ADHD is understood and helping people move from survival mode into intentional, supported growth. As a woman who was diagnosed with ADHD at 47, Sumur didn't fit the traditional narrative. She spent decades masking, overcompensating, and performing at high levels while quietly struggling underneath it all. Today, Sumur combines lived experience with practical tools, including AI, to help people reduce overwhelm, improve task initiation, and stop spinning their wheels. Her work focuses on building real-life scaffolding, systems that still work on hard days, not just good ones. Listen in to hear Sumur share: How she was diagnosed with ADHD at age 47, and the layers of grief that ensued after her diagnosis  Some of the misconceptions and common characteristics you see in high-performing women who have ADHD Her experience in choosing to disclose having ADHD at work and her recommendations around workplace disability disclosures What executive dysfunction looks like for middle-aged women The importance of energy regulation and boundaries for neurodivergent women How to use AI as a tool for task management, decision fatigue mitigation, and emotional regulation Links Mentioned: Free Workshop on April 16th: Trust Your Voice: Communicate with Courage When the Stakes Are High: https://saradean.com/trust Connect with Sumur: https://theunpolishedbrain.com Sumer on LinkedIn: https://www.linkedin.com/in/sumurwilliams Sumur on Instagram: @theunpolishedbrain Hire Sara to speak: saradean.com/speaking Coach with Sara: https://saradean.com/executive-coaching-services Connect with Sara on LinkedIn: https://www.linkedin.com/in/saradeanspeaks Watch Shameless Leadership episodes on YouTube: https://www.youtube.com/@saradeanspeaks Learn more about your ad choices. Visit podcastchoices.com/adchoices

Dare To Dream with Debbi Dachinger Dr. Heather Lynn: Anunnaki Were Consciousness Architects, Not Aliens Dr. Heather Lynn joins Debbi Dachinger to reveal a provocative reframe of the Anunnaki—not as physical extraterrestrials, but as consciousness-shaping intelligences that influenced early humanity through altered states, symbolism, and esoteric systems. She explores how Sumer may represent not the beginning of civilisation, but a reset after a forgotten global catastrophe. This conversation dives into hidden history, including the role of oral traditions behind Sumerian texts, the connection to Atlantis narratives, and how ancient elites may have used plant medicine, sacred knowledge, and early systems of control to reshape human society. From secret societies to modern AI and transhumanism, Dr. Lynn connects ancient wisdom to today's accelerating evolution of consciousness and technology—raising questions about who we were, and who we are becoming. About the Speaker Dr. Heather Lynn is a historian, researcher, and author specialising in ancient civilisations, esoteric traditions, and alternative interpretations of human history. With a background in cognitive archaeology and religious studies, her work explores how consciousness, myth, and symbolism have shaped human development across time. She is known for bridging academic research with deeper metaphysical inquiry. Connect with Dr. Heather Lynn Website: https://www.drheatherlynn.com/ Instagram: https://www.instagram.com/drheatherlynn Topics – Lost connection to the natural order – Sumerians credited with creating civilisation systems – Gobekli Tepe and challenges to mainstream history – Oral traditions behind Sumerian texts – Atlantis, Egypt, and ancient knowledge transfer – Younger Dryas event and climate catastrophe – Sumer as the “restart” of civilisation – Podcast introduction – Are Anunnaki consciousness-based beings? – Hidden architecture of human awareness – Cognitive archaeology and human consciousness – Anunnaki as catalysts of knowledge – Why the ET narrative may be incomplete – Difference between Anunnaki and Apkallu – Alternative interpretation of Noah's Ark – DNA manipulation through selective breeding – Origins of human systems and hierarchy – Who were the Anunnaki really? – Shamans, possession, and discarnate entities – Enki vs Enlil and control of humanity – The origins of modern societal systems – Atlantis, migration, and lost civilisations – Mushroom tablets and divine communication – Plant medicine and third-eye activation – Altered states and receiving technology – Longevity, medicine, and ancient science – Sumerian knowledge influencing modern research – AI and decoding ancient texts – AI as accelerated channeling tool – Sacred geometry, sound, and symbolism – Secret societies and hidden knowledge – Myth vs fact in archaeology

Welcome to Day 1. Today, we begin at the Threshold. In our high-speed world, we often live in the "future-tripping" mind—exhausting ourselves with scenarios that haven't happened yet. We are reaching back 5,000 years to the First Civilizations of Sumer to learn how to land our energy and build an internal sanctuary as durable as stone. In today's episode: Ancient Insight: Discover how the first city-builders used the "Now" to create a civilization that lasted millennia. The Protocol: A tactile visualization of the "Clay Tablet of the Mind" to reset your mental scripts. "The future is a thought-form; the only thing real is the ground beneath your feet." This is day 1 of a 7-day meditation series, "Morning Anxiety Rituals for a Calm Start to Your Day," episodes 3486-3492 THIS WEEK'S CHALLENGE -  THE ARTIFACT HUNT Each day, find one physical object in your home that has "weight" and "texture"—a stone, a heavy book, a piece of wood—and hold it for 60 seconds to anchor your senses. THIS WEEK'S MEDITATION JOURNEY Day 1: VISUALIZATION: Ground yourself in peace. Day 2: AFFIRMATION:  "I am the steady ground upon which my life is built." Day 3: EARTH INHALE BREATH Inhale. Inhale for 4, imagining breath rising from the soles of your feet; hold for 4, feeling the weight of your hips; exhale for 8, sighing out the future. Day 4: PRITHVI EARTH MUDRA Touch the tip of the ring finger to the thumb. This encourages stability and physical healing. Day 5: CHAKRA FOCUS: First chake to feel grounded. Color is red. Element is earth Day 6: ANXIETY RELEASE FLOW MEDITATION: Combining the week's techniques Day 7: WEEKLY REVIEW MEDITATION: Closure with a review of the week's highs and lows. SHARE YOUR MEDITATION JOURNEY WITH YOUR FELLOW MEDITATORS Let's connect and inspire each other! Please share a little about how meditation has helped you by reaching out to me at Mary@SipandOm.com or better yet -- direct message me on https://www.instagram.com/sip.and.om. We'd love to hear about your meditation ritual! WAYS TO SUPPORT THE DAILY MEDITATION PODCAST SUBSCRIBE so you don't miss a single episode. Consistency is the KEY to a successful meditation ritual. SHARE the podcast with someone who could use a little extra support. I'd be honored if you left me a podcast review. If you do, please email me at Mary@sipandom.com and let me know a little about yourself and how meditation has helped you. I'd love to share your journey to inspire fellow meditators on the podcast! All meditations are created by Mary Meckley and are her original content. Please request permission to use any of Mary's content by sending an email to Mary@sipandom.com. FOR DAILY EXTRA SUPPORT OUTSIDE THE PODCAST Each day's meditation techniques are shared at: sip.and.om Instagram https://www.instagram.com/sip.and.om/ sip and om Facebook https://www.facebook.com/SipandOm/ SIP AND OM MEDITATION APP Looking for a little more support? If you're ready for a more in-depth meditation experience, allow Mary to guide you in daily 30-minute guided meditations on the Sip and Om meditation app. Give it a whirl for 7-days free! Receive access to 3,000+ 30-minute guided meditations customized around a weekly theme to help you manage emotions. Receive a Clarity Journal and a Slow Down Guide customized for each weekly theme. 2-Week's Free Access on iOS https://itunes.apple.com/us/app/sip-and-om/id1216664612?platform=iphone&preserveScrollPosition=true#platform/iphone All meditations are created by Mary Meckley and are her original content. Please request permission to use any of Mary's content by sending an email to Mary@sipandom.com.Let go of repetitive negative thoughts. Music composed by Christopher Lloyd Clark licensed by RoyaltyFreeMusic.com, and also by musician Greg Keller.

La Bible, ouvrage le plus vendu au monde, est le texte fondateur de la religion majoritaire sur Terre.  Elle est divisée en plusieurs parties, dont l'Ancien Testament, issu de la tradition hébraïque, et le Nouveau Testament, propre au christianisme.  Dans cette émission, nous nous pencherons sur le Pentateuque, composé des cinq premiers livres de la Bible : la Genèse, l'Exode, le Lévitique, les Nombres et le Deutéronome.  Ces livres retracent l'histoire des grandes figures patriarcales : Noé, Abraham, Lot, Isaac, Jacob (également appelé Israël), Joseph, ainsi que Moïse et Aaron.  Nous explorerons la “mythologie biblique” et la “réalité historique”, en abordant des questions parfois complexes.  Ce voyage nous conduira des anciennes terres de Sumer et d'Égypte au pays de Canaan, tout en évoquant les récits des tribus nomades du désert, comme les Shasou et les Apirou.  Préparez-vous à découvrir l'histoire fascinante d'une humanité en quête de sens et de divinité.⛎ Soutenir l'émission sur Tipeee : https://www.tipeee.com/arcana-mysteres-du-monde

David McWilliams is an Irish economist, author, and broadcaster known for making complex economic ideas accessible to a wide audience. He has written several bestselling books on economics and hosts “The David McWilliams Podcast,” where he discusses global finance, politics, and current affairs. McWilliams is also the founder of the Kilkenomics festival, which blends economics and comedy to explore economic issues in an engaging way.In our conversation we discuss:(00:00) Why a paper bill has value(00:41) Money's real nature: a social technology(03:39) Money begins with cities (Sumer) + civilization “stack”(07:51) Money as collective belief (almost like religion)(08:51) Money as peace: trade vs war + early debt stories(13:38) Money, storytelling, and trust at scale(16:28) Before money: tally sticks / “Stone Age blockchain”(19:32) First money: grain, granaries, and early currencies(21:57) Coins arrive: Lydians → Greeks → rational thinking(25:25) Paper money: China first, Europe expands it(26:59) Why money history matters today(28:28) How banks create money + trust + 2008 lesson(33:01) Misconceptions: bubbles, FOMO, and human psychology(37:30) Rich vs poor: time horizons (and why)(45:18) $1,000 at birth: stake in the future + paradox of aggregation(50:24) What schools should teach: trading cards as economics(54:10) The pursuit of money: freedom, immigrants, ambition(59:07) Where to find David + festivals / TED talkLearn more about David here:"The History of Money: A Story of Humanity": https://a.co/d/0eKkoxrRDavid McWilliams Podcast: https://www.youtube.com/@UCEmyysMARbViCw8M7RNFxcg Kilkenomics Festival: https://www.kilkenomics.com/Watch the full episode on Youtube here: https://youtu.be/cuumfI_9J-4

Pour parler des langues, on utilise souvent un vocabulaire du vivant : il y aurait des “familles” de langues, des “langues-mères”, dans un “arbre généalogique” des langues. D'ailleurs, certaines langues seraient menacées, vivantes, voire… mortes ! Mais c'est quoi, une langue morte ? On pourrait dire que c'est comme nous : une langue, mais qui n'aurait plus ses fonctions vitales. En tout cas, on peut dire que les historiens, les archéologues, les chercheurs du passé, les langues mortes, ça les connaît ! C'est même un sacré enjeu, parce que, pas le choix : il y a des sources qu'on est bien obligé de lire dans leur langue d'origine ! Et voilà pourquoi on fait un petit épisode dessus…Bonne écoute !

  Is there references to modern day or higher technology recorded in the writings of this 5,000 year old battle between the Noble Goths and the Saturnal Serpent-Wolf Cult?  This event in history was etched in stone, written of, and retold from Cappadocia & Carchemish to Sumer, Persia, India as recorded in the Vedas, Egypt, and the ancient Britons.  The evidence is undeniable, and stands as the most important incident in mankind's history.  This was the battle for the establishment of Civilization, a Reign of Reason and brotherly love against a wickedly EVIL cult of human sacrificers who opposed the elevation of mankind.  They were having too much fun dominating and terrorizing the people of the Earth, and despised our ancestors for their liberation and protection of the people of the early world.  This hatred for all that is good has remained the defining characteristic of these descendants of the Serpent cult to this very day.  This Saturn cult established the 3 Abrahamic religions as masks of morality to lure in the unsupecting and control them through their belief systems. But really, the followers are unwittingly paying tribute and devotion to the demonic forces and most wickedly evil people ever to disgrace the realm.      We pick up at Scene XVIII: Loki/Baldr/Typhon/Abel/Baal/Lucifer is cast out of "Heaven" banquet hall of Thor by Miok/Cain/Kon aka Archangel Michael, Thor's powerful son. The roots of every story retold in the Old Testament/Tanakh are rooted in a Gothic Arya conquest from 3,000 years prior to the Moon Cult's inverted retelling. The cult of human sacrifice and pharmakeia or poisoning and witchcraft are telling the biblical stories from their perspective. We were misled, but we are breaking the spell.Become a mid tier member:https://patreon.com/c/KristosCastYou can get our AWESOME Hot Sauces here: https://SemperFryLLC.comand right now you can use code: Foodstar for 6% Off.Many thanks for the channel campaign help. We're still a ways away from the goal. See the links below to help get the stuff we need. Thank You!Use Code BB5 here: https://SemperFryLLC.comClick Picture on the Right for the AZURE WELL products and use code BB5 for your discount.Find clickable portals to Dr Monzo and Dr Glidden on Dan's site.Join Dr. Glidden's Membership site here:https://leavebigpharmabehind.com/?via=pgndhealth⁠Code: baalbusters for 25% OFFMake Dr. Glidden Your DoctorPods & Exclusives AD-FREE!https://patreon.com/c/KristosCasthttps://buymeacoffee.com/BaalBustershttps://paypal.me/BaalBustershttps://GiveSendGo.com/BaalBustersTwitter Account: https://x.com/KristosCasthttps://open.spotify.com/show/0vtEmTteIzD2nB5bdQ8qDRBecome a supporter of this podcast: https://www.spreaker.com/podcast/ba-al-busters-broadcast--5100262/support.

More than 5,000 years ago, a revolutionary script emerged in the fertile lands of Mesopotamia that would transform how people counted, governed, worshipped and told stories. This was cuneiform, the world's earliest known writing system.In this episode of The Ancients, Tristan Hughes is joined by Dr Irving Finkel to uncover how cuneiform actually worked and how you would write it yourself. From humble beginnings as simple pictograms tracking beer and grain, to the wedge-shaped signs that recorded myths, laws and epic tales long before the Bible, this episode explores how cuneiform spread across Sumer, Babylon, Assyria and Persia — and why these clay tablets remain one of archaeology's richest windows into the ancient world.MORENoah's Ark and the FloodListen on AppleListen on Spotify The World's Oldest LettersListen on AppleListen on Spotify Watch this episode on our NEW YouTube channel: @TheAncientsPodcastPresented by Tristan Hughes. Audio editor is Aidan Lonergan. The producer is Joseph Knight. The senior producer is Anne-Marie Luff.All music courtesy of Epidemic SoundsThe Ancients is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here:https://insights.historyhit.com/history-hit-podcast-always-on Hosted on Acast. See acast.com/privacy for more information.

Where are the police in the kingdom of God?; Church took the place of the Pharisees; Sadducees; Zealots; Uncovering fraud and corruption; ICE as police; Confronting the perpetrators; John the Baptist; Christ's solution for Judea; Making the word of God to none effect; Reasonable ministry; Who are the policemen?; Citizen's arrest; Legitimate powers of governments; 10th amendment; People's police power?; Understanding common sense of police powers; Ex: government of Sumer; Principles of law; Consent; Taxation without representation?; Chain of consent; English common law?; Police powers connected to the courts; Welfare of the people = supreme law; Use of your property not to injure others; Kingdom police is everybody; Sheriff (Shire reeve); Tithingmen; Aoldermen; Police - health, safety and general welfare; Responsibility of the people; Citizenship of the United States; "We the People"; Q from Katwellair - Biblical Constitution? Limitations on the king/government; Rebels; Kingly powers; Facts vs feelings; Sitting in darkness - eyes have been darkened; Appetite for benefits; Bringing light into society; Power of the Holy Spirit; Individuals; Avoiding blaming others; Organization of police activities; Lacking of faith; Worshipping imaginary Christs; People becoming early Christians; Evidence of non-Christianity; Build the altars first; Gathering to serve like Christ; Codified laws; Tens; "Stoning"; Allowing light into your life; Freewill offerings (charity) alone; Welfare from modern churches?; Desire to save others; Understanding what Moses and Christ were doing; Strength of ancient Israel; Riot in Christ's time; Tens, Hundreds and Thousands; Temple police; Cities of refuge; Christs commands; Freeing others; Q from Mark: Police powers in The Church; Abandoned freedoms and rights; Non-standing of those sitting in darkness; Sacrifice like Christ did; Don't waste time: Make room for Holy Spirit within you.

Aujourd'hui, Emmanuel de Villiers, entrepreneur, Bruno Poncet, cheminot, et Zohra Bitan, fonctionnaire, débattent de l'actualité autour d'Alain Marschall et Olivier Truchot.

Matt Shy joins us again with a presentation on another kind of legendary giant: dragons. We look at ancient depictions of dragons and giant serpents across the world from Sumer to China. We talk about the significance of the Ouroboros, about ancient artifacts depicting dragons and serpents, about the many ancient gods who were depicted as serpents, or had serpent or dragon-like aspects.Support us through Patreon and get special episodes, early access, and bumper tunes! You can also donate directly through PayPal. Thank you all so much for the support!https://www.brothersoftheserpent.com/support

Synopsis: Ur-Namma unifies Sumer and ejects the Elamites. His son, King Shulgi, designs a new empire and begins a push for Zagros domination. “The trustworthy shepherd, king, the sword of Sumer, Ur-Namma, the king of the Land, was taken to the …house…he who was beloved by the troops, could not raise his neck anymore. The wise one…lay down; silence descended. As he, who was the vigor of the Land, had fallen, the Land became demolished like a mountain…He passed away in his prime…abandoned, like a broken jar.” – The Death of Ur-Namma Map of the Near East c. 2112 BC: https://audio.ancientworldpodcast.com/2112BC.jpg Map of the Near East c. 2060 BC: https://audio.ancientworldpodcast.com/2060BC.jpg Episode Images: https://www.flickr.com/photos/75506172@N07/albums/72177720331669262/ References and Further Reading: https://audio.ancientworldpodcast.com/A10_References.pdf Please contact advertising@airwavemedia.com if you would like to advertise on this podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Matt Shy joins us again with a presentation on another kind of legendary giant: dragons. We look at ancient depictions of dragons and giant serpents across the world from Sumer to China. We talk about the significance of the Ouroboros, about ancient artifacts depicting dragons and serpents, about the many ancient gods who were depicted as serpents, or had serpent or dragon-like aspects.   Support us through Patreon and get special episodes, early access, and bumper tunes! You can also donate directly through Paypal. Thank you all so much for the support! https://www.brothersoftheserpent.com/support   Chapters 00:00 Welcome to the Brothers of the Serpent Podcast 06:02 New Year Reflections and Podcast Plans 12:06 Ancient Chinese Dragon Depictions 18:05 The Ouroboros and Its Significance 24:04 The Candle Dragon and Protruding Eyes 29:00 Concluding Thoughts on Historical Artifacts 34:11 Cosmic Serpents and Their Symbolism 37:02 Indra and the Slaying of Vritra 39:33 Agency of Nature: Serpents and Spirits 42:05 Cognitive Dissonance and Perception 44:29 Shesha: The Cosmic Serpent 46:40 Tiamat: The Dragon of Chaos 49:10 Feathered Serpents in Mesoamerica 58:19 Quetzalcoatl and the Temple of the Feathered Serpent 01:00:22 The Serpent as a Symbol of Wisdom 01:03:07 Psychedelics and Altered States of Consciousness 01:06:56 Mythical Creatures and Their Symbolism 01:09:49 Historical Accounts of Serpents and Dragons 01:12:41 Pterosaurs and Native American Legends 01:15:34 The Evolution of Dragon Myths 01:18:31 The Serpent in Religious Texts 01:21:52 Epic Tales of Heroism and Dragons 01:32:08 The Value of Knowledge 01:32:59 Mythical Creatures in Gaming and Literature 01:34:03 The World Serpent and Its Symbolism 01:36:05 Arthurian Legends and Their Origins 01:36:57 Saints and Dragons: A Historical Perspective 01:37:56 The Legend of Loch Ness 01:39:11 St. George and the Dragon 01:39:56 Japanese Dragons and Their Significance 01:41:58 The Concept of Dragons in Civilization 01:44:08 The Role of Dragons in Different Cultures 01:47:01 Slavic Dragons and Their Mythology 01:49:11 The Connection Between Dragons and Kingship 01:51:01 Dragons as Ancient Demons 01:53:02 The Serpent as a Symbol of Knowledge

Since the dawn of the twenty-first century, the West has been in crisis. Social unrest, political polarization, and the rise of other great powers—especially China—threaten to unravel today's Western-led world order. Many fear this would lead to global chaos. But the West has never had a monopoly on order.Surveying five thousand years of global history, political scientist Amitav Acharya reveals that world order—the political architecture enabling cooperation and peace among nations—existed long before the rise of the West. Moving from ancient Sumer, India, Greece, and Mesoamerica, through medieval caliphates and Eurasian empires into the present, Acharya shows that humanitarian values, economic interdependence, and rules of inter-state conduct emerged across the globe over millennia. History suggests order will endure even as the West retreats. In fact, the end of Western dominance offers us the opportunity to build a better world, where non-Western nations find more voice, power, and prosperity. Instead of fearing the future, the West should learn from history and cooperate with the Rest to forge a more equitable order. Amitav Acharya is the UNESCO Chair in Transnational Challenges and Governance and Distinguished Professor at the School of International Service, American University, Washington, DC. Lucas Tse is Examination Fellow at All Souls College, Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science

Since the dawn of the twenty-first century, the West has been in crisis. Social unrest, political polarization, and the rise of other great powers—especially China—threaten to unravel today's Western-led world order. Many fear this would lead to global chaos. But the West has never had a monopoly on order.Surveying five thousand years of global history, political scientist Amitav Acharya reveals that world order—the political architecture enabling cooperation and peace among nations—existed long before the rise of the West. Moving from ancient Sumer, India, Greece, and Mesoamerica, through medieval caliphates and Eurasian empires into the present, Acharya shows that humanitarian values, economic interdependence, and rules of inter-state conduct emerged across the globe over millennia. History suggests order will endure even as the West retreats. In fact, the end of Western dominance offers us the opportunity to build a better world, where non-Western nations find more voice, power, and prosperity. Instead of fearing the future, the West should learn from history and cooperate with the Rest to forge a more equitable order. Amitav Acharya is the UNESCO Chair in Transnational Challenges and Governance and Distinguished Professor at the School of International Service, American University, Washington, DC. Lucas Tse is Examination Fellow at All Souls College, Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Since the dawn of the twenty-first century, the West has been in crisis. Social unrest, political polarization, and the rise of other great powers—especially China—threaten to unravel today's Western-led world order. Many fear this would lead to global chaos. But the West has never had a monopoly on order.Surveying five thousand years of global history, political scientist Amitav Acharya reveals that world order—the political architecture enabling cooperation and peace among nations—existed long before the rise of the West. Moving from ancient Sumer, India, Greece, and Mesoamerica, through medieval caliphates and Eurasian empires into the present, Acharya shows that humanitarian values, economic interdependence, and rules of inter-state conduct emerged across the globe over millennia. History suggests order will endure even as the West retreats. In fact, the end of Western dominance offers us the opportunity to build a better world, where non-Western nations find more voice, power, and prosperity. Instead of fearing the future, the West should learn from history and cooperate with the Rest to forge a more equitable order. Amitav Acharya is the UNESCO Chair in Transnational Challenges and Governance and Distinguished Professor at the School of International Service, American University, Washington, DC. Lucas Tse is Examination Fellow at All Souls College, Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/world-affairs

Since the dawn of the twenty-first century, the West has been in crisis. Social unrest, political polarization, and the rise of other great powers—especially China—threaten to unravel today's Western-led world order. Many fear this would lead to global chaos. But the West has never had a monopoly on order.Surveying five thousand years of global history, political scientist Amitav Acharya reveals that world order—the political architecture enabling cooperation and peace among nations—existed long before the rise of the West. Moving from ancient Sumer, India, Greece, and Mesoamerica, through medieval caliphates and Eurasian empires into the present, Acharya shows that humanitarian values, economic interdependence, and rules of inter-state conduct emerged across the globe over millennia. History suggests order will endure even as the West retreats. In fact, the end of Western dominance offers us the opportunity to build a better world, where non-Western nations find more voice, power, and prosperity. Instead of fearing the future, the West should learn from history and cooperate with the Rest to forge a more equitable order. Amitav Acharya is the UNESCO Chair in Transnational Challenges and Governance and Distinguished Professor at the School of International Service, American University, Washington, DC. Lucas Tse is Examination Fellow at All Souls College, Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Since the dawn of the twenty-first century, the West has been in crisis. Social unrest, political polarization, and the rise of other great powers—especially China—threaten to unravel today's Western-led world order. Many fear this would lead to global chaos. But the West has never had a monopoly on order.Surveying five thousand years of global history, political scientist Amitav Acharya reveals that world order—the political architecture enabling cooperation and peace among nations—existed long before the rise of the West. Moving from ancient Sumer, India, Greece, and Mesoamerica, through medieval caliphates and Eurasian empires into the present, Acharya shows that humanitarian values, economic interdependence, and rules of inter-state conduct emerged across the globe over millennia. History suggests order will endure even as the West retreats. In fact, the end of Western dominance offers us the opportunity to build a better world, where non-Western nations find more voice, power, and prosperity. Instead of fearing the future, the West should learn from history and cooperate with the Rest to forge a more equitable order. Amitav Acharya is the UNESCO Chair in Transnational Challenges and Governance and Distinguished Professor at the School of International Service, American University, Washington, DC. Lucas Tse is Examination Fellow at All Souls College, Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/politics-and-polemics

Long before recorded history, ancient myths described gods descending from the sky — beings of light who gave humanity knowledge, language, and power. Were they divine... or extraterrestrial? In this episode of Conspiracy Files with Paige Carter, we dive into the Ancient Astronaut Theory — from the mysterious carvings of Sumer and Egypt to the impossible architecture of the Andes. Could ancient gods have been ancient visitors? The evidence is older, stranger, and far more compelling than you think.

Step into a revelatory transmission on The Luminary Podcast as host Annie Perry, multi-dimensional Psychic Channel, Akashic Records Oracle, and galactic historian, unveils a channeled account of Annunaki DNA modification that reshaped human evolution, consciousness, and sovereignty. Drawn directly from the Akashic Records, this episode opens a portal into forgotten timelines, starseed origins, and the ancient energetic imprint that still influences our nervous systems today.In this episode, you'll discover:✨ The true story of the Annunaki (Anki) arrival on Earth, their gold mining mission, and their interactions with early Gaians✨ How 12 early humans were taken for DNA modification, creating the ancestral “subservience gene” and today's fawn response✨ Why the Elohim intervened, and how this cosmic event changed the trajectory of Sumer, Kemet (Egypt), and later human civilizations✨ The connection between starseed lineages, the 22 Seeder Races, and Earth's original name: Eden✨ How Annunaki genetic influence contributed to human patterns of worship, people-pleasing, and giving away inner authority✨ The hidden role of Atlantean reincarnates in attempting to purify the mutation✨ Practical tools Annie used to begin turning this DNA pattern off: Higher Light Commands & nPendulum Clearing / DeprogrammingI'm glad you're here, don't forget to subscribe and share with a friend. You can find out more about my current offering by clicking the link below, visiting www.wellspringofficial.com or joining me on Instagram @eternal_annieConnect with Me: https://www.wellspringofficial.com/wellspring-linksConnect with Your New Earth Self: https://www.wellspringofficial.com/the-ascension-academyCreate New Earth Money: https://www.wellspringofficial.com/the-prosperity-portalInstagram Send your testimonials here! -Annie For those interested in: Ascension, Human Design, Gene Keys, Spirituality, psychic, ascension, manifestation, quantum healing, psychology, inner child, consciousness, galactic, galactic family, Pleiadian, Arcturian, Sirian, Psychic channel, galactic federation of light, esoteric, Lightworker, started, astrology, tarot, reiki, star family, chakra, energy healer, energy, energy worker, spiritual podcast, masculine energetics, feminine energetics, new earth, energy updates, channeled messages, channeling, wellness. Music: Electronic Downtempo Emotional Music | Earth by Alex-Productions | https://www.youtube.com/channel/UCx0_M61F81Nfb-BRXE-SeVA Music promoted by https://www.free-stock-music.com Creative Commons Attribution 3.0 Unported Licensehttps://creativecommons.org/licenses/by/3.0/deed.en_US DISCLAIMER: Information in this podcast is meant to be informative and is not professional mental health advice. Please seek professional help if you are experiencing anxiety, depression or any other physical or mental health medical conditions. Please use discernment and care when implementing any spiritual or physical practices described in this podcast. Some names may have been changed to protect privacy. All original ideas, voice and cover artwork is protected under copyright laws.

A different look at the bible; Heretics?; Soundbite catechism; God without good?; Why pain in the world?; Suffering?; Choice to be cruel; Joseph's brothers; Haters of truth; Intellect = Tree of Knowledge; Source?; What are yours?; Gen 37:19; Information overload; Tree of Life - seeking it; Walking as Israel; Which "Jesus"?; First Christians; Messiah; Joseph in Egypt; Walking with the LORD; Gen 39:2 messiah?; Anointing; "Dungeon"?; Interpreting dreams; Gen 40:1; Prison of the Pharaoh; Butler and baker; Translating the bible; Reading with Holy Spirit guidance; Butler's dream; Joseph's interpretation; Wine maker?; What God wants you to do; Cutting yourself off from Holy Spirit; biet-vav-resh (separated from authority); Seeing ourselves; Losing your faith; Another dreamer - Baker; Stinking?; Statues for identification; Nissi of Sumer - goddess of social welfare; False-accusers; Fathers of nations; Forgetting Joseph; Is Christ in you?; Still small voice; Atheists; Religion of socialism; Relieving peoples' suffering; "Daily Ministration"; "Meat" offering; Levites and their offerings; Burying idols; Abimelech vs Melchizedek; Father King vs King of Righteousness; Existence of Jesus Christ; Christ's family; Titles vs names; Genesis 21 study; Assembling the puzzle; Seeing others as individuals; Walking with the spirit of life; Imhotep; Freewill offerings; "Butler" variations; mem-shem-kuf-hey; Joseph stolen?; "Shearing"; Covetous practices; Democratic socialism; Why pain and suffering?; Caring about others; Killing care; Sacrifice yourself for others

Come to my lecture at the Ancient Civilizations Conference on Scotssdale, AZ Dec 5-7, 2025: https://www.worldviewzmedia.com/scottsdale-questAncient civilizations across the world — Egypt, Sumer, Olmec, Göbekli Tepe, Indus Valley — shared a mysterious, advanced blueprint, despite being separated by oceans and time.Introduce the idea that these civilizations may have been connected by a forgotten global culture, or guided by a higher intelligence or ancient builder race.30 Day Free Trial Of 4biddenknowledge.TV 30 Day Free Trial On 4biddenknowledge.TVSupport the show

Come to my lecture at the Ancient Civilizations Conference on Scotssdale, AZ Dec 5-7, 2025: https://www.worldviewzmedia.com/scottsdale-questAncient civilizations across the world — Egypt, Sumer, Olmec, Göbekli Tepe, Indus Valley — shared a mysterious, advanced blueprint, despite being separated by oceans and time.Introduce the idea that these civilizations may have been connected by a forgotten global culture, or guided by a higher intelligence or ancient builder race.

In this episode of Truth in Shadow, host BT delves into the ancient civilization of the Sumerians, exploring their profound impact on human history, culture, and the supernatural. He discusses their innovations in writing, mathematics, and architecture, as well as their mythology, particularly the Anunnaki, and how these elements shaped the foundations of modern civilization. The conversation reflects on the everyday lives of the Sumerians, their cultural practices, and the enduring legacy of their myths and stories.Resources:The Sumerians: Their History, Culture, and Character - Samuel Noah KramerCuneiform by Dr. Irving FinkelThe Electronic Text Corpus of Sumerian Literature

Jim Marrs joins Freeman for a discussion of Alien connections to the Nazi elite and the rise of the Fourth Reich in America. Also discussed are the Annunaki, ancient Sumer and Egypt. Jim is an expert on Ancient Astronauts, the NWO, Nazi UFOs, Skull and Bones, Bush Dynasty, the CIA, and NSA, Trilateral Commission, Bilderbergers, CFR, Flying Saucers, and the Alien Agenda. This show with Jim Marrs aired on Radio Freeman Nov. 09, 2010 on American Freedom Radio Jim Marrs is author of Rule by Secrecy, which traced the hidden history that connects modern secret societies to the Ancient Mysteries. It reached the New York Times Best Seller list. In 2003, his book The War on Freedom probed the conspiracies of the 9/11 attacks and their aftermath. It was released in 2006 under the title The Terror Conspiracy. In mid-2008, his book The Rise of the Fourth Reich, detailing the infiltration of National Socialism into the USA, was published followed by a study of mysteries entitled Above Top Secret. Associate Producer: Steve Mercer Send comments and guest suggestions to producersteve@freemantv.com Topics include: Freemasonry, Religion of World - Bureaucrats - Skull and Bones - Perks for Lower Masons - Albert Pike, Albert Mackey - Rosicrucians. Levels, Grades, Degrees - Noble Orders, Old Aristocracy, Knighting, Sirs - Terminology of Architecture and Building - "Building the Temple" - Knights Templars. United States, Founding Fathers, British Crown, Royal Charters - Masonic Lodge Meeting, Constitution, Benjamin Franklin, France. Foundations under Cloak of Charity - Political Group and NGO funding - Demands for Laws to be Passed - Soviet Union. Chemtrails - Aerial Spraying of Prozac, Valium - Weather Modification - Tranquilizing Public - "Brave New World". Hollywood (Holy Wood, Grove) - Giving You Your Thoughts - Subliminals - Royal Institute for International Affairs, Council on Foreign Relations. Worldwide HAARP - Earthquake, Tornado, Drought, Famine, Tsunami Creation. Mystery Religions, "Societies with Secrets" - Masonic Obelisks across U.S.-Canada Border. Hermaphroditic Symbol - Perfection of Human Being - Cessation of All Conflict - Perfected Worker Breed, Ideal Design, Purpose-Made Humans. Dictatorships - Scientific Indoctrination, Bertrand Russell, Experimental Schools - "Contaminated Ideas" - Kindergarten. Total War - British Military Academies, Hitler's Army - Mercenaries, Armies - Carroll Quigley. Project for a New American Century, Wolfowitz - War in Middle East - John Stewart Mill - Peoples, Races to be Eliminated - H.G. Wells.

Tristan Hughes continues our special series on Great Disasters, journeying back to ancient Mesopotamia with Dr Paul Collins to explore the fall of the Sumerians.4,000 years ago, the great cities of Sumer — Ur, Uruk, Lagash, Girsu — stood as glittering centres of power, crowned with mighty ziggurats and ruled by ambitious dynasties. Yet within a few generations, this world of splendour and tradition unravelled. From the collapse of the Akkadian Empire to shifting power struggles and environmental pressures, uncover why these prestigious city-states declined — and ask whether we can truly talk of a 'fall of Sumer.' Join us as we step into the chaos of Mesopotamia's first great age of empires and witness how disaster reshaped the cradle of civilisation.MOREThe SumeriansSargon of AkkadPresented by Tristan Hughes. Audio editor is Aidan Lonergan and the producer is Joseph Knight. The senior producer is Anne-Marie Luff.All music courtesy of Epidemic SoundsThe Ancients is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://insights.historyhit.com/history-hit-podcast-always-on Hosted on Acast. See acast.com/privacy for more information.

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

Fellow podcaster Scott Chesworth, from The Ancient World has a new season. I'm excited to introduce “The Ancient World – Ages”, a series covering the Early Bronze Age Collapse (c. 2200 BC) and the remaking of Southwest Eurasia. In this feed swap, you'll hear episode A3 – The Kings of Kish. It covers the period c.2900 BCE and 2350 BCE, also known as the Early Dynastic Period in Sumer. A time of kings, emerging from legends. Figures like Gilgamesh, burial sites like the Royal Cemetery of Ur, and the legendary conflict between the gods Lagash and Umma, recorded on the Stela of the Vultures. Along the way, Scott will introduce you to history's earliest-known diplomacy, bilateral treaty, and legal codes. Finally, Scott will set the stage for the most famous conqueror of the day: Sargon of Akkad. The Ancient World – Ages promises to by an exciting, big picture history of this ancient period. While the Egyptians were focused on pyramids, rulers in Mesopotamia were kicking Kish and taking names. Please, consider joining Scott on this epic journey. Website: https://ancientworldpodcast.com/ Scott Chesworth's The Ancient World is available on Spotify, Apple, and all good podcasting apps. Learn more about your ad choices. Visit megaphone.fm/adchoices

Synopsis: This episode covers the Early Dynastic Period in Sumer and northern Syria. “Eannatum gave the great battle net of Enlil to the leader of Umma and made him swear to him by it. The leader of Umma swore to Eannatum: ‘By the life of Enlil, king of heaven and earth! I may exploit the field of Ningirsu as an interest-bearing loan. I shall not destroy the irrigation channel! Forever and evermore, I shall not transgress the territory of Ningirsu! I shall not shift the course of its irrigation channels and canals! I shall not smash its monuments! Whenever I do transgress, may the great battle net of Enlil, king of heaven and earth, by which I have sworn, descend upon Umma'.” – The Stele of the Vultures Original Episode Art by Mike Oeming: https://michaelavonoeming.com Map of SW Eurasia: https://audio.ancientworldpodcast.com/A3_Map.png Map of Sumer and Northern Syria (c. 2380 BC): https://audio.ancientworldpodcast.com/A3_Sumer.png Kings List: https://audio.ancientworldpodcast.com/A3_Kings.pdf Images: https://www.flickr.com/photos/75506172@N07/albums/72177720326251557/ References and Further Reading: https://audio.ancientworldpodcast.com/A3_References.pdf Please contact advertising@airwavemedia.com if you would like to advertise on this podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices