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How can indie authors raise their game through academic-style rigour? How might AI tools fit into a thoughtful research process without replacing the joy of discovery? Melissa Addey explores the intersection of scholarly discipline, creative writing, and the practical realities of building an author career. In the intro, mystery and thriller tropes [Wish I'd Known Then]; The differences between trad and indie in 2026 [Productive Indie Fiction Writer]; Five phases of an author business [Becca Syme]; Bones of the Deep – J.F. Penn; Today's show is sponsored by Bookfunnel, the essential tool for your author business. Whether it's delivering your reader magnet, sending out advanced copies of your book, handing out ebooks at a conference, or fulfilling your digital sales to readers, BookFunnel does it all. Check it out at bookfunnel.com/thecreativepenn This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Melissa Addey is an award-winning historical fiction author with a PhD in creative writing from the University of Surrey. She was the Leverhulme Trust Writer in Residence at the British Library, and now works as campaigns lead for the Alliance of Independent Authors. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Making the leap from a corporate career to full-time writing with a young family Why Melissa pursued a PhD in creative writing and how it fuelled her author business What indie authors can learn from academic rigour when researching historical fiction The problems with academic publishing—pricing, accessibility, and creative restrictions Organising research notes, avoiding accidental plagiarism, and knowing when to stop researching Using AI tools effectively as part of the research process without losing your unique voice You can find Melissa at MelissaAddey.com. Transcript of the interview with Melissa Addey JOANNA: Melissa Addey is an award-winning historical fiction author with a PhD in creative writing from the University of Surrey. She was the Leverhulme Trust Writer in Residence at the British Library, and now works as campaigns lead for the Alliance of Independent Authors. Welcome back to the show, Melissa. MELISSA: Hello. Thank you for having me. JOANNA: It's great to have you back. You were on almost a decade ago, in December 2016, talking about merchandising for authors. That is really a long time ago. So tell us a bit more about you and how you got into writing and self-publishing. MELISSA: I had a regular job in business and I was writing on the side. I did a couple of writing courses, and then I started trying to get published, and that took seven years of jumping through hoops. There didn't seem to be much progress. At some point, I very nearly had a small publisher, but we clashed over the cover because there was a really quite hideous suggestion that was not going to work. I think by that point I was really tired of jumping through hoops, really trying to play the game traditional publishing-wise. I just went, you know what? I've had enough now. I've done everything that was asked of me and it's still not working. I'll just go my own way. I think at the time that would've been 2015-ish. Suddenly, self-publishing was around more. I could see people and hear people talking about it, and I thought, okay, let's read everything there is to know about this. I had a little baby at the time and I would literally print off stuff during the day to read—probably loads of your stuff—and read it at two o'clock in the morning breastfeeding babies. Then I'd go, okay, I think I understand that bit now, I'll understand the next bit, and so on. So I got into self-publishing and I really, really enjoyed it. I've been doing it ever since. I'm now up to 20 books in the last 10 or 11 years. As you say, I did the creative writing PhD along the way, working with ALLi and doing workshops for others—mixing and matching lots of different things. I really enjoy it. JOANNA: You mentioned you had a job before in business. Are you full-time in all these roles that you're doing now, or do you still have that job? MELISSA: No, I'm full-time now. I only do writing-related things. I left that in 2015, so I took a jump. I was on maternity leave and I started applying for jobs to go back to, and I suddenly felt like, oh, I really don't want to. I want to do the writing. I thought, I've got about one year's worth of savings. I could try and do the jump. I remember saying to my husband, “Do you think it would be possible if I tried to do the jump? Would that be okay?” There was this very long pause while he thought about it. But the longer the pause went on, the more I was thinking, ooh, he didn't say no, that is out of the question, financially we can't do that. I thought, ooh, it's going to work. So I did the jump. JOANNA: That's great. I did something similar and took a massive pay cut and downsized and everything back in the day. Having a supportive partner is so important. The other thing I did—and I wonder if you did too—I said to Jonathan, my husband, if within a year this is not going in a positive direction, then I'll get another job. How long did you think you would leave it before you just gave up? And how did that go? Because that beginning is so difficult, especially with a new baby. MELISSA: I thought, well, I'm at home anyway, so I do have more time than if I was in a full-time job. The baby sleeps sometimes—if you're lucky—so there are little gaps where you could really get into it. I had a year of savings/maternity pay going on, so I thought I've got a year. And the funny thing that happened was within a few months, I went back to my husband and I was like, I don't understand. I said, all these doors are opening—they weren't massive, but they were doors opening. I said, but I've wanted to be a writer for a long time and none of these doors have opened before. He said, “Well, it's because you really committed. It's because you jumped. And when you jump, sometimes the universe is on board and goes, yes, all right then, and opens some doors for you.” It really felt like that. Even little things—like Writing Magazine gave me a little slot to do an online writer-in-residence thing. Just little doors opened that felt like you were getting a nod, like, yes, come on then, try. Then the PhD was part of that. I applied to do that and it came with a studentship, which meant I had three years of funding coming in. That was one of the biggest creative gifts that's ever been given to me—three years of knowing you've got enough money coming in that you can just try and make it work. By the time that finished, the royalties had taken over from the studentship. That was such a gift. JOANNA: A couple of things there. I've got to ask about that funding. You're saying it was a gift, but that money didn't just magically appear. You worked really hard to get that funding, I presume. MELISSA: I did, yes. You do have to do the work for it, just to be clear. My sister had done a PhD in an entirely different subject. She said, “You should do a PhD in creative writing.” I said, “That'd be ridiculous. Nobody is going to fund that. Who's going to fund that?” She said, “Oh, they might. Try.” So I tried, and the deadline was something stupid like two weeks away. I tried and I got shortlisted, but I didn't get it. I thought, ah, but I got shortlisted with only two weeks to try. I'll try again next year then. So then I tried again the next year and that's when I got it. It does take work. You have to put in quite a lot of effort to make your case. But it's a very joyful thing if you get one. JOANNA: So let's go to the bigger question: why do a PhD in creative writing? Let's be clear to everyone—you don't need even a bachelor's degree to be a successful author. Stephen King is a great example of someone who isn't particularly educated in terms of degrees. He talks about writing his first book while working at a laundry. You can be very successful with no formal education. So why did you want to do a PhD? What drew you to academic research? MELISSA: Absolutely. I would briefly say, I often meet people who feel they must do a qualification before they're allowed to write. I say, do it if you'd like to, but you don't have to. You could just practise the writing. I fully agree with that. It was a combination of things. I do actually like studying. I do actually enjoy the research—that's why I do historical research. I like that kind of work. So that's one element. Another element was the funding. I thought, if I get that funding, I've got three years to build up a back catalogue of books, to build up the writing. It will give me more time. So that was a very practical financial issue. Also, children. My children were very little. I had a three-year-old and a baby, and everybody went, “Are you insane? Doing a PhD with a three-year-old and a baby?” But the thing about three-year-olds and babies is they're quite intellectually boring. Emotionally, very engaging—on a number of levels, good, bad, whatever—but they're not very intellectually stimulating. You're at home all day with two small children who think that hide and seek is the highlight of intellectual difficulty because they've hidden behind the curtains and they're shuffling and giggling. I felt I needed something else. I needed something for me that would be interesting. I've always enjoyed passing on knowledge. I've always enjoyed teaching people, workshops, in whatever field I was in. I thought, if I want to do that for writing at some point, it will sound more important if I've done a PhD. Not that you need that to explain how to do writing to someone if you do a lot of writing. But there were all these different elements that came together. JOANNA: So to summarise: you enjoy the research, it's an intellectual challenge, you've got the funding, and there is something around authority. In terms of a PhD—and just for listeners, I'm doing a master's at the moment in death, religion, and culture. MELISSA: Your topic sounds fascinating. JOANNA: It is interesting because, same as you, I enjoy research. Both of us love research as part of our fiction process and our nonfiction. I'm also enjoying the intellectual challenge, and I've also considered this idea of authority in an age of AI when it is increasingly easy to generate books—let's just say it, it's easy to generate books. So I was like, well, how do I look at this in a more authoritative way? I wanted to talk to you because even just a few months back into it—and I haven't done an academic qualification for like two decades—it struck me that the academic rigour is so different. What lessons can indie authors learn from this kind of academic rigour? What do you think of in terms of the rigour and what can we learn? MELISSA: I think there are a number of things. First of all, really making sure that you are going to the quality sources for things—the original sources, the high-quality versions of things. Not secondhand, but going back to those primary sources. Not “somebody said that somebody said something.” Well, let's go back to the original. Have a look at that, because you get a lot from that. I think you immerse yourself more deeply. Someone can tell you, “This is how they spoke in the 1800s.” If you go and read something that was written in the 1800s, you get a better sense of that than just reading a dictionary of slang that's been collated for you by somebody else. So I think that immerses you more deeply. Really sticking with that till you've found interesting things that spark creativity in you. I've seen people say, “I used to do all the historical research. Nowadays I just fact-check. I write what I want to write and I fact-check.” I think, well, that's okay, but you won't find the weird little things. I tend to call it “the footnotes of history.” You won't find the weird little things that really make something come alive, that really make a time and a place come alive. I've got a scene in one of my Regency romances—which actually I think are less full of historical emphasis than some of my other work—where a man gives a woman a gift. It's supposed to be a romantic gift and maybe slightly sensual. He could have given her a fan and I could have fact-checked and gone, “Are there fans? Yes, there are fans. Do they have pretty romantic poems on them? Yes, they do. Okay, that'll do.” Actually, if you go round and do more research than that, you discover they had things like ribbons that held up your stockings, on which they wrote quite smutty things in embroidery. That's a much more sexy and interesting gift to give in that scene. But you don't find that unless you go doing a bit of research. If I just fact-check, I'm not going to find that because it would never have occurred to me to fact-check it in the first place. JOANNA: I totally agree with you. One of the wonderful things about research—and I also like going to places—is you might be somewhere and see something that gives you an idea you never, ever would have found in a book or any other way. I used to call it “the serendipity of the stacks” in the physical library. You go looking for a particular book and then you're in that part of the shelf and you find several other books that you never would have looked for. I think it's encouraging people, as you're saying, but I also think you have to love it. MELISSA: Yes. I think some people find it a bit of a grind, or they're frightened by it and they think, “Have I done enough?” JOANNA: Mm-hmm. MELISSA: I get asked that a lot when I talk about writing historical fiction. People go, “But when do I stop? How do I know it's enough? How do I know there wasn't another book that would have been the book? Everyone will go, ‘Oh, how did you not read such-and-such?'” I always say there are two ways of finding out when you can stop. One is when you get to the bibliographies, you look through and you go, “Yep, read that, read that, read that. Nah, I know that one's not really what I wanted.” You're familiar with those bibliographies in a way that at the beginning you're not. At the beginning, every single bibliography, you haven't read any of it. So that's quite a good way of knowing when to stop. The other way is: can you write ordinary, everyday life? I don't start writing a book till I can write everyday life in that historical era without notes. I will obviously have notes if I'm doing a wedding or a funeral or a really specific battle or something. Everyday life, I need to be able to just write that out of my own head. You need to be confident enough to do that. JOANNA: One of the other problems I've heard from academics—people who've really come out of academia and want to write something more pop, even if it's pop nonfiction or fiction—they're also really struggling. It is a different game, isn't it? For people who might be immersed in academia, how can they release themselves into doing something like self-publishing? Because there's still a lot of stigma within academia. MELISSA: You're going to get me on the academic publishing rant now. I think academic publishing is horrendous. Academics are very badly treated. I know quite a lot of academics and they have to do all the work. Nobody's helping them with indexing or anything like that. The publisher will say things like, “Well, could you just cut 10,000 words out of that?” Just because of size. Out of somebody's argument that they're making over a whole work. No consideration for that. The royalties are basically zilch. I've seen people's royalty statements come in, and the way they price the books is insane. They'll price a book at 70 pounds. I actually want that book for my research and I'm hesitating because I can't be buying all of them at that price. That's ridiculous. I've got people who are friends or family who bring out a book, and I'm like, well, I would gladly buy your book and read it. It's priced crazy. It's priced only for institutions. I think actually, if academia was written a little more clearly and open to the lay person—which if you are good at your work, you should be able to do—and priced a bit more in line with other books, that would maybe open up people to reading more academia. You wouldn't have to make it “pop” as you say. I quite like pop nonfiction. But I don't think there would have to be such a gulf between those two. I think you could make academic work more readable generally. I read someone's thesis recently and they'd made a point at the beginning of saying—I can't remember who it was—that so-and-so academic's point of view was that it should be readable and they should be writing accordingly. I thought, wow, I really admired her for doing that. Next time I'm doing something like that, I should be putting that at the front as well. But the fact that she had to explain that at the beginning… It wasn't like words of one syllable throughout the whole thing. I thought it was a very quality piece of writing, but it was perfectly readable to someone who didn't know about the topic. JOANNA: I might have to get that name from you because I've got an essay on the Philosophy of Death. And as you can imagine, there's a heck of a lot of big words. MELISSA: I know. I've done a PhD, but I still used to tense up a little bit thinking they're going to pounce on me. They're going to say that I didn't talk academic enough, I didn't sound fancy enough. That's not what it should be about, really. In a way, you are locking people out of knowledge, and given that most academics are paid for by public funds, that knowledge really ought to be a little more publicly accessible. JOANNA: I agree on the book price. I'm also buying books for my course that aren't in the library. Some of them might be 70 pounds for the ebook, let alone the print book. What that means is that I end up looking for secondhand books, when of course the money doesn't go to the author or the publisher. The other thing that happens is it encourages piracy. There are people who openly talk about using pirate sites for academic works because it's just too expensive. If I'm buying 20 books for my home library, I can't be spending that kind of money. Why is it so bad? Why is it not being reinvented, especially as we have done with indie authors for the wider genres? Has this at all moved into academia? MELISSA: I think within academia there's a fear because there's the peer reviews and it must be proven to be absolutely correct and agreed upon by everybody. I get that. You don't want some complete rubbish in there. I do think there's space to come up with a different system where you could say, “So-and-so is professor of whatever at such-and-such a university. I imagine what they have to say might be interesting and well-researched.” You could have some sort of kite mark. You could have something that then allows for self-publishing to take over a bit. I do just think their system is really, really poor. They get really reined in on what they're allowed to write about. Alison Baverstock, who is a professor now at Kingston University and does stuff about publishing and master's programmes, started writing about self-publishing because she thought it was really interesting. This was way back. JOANNA: I remember. I did one of those surveys. MELISSA: She got told in no uncertain terms, “Do not write about this. You will ruin your career.” She stuck with it. She was right to stick with it. But she was told by senior academics, “Do not write about self-publishing. You're just embarrassing yourself. It's just vanity press.” They weren't even being allowed to write about really quite interesting phenomena that were happening. Just from a historical point of view, that was a really interesting rise of self-publishing, and she was being told not to write about it. JOANNA: It's funny, that delay as well. I'm looking to maybe do my thesis on how AI is impacting death and the death industry. And yet it's such a fast-moving thing. MELISSA: Yes. JOANNA: Sometimes it can take a year, two years or more to get a paper through the process. MELISSA: Oh, yes. It moves really, really fast. Like you say, by the time it comes out, people are going, “Huh? That's really old.” And you'll be going, “No, it's literally two years.” But yes, very, very slow. JOANNA: Let's come back to how we can help other people who might not want to be doing academic-level stuff. One of the things I've found is organising notes, sources, references. How do you manage that? Any tips for people? They might not need to do footnotes for their historical novel, but they might want to organise their research. What are your thoughts? MELISSA: I used to do great big enormous box files and print vast quantities of stuff. Each box file would be labelled according to servant life, or food, or seasons, or whatever. I've tried various different things. I'm moving more and more now towards a combination of books on the shelf, which I do like, and papers and other materials that are stored on my computer. They'll be classified according to different parts of daily life, essentially. Because when you write historical fiction, you have to basically build the whole world again for that era. You have to have everything that happens in daily life, everything that happens on special events, all of those things. So I'll have it organised by those sorts of topics. I'll read it and go through it until I'm comfortable with daily life. Then special things—I'll have special notes on that that can talk me through how you run a funeral or a wedding or whatever, because that's quite complicated to just remember in your head. MELISSA: I always do historical notes at the end. They really matter to me. When I read historical fiction, I really like to read that from the author. I'll say, “Right, these things are true”—especially things that I think people will go, “She made that up. That is not true.” I'll go, “No, no, these are true.” These other things I've fudged a little, or I've moved the timeline a bit to make the story work better. I try to be fairly clear about what I did to make it into a story, but also what is accurate, because I want people to get excited about that timeline. Occasionally if there's been a book that was really important, I'll mention it in there because I don't want to have a proper bibliography, but I do want to highlight certain books. If you got excited by this novel, you could go off and read that book and it would take you into the nonfiction side of it. JOANNA: I'm similar with my author's notes. I've just done the author's note for Bones of the Deep, which has some merfolk in it, and I've got a book on Merpeople. It's awesome. It's just a brilliant book. I'm like, this has to go in. You could question whether that is really nonfiction or something else. But I think that's really important. Just to be more practical: when you're actually writing, what tools do you use? I use Scrivener and I keep all my research there. I'm using EndNote for academic stuff. MELISSA: I've always just stuck to Word. I did get Scrivener and played with it for a while, but I felt like I've already got a way of doing it, so I'll just carry on with that. So I mostly just do Word. I have a lot of notes, so I'll have notepads that have got my notes on specific things, and they'll have page numbers that go back to specific books in case I need to go and double-check that again. You mentioned citations, and that's fascinating to me. Do you know the story about Angle of Repose by Wallace Stegner? It won the Pulitzer. It's a novel, but he used 10% of that novel—and it's a fairly slim novel—10% of it is actually letters written by somebody else, written by a woman before his time. He includes those and works with them in the story. He mentioned her very briefly, like, “Oh, and thanks to the relatives of so-and-so.” Very brief. He got accused of plagiarism for using that much of it by another part of her family who hadn't agreed to it. I've always thought it's because he didn't give enough credence to her. He didn't give her enough importance. If he'd said, “This was the woman who wrote this stuff. It's fascinating. I loved it. I wanted to creatively respond and engage with it”—I think that wouldn't have happened at all. That's why I think it's quite important when there are really big, important elements that you're using to acknowledge those. JOANNA: That's part of the academic rigour too— You can barely have a few of your own thoughts without referring to somebody else's work and crediting them. What's so interesting to me in the research process is, okay, I think this, but in order to say it, I'm going to have to go find someone else who thought this first and wrote a paper on it. MELISSA: I think you would love a PhD. When you've done a master's, go and do a PhD as well. Because it was the first time in academia that I genuinely felt I was allowed my own thoughts and to invent stuff of my own. I could go, “Oh no, I've invented this theory and it's this.” I didn't have to constantly go, “As somebody else said, as somebody else said.” I was like, no, no. This is me. I said this thing. I wasn't allowed to in my master's, and I found it annoying. I remember thinking, but I'm trying to have original thoughts here. I'm trying to bring something new to it. In a PhD, you're allowed to do that because you're supposed to be contributing to knowledge. You're supposed to be bringing a new thing into the world. That was a glorious thing to finally be allowed to do. JOANNA: I must say I couldn't help myself with that. I've definitely put my own opinion. But a part of why I mention it is the academic rigour—it's actually quite good practice to see who else has had these thoughts before. Speed is one of the biggest issues in the indie author community. Some of the stuff you were talking about—finding original sources, going to primary sources, the top-quality stuff, finding the weird little things—all of that takes more time than, for example, just running a deep research report on Gemini or Claude or ChatGPT. You can do both. You can use that as a starting point, which I definitely do. But then the point is to go back and read the original stuff. On this timeframe— Why do you think research is worth doing? It's important for academic reasons, but personal growth as well. MELISSA: Yes, I think there's a joy to be had in the research. When I go and stand in a location, by that point I'm not measuring things and taking photos—I've done all of that online. I'm literally standing there feeling what it is to be there. What does it smell like? What does it feel like? Does it feel very enclosed or very open? Is it a peaceful place or a horrible place? That sensory research becomes very important. All of the book research before that should lead you into the sensory research, which is then also a joy to do. There's great pleasure in it. As you say, it slows things down. What I tend to say to people if they want to speed things up again is: write in a series. Because once you've done all of that research and you just write one book and then walk away, that's a lot. That really slows you down. If you then go, “Okay, well now I'm going to write four books, five books, six books, still in that place and time”—obviously each book will need a little more research, but it won't need that level of starting-from-scratch research. That can help in terms of speeding it back up again. Recently I wrote some Regency romances to see what that was like. I'd done all my basic research, and then I thought, right, now I want to write a historical novel which could have been Victorian or could have been Regency. It had an openness to it. I thought, well, I've just done all the research for Regency, so I'll stick with that era. Why go and do a whole other piece of research when I've only written three books in it so far? I'll just take that era and work with that. So there are places to make up the time again a bit. But I do think there's a joy in it as well. JOANNA: I just want to come back to the plagiarism thing. I discovered that you can plagiarise yourself in academia, which is quite interesting. For example, my books How to Write a Novel and How to Write Nonfiction—they're aimed at different audiences. They have lots of chapters that are different, but there's a chapter on dictation. I thought, why would I need to write the same chapter again? I'm just going to put the same chapter in. It's the same process. Then I only recently learned that you can plagiarise yourself. I did not credit myself for that original chapter. MELISSA: How dare you not credit yourself! JOANNA: But can you talk a bit about that? Where are the lines here? I'm never going to credit myself. I think that's frankly ridiculous. MELISSA: No, that's silly. I mean, it depends what you're doing. In your case, that completely makes sense. It would be really peculiar of you to sit down and write a whole new chapter desperately trying not to copy what you'd said in a chapter about exactly the same topic. That doesn't make any sense. JOANNA: I guess more in the wider sense. Earlier you mentioned you keep notes and you put page numbers by them. I think the point is with research, a lot of people worry about accidental plagiarism. You write a load of notes on a book and then it just goes into your brain. Perhaps you didn't quote people properly. It's definitely more of an issue in nonfiction. You have to keep really careful notes. Sometimes I'm copying out a quote and I'll just naturally maybe rewrite that quote because the way they've put it didn't make sense, or I use a contraction or something. It's just the care in note-taking and then citing people. MELISSA: Yes. When I talk to people about nonfiction, I always say, you're basically joining a conversation. I mean, you are in fiction as well, but not as obviously. I say, well, why don't you read the conversation first? Find out what the conversation is in your area at the moment, and then what is it that you're bringing that's different? The most likely reason for you to end up writing something similar to someone else is that you haven't understood what the conversation was, and you need to be bringing your own thing to it. Then even if you're talking about the same topic, you might talk about it in a different way, and that takes you away from plagiarism because you're bringing your own view to it and your own direction to it. JOANNA: It's an interesting one. I think it's just the care. Taking more care is what I would like people to do. So let's talk about AI because AI tools can be incredible. I do deep research reports with Gemini and Claude and ChatGPT as a sort of “give me an overview and tell me some good places to start.” The university I'm with has a very hard line, which is: AI can be used as part of a research process, but not for writing. What are your thoughts on AI usage and tools? How can people balance that? MELISSA: Well, I'm very much a newbie compared to you. I follow you—the only person that describes how to use it with any sense at all, step by step. I'm very new to it, but I'm going to go back to the olden days. Sometimes I say to people, when I'm talking about how I do historical research, I start with Wikipedia. They look horrified. I'm like, no. That's where you have to get the overview from. I want an overview of how you dress in ancient Rome. I need a quick snapshot of that. Then I can go off and figure out the details of that more accurately and with more detail. I think AI is probably extremely good for that—getting the big picture of something and going, okay, this is what the field's looking like at the moment. These are the areas I'm going to need to burrow down into. It's doing that work for you quickly so that you're then in a position to pick up from that point. It gets you off to a quicker start and perhaps points you in the direction of the right people to start with. I'm trying to write a PhD proposal at the moment because I'm an idiot and want to do a second one. With that, I really did think, actually, AI should write this. Because the original concept is mine. I know nothing about it—why would I know anything about it? I haven't started researching it. This is where AI should go, “Well, in this field, there are these people. They've done these things.” Then you could quickly check that nobody's covered your thing. It would actually speed up all of that bit, which I think would be perfectly reasonable because you don't know anything about it yet. You're not an expert. You have the original idea, and then after that, then you should go off and do your own research and the in-depth quality of it. I think for a lot of things that waste authors' time—if you're applying for a grant or a writer-in-residence or things like that—it's a lot of time wasting filling in long, boring forms. “Could you make an artist statement and a something and a blah?” You're like, yes, yes, I could spend all day at my desk doing that. There's a moment where you start thinking, could you not just allow the AI to do this or much of it? JOANNA: Yes. Or at least, in that case, I'd say one of the very useful things is doing deep searches. As you were mentioning earlier about getting the funding—if I was to consider a PhD, which the thought has crossed my mind—I would use AI tools to do searches for potential sources of funding and that kind of research. In fact, I found this course at Winchester because I asked ChatGPT. It knows a lot about me because I chat with it all the time. I was talking about hitting 50 and these are the things I'm really interested in and what courses might interest me. Then it found it for me. That was quite amazing in itself. I'd encourage people to consider using it for part of the research process. But then all the papers it cites or whatever—then you have to go download those, go read them, do that work yourself. MELISSA: Yes, because that's when you bring your viewpoint to something. You and I could read the exact same paper and choose very different parts of it to write about and think about, because we're coming at it from different points of view and different journeys that we're trying to explore. That's where you need the individual to come in. It wouldn't be good enough to just have a generic overview from AI that we both try and slot into our work, because we would want something different from it. JOANNA: I kind of laugh when people say, “Oh, I can tell when it's AI.” I'm like, you might be able to tell when it's AI writing if nobody has taken that personal spin, but that's not the way we use it. If you're using it that way, that's not how those of us who are independent thinkers are using it. We're strong enough in our thoughts that we're using it as a tool. You're a confident person—intellectually and creatively confident—but I feel like some people maybe don't have that. Some people are not strong enough to resist what an AI might suggest. Any thoughts on that? MELISSA: Yes. When I first tried using AI with very little guidance from anyone, it just felt easy but very wooden and not very related to me. Then I've done webinars with you, and that was really useful—to watch somebody actually live doing the batting back and forth. That became a lot more interesting because I really like bouncing ideas and messing around with things and brainstorming, essentially, but with somebody else involved that's batting stuff back to you. “What does that look like?” “No, I didn't mean that at all.” “How about what does this look like?” “Oh no, no, not like that.” “Oh yes, a bit like that, but a bit more like whatever.” I remember doing that and talking to someone about it, going, “Oh, that's really quite an interesting use of it.” And they said, “Why don't you use a person?” I said, “Well, because who am I going to call at 8:30 in the morning on a Thursday and go, ‘Look, I want to spend two hours batting back and forth ideas, but I don't want you to talk about your stuff at all. Just my stuff. And you have to only think about my stuff for two hours. And you have to be very well versed in my stuff as well. Could you just do that?'” Who's going to do that for you? JOANNA: I totally agree with you. Before Christmas, I was doing a paper. It was an art history thing. We had to pick a piece of art or writing and talk about Christian ideas of hell and how it emerged. I was writing this essay and going back and forth with Claude at the time. My husband came in and saw the fresco I was writing about. He said, “No one's going to talk to you about this. Nobody.” MELISSA: Yes, exactly. JOANNA: Nobody cares. MELISSA: Exactly. Nobody cares as much as you. And they're not prepared to do that at 8:30 on a Thursday morning. They've got other stuff to do. JOANNA: It's great to hear because I feel like we're now at the point where these tools are genuinely super useful for independent work. I hope that more people might try that. JOANNA: Okay, we're almost out of time. Where can people find you and your books online? Also, tell us a bit about the types of books you have. MELISSA: I mostly write historical fiction. As I say, I've wandered my way through history—I'm a travelling minstrel. I've done ancient Rome, medieval Morocco, 18th century China, and I'm into Regency England now. So that's a bit closer to home for once. I'm at MelissaAddey.com and you can go and have a bit of a browse and download a free novel if you want. Try me out. JOANNA: Brilliant. Well, thanks so much for your time, Melissa. MELISSA: That was great. Thank you. It was fun. The post Research Like An Academic, Write Like an Indie With Melissa Addey first appeared on The Creative Penn.

Amazon UK niche leader for nearly 16 years shares how a single mom built a multi-7-figure brand, survived copycats, ditched unprofitable markets, and grew with influencers + smart keyword research. ► Watch The Podcasts On Youtube: https://www.youtube.com/@Helium10SeriousSellersPodcast?sub_confirmation=1 ► Instagram: instagram.com/serioussellerspodcast ► Free Amazon Seller Chrome Extension: https://h10.me/extension ► Sign Up For Helium 10: https://h10.me/signup  (Use SSP10 To Save 10% For Life) ► Learn How To Sell on Amazon: https://h10.me/ft What does it take to dominate a niche for over a decade without building a giant team or becoming a “warehouse CEO”? Bradley Sutton heads to the UK to visit Cara Sayer at her home in Surrey and unpack the real story behind SnoozeShade: a product used by members of the Royal family and a brand that has stayed on top of its Amazon category for nearly 16 years. Cara's journey is a classic “scratch your own itch” case study. She needed a better way to protect her baby in a pram from sun, wind, and cold, so she created a stroller “blackout blind” solution that simply didn't exist at the time. Cara shares her path from working in PR and marketing (including being on the team that helped launch Amazon in the UK back in the early days) to building a physical product business the hard way—trade shows, prototypes, and getting orders before modern Amazon tools even existed. As competition grew, she explains how the brand evolved through distributors, Amazon Vendor Central, and a messy reseller situation (including 37 resellers on her best-selling product) before she took control and moved into Seller Central. Then comes the lesson every seller needs to hear: revenue isn't the goal—profit is. When the US market turned into “shark-infested waters” full of unsafe knockoffs and price attacks, Cara made the tough call to exit, protect margins, and refocus on what actually made the business stronger. This episode is packed with long-game strategy: why being obsessively good at product quality and customer service beats shortcuts, why market focus matters more than “go global fast,” and how Cara uses influencer relationships to build real brand awareness. She also shares how Helium 10 helps her organize keyword research, spot competitor moves, and avoid international keyword mistakes (because US/UK/AU English is not the same). If you want a blueprint for building a durable brand that survives copycats, this one's gold. In episode 732 of the Serious Sellers Podcast, Bradley and Cara discuss: 00:00 - Introduction 00:41 - We're In The UK: Welcome To Cara's Place 04:31 - The Real Reason She Started: A Product Didn't Exist 05:55 - What SnoozeShade Is & Why It Took Off 07:13 - #1 In Category For Nearly 16 Years 10:22 - Copycats Killed Profit: “Turnover Is Vanity, Profit Is Sanity” 12:14 - Her Best Year: Nearly £3M (Now Around £2M) 15:48 - Lean Team Setup: Freelancers + VA In The Philippines 18:00 - Competitor Tracking + Why Competition Calmed Down 21:09 - Royal Family Customers 23:42 - TikTok & AI: Awareness Over Amazon-Only Thinking 25:16 - International Keyword Differences (UK vs US vs AU) 29:25 - Influencers: Relationship-First 34:04 - Helium 10: Time Savings and Smarter Keyword Testing

In this episode of the XS Noize Podcast, Mark Millar sits down with Paul Draper to talk about Mansun Retold — a project shaped by distance, perspective, and the strange experience of meeting your younger self through song. Watch the full video conversation. Releasing on 20 February, Mansun Retold sees Draper revisit and reimagine key songs from the Mansun catalogue, rebuilding them from the ground up as full-band, acoustic unplugged recordings. Rather than revisiting the past for nostalgia's sake, the album is about clarity — hearing familiar songs anew, stripped of urgency, ego, and expectation. Recorded at The Loft Studios in Surrey, the album was co-produced by Paul Draper alongside Paul "PDub" Walton (The Cure, U2, Björk, Massive Attack, Oasis). The sessions feature a string quartet arranged and led by Audrey Riley (Muse, Coldplay, Nick Cave), with drums performed by Julian Fenton — Mansun's original early-era drummer. Draper performs acoustic bass, acoustic lead and rhythm guitar, and piano throughout the record. In this conversation, Draper reflects on the emotional weight of returning to songs so closely tied to his own life, how he decided which tracks felt ready to be retold, and the responsibility he feels toward fans who have lived with this music for decades. He also talks about life beyond music, creative fulfilment, and how Mansun Retold is intended to be experienced — not as a retrospective, but as a living record, rooted firmly in the present. About The XS Noize Podcast With over 250 episodes, the XS Noize Podcast has become a trusted home for music's legends, innovators, and trailblazers — a place where real conversations meet real stories. Hosted by Mark Millar, the show has featured an extraordinary lineup including Sleaford Mods, The Charlatans, Gary "Mani" Mounfield, Glen Matlock, Miles Kane, Matt Berninger, Saint Etienne, D:Ream, Gavin Rossdale, The Farm, Snow Patrol, John Lydon, Will Sergeant, Ocean Colour Scene, Gary Kemp, Doves, Gavin Friday, David Gray, Anton Newcombe, Peter Hook, Razorlight, Sananda Maitreya, James, Crowded House, Elbow, Cast, Kula Shaker, Shed Seven, Future Islands, Peter Frampton, Bernard Butler, Steven Wilson, Travis, New Order, The Killers, Tito Jackson, Simple Minds, The Divine Comedy, Shaun Ryder, Gary Numan, and Michael Head — among many more. Explore the complete XS Noize Podcast archive here. New episodes drop weekly — subscribe for more in-depth conversations with the artists who shape our lives.

It was a quiet morning in Surrey, British  Columbia, on the 10th of December, 2014. A woman living in a quiet cul-se-sac heard a knock on her front door. She opened it up to find a woman there she didn't recognise. She stank of alcohol, and asked her to call 911.SPONSORS -Hero Bread: This year, hit your goals without giving up your favourite bready dishes. Use code "MORBIDOLOGY" to get 10% off at: https://www.hero.co/Rocket Money: Cancel your unwanted subcriptions and reach your financial goals faster at: http://rocketmoney.com/morbidologyAG1: AG1 puts your multivitamin, pre and probiotics, superfoods, and antioxidants into one scoop. Get the best offer at: http://drinkag1.com/morbidologySKIMS: Shop my favorite bras and underwear at http://www.skims.comHelloFresh: Get 10 free meals + a FREE Zwilling Knife on your third box at: http://hellofresh.com/morbidology10fmBecome a supporter of this podcast: https://www.spreaker.com/podcast/morbidology--3527306/support.

Escape the everyday and join The OCD Camp – an empowering 3-day outdoor experience in Surrey designed for adults with OCD to connect, grow and thrive together in nature. Since 2018, this unique camp has brought people living with OCD out of isolation, offering shared adventures, group challenges, reflective moments, and opportunities to build resilience alongside others who truly understand the journey. With all meals, activities and supportive staff included in the price, The OCD Camp blends fun, connection and meaningful community in a beautiful natural setting – giving you space to share stories, build friendships and rediscover strength beyond compulsions. Applications for 12–14 June 2026 are now open; don't miss your chance to be part of something transformative. Applications close on 31st Jan: https://www.integrativecentreforocd.co.uk/the-ocd-camp Open to adults 18 and over globally.

It's quiz time for Barry in London and puzzle fan Mary in Surrey!

British Columbia is delaying changes to the Heritage Conservation Act pending further consultations. Extortion may or may not be a crisis in Surrey. The BC Conservatives will pick their leader by May 30. Mark Carney gets praise for his Davos speech as he inks a new deal with China. Image credit: World Economic Forum Links B.C. postponing changes to heritage act to increase consultation, says minister – Richmond News Heritage Conservation Act changes further delayed over concerns it could halt development Eby says head of extortion task force needs to demonstrate urgency or step aside – BC | Globalnews.ca B.C. anti-extortion chief sorry for disputing blackmail ‘crisis' after criticism from Premier – The Globe and Mail https://globalnews.ca/news/11572311/extortion-suspects-claim-refugee-status-cbsa/ Trudeau's use of Emergencies Act to clear convoy protests unjustified, appeal court rules – The Globe and Mail LEADERSHIP Rules 2026 | Conservative Party of British Columbia  Darrell Jones announces Mark Carney earned a rare standing ovation in Davos. Read the full text of his speech here ‘The old order is not coming back,’ Carney says in provocative speech at Davos | CBC News Poilievre calls Carney's Davos speech ‘well-crafted,' but says action must follow | CBC News Response From The Honourable Pierre Poilievre, Leader of the Official Opposition, to the Prime Minister's Speech in Davos – Conservative Party of Canada Trump says he’s withdrawing invitation for Carney to join his Gaza ‘Board of Peace’ | CBC News Prime Minister Carney forges new strategic partnership with the People's Republic of China focused on energy, agri-food, and trade Federal government asked court to set aside Ottawa's shutdown order for TikTok Canada

H.A. & Pagans Indicted While Black Outlaws Party — Open Biker TalkGood morning friends. Today on Black Dragon Biker TV, we're covering a wide range of developing stories that highlight just how broad the biker world really is — from indictments and court cases to awareness, accountability, and prevention.We begin in Canada, where Hells Angels clubhouse owners in Surrey are pushing back against allegations of illegal activity. The B.C. government is seeking to seize a property allegedly linked to criminal enterprise, while the owner insists they knew nothing of any wrongdoing. We'll talk about civil forfeiture, burden of proof, and how these cases are increasingly being handled.Next, we head stateside.A violent daytime melee on Sunrise Highway in Suffolk County involving Pagans MC and Hells Angels has left multiple victims with life-threatening injuries. Prosecutors say five men used weapons during the clash, and those men have now been indicted. We'll discuss what's been reported, what charges mean, and how public incidents change the legal landscape.From there, we shift continents.A deadly Chinese manjha (glass-coated kite string) incident caught on camera in Varanasi, India, shows a biker narrowly escaping death when the string catches his neck, leaving a severe shoulder injury. We'll talk about the dangers of manjha, why it continues to be a threat, and what riders worldwide should know.We'll also highlight a positive development:Bikers Against Predators strikes again. An Indiana group's investigation has led to the arrest of a Baxter County man charged with sexual solicitation of minors. We'll discuss how these groups operate, why they're controversial to some, and why they continue to get results.And finally, a reminder that danger isn't always criminal:A navigation app led a biker straight into a 15-foot open well, raising serious questions about over-reliance on GPS and rider awareness.No hype.No sugarcoating.Just real conversation.This is one of those shows where:• Indictments get unpacked• Enforcement tactics get examined• Safety issues get highlighted• And the set talks to the set Call in. Drop comments. Join the discussion.Join Black Dragon, Lavish T. Williams, and Logic as we break it all down. Watch on: Black Dragon Biker TV – /blackdragonbikertv Lavish T. Williams – /@lavishtwilliams Keep It Logical – /keepitlogicalBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-dragon-s-lair-motorcycle-chaos--3267493/support.Sponsor the channel by signing up for our channel memberships. You can also support us by signing up for our podcast channel membership for $9.99 per month, where 100% of the membership price goes directly to us at https://www.spreaker.com/podcast/the-.... Follow us on:Instagram: BlackDragonBikerTV TikTok: BlackDragonBikertv Twitter: jbunchiiFacebook: BlackDragonBikerBuy Black Dragon Merchandise, Mugs, Hats, T-Shirts Books: https://blackdragonsgear.comDonate to our cause:Cashapp: $BikerPrezPayPal: jbunchii Zelle: jbunchii@aol.com Patreon: https://www.patreon.com/BlackDragonNPSubscribe to our new discord server https://discord.gg/dshaTSTSubscribe to our online news magazine www.bikerliberty.comGet 20% off Gothic biker rings by using my special discount code: blackdragon go to http://gthic.com?aff=147Join my News Letter to get the latest in MC protocol, biker club content, and my best picks for every day carry. https://johns-newsletter-43af29.beehi... Get my Audio Book Prospect's Bible an Audible: https://adbl.co/3OBsfl5Help us get to 30,000 subscribers on www.instagram.com/BlackDragonBikerTV on Instagram. Thank you!We at Black Dragon Biker TV are dedicated to bringing you the latest news, updates, and analysis from the world of bikers and motorcycle clubs. Our content is created for news reporting, commentary, and discussion purposes. Under Section 107 of the Copyright

Join us for a "Damned Offensive" re-run of our most infamous episode - The Adventure Of Johnnie Waverly And who knows, maybe we'll pick up a few new catchphrases along the way...? Poirot and Hastings are off to Surrey to investigate a series of kidnapping threats being made against the son of a simple country squire. But will it be a case of "Gather round fam" or "Sack the lot of 'em"? You can subscribe to Cosy AF, our next show, NOW on ⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠, or wherever you get your podcasts. You can also follow us on Instagram at ⁠⁠⁠⁠⁠⁠⁠⁠⁠@cosyafpod⁠⁠⁠⁠⁠⁠⁠⁠⁠. Our Patreon page is filled with all kinds of wonderful bonus materials, including videos of interviews, quizzes, bonus shows, and our deep dive into the Poirot movies! Find it at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/CosyAF⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ We're on Instagram at @laboursofhercule On Threads at @laboursofhercule Or you can email us at bonjour@thelaboursofhercule.com Our amazing music was composed and produced by the fabulous Cev Moore Learn more about your ad choices. Visit megaphone.fm/adchoices

Season 19 Episode 21: If you listened to the pod through 2025, Sonny Baker is a name that won't be new to you - Adam spoke about him practically every week after seeing him bowl Surrey out in April He's a young man, at just 22 years of age, who already has very high expectations of him when it comes to the pace he can generate and the skill he does it with. And if you thought a chastening international debut in September might've damaged his ambition, think again. A most engaging guest, brimming with energy and curiosity, he's going to be everyone's favourite player soon enough. Get your copy of Bedtime Tales for Cricket Tragics: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠linktr.ee/tfwbook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Support the show with a Nerd Pledge at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/thefinalword⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Australia brings memories that last a lifetime. Visit ⁠⁠Australia.com⁠⁠ Stop snoring with 5% off a Zeus device: use code TFW2025 at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠zeussleeps.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Get yourself some lovely BIG Boots UK, with 10% off at this link: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.bigboots.co.uk/?ref=thefinalword⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Try the new Stomping Ground Final Word beer, or join Patreon to win a case: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠stompingground.beer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Maurice Blackburn Lawyers - fighting for workers since 1919: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠mauriceblackburn.com.au⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Get your big NordVPN discount: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠nordvpn.com/tfw⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Get 10% off Glenn Maxwell's sunnies: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠t20vision.com/FINALWORD⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Find previous episodes at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠finalwordcricket.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Title track by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Urthboy⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Benjamin Wood was born in 1981 and grew up in Merseyside. Seascraper is his fifth novel. His previous works have been shortlisted for the Costa First Novel Award, the Commonwealth Book Prize, the Sunday Times Young Writer of the Year Award, the RSL Encore Award, the CWA Gold Dagger Award and the European Union Prize for Literature. In 2014, he won France's Prix du Roman Fnac. He is a senior lecturer in creative writing at King's College, London, and lives in Surrey with his wife and sons. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this podcast, Kushal speaks with Darshan Maharaja as they discuss the alarming rise in shootings and subsequent extortion demands in Surrey and Brampton. Why are Canadian politicians so reluctant to talk about the real mistakes that led to this horror? They will also talk about a recent investigative report by Canadian journalist Nitin Chopra where he conducted a sting operation in the Peel region where drugs are being openly sold in retail outlets in Missisuaga and Brampton. Follow tem: X: @TheophanesRex X: @chopsnitin YouTube: https://www.youtube.com/@thetruthpillcanada #khalistan #extortion #indiandiaspora #brampton #toronto #surrey ------------------------------------------------------------ Listen to the podcasts on: SoundCloud: https://soundcloud.com/kushal-mehra-99891819 Spotify: https://open.spotify.com/show/1rVcDV3upgVurMVW1wwoBp Apple Podcasts: https://podcasts.apple.com/us/podcast/the-c%C4%81rv%C4%81ka-podcast/id1445348369 Stitcher: https://www.stitcher.com/show/the-carvaka-podcast ------------------------------------------------------------ Support The Cārvāka Podcast: Buy Kushal's Book: https://amzn.in/d/58cY4dU Become a Member on YouTube: https://www.youtube.com/channel/UCKPx... Become a Member on Patreon: https://www.patreon.com/carvaka UPI: kushalmehra@icici Interac Canada: kushalmehra81@gmail.com To buy The Carvaka Podcast Exclusive Merch please visit: http://kushalmehra.com/shop ------------------------------------------------------------ Follow Kushal: Twitter: https://twitter.com/kushal_mehra?ref_... Facebook: https://www.facebook.com/KushalMehraO... Instagram: https://www.instagram.com/thecarvakap... Koo: https://www.kooapp.com/profile/kushal... Inquiries: https://kushalmehra.com/ Feedback: kushalmehra81@gmail.com

A spectral car veers off the A3 in Surrey, witnessed by drivers, yet no wreck is found until dawn reveals a body hidden for months. Was it a tragic coincidence, or did the dead summon the living with a ghostly replay?The BOOKBY US A COFFEESubscribe to our PATREONEMAIL us your storiesJoin us on INSTAGRAMJoin us on TWITTERJoin us on FACEBOOKVisit our WEBSITEResearch:https://www.dailymail.co.uk/news/article-152773/Car-crash-dead-body-months.htmlhttps://mysteriousbritain.co.uk/england/surrey/ghosts/the-a3-ghost-crash/https://www.paranormaldatabase.com/highways/pages/highwayA38.phphttps://paranormaldatabase.com/hotspots/a38.phphttps://www.express.co.uk/news/weird/614846/GHOST-LORRY-HIT-BY-PHANTOM-HGVhttps://www.paranormaldatabase.com/hotspots/a75.phphttps://www.scotsman.com/whats-on/arts-and-entertainment/a75-scotlands-most-haunted-road-heres-the-creepy-tales-drivers-have-revealed-1395736https://www.dailyrecord.co.uk/news/scottish-news/scotlands-most-haunted-road-drivers-12204217https://www.paranormaldatabase.com/hotspots/m6.phphttps://www.birminghammail.co.uk/news/midlands-news/m6-haunted-ghosts-sightings-uk-2780878https://www.manchestereveningnews.co.uk/news/greater-manchester-news/m6-motorway-ghosts-hauntings-paranormal-12345678Sarah xx"Spacial Winds," Kevin MacLeod (incompetech.com)Licenced under Creative Commons: By Attribution 4.0 Licencehttp://creativecommons.org/licenses/by/4.0/SURVEY Hosted on Acast. See acast.com/privacy for more information.

Lyn Drake, from Surrey, BC, CanadaWe'd love to hear your inspiration. To submit your Daily Lift, go to christianscience.com/dailylift.

Clare joins Glenn Meyer in Surrey's Happy Valley for a walk that celebrates resilience and recovery. During lockdown, Glenn suffered a serious spinal injury after a simple movement on a sun lounger. Over time he lost the ability to walk and became reliant on a wheelchair. Three major operations at the Royal National Orthopaedic Hospital rebuilt his spine with an internal frame anchored by bolts into his hips. Against the odds, Glenn can now stand and walk and is in training for a 3 day, 37 mile hike from his home in Caterham to the hospital in Stanmore that helped him get back on his feet.Today's training walk with Clare is a scenic circuit of around 5 miles, starting at The Fox pub on Coulsdon Common. Glenn and his wife, Hilary, lead Clare into Happy Valley, skirt the Surrey National Golf Course, and pause at Chaldon Church, famed for its medieval mural. The walk continues across Farthing Downs before looping back to Coulsdon Common. Presenter: Clare Balding Producer: Karen Gregor

In Encounters with CREEPS, Canadian Gothic listeners are invited to share their unsettling experiences with the many CREEPS lurking in everyday life. In this episode, Jordan and Madelayne unpack the 31st volume of your Encounters with CREEPS. This time we've got CREEPs at HMV in Ottawa, a CREEP who leaves CREEPy souvenirs at Bluenotes in Fredericton, a generic Newfound CREEP, and we catch up on the disturbing story of the alleged Surrey baby toucher Lindsey Hirtreiter. Submit your creep encounter: thecanadiangothic.com/contact Series Links: Encounters with Creeps series archive: https://www.thecanadiangothic.com/encounters-with-creeps Subscribe to the show: https://www.thecanadiangothic.com/subscribe Musical Theme: Noir Toyko by Monty Datta Social Links: Website: https://www.thecanadiangothic.com/ Facebook: https://www.facebook.com/TheCanadianGothic Instagram: https://www.instagram.com/thecanadiangothic/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Happy New Year lovely listeners! Before we launch back in with season 19 next week we are so excited to bring you this bonus episode and share a very warm invitation to our first Style and Substance Retreat. Its taking place at Fi's beautiful home in the Surrey hills on Thursday 22nd and Friday 23rd January and we would love you to join us. For all the information you need and to book your place, you can find the details at https://www.thebrand-stylist.com/the-winter-retreat. Do come, we'd love to welcome you. Hosted on Acast. See acast.com/privacy for more information.

But plenty of plot twists, can Diane in Milton Keynes and Julia in Surrey keep calm?

Bryan from Market 49 Fine Foods joins Phil and Kenny to share the story of how a COVID-era side hustle for bored chefs turned into a thriving frozen meal business that's redefining quality in the freezer aisle.What started as cooking for friends and family who couldn't or wouldn't cook has grown into a multi-location operation across BC's Lower Mainland. Bryan opens up about his culinary journey that began out of challenge (pushing back against his mom's lunches as a kid), his 100+ years of combined chef experience with his partners, and why they saw a massive gap in the frozen food market.In this conversation, you'll hear about Market 49's unique approach to premium frozen meals, their strategic distribution through independent retailers like Williams and Urban Fare, their pop-up model testing new markets, and the challenges of scaling a food business while maintaining chef-quality standards. Bryan also shares insights on pricing strategy, the realities of running a commercial kitchen, why they've avoided the Big 3 grocery chains, and how they're building a loyal customer base across Vancouver, Surrey, Burnaby, and beyond.Whether you're a food entrepreneur looking to break into retail, curious about the frozen food category, or just want to understand how small brands grow in Canada's competitive CPG landscape, this episode delivers practical insights and real talk about building a food business from the ground up. Check out Market 49 here: https://market49.ca/Find Bryan here: https://www.linkedin.com/in/bryan-swartz-936a122b0/

Send us a textWelcome to Guilders-Ford Radio, a Necromunda podcast broadcasting from the East Gate Docks of Hive Primus (via Guildford Games Club, Surrey, UK).Happy New Year, Merry Saturnalia, Newtonmass Well-Wishes and other seasonally-appropriate greetings!Fashionably late as usual, in Episode 38 Team GFR do a deep dive into the latest Aranthian Succession title, ‘Spire of Primus'. The team discuss their personal highlights, where the book leaves the ongoing Necromunda narrative and what it may hold for the future…The latest ‘munda FAQ is also out, and we pick out those errata we think will have the greatest impact on the game.  As is now tradition, we do our hobby roundup for the holiday period - and Leigh has actually managed to paint something! We also discuss our 'hobby resolutions' for 2026... lets see how those pan out.We'd like to take the opportunity to thank all our listeners who have chosen to support us on Patreon & Buzzsprout - your contributions help us make a better show!• Flow • Denny Wright • Stefan Sahlin  • Matt Miler  • Matti Puh  • Nick McVett  •Warhammer in the Dark  •From_Somewhere • Alfonso  • The Traitor • Johnny DeVille • Stephan B • Jeff Nelson • Lankydiceroller • Morskul • Beau  • Justin Clark • Dr.Toe • Mikael Livas • Josh Reynolds • StandStab • ChestDrain • Scott Spieker • Tucker Steel • Shaughn • Stewart Young • Goatincoat  • Jason • Joseph Serrani • Billy  • Phil • Stephen Griffiths  • Søren D • Spruewhisperer • Kevin Fowler • Scott Spieker • Andy Tabor  • TheMichaelNimmo • Tucker Steel  • Dave Shearman  • Shaughn  • Stewart Young •Damien Davis • Wayne Jeffrey   •  Frawgenstein • Matthey Mulcahy   • William Payne •Thomas Laycock • Stephen Livingston • Tyler Anderson • McGobbo • Jed Tearle • Gene Archibald • James Marsden • John Haynes • Ryan Taylor • Yuki van Elzelingen  • Dick Linehan • Rhinoxrifter • Shawn Hall  • Eric McKenzie  • Paul Shaw  • Jenifer • Drew Williams  • Greg Miller • Andy Farrell  • Nate Combrink •  Don Johnson • Michael Yule • Joe Roberts • TheRedWolf • Lukasz Jainski • Aaron Vissers • One Punch Orlock (Tom) • Matt Price • ShnubutsSupport the showHelp us make better content, and download free community resources!www.patreon.com/guildersfordradioAny comments, questions or corrections? We'd love to hear from you! Join the Guilders-Ford Radio community over at;https://linktr.ee/guildersfordradiowww.instagram.com/guildersfordradiowww.facebook.com/guildersfordradioGuildersFordRadio@Gmail.com ** Musical Attribution - Socket Rocker by (Freesound - BaDoink) **

Mark Mowbray in conversation with Alex Palmeri who's LegitStreetCars is a leading automotive YouTube channel with over 1.4 million subscribers. Based in Chicago, Alex Palmeri is recognised for his expertise in car restoration and repair, presenting complex automotive projects in an accessible and engaging manner. The channel features a range of content, from classic car revivals to high-performance vehicle repairs, all delivered with professionalism and technical precision.

Mark Mowbray in conversation with Pippa Winslow from her dressing room between shows. Pippa is an accomplished American-British actress, singer, and voice artist with extensive experience in theatre, film, television, and voice acting. Originally from the United States, she has lived and worked in several states and toured nationally. She holds a BA in Drama from the University of California, Irvine. After a successful career in New York and touring productions, she relocated to the United Kingdom in 2001.

Tensions flare across Iran as protests over soaring prices and a collapsing currency spread, forcing Tehran to shut down schools, offices, and shops. Bangladesh's first female prime minister, Khaled Zia, dies at the age of 80 after a lengthy illness. Amid holiday chaos, the UK grapples with questions of citizenship and free speech after Alaa Abd El-Fattah's controversial past resurfaces. Hospital transfer service in Surrey, BC drops off elderly patient at wrong address. In Ottawa's courts, therapy dogs are helping calm victims, witnesses, and defendants facing tough proceedings.Denmark delivers its last letter — ending 400 years of mail.

As we head into the New Years week, our look at the Greatest Surrey Cricketers of the 21st century enters its final stages as we look at the top five (ish) men's players since the turn of the century.In the final episode, BBC London's Mark Church, Wisden's Yes Rana, Kirstie White and host Jon Surtees discuss the top five Surrey Men's Players of the 21st Century, which are: Saqlain Mushtaq, Rory Burns (thoughts are known), Alec Stewart AND Graham Thorpe, Martin Bicknell and Mark Ramprakash.The list was compiled by some great Surrey minds - who have watched almost every ball of Surrey Cricket in the 21st century. But, don't let that get in the way of your opinions on the list. We'd love to hear from you on our social media channels whether you agree or disagree. 

Send us a textChristmas is fast approaching (gulp), and that means only one thing… in podcast land, anyway – it's time for us to don our best paper party hats, break open the archives, and reflect on the biggest cycling stories of 2025.In part two, the Cycle to Work Alliance's chair Steve Edgell joins us to discuss Labour's plans to re-introduce a spending cap on purchases made as part of Cycle to Work – and how the group ‘mobilised' to stop those plans.Steve also chats about the continued support for Cycle to Work within the government, how it is key to attracting new cycling converts (especially when it comes to making e-bikes accessible), and why the alliance is working hard to “dispel the myth” that Cycle to Work is catered to rich MAMILs in the Surrey Hills.Meanwhile, in part one, Ryan, Jack, Dan, and Emily sign off for the year by assessing some of the other big stories from the worlds racing, tech, infrastructure, politics. Happy Christmas!

We're here, we've finally reached the Top 10 of our Greatest Surrey Cricketers of the 21st Century.To celebrate an incredible quarter of a century for the Club, we got some of the voices of Surrey Cricket together to discuss the great players that have pulled on the Three Feathers this century. BBC London's Mark Church, Surrey legend Kirstie White and Wisden Cricket's Yas Rana sat down with Jon Surtees to discuss the list of Surrey's 25 Greatest Men's Cricketers of the 21st century, including Gareth Batty, Ian Ward, Ali Brown, Adam Hollioake and Kumar Sangakarra. 

In this episode of the Granta Podcast we speak to Karan Mahajan, author of Family Planning, The Association of Small Bombs and the forthcoming The Complex. Mahajan's essay ‘The Killing of a Canadian Sikh', on an extrajudicial killing in Surrey, Canada, appeared in Granta 173: India.We discuss his forthcoming novel, the Khalistani separatist movement, Salman Rushdie's influence and the relationship between India and the US.Leo Robson is a cultural journalist whose work has appeared in the London Review of Books, the New Yorker, and the New Left Review, among other publications. He is the author of The Boys (2025).Josie Mitchell is senior editor at Granta. 

Graham Laycock talks to Felicity Edwards from the Woking and Sam Beare Hospices about forthccoming fund raising events and how you can support and fund raise forthe hospice. More details at www.wsbh.org.uk

Graham Laycock introduces Diana Roberts of Destination Toolkit with the essential guide things to see and do in Surrey over the coming weeks.

Baz Richards and Steph Ryan talk with Tiffany MacDonald, the owner of the medispar in Baker Street, Weybridge about the wide variety of treatments for both Men and Women that the clinic has to offer.

Bav Majithia talks with Sarah Woods, CEO of Momentum charity who has brought along Santa Clause who tok part in their Doorstep Santa initiative.

My guest this week is the musician, artist, and composer Keaton Henson.Keaton is one of my favorite artists. He's a rare songwriter whose music feels like it should always be playing somewhere in the background of your life. The kind of songs you immediately replay because there's so much feeling, detail, and restraint packed in that you're convinced you missed something the first time. You know exactly what I mean.Keaton and I talk about his new album Parader, good clothes and big jumpers, suits as a form of armor, life in Surrey, collecting, and what's been holding his attention lately.Listen to "Lose Ends" at the end of the episodeWatch the video for "Insomnia" on YouTube*Sponsored by Bezel - the trusted marketplace for buying and selling your next luxury watch Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Jessica, Rachel & Betsey discuss The Holiday.Released: 2006Rated: PG-13Synopsis: Amanda lives in LA and is a movie trailer editor. Iris lives in Surrey and is a journalist. The two decide to swap houses for two weeks at Christmas - both trying to forget their troubled love lives, until love finds them anyways.Directed By:Nancy MeyersStarringKate WinsletCameron DiazJude Law----Connect with us at bento.me/flabbergasted

A shorter episode this week but that makes it the perfect length to listen to on your way to Holiday Shopping.  This week we go uplifting as we dig into the life of Beatrice 'Tillie' Shilling.  The child of a master butcher and one of thre girls born and raised in the South of England, she spent her pocket money on tools and penknives, deconstructed devices to see how they fit together and worked and played with Meccano sets, early construction toys allowing children to build working models of cars and cranes.  She would even win a competition for building from these kits.  By the age of 14, she bought her first motorcycle originally to beat her sisters in bike races.  But she tuned, tinkered and replaced every single part remaking the machine and soon was speeding around on it everywhere.  She began to study practical electronics and work in the field as young as 15, even going on to become an Engineer (in the 1930's when women just didn't do such things).  We cover the life of this amazing woman and how she saved both the Spitfire and the Hurricane, earned an OBE and hit the ton at Brooklands as a motorcycle racer in this uplifting, girl powerm yes it's in Surrey but there's no fringe on top episode of the Family Plot Podcast!Become a supporter of this podcast: https://www.spreaker.com/podcast/family-plot--4670465/support.

Send us a textThis month Shirley Robertson's Sailing Podcast hosts talented British offshore sailor Will Harris, as the acclaimed offshore professional joins Double Olympic gold medallist Shirley Robertson to discuss all things offshore, IMOCA sailing and his career to date.In Part 1, the duo get things underway discussing Wil's early sailing life and his decision to make offshore sailing his career.  This edition, Part Two of Will's story kicks off with the start of the 2023 Ocean Race, which sees Will Harris co-skippering Team Malizia with accomplished offshore sailor Boris Heermann.Robertson and Harris look back on Team Malizia's eventful performance in the 2023 edition of The Ocean Race, an edition which saw them take two Leg wins and set an unofficial 24 Hour Monohull Speed record with an average speed over 24 hours of 26.7Kts over a distance of 641.13 nautical miles!  Will's recollections of the race also take in the harrowing mid-ocean repairs to the mast, as well as an emotional realisation on the final leg of the Race...:"For some reason (the map) highlighted Surrey on the navigation map and it was a mind blowing moment for me, I'd looked at that map all the way around the world, I'd seen the Southern Ocean, I'd seen Cape Horn, I'd seen Cape Town, I'd seen Brazil, all these places in the world and suddenly I was looking at my home town where I grew up for fifteen years....and it was only fifty miles away or so and that was when it hit home to me 'we've just sailed around the world' in less than six months and now I'm less than fifty miles from where I first dreamed of doing this."This edition of the podcast is in two parts and is available to listen to via the podcast page of Shirley's own website - www.shirleyrobertson.com/podcast or via most popular podcast outlets, including Apple Podcasts, Spotify, Google Podcast and aCast. The podcast is produced and written by Tim Butt - for further enquires, please contact podcast@shirleyrobertson.com.Support the show

Send us a textThis month Shirley Robertson's Sailing Podcast hosts talented British offshore sailor Will Harris, as the acclaimed offshore professional joins Double Olympic gold medallist Shirley Robertson to discuss all things offshore, IMOCA sailing and his career to date.In this Part 1, the duo get things underway with a brief reflection on Will's podium place finish in the recent 2025 Transat Café L'Or, which saw him sail to a second place finish sailed with 11th Hour Racing's Frankie Clapcich.  From there the pair go to back to discuss the early day's of Will's sailing life, growing up in the landlocked southern UK county of Surrey before studying Oceanography at Southampton University.  Will's successful application into the then flourishing Artemis Offshore Sailing Academy ultimately allowed entry into the legendary French Solitaire du Figaro scene, and a 2016 Rookie of the Year award...:"The cool thing with the Figaro is that....because you're solo on the boat you have to be good at everything on it, you have to be good at trimming it, you have to be good at living on the boat, you have to be good at the navigation, and because the level is so high you really have to get into the details on everything, so I think from one year of Figaro sailing you can learn so much more than someone who's done five years on any sort of other race course."From there Will's reputation steadily grew, and now, at just 31 years of age, he is widely regarded as one of offshore sailings bright rising stars, a lap of the planet with Boris Herrmann's Team Malizia in 2023 in The Ocean Race cementing Will's place in the upper echelon of the sport.  Over the past decade, Will's emergence in the IMOCA sailing scene has been concurrent with the move, within the IMOCA fleet, to high performance offshore foiling, a development that Will has been quick to embrace as one of the fleet's key proponents of data driven high performance offshore navigating...:"When you're solo and short handed you have to add in this human aspect of 'OK, the routing tells me to do fifteen sail changes in the next twenty four hours, that's just not realistic and it's not fast' so you have got to take that data, and what the computer and analytics is telling you to do and you've got to add that human aspect of 'OK, what's really realistic and what does my gut tell me to do and what does my experience say is going to be the best thing to actually do.' rather than just going what the computer says."This first part ends just as Will is about to take on the 2023 Ocean Race as co-skipper on board Boris Herrmann's "Team Malizia", a story which continues in Part 2.This edition of the podcast is in two parts and is available to listen to via the podcast page of Shirley's own website - www.shirleyrobertson.com/podcast or via most popular podcast outlets, including Apple Podcasts, Spotify, Google Podcast and aCast. The podcast is produced and written by Tim Butt - for further enquires, please contact podcast@shirleyrobertson.com.Support the show

A false alarm about monkeys in Newark, a study showing the health benefits of casual walking for seniors, the artistic transformation of Austrian power lines, a plastic-eating robotic fish developed by the University of Surrey, and a skateboarding pig named Norbert setting a record.  Unlock an ad-free podcast experience with Caloroga Shark Media! Get all our shows on any player you love, hassle free! For Apple users, hit the banner on your Apple podcasts app. For Spotify or other players, visit caloroga.com/plus. No plug-ins needed!Subscribe now for exclusive shows like 'Palace Intrigue,' and get bonus content from Deep Crown (our exclusive Palace Insider!) Or get 'Daily Comedy News,' and '5 Good News Stories' with no commercials! Plans start at $4.99 per month, or save 20% with a yearly plan at $49.99. Join today and help support the show!We now have Merch!  FREE SHIPPING! Check out all the products like T-shirts, mugs, bags, jackets and more with logos and slogans from your favorite shows! Did we mention there's free shipping? Get 10% off with code NewMerch10 Go to Caloroga.comGet more info from Caloroga Shark Media and if you have any comments, suggestions, or just want to get in touch our email is info@caloroga.com

In this special episode Grant shares his personal memories of photographer Martin Parr and reflects on his influence on contemporary documentary photography. Martin Parr Born in Epsom, Surrey, Parr wanted to become a documentary photographer from the age of fourteen and cited his grandfather, George Parr, an amateur photographer and fellow of the Royal Photographic Society, as an early influence. However, it was not until he was introduced to the work of Tony Ray Jones by Creative Camera and Album editor and writer Bill Jay (www.youtube.com/watch?v=wd47549knOU&t=74s) at a talk whilst Parr was studying photography at Manchester Polytechnic that he identified how his career as a photographer would develop within documentary practice. Parr studied photography at Manchester Polytechnic from 1970 to 1973 with contemporaries Daniel Meadows and Brian Griffin.  Parr and Meadows collaborated on various projects,including working at Butlin's holiday camps as roving photographers. They were part of a new wave of documentary photographers, and the 'New British Photography'. In 1975 Parr moved to Hebden Bridge in West Yorkshire where he would complete his first body of work and spent five years photographing rural life in the area. He photographed in black-and-white, creating his series The Non-Conformistswas widely exhibited at the time and published as a book in 2013. In 1980 Parr married Susan Mitchell and, for her work, they moved to the west coast of Ireland where he set up a darkroom in Boyle, County Roscommon. In 1982 they moved to Wallasey, England, and he switched permanently to colour photography. During the summers of 1983, 1984 and 1985 he photographed working-class people at the seaside in nearby New Brighton. This work was published in the book The Last Resort: Photographs of New Brighton (1986) and exhibited in Liverpool and London. He and his wife moved to Bristol in 1987, and he began his next major project, on the middle class, who were at that time becoming increasingly affluent under Thatcherism. He photographed middle-class activities such as shopping, dinner parties and school open days, predominantly around Bristol and Bath which was published as his next book The Cost of Living (1989). Between 1987 and 1994 Parr travelled internationally to make his next major series, a critique of mass tourism, published as Small World in 1995. Between 1995 and 1999 he made the series Common Sense about global consumerism. Common Sense was an exhibition of 350 prints, and a book published in 1999. The exhibition was first shown in 1999 and was staged simultaneously in forty-one venues in seventeen countries. Parr joined Magnum Photos as an associate member in 1988. The vote on his inclusion as a full member in 1994 was divisive, with Philip Jones Griffiths circulating a plea to other members not to admit him. Parr achieved the necessary two-thirds majority by one vote. Alongside his photography he was a passionate collector and critic of photobooks. His collaboration with the critic Gerry Badger, The Photobook: A History (in three volumes) covers more than 1,000 examples of photobooks from the 19th century through to the present day. The first two volumes took eight years to complete. The Martin Parr Foundation was founded in 2014 and opened in Bristol in 2017. The Foundation houses Parr's own archive, and his collection of prints and book dummies made by other photographers—mainly British and Irish photography, and work by several photographers from abroad who have photographed in the UK. There is a gallery open to the public—its first exhibition was Parr's Black Country Stories —and it is a hub for talks, screenings and events. Parr was the Foundation's main source of income. He was diagnosed with cancer in May 2021, and died at his home in Bristol on 6 December 2025. https://martinparr.com ©Grant Scott 2025

Send us a textWelcome to Guilders-Ford Radio, a Necromunda podcast broadcasting from the East Gate Docks of Hive Primus (via Guildford Games Club, Surrey, UK).Team GFR are starting Season 4 strong with yet another special guest - returning friend of the show Constantin Gerlach, fresh from his most recent CoriusCon03 event in Berlin, Germany.  We dive into all the details of the event, including the international crowd of attendees, fantastic terrain, bespoke campaign resources and some chronic FOMO from the team for missing out.As correctly predicted, Warhammer dropped a wealth of World Championship previews straight after our last episode, and we dive into all the forthcoming Necromunda releases. Rounding out the episode, we do our usual hobby round up, and take a moment to marvel at the truly international Guilders-Ford Radio community!We'd like to take the opportunity to thank all our listeners who have chosen to support us on Patreon & Buzzsprout - your contributions help us make a better show!• Flow • Denny Wright • Stefan Sahlin  • Matt Miler  • Matti Puh  • Nick McVett  •Warhammer in the Dark  •From_Somewhere • Alfonso  • The Traitor • Johnny DeVille • Stephan B • Jeff Nelson • Lankydiceroller • Morskul • Beau  • Justin Clark • Dr.Toe • Mikael Livas • Josh Reynolds • StandStab • ChestDrain • Scott Spieker • Tucker Steel • Shaughn • Stewart Young • Goatincoat  • Jason • Joseph Serrani • Billy  • Phil • Stephen Griffiths  • Søren D • Spruewhisperer • Kevin Fowler • Scott Spieker • Andy Tabor  • TheMichaelNimmo • Tucker Steel  • Dave Shearman  • Shaughn  • Stewart Young •Damien Davis • Wayne Jeffrey   •  Frawgenstein • Matthey Mulcahy   • William Payne •Thomas Laycock • Stephen Livingston • Tyler Anderson • McGobbo • Jed Tearle • Gene Archibald • James Marsden • John Haynes • Ryan Taylor • Yuki van Elzelingen  • Dick Linehan • Rhinoxrifter • Shawn Hall  • Eric McKenzie  • Paul Shaw  • Jenifer • Drew Williams  • Greg Miller • Andy Farrell  • Nate Combrink •  Don Johnson • Michael Yule • Joe Roberts • TheRedWolf • Lukasz Jainski • Aaron Vissers • One Punch Orlock (Tom) • Matt Price • ShnubutsSupport the showHelp us make better content, and download free community resources!www.patreon.com/guildersfordradioAny comments, questions or corrections? We'd love to hear from you! Join the Guilders-Ford Radio community over at;https://linktr.ee/guildersfordradiowww.instagram.com/guildersfordradiowww.facebook.com/guildersfordradioGuildersFordRadio@Gmail.com ** Musical Attribution - Socket Rocker by (Freesound - BaDoink) **

Graham Parker reveals the story behind his debut album Howlin' Wind. Parker recalls his journey from suburban Surrey to the London music scene, his early jobs, and the moment he found his sound – a mix of soul, R&B and sharp songwriting. He looks back at the formation of The Rumour, his partnership with Dave Robinson, and the whirlwind that led to Howlin' Wind and Heat Treatment being released within months of each other. Parker also reflects on his later work, collaborations, and enduring independence as an artist. Throughout, we hear why his debut stands as one of the strongest opening statements in British rock. Further information Graham Parker's Howlin' Wind by Jay Nachman The Official Graham Parker website Podcasts also available: Bruce Thomas – Elvis Costello and The Attractions, Clem Burke – Blondie, Pete Briquette – The Boomtown Rats, Pub rock and the birth of new wave This podcast is also available on Apple Podcasts, Spotify, YouTube and all usual platforms If you like what I do please support me on Ko-fi The post Graham Parker appeared first on The Strange Brew .

This is the second episode in a series called THE SPIRIT-ERA & ITS AFTERMATHS in which I look at the way spiritual, technological, and occult flourishings at the turn of the 19th into 20th century are still with us today.In the second installment in the series, I talk with ALLAN JOHNSON Professor of English Literature at University of Surrey, meditation coach, and author of the excellent book, The Sacred Life of Modernist Literature: Immanence, Occultism, and the Making of the Modern WorldIn that book, Allan states: “The occult has always walked the perilous line between desiring a textual form while resisting the possibility that this form can ever be completely achieved.”One of my big frustrations with spiritual influencers is that most of them don't seem to have a good grasp of art, but particularly literature. They do something like this: they read literature that has magical CONTENT and create metaphors and analogies that - all-too conveniently - mirror the lessons of their own esoteric view. And they generally reach for the usual suspects: Tolkien, Le Guin, Coehlo, etc.But the location of esoteric strength in literature is less in the content and much more in its FORMS and STYLES. These forms were brought to us most prominently in modernist fiction - in James Joyce, Virginia Woolf, Franz Kafka, and more. But also by poets like TS Elliot, Ezra Pound, and WB Yeats.In the works of modernist writers, the reader's involvement is demanded to complete the text. These are writers who initiate us as we read their works.This conversation with Allan offered the chance to explore ideas I'd been longing to talk about for years, I'm so excited to share them with you here.SUPPORT THE SHOW ON PATREONBuy Allan's book

Forensic Musicologist Dr. Joe Bennett is joining us today to discuss whether Taylor Swift copied other artists for different songs off her latest album 'The Life of a Showgirl'. From discussing copying The Jonas Brothers, Jackson 5, The Pixies, and more, Dr. Joe Bennett breaks down the songs in question and explains how the songs are the same and how they are different from one another. He also teaches us what to look out for when listening to similar songs to know whether or not an artist would owe another artist credit. Plus he explains the difference between interpolation, sampling, and crediting other artists, which leads us into discussing the differences we have on songs like "The Life of A Showgirl" and what happened with Olivia Rodrigo's "Deja Vu" and "Cruel Summer". This is one episode you will not want to miss!Dr. Joe Bennett:Dr Joe Bennett is a musicologist, writer, BBC broadcaster, and researcher specialising in popular music and songwriting. As a professor at Berklee College of Music, he teaches artist development, songwriting, music copyright, and song analysis. He has written more than thirty tuition books, and his compositions for music education are performed worldwide. Media interviews include BBC, NPR, NYT, WaPo, MTV, The Times, The Economist, The Guardian and many others. As a forensic musicologist, Joe advises lawyers, publishers, artists, and songwriters on musical similarity and copyright; cases include Hines v BMG (SDNY) and Browne v Donalds (CD Cal). He holds a PhD in Music from the University of Surrey and a National Teaching Fellowship from the Higher Education Academy. He blogs about songwriting and copyright at joebennett.net.Joe's IGJoe's WebsiteTaylor Swift Podcast || Taylor Swift Interpolation || Taylor Swift New Album || Taylor Swift Songs || Taylor Swift Copying Jonas BrothersSend us a textSupport the showFollow along to hear a new Taylor Swift related episode every single Tuesday.Watch our episodes on YouTube!Follow Us On Social Media:Typical Tuesday Night Podcast @typicaltuesdaynight.podcastKarli @everyday_ellisJess @jess.taitJoin our Patreon for bonus episodes and exclusive Taylor Swift group chat!Shop Our Merch!Feel free to contact us at typicaltuesdaynightpodcast@gmail.com

Jaska Alanko, from Surrey, UKTo learn what we look for in a Daily Lift, listen to our webinar and then submit your own healing message. We'd love to hear from you!

Rasha and Yvette are joined by Em Schulz and Christine Schiefer from “And That's Why We Drink” as they talk about a ghostly car crash in Surrey, England, back in 2002. They also discuss tales of paranormal hitchhikers, phantom passengers, and haunted roadways from all across the globe.For a full list of sources, please visit: sosupernaturalpodcast.com/haunted-surrey-ghost-carListen to more from And That's Why We DrinkSo Supernatural is an Audiochuck and Crime House production. Find us on social!Instagram: @sosupernatualpodTwitter: @_sosupernaturalFacebook: /sosupernaturalpod Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Try ZOE's NEW app and gut health test: ZOE.com Winter is almost here! Temperatures are dropping, clouds are descending, and the clocks have changed.  Many of you might be worrying that the Winter Blues are on their way, but perhaps they don't need to be? Perhaps we can work with our natural, biological rhythms to fend off this blue phase. Today, we're joined by Prof. Debra Skene, Section Lead of Chronobiology at the University of Surrey and a global authority on circadian rhythms. With over 190 research publications, she's spent 25 years studying how light and timing affect sleep, mood, and metabolic health. After listening to this episode, you'll be armed with solid advice that will help you weather winter with a smile, maintaining good health and good mood until the warmth returns. 00:15 The surprising link between your body clock and major diseases 01:25 Quick-fire round: Body clocks, weight gain, and meal timing 03:25 You have a 'master clock' ticking in your brain 10:05 What is 'gut lag'? 11:40 Why light is the most reliable signal for your body (it's not weather) 14:45 Light's 'non-visual' effects: How light affects your mood and performance 16:30 What studies on blind people reveal about our internal clocks 18:50 The shocking health risks of night shift work 21:05 Why you are 'definitely eating at the wrong time' 22:30 The same meal at midnight gives you higher blood fats 25:20 Why living in a cave for a month is 'pretty healthy' 26:20 Are you a 'lark' or an 'owl'? The biology of chronotypes 29:10 What is 'social jet lag' (and why is it linked to weight gain)? 33:05 How winter light changes your body clock 38:30 The direct link between light and 'winter depression' 39:30 Do light boxes actually work for winter depression? 40:40 The discovery of melanopsin: The specific color of light that controls your clock 43:45 Does blue light from your phone really matter for sleep? 45:05 Why light intensity matters more than blue light 48:15 The cheapest and most effective way to get morning light (even in winter) 50:00 Food sets your 'peripheral clocks', but not your master clock 52:20 Why mealtime consistency is the most important rule 53:30 Is daylight saving time bad for our health? 55:35 Summary: Key takeaways for sleep, mood, and eating Have feedback or a topic you'd like us to cover? Let us know here. Episode transcripts are available⁠ here⁠.

For 17 years, an unknown suspect called the Night Stalker carried out a series of burglaries and sexual attacks against the elderly in South London, Kent, and Surrey, England. In 2009, a massive surveillance operation resulted in an arrest and identification. The Night Stalker was branded one of the most prolific and depraved sex attackers in British history. Join Mike and Gibby as they discuss Britain's Night Stalker. Eventually, Delroy Grant was identified and charged with the crimes of the Night Stalker. The authorities believe that his victims range from 200 to 600 as he operated for many years, unidentified.You can help support the show at patreon.com/truecrimeallthetimeVisit the show's website at truecrimeallthetime.com for contact, merchandise, and donation informationAn Emash Digital productionSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.