Podcasts about tidal

Linktree: ⁠https://linktr.ee/Analytic⁠Become A Patron Of The Notorious Mass Effect Podcast For Additional Bonus Audio And Visual Content For All Things Nme! Join Our Patreon Here: ⁠https://ow.ly/oPsc50VBOuH⁠ Dive into the latest music industry drama with Analytic Dreamz on Notorious Mass Effect. In this segment, we unpack Nicki Minaj's explosive public feud with Jay Z from April to July 2025. From her criticism of Jay Z's Super Bowl Halftime Show decisions to accusations of unpaid TIDAL profits and Roc Nation conspiracies, Analytic Dreamz breaks down every angle—social media attacks, music disses, and more. Stay informed with detailed insights and updates on this ongoing clash. Tune in for expert analysis and the latest developments in hip-hop culture. Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Send us a textThe crew kicks things off with a nostalgic chat about growing up with siblings, then dives into the nationwide vaping crisis and the rise of bizarre AI content (yes, people are eating lava now). We also cover the weirdest 90s trends, ICE in Brooklyn, the Diddy trial verdict, new music from Mariah the Scientist and Drake, Nicki Minaj vs Tidal, the latest episode of BMF, and a dose of good news from Tyrese.Real talk, pop culture, and a little chaos—tap in now.Support the showhttps://instagram.com/weaintdonepodcast?igshid=YmMyMTA2M2Y=

Dr. Harish Kinni, a triple-board-certified emergency medicine and critical care physician and assistant professor at the Mayo Clinic, provides an overview of the fundamentals of ventilator care for emergency department professionals. We will review key modes that we should know, the variables to set, how to adjust them for your patient's needs, and provide troubleshooting tips and tricks for when things suddenly go awry. This is sure to be one of the most helpful chapters of Always on EM, but don't let it take your breath away! CONTACTS X - @AlwaysOnEM; @VenkBellamkonda YouTube - @AlwaysOnEM; @VenkBellamkonda Instagram – @AlwaysOnEM; @Venk_like_vancomycin; @ASFinch Email - AlwaysOnEM@gmail.com REFERENCES & LINKS Swart P, Nijbroek SGLH, Paulus F, Neto AS, Schultz MJ. Sex Differences in Use of Low Tidal Volume Ventilation in COVID-19-Insights From the PRoVENT-COVID Study. Front Med (Lausanne). 2022 Jan 3;8:780005. doi: 10.3389/fmed.2021.780005. PMID: 35300177; PMCID: PMC8923734. McNicholas BA, Madotto F, Pham T, Rezoagli E, Masterson CH, Horie S, Bellani G, Brochard L, Laffey JG; LUNG SAFE Investigators and the ESICM Trials Group. Demographics, management and outcome of females and males with acute respiratory distress syndrome in the LUNG SAFE prospective cohort study. Eur Respir J. 2019 Oct 17;54(4):1900609. doi: 10.1183/13993003.00609-2019. PMID: 31346004. Swart P, Deliberato RO, Johnson AEW, Pollard TJ, Bulgarelli L, Pelosi P, de Abreu MG, Schultz MJ, Neto AS. Impact of sex on use of low tidal volume ventilation in invasively ventilated ICU patients-A mediation analysis using two observational cohorts. PLoS One. 2021 Jul 14;16(7):e0253933. doi: 10.1371/journal.pone.0253933. PMID: 34260619; PMCID: PMC8279424. Evans, Laura1; Rhodes, Andrew2; Alhazzani, Waleed3; Antonelli, Massimo4; Coopersmith, Craig M.5; French, Craig6; Machado, Flávia R.7; Mcintyre, Lauralyn8; Ostermann, Marlies9; Prescott, Hallie C.10; Schorr, Christa11; Simpson, Steven12; Wiersinga, W. Joost13; Alshamsi, Fayez14; Angus, Derek C.15; Arabi, Yaseen16; Azevedo, Luciano17; Beale, Richard18; Beilman, Gregory19; Belley-Cote, Emilie20; Burry, Lisa21; Cecconi, Maurizio22; Centofanti, John23; Coz Yataco, Angel24; De Waele, Jan25; Dellinger, R. Phillip26; Doi, Kent27; Du, Bin28; Estenssoro, Elisa29; Ferrer, Ricard30; Gomersall, Charles31; Hodgson, Carol32; Hylander Møller, Morten33; Iwashyna, Theodore34; Jacob, Shevin35; Kleinpell, Ruth36; Klompas, Michael37; Koh, Younsuck38; Kumar, Anand39; Kwizera, Arthur40; Lobo, Suzana41; Masur, Henry42; McGloughlin, Steven43; Mehta, Sangeeta44; Mehta, Yatin45; Mer, Mervyn46; Nunnally, Mark47; Oczkowski, Simon48; Osborn, Tiffany49; Papathanassoglou, Elizabeth50; Perner, Anders51; Puskarich, Michael52; Roberts, Jason53; Schweickert, William54; Seckel, Maureen55; Sevransky, Jonathan56; Sprung, Charles L.57; Welte, Tobias58; Zimmerman, Janice59; Levy, Mitchell60. Surviving Sepsis Campaign: International Guidelines for Management of Sepsis and Septic Shock 2021. Critical Care Medicine 49(11):p e1063-e1143, November 2021. | DOI: 10.1097/CCM.0000000000005337  Fan E, Del Sorbo L, Goligher EC, Hodgson CL, Munshi L, Walkey AJ, Adhikari NKJ, Amato MBP, Branson R, Brower RG, Ferguson ND, Gajic O, Gattinoni L, Hess D, Mancebo J, Meade MO, McAuley DF, Pesenti A, Ranieri VM, Rubenfeld GD, Rubin E, Seckel M, Slutsky AS, Talmor D, Thompson BT, Wunsch H, Uleryk E, Brozek J, Brochard LJ; American Thoracic Society, European Society of Intensive Care Medicine, and Society of Critical Care Medicine. An Official American Thoracic Society/European Society of Intensive Care Medicine/Society of Critical Care Medicine Clinical Practice Guideline: Mechanical Ventilation in Adult Patients with Acute Respiratory Distress Syndrome. Am J Respir Crit Care Med. 2017 May 1;195(9):1253-1263. doi: 10.1164/rccm.201703-0548ST. Erratum in: Am J Respir Crit Care Med. 2017 Jun 1;195(11):1540. doi: 10.1164/rccm.19511erratum. PMID: 28459336. Alhazzani W, Møller MH, Arabi YM, Loeb M, Gong MN, Fan E, Oczkowski S, Levy MM, Derde L, Dzierba A, Du B, Aboodi M, Wunsch H, Cecconi M, Koh Y, Chertow DS, Maitland K, Alshamsi F, Belley-Cote E, Greco M, Laundy M, Morgan JS, Kesecioglu J, McGeer A, Mermel L, Mammen MJ, Alexander PE, Arrington A, Centofanti JE, Citerio G, Baw B, Memish ZA, Hammond N, Hayden FG, Evans L, Rhodes A. Surviving Sepsis Campaign: Guidelines on the Management of Critically Ill Adults with Coronavirus Disease 2019 (COVID-19). Crit Care Med. 2020 Jun;48(6):e440-e469. doi: 10.1097/CCM.0000000000004363. PMID: 32224769; PMCID: PMC7176264. Wang W, Scharfstein D, Wang C, Daniels C, Needham D, Brower R, NHLBI ARDS Clinical Network. Estimating the Causal Effect of Low Tidal Volume Ventilation on Survival in Patients with Acute Lung Injury. J R Stat Soc Ser C Appl Stat. 2011. PMC: PMC3197806 Brower RG, Thompson BT, NIH/NHLBI/ARDSNetwork. Tidal volumes in acute respiratory distress syndrome--one size does not fit all. Crit Care Med. 2006. Hager DN, Krishman JA, Hayden D, Brower RG, ARDSNet NIH / NHLBI. Tidal Volume Reduction in Patients with acute Lung Injury When Plateau Pressures Are Not High. Am J Resp Crit Care Med. 2005. Rubenfeld GD, Cooper C, Carter G, Thompson BT, Hudson LD. Barriers to providing lung protective ventilation to patients with acute lung injury. Crit Care Med. 2004. Chatburn RL, El-Khatib M, Mireles-Cabodevila E. A taxonomy for mechanical ventilation: 10 fundamental maxims. Respir Care. 2014 Nov;59(11):1747-63. doi: 10.4187/respcare.03057. Epub 2014 Aug 12. PMID: 25118309. Guo L, Wang W, Zhao N, Guo L, Chi C, Hou W, Wu A, Tong H, Wang Y, Wang C, Li E. Mechanical ventilation strategies for intensive care unit patients without acute lung injury or acute respiratory distress syndrome: a systematic review and network meta-analysis. Crit Care. 2016 Jul 22;20(1):226. doi: 10.1186/s13054-016-1396-0. PMID: 27448995; PMCID: PMC4957383. Rice TW, Wheeler AP, Bernard GR, Hayden DL, Schoenfeld DA, Ware LB, NIH NHLBI ARDS Network. Comparison of the Sp02/FI02 Ratio and the PaO 2/FI02 in Patients with Acute Lung Injury or ARDS. Chest. 2007. Zhang G, Burla MJ, Caesar BB, Falank CR, Kyros P, Zucco VC, Strumilowska A, Cullinane DC, Sheppard FR. Emergency Department SpO2/FiO2 Ratios Correlate with Mechanical Ventilation and Intensive Care Unit Requirements in COVID-19 Patients. West J Emerg Med. 2024 May;25(3):325-331. doi: 10.5811/westjem.17975. PMID: 38801037; PMCID: PMC11112664.   WANT TO WORK AT MAYO? EM Physicians: https://jobs.mayoclinic.org/emergencymedicine EM NP PAs: https://jobs.mayoclinic.org/em-nppa-jobs   Nursing/Techs/PAC: https://jobs.mayoclinic.org/Nursing-Emergency-Medicine EMTs/Paramedics: https://jobs.mayoclinic.org/ambulanceservice All groups above combined into one link: https://jobs.mayoclinic.org/EM-Jobs

In this episode of SpaceTime, we uncover remarkable insights into Mars, Mercury, and the latest developments in space exploration.Hidden Martian Volcano: Jezero MonsScientists have identified a previously overlooked volcano, Jezero Mons, located on the rim of Jezero Crater, where NASA's Perseverance rover is actively collecting samples. This discovery could provide vital clues about Mars' volcanic history and habitability, suggesting that the region may have supported life due to the interplay of volcanic heat and water. The findings, published in Communications Earth and Environment, highlight the need for further exploration of Mars' geology, as volcanism plays a crucial role in understanding the planet's past.Tidal Forces Shaping Mercury's CliffsA new study published in Geophysical Research Planets proposes that tidal forces from the Sun may have contributed to the deformation of Mercury's towering cliffs. Traditionally attributed to cooling and contraction, this research indicates that the planet's unique orbital dynamics could also influence its geological features. The BepiColombo mission, scheduled to arrive at Mercury next year, aims to gather data that could validate these findings and enhance our understanding of the planet's evolution over billions of years.Axiom Space's AX4 Mission Arrives at the ISSThe Axiom Space AX4 mission has successfully docked at the International Space Station for a 14-day stay. This mission, featuring a diverse international crew, aims to conduct over 60 scientific and commercial experiments, furthering Axiom's goal of establishing a private space station in low Earth orbit. Despite facing multiple delays, the mission underscores the growing role of private companies in space exploration.www.spacetimewithstuartgary.com✍️ Episode ReferencesCommunications Earth and Environmenthttps://www.nature.com/commsenv/Geophysical Research Planetshttps://agupubs.onlinelibrary.wiley.com/journal/24701343Axiom Spacehttps://www.axiomspace.com/Become a supporter of this podcast: https://www.spreaker.com/podcast/spacetime-space-astronomy--2458531/support.

On this week's episode of Women Speak — a segment on Northeast Newscast — hosts Northeast News Editor-in-Chief, Julia Williams and former Missouri House Representative for District 19 Ingrid Burnett sat down with Chair of Gender Equity Task Force of Kansas City Human Rights Commission Alice Kitchen to wrap up our series on women who influence policy.This marks the 10th and final episode of the women who influence policy series for Women Speak. Following this episode, this segment will introduce a new series where Burnett and Williams highlight the history of women in their fields.  Throughout this episode, Kitchen delves into the Gender Equity Task Force Commission in Kansas City, how she got involved and how the commission has evolved over the years into what it is today. She discusses policies and resources the Task Force has worked on and is currently working on including hosting an upcoming listening session in October, which will include data collected from the Jackson County Prosecutor's Office on domestic violence prevention. Kitchen also shares important women in her life who have inspired and motivated her along the way. Burnett, Williams share final conversations on happenings in the Missouri State Capitol in Jefferson City. Burnett discusses the Missouri Ethics Commission and its lack of quorum, which has remained since January when former Missouri Gov. Mike Parsons withdrew two appointed Ethics Commission Members. Now Gov. Kehoe has yet to fill those vacancies, but has begun interviews with potential candidates. Kitchen goes on to mention that the Missouri Ethics Commission is not the only commission in Missouri that has vacant seats. This includes various spots in Kansas City to which many people have applied, but appointments have yet to be made. *This episode was recorded on June 24. The Missouri Ethics Commission has six seats, which are appointed by the Missouri Governor. To have a quorum, four of those six seats must be filled. While on June 16, 2025, Governor Mike Kehoe appointed five new members to various boards and commissions throughout Missouri, he has not yet appointed any additional members to the Missouri Ethics Commission.*Music used within this Women Speak episode is a song called “I Wish I Knew You Then” by Kansas City local artist Honeybee and the group's lead female vocalist, Makayla Scott. “I Wish I Knew You Then” is a recent single, which Honeybee released in March 2025.  Honeybee's latest single “Lindenlure,” was released on May 30 and is now available on its streaming platforms. 2025 singles “I Wish I Knew You Then,” “Charmed Life” and “Lindenlure” as well as additional Honeybee tracks are available on Spotify, Apple Music, Youtube, TIDAL and Youtube Music. *Disclaimer* I Wish I Knew You Then and any previous or future Honeybee songs used by The Northeast News within the Women Speak podcasts are courtesy of and approved by Makayla Scott and Honeybee under proper copyright law. Honeybee songs are not royalty free nor subject to free use and should not be used by additional publications or organizations without proper consent. This podcast as well as all Women Speak episodes are made possible by The Northeast News, Northeast Kansas City Chamber of Commerce and Independence Avenue Community Improvement District. 

In this episode of THE STORY SONG PODCAST, your hosts review the 1989 folk single and LGBTQ anthem, “Closer to Fine,” by singer-songwriters, Indigo Girls. “Closer to Fine” by Indigo Girls (from the album Indigo Girls) is available on Apple Music, YouTube Music, Amazon Music, Tidal, Pandora, Spotify, or wherever you listen to music. Continue the conversation; follow THE STORY SONG PODCAST on social media. Follow us on Bluesky (@storysongpodcast.bsky.social), Instagram (storysongpodcast), Facebook (thestorysongpodcast), Threads (storysongpodcast), GoodPods, and Podchaser. Learn more about your ad choices. Visit megaphone.fm/adchoices

Spotify Dummy Thick Music Video Tidal Instagram PageBioSouthern positive rapper BamsterG's latest single, “Dummy Thick,” is a banger intended to bringgood summer vibes to all the men and ladies in the club — but especially the ladies.Thick, of course, is a slang term used as a compliment for curvy women. The addition of dummyadds a superlative, in tribute to the women with even more of that something special.“I wanted to make a song to the touch hearts of all the good-lookin' ladies who feel like they gotthat big ‘ba-donkey-donk,'” BamsterG laughs. “It's a fun track, but it's also player. It's cool, calm,confident.” The beats were produced by Atlanta-based producers Mercy Beatz and K-Rab (theoriginator of snap music), giving the track an upbeat, club-ready bounce.BamsterG wants his music to celebrate the positive aspects of life, and he calls his musicmotivational hip hop. “I try to motivate people to do better and to be happy,” he says. “It's nopoint in being sad, man, we only live once. It's time to get out of that heartbreak, get out of thispredicament, and try to turn that negativity into positivity.”The artist's roots play a role in his music. While he now lives in the city of Chattanooga, hishometown is Sweetwater, Tennessee, a place that he says is “very country.” From Sweetwaterto Chattanooga, to collaborations with producers in Atlanta, a southern flavor is woven into hissound and style.The name “BamsterG” itself is a family affair. “My dad has called me Bam Bam since I was atoddler, cause I bammed on everything like Bam-Bam in The Flintstones,” he explains. “Then itbecame Bamster from all the sports I played: football, basketball, wrestling. The G is from mylast name, Goodlow.”Additionally, he credits his father, a musician known as John Wayne (real name StacyGoodlow), for initially inspiring him to begin creating music. “He had a home studio, and I wasalways around it,” BamsterG says. “He's a big part of why I do this.” Other influences includeFuture, Rylo Rodriguez, NoCap, Young Thug and many more.In terms of creative process, sometimes BamsterG starts by writing lines of lyrics, while othertimes he is inspired by a beat and begins freestyling. And sometimes, the process is morecollaborative, involving several members of his creative team.In addition to his father, that team includes Drew Madden, a Chattanooga-based producer he'sbeen working with since 2019. His cousin, Atlanta rapper LDB Justo, is a close collaborator, partof the Lavish Dope Boyz Entertainment label. “You've got to have a team,” he says. “If you don'thave a team behind you, it's really hard to get up.”With his team behind him, consistency is the plan moving forward for BamsterG. He has moresingles on the way, including a follow-up single next month and live performances coming soon.“We're releasing singles one after the other,” he says. “I've got a vault ready. Not just for thisyear, but years to come.”His ultimate hope? “To make people feel good about themselves. Ladies, men, everybody. Andto make a way for my family.”Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.

So, you're a runner looking for a playlist. Maybe you do a quick Spotify or Tidal search, hit the one that matches your personal taste the most, or just hit play on the first one that pops up. Maybe you go an extra step to ask a friend or consult a subreddit. Maybe. Eventually, you […] The post Local Al: “Hold Me – Pidän (mä pidän)” appeared first on KUT & KUTX Studios -- Podcasts.

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

Off-the-shelf didn't cut it, so we built what we needed using open hardware and open source.Sponsored By:Tailscale: Tailscale is a programmable networking software that is private and secure by default - get it free on up to 100 devices! 1Password Extended Access Management: 1Password Extended Access Management is a device trust solution for companies with Okta, and they ensure that if a device isn't trusted and secure, it can't log into your cloud apps. Unraid: A powerful, easy operating system for servers and storage. Maximize your hardware with unmatched flexibility. Support LINUX UnpluggedLinks:

On this week's episode of Women Speak — a segment on Northeast Newscast — hosts Northeast News Editor-in-Chief, Julia Williams and former Missouri House Representative for District 19 Ingrid Burnett sat down with Owner of LIA (Life is Amazing) Inspiration and Member of Independence Plaza Neighborhood Council (IPNC) Laura Palacios to continue our series on women who influence policy. Throughout this episode, Palacios discusses her political science background, her activist journey and the steps that have led her to her current work today — particularly in the Historic Northeast. Palacios delves into the various boards she has served on over the past 15 years, including the Missouri Chapter of the National Women's Political Caucus and her experiences as one of the few Latina members among these boards at the time. Burnett, Williams and Palacios discuss happenings within the Missouri State Capitol in Jefferson city including a special session request for the legislature from Gov. Mike Kehoe. Within the special session call, three items are proposed for approval including Kansas City Stadium subsidies at Truman Sports Complex, relief aid for Missourians impacted by the storms and capital projects from Missouri House of Representatives Bill 19. These bills are discussed in length as well as a lawsuit, which the Missouri Chapter of the National Association for the Advancement of Colored People (NAACP) has filed against Missouri Attorney General, Andrew Bailey and the University of Missouri. *This podcast was recorded on Wednesday, May 28. Since its recording, this Special Session — which Burnett, Palacios and Williams discuss in this episode — ended on Wednesday, June 11. The Missouri House of Representatives approved $1.5 billion in funding for Kansas City sports stadiums as well as $125 million to aid areas of St. Louis, which faced severe weather damages, according to an article by the Missouri Independent. All three of these bills were previously approved in the Missouri Senate and made their way to the Governor's desk, which he signed into law on Saturday, June 14.*Music used within this Women Speak episode is a song called “I Wish I Knew You Then” by Kansas City local artist Honeybee and the group's lead female vocalist, Makayla Scott. “I Wish I Knew You Then” is a recent single, which Honeybee released in March 2025.  Honeybee's latest single “Lindenlure,” was released on May 30 and is now available on its streaming platforms. 2025 singles “I Wish I Knew You Then,” “Charmed Life” and “Lindenlure” as well as additional Honeybee tracks are available on Spotify, Apple Music, Youtube, TIDAL and Youtube Music. *Disclaimer* I Wish I Knew You Then and any previous or future Honeybee songs used by The Northeast News within the Women Speak podcasts are courtesy of and approved by Makayla Scott and Honeybee under proper copyright law. Honeybee songs are not royalty free nor subject to free use and should not be used by additional publications or organizations without proper consent. This podcast as well as all Women Speak episodes are made possible by The Northeast News, Northeast Kansas City Chamber of Commerce and Independence Avenue Community Improvement District. 

Send us a textZ Łukaszem Sojką nie da się przeprowadzić nudnej rozmowy, o czym mogliście się przekonać tydzień temu :) W dzisiejszym odcinku Pick Please Podcast kontynuujemy naszą rozmowę z liderem formacji Hard Rockets na temat premiery ich najnowszej płyty “Wszystkie piosenki o miłości, cz. 1”. Tym razem już porozmawiamy konkretnie o kompozycjach na płycie, gościach i samym procesie nagrywania... których obfitował w liczne niespodzianki i trudności :) A na koniec niespodzianka. Macie możliwość posłuchania utworu “Kołysanka”, jeszcze zanim trafi na serwisy streamingowe. Jednym słowem - PRZEDPREMIERA !PREMIERA PŁYTY “WSZYSTKIE PIOSENKI O MIŁOŚCI cz.1”: 21 CZERWCA (!!!) na platformach streamingowych!muzyka: Hard Rockets (“Painkiller”, “Kołysanka”)Możecie odsłuchać ten odcinek tutaj: https://tiny.pl/1xn9xg07Link do Spotify: Youtube: Link do I części wywiadu z Łukaszem Sojką:Spotify - Youtube - Zachęcamy też do śledzenia naszego profilu na Facebooku - https://www.facebook.com/PickPlease/oraz Instagramie - https://tiny.pl/cxk21Będziemy wdzięczni za wsparcie nas na Patronite (specjalne bonusy dla naszych patronów!): https://tiny.pl/r8yq62q5LINKOWNIA:Hard Rockets:profil na Spotify - https://tiny.pl/w3sr5profil na Tidal - https://tiny.pl/w3srkInstagram - https://tiny.pl/5jq56mf0Youtube - https://tiny.pl/83-5mrd3Profil muzyczny Łukasza Sojki (FB) “Sojka” - https://tiny.pl/xf-4x26gUTWORY:Hard Rockets - “Painkiller”:Spotify - https://tiny.pl/0b7b573qTidal - https://tiny.pl/s65g362fHard Rockets - “Kołysanka”Krzak - Blues dla nieobecnych (1983) - https://tiny.pl/jz8-h83wHard Rockets oraz Maciej Lipina - Blues dla nieobecnych 2 - https://tiny.pl/cxvf9Tom Waits - Tom Traubert's Blues "Waltzing Matilda" (1976) - https://tiny.pl/xzg30znzHard Rockets - Czerwona prawa dłoń (2022) - https://tiny.pl/jqdckkq3Joe Cocker - She Came In Through The Bathroom Window (1969) - https://tiny.pl/g0b_fj3dProfil Marka Makarona Motyki (Spotify) - https://tiny.pl/2kbwxzntProfil Jarka Toifla - https://tiny.pl/7p2x5ch8Studio MaQ Records - https://tiny.pl/sj1th-rd

In this episode of THE STORY SONG PODCAST, your hosts review the 1991 pop-rap hit, “Addams Groove,” by Hammer. “Addams Groove” by Hammer (from the album Too Legit to Quit) is available on Apple Music, YouTube Music, Amazon Music, Tidal, Pandora, Spotify, or wherever you listen to music. Continue the conversation; follow THE STORY SONG PODCAST on social media. Follow us on Bluesky (@storysongpodcast.bsky.social), Instagram (storysongpodcast), Facebook (thestorysongpodcast), Threads (storysongpodcast), GoodPods, and Podchaser. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of SpaceTime, we delve into the cosmos to uncover extraordinary cosmic phenomena, groundbreaking Mars exploration, and innovative asteroid detection technology.The Most Powerful Cosmic Explosions Since the Big BangAstronomers have identified a new class of cosmic events known as extreme nuclear transients (ENTs), which are the most powerful explosions observed since the Big Bang. These events occur when supermassive black holes tear apart stars over three times the mass of our sun, releasing energy that surpasses even the brightest supernovae. We explore the implications of these findings, including how these luminous phenomena can provide insights into black hole growth and the early universe.NASA's Perseverance Rover Takes a Bite of Ancient Martian RockNASA's Perseverance Rover has sampled a potentially ancient rock on Mars known as Crocodilen, located on the Jezero Crater Rim. This area offers vital clues about the planet's watery past and the potential for past life. We discuss the rover's mission, its new sampling strategy, and the significance of the clay minerals found in the region, which could preserve organic compounds.First Light for Europe's New Killer Asteroid HunterThe European Space Agency's FlyEye telescope has achieved its first light, marking a new era in the search for near-Earth asteroids that could threaten our planet. Designed to capture a vast region of the sky simultaneously, FlyEye will operate autonomously to detect and track these celestial hazards. We delve into how this innovative technology will enhance our planetary defense efforts and the role it will play in monitoring potential threats.www.spacetimewithstuartgary.com✍️ Episode ReferencesScience Advanceshttps://www.science.org/journal/sciadvNaturehttps://www.nature.com/nature/Become a supporter of this podcast: https://www.spreaker.com/podcast/spacetime-space-astronomy--2458531/support.00:00 This is Space Time Series 28, Episode 70 for broadcast on 11 June 202501:00 The most powerful cosmic explosions since the Big Bang12:15 NASA's Perseverance Rover takes a bite of ancient Martian rock22:30 First light for Europe's new killer asteroid hunter30:00 Science report: Global drought severity increases since 1981

In this episode of Andy Frasco's World Saving Podcast, Andy and Nick talk with the legendary Marc Broussard about super fun topics like almost dying at jazz fest, panic attacks on airplanes, and getting dropped from your record label. We also have a brand new sponsor--Gardenista! 0:17 Introduction to Mark Broussard 1:18 Gardenista  3:37 Mark's Career Journey 4:21 Interview with Mark Broussard 5:18 Jazz Fest Dehydration Incident 7:12 Panic Attacks and Insights 11:00 Fear of Flying 14:39 Touring Australia 16:58 Meeting Music Legends 17:20 Early Career and Success 23:26 Writing "Home" 27:03 Family and Personal Life 37:01 The Atlantic Records Experience 42:18 Reflections on Record Deals 52:48 Staying Grounded in Music 59:45 Life Lessons and Legacy 1:07:31 Reflections on Personal Goals 1:09:28 Conclusion and Goodbyes FOLLOW/LISTEN TO ANDY FRASCO Bio Link: https://ffm.bio/andyfrasco Website: https://www.andyfrasco.com/ Store: https://andyfrasco.merchtable.com/ Tour Dates: https://www.andyfrasco.com/tour Instagram: https://www.instagram.com/andyfrasco Facebook: https://www.facebook.com/AndyFrascoBand/ Twitter: https://twitter.com/ANDYFRASCO TikTok: https://www.tiktok.com/@andyfrasco Spotify: https://open.spotify.com/artist/4scyTeRfyqCWVATfPP7SGu Apple Music: https://music.apple.com/us/artist/andy-frasco-the-u-n/396604446 YouTube: https://www.youtube.com/user/AndyFrasco Amazon Music: https://music.amazon.com/artists/B006WG8SE6/andy-frasco-the-u-n YouTube Music: https://music.youtube.com/channel/UCLwhjKEWIzZD1O23MsaAPUA Soundcloud: https://soundcloud.com/andyfrasco Tidal: https://tidal.com/browse/artist/5073038 Deezer: https://www.deezer.com/us/artist/5119076 Pandora: https://www.pandora.com/artist/andy-frasco-and-the-un/ARc7zfj9c7nb7jg Songkick: https://www.songkick.com/artists/5390528-andy-frasco-and-the-un Bandsintown: https://www.bandsintown.com/a/4960740-andy-frasco-and-the-u.n.

Nou ja zeg, wat is dat nou voor een titel voor een aflevering. Om die titel te begrijpen hebben we het in deze iets langere aflevering eerst over zogenaamde "getijdenvergrendeling", een fenomeen dat al wel eens vaker de revu passeerde in deze nimmer aflatende wekelijkse stroom astronomie-verhalen. Daarna zult u, als u nog niet bent afgehaakt, horen wat bliksem met dit alles te maken heeft. Kortom: tanden op elkaar... een nieuwe aflevering van Zimmerman en Space.Tidal locking:https://en.wikipedia.org/wiki/Tidal_lockingLunar Mascon Evidence From Apollo Orbits:https://ntrs.nasa.gov/api/citations/19690027604/downloads/19690027604.pdfLightning on alien worlds may fail to spark life, simulations suggest:https://www.space.com/astronomy/exoplanets/lightning-on-alien-worlds-may-fail-to-spark-life-simulations-suggestLightning activity on a tidally locked terrestrial exoplanet in storm-resolving simulations for a range of surface pressures:https://arxiv.org/pdf/2504.19883Gravity's Lunar Lasso - Tidal Locking Explained:https://www.astronomicalreturns.com/2019/10/gravitys-lunar-lasso-tidal-locking.htmlRecursieve Centaur:https://i.programmerhumor.io/2023/10/programmerhumor-io-javascript-memes-python-memes-c3eca9be79871fe.pngFoto bij deze aflevering: CC Attribution 2.0 Generic Axel Rouvin.De Zimmerman en Space podcast is gelicenseerd onder een Creative Commons CC0 1.0 licentie.http://creativecommons.org/publicdomain/zero/1.0

Send us a textKtoś kiedyś powiedział, że o gustach się nie dyskutuje ale są rzeczy obiektywnie zajeb…e :) I obiektywnie tak uznaliśmy (Kuba i Łukasz), że nowa płyta Hard Rockets to murowany kandydat na płytę roku podcastu Pick Please. “Wszystkie piosenki o miłości cz. 1” rozłożyły nas na łopatki. Musieliśmy dowiedzieć się u samego źródła (lider zespołu - Łukasz Sojka) jak to się stało, że nagrali siedem tak wspaniałych kompozycji, które ujrzą światło dzienne już 21 CZERWCA br.Dlaczego miłość jest tematem przewodnim płyty? Jakie to uczucie spełnić swoje marzenie o grze z sekcją instrumentów dętych? Dla kogo powstała “Kołysanka”? Dlaczego Błażej (perkusista zespołu) jest niczym Han Solo a Łukaszowi Antesowi (klawiszowiec) chyba najbliżej do... Yody :) ?W rozmowie z Łukaszem Sojką porozmawialiśmy o genezie powstawania płyty oraz wielu innych historiach z nią związanych. A że nasz rozmówce jest znany z barwnego języka, humoru i szerokiej wiedzy, materiału starczyło na nie jeden, lecz dwa odcinki! Dziś część pierwsza!Posłuchajcie historii powstawania płyty “Wszystkie piosenki o miłości cz. 1”!PREMIERA PŁYTY “WSZYSTKIE PIOSENKI O MIŁOŚCI cz.1”: 21 CZERWCA (!!!) na platformach streamingowych!muzyka: Hard Rockets (“Mesjasz”, “Miłość ocali nas”)Możecie odsłuchać ten odcinek tutaj: https://tiny.pl/1xn9xg07Link do Spotify: Youtube: Zachęcamy też do śledzenia naszego profilu na Facebooku - https://www.facebook.com/PickPlease/oraz Instagramie - https://tiny.pl/cxk21Będziemy wdzięczni za wsparcie nas na Patronite (specjalne bonusy dla naszych patronów!): https://tiny.pl/r8yq62q5LINKOWNIA:Hard Rockets:profil na Spotify - https://tiny.pl/w3sr5 profil na Tidal - https://tiny.pl/w3srk Instagram - https://tiny.pl/5jq56mf0 Youtube - https://tiny.pl/83-5mrd3 Profil muzyczny Łukasza Sojki (FB) “Sojka” - https://tiny.pl/xf-4x26g UTWORY:Hard Rockets - “Mesjasz”:Spotify - https://tiny.pl/0fjmxtvyTidal - https://tiny.pl/v10vwx-qHard Rockets - “Miłość ocali nas”:Spotify - https://tiny.pl/13nsq793Tidal - https://tiny.pl/j7qfb3_sUnderOne i Sojka - A nice million years - https://tiny.pl/1p-v3x69Led Zeppelin - When The Levee Breaks - https://tiny.pl/1f548x1nPŁYTY:The Rolling Stones - Exile on Main Street (Deluxe) (1972) - https://tiny.pl/c4w2h7hbJoe Cocker - Mad Dogs & Englishmen (1970) - https://tiny.pl/1csq2xx3Led Zeppelin - Physical Graffiti (1975) - https://tiny.pl/nk0fxcybThe Blues Brothers - Motion Picture Soundtrack (1980) - https://tiny.pl/d6ygjc-9 Wywiad z Andy Johnsem (m.in. o nagrywaniu “Exile on Main Street”) - https://tiny.pl/2ht6rtgc

Our terminal apps are loaded, the goals are set, but we're already hitting a few snags. The TUI Challenge begins...Sponsored By:Tailscale: Tailscale is a programmable networking software that is private and secure by default - get it free on up to 100 devices! 1Password Extended Access Management: 1Password Extended Access Management is a device trust solution for companies with Okta, and they ensure that if a device isn't trusted and secure, it can't log into your cloud apps. Unraid: A powerful, easy operating system for servers and storage. Maximize your hardware with unmatched flexibility. Support LINUX UnpluggedLinks:

On this week's episode of Women Speak — a segment on Northeast Newscast — hosts Northeast News Editor-in-Chief, Julia Williams and former Missouri House Representative for District 19 Ingrid Burnett sat down with Superintendent of Kansas City Public Schools Jennifer Collier (Ph.D.) to continue our series on women who influence policy. Throughout this episode, Collier discusses what led her to her current role including previous career paths she considered prior to her time with Kansas City Public Schools. She mentions how her background and passion with art and music has influenced public school programs within Kansas City as well as those who have influenced her along the way.Burnett and Williams discuss happenings within the Missouri State Capitol in Jefferson city. This episode delves into recent bills passed through Missouri congress, which are focused on education. Of these includes the budget and the Missouri Education Funding Formula or the “Foundation Formula.” Burnett, Williams and Collier discuss this Formula and how it is not only impacting Kansas City public schools but also metro tax payers. Property taxes for senior citizens and its impact on Kansas City Public Schools as well as technology usage in Missouri public schools are also mentioned. Music used within this Women Speak episode is a song called “I Wish I Knew You Then” by Kansas City local artist Honeybee and the group's lead female vocalist, Makayla Scott. “I Wish I Knew You Then” is a recent single, which Honeybee released in March 2025.  Honeybee's latest single “Lindenlure,” was released on May 30 and is now available on its streaming platforms. 2025 singles “I Wish I Knew You Then,” “Charmed Life” and “Lindenlure” as well as additional Honeybee tracks are available on Spotify, Apple Music, Youtube, TIDAL and Youtube Music. *Disclaimer* I Wish I Knew You Then and any previous or future Honeybee songs used by The Northeast News within the Women Speak podcasts are courtesy of and approved by Makayla Scott and Honeybee under proper copyright law. Honeybee songs are not royalty free nor subject to free use and should not be used by additional publications or organizations without proper consent. This podcast as well as all Women Speak episodes are made possible by The Northeast News, Northeast Kansas City Chamber of Commerce and Independence Avenue Community Improvement District. 

Jason Scott sits down with Norm Davy, president and chief commercial officer of Tidal Grow AgriScience, to discuss how the company is helping ag retailers and growers overcome rising input costs, pest resistance and soil health challenges through U.S.-made, bioengineered crop input solutions. He also reflects on leadership, grit, sustainability and the future of agricultural innovation.

A new wonderful and magical single by Minddigger and Sasha Gura. Immerse yourself in dreams and tides!

It IS the third of June, and we're celebrating the 150th episode of THE STORY SONG PODCAST. Join your hosts as they revisit and re-review the 1967 story song classic, “Ode to Billie Joe” by legendary singer-songwriter, Bobbie Gentry.  Continue the conversation; follow THE STORY SONG PODCAST on social media. Follow us on Instagram (storysongpodcast), and Facebook (thestorysongpodcast), Threads (storysongpodcast), GoodPods, and Podchaser. THE STORY SONG PODCAST is a member of the Pantheon Podcast Network. “Ode to Billie Joe” by Bobbie Gentry (from the album Ode to Billie Joe) is available on Apple Music, YouTube Music, Amazon Music, Tidal, Pandora, Spotify, or wherever you listen to music. Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textIn this episode we continue our discussion on tidal water fishing.  We expand on the how when and where. We also have a great tackle talk section as well as a little tournament talk. So, sit back and enjoy the show. www.facebook.com/susquehannafishingtacklewww.instagram.com/sfttackle/For all your tackle needs www.SFTTackle.com

Cristobal Tapia de Veer on instinct, tension, and walking away from The White LotusIt‘s not often I have a guest on the show primarily known for scorring for screen but the outspoken, punk-rock ethosed, voice-warping composer Cristobal Tapia de Veer is so Lost and Sound it hurts. Whether it's the unnerving soundworld of Utopia, the chaotic beauty of The White Lotus, or the warped voices of A24‘s Babygirl, his scores don't just sit behind the picture—they shape how you feel it.In this conversation, we talk about how some of his most striking ideas come in a flash. How one of The White Lotus‘ most memoral earworms: “took me the time it takes you to listen to it,” he says. “I feel like somebody else did it for me.”We get into why scoring the show felt like “trying on a yellow dress,” and how stepping into unfamiliar territory let him bring something raw and unexpected to it. He's honest about how uncomfortable that space was—and how that discomfort helped him land something sharper.Cristobal opens up about working in an industry that often pulls in the opposite direction of intuition. We talk about trusting the subconscious, letting go of control, and how stepping back sometimes allows something better to come through.We also touch on his recent public split from The White Lotus—and the bigger questions that come when creativity and power don't align.If you're interested in how a politically minded Iggy Pop fan became one of the most highly revered film and TV composers working right now, or just curious about what it takes to stay true to your instincts inside a system that often doesn't want you to, this one's worth your time.If you're enjoying Lost and Sound, please do subscribe and leave a rating or review on Apple, Spotify, Amazon, or wherever you listen. It really helps to spread the word and support Lost and Sound.Cristobal Tapia de Veer on Instagram Cristobal Tapia de Veer on Apple Music and TIDAL.Follow me on Instagram at PaulhanfordLost and Sound is sponsored by Audio-TechnicaMy BBC World Service radio documentary “The man who smuggled punk rock across the Berlin Wall” is available now on BBC Sounds. Click here to listen.My book, Coming To Berlin: Global Journeys Into An Electronic Music And Club Culturet Capital is out now on Velocity Press. Click here to find out more. Lost and Sound title music by Thomas Giddins

Una crónica de mis volantazos entre Apple Music, Spotify y Tidal, en busca de una app musical clásica. Ninguna me convence. Al final, Apple Music se queda por ser “la menos mala”. Un síntoma de hacia dónde ha ido el sector.Contacta con el autor:X: @jlacortBluesky: @lacortMail: lacort@xataka.comLoop Infinito es un podcast de Applesfera sobre Apple y su ecosistema, publicado de lunes a viernes a las 7.00 h (hora española peninsular). Presentado por Javier Lacort. Editado por Alberto de la Torre.

On this week's episode of Women Speak — a segment on Northeast Newscast — hosts Northeast News Editor-in-Chief, Julia Williams and former Missouri House Representative for District 19 Ingrid Burnett sat down with Pastor of Independence Boulevard Christian Church and Executive Director for Intersect KC, Rev. Mindy Fugarino to continue our series on women who influence policy. Throughout this episode, Rev. Fugarino discusses her background — including growing up in Texas and her move to Kansas City. She delves into her mission and practices she had worked to implement at Independence Boulevard Christian Church (IBCC), 606 Gladstone Ave., as well as programs she has created including Intersect KC and The Micah Ministry. Pastor Mindy goes on to mention what has continued to influence her work as well as individuals who have driven her along the way. Burnett and Williams discuss happenings within the Missouri State House in Jefferson city. This episode includes a recent close to legislative session, which left many senators unsatisfied with the outcome. Burnett goes on to describe these bills, which will appear on future Missouri ballots including abortion and Proposition A that Missouri voters passed in the November 2024 election highlighting paid sick leave and minimum wage. Resources are additionally provided for voter registration. Music used within this Women Speak episode is a song called “I Wish I Knew You Then” by Kansas City local artist Honeybee and the group's lead female vocalist, Makayla Scott. “I Wish I Knew You Then” is a recent single, which Honeybee released in March 2025.  Honeybee's latest single “Charmed Life,” was released on April 25 and is now available on its streaming platforms. “I Wish I Knew You Then,” “Charmed Life” and additional Honeybee tracks are available on Spotify, Apple Music, Youtube, TIDAL and Youtube Music. *Disclaimer* I Wish I Knew You Then and any previous or future Honeybee songs used by The Northeast News within the Women Speak podcasts are courtesy of and approved by Makayla Scott and Honeybee under proper copyright law. Honeybee songs are not royalty free nor subject to free use and should not be used by additional publications or organizations without proper consent. This podcast as well as all Women Speak episodes are made possible by The Northeast News, Northeast Kansas City Chamber of Commerce and Independence Avenue Community Improvement District. 

This week on the New Music Business podcast, Ari sits down with Danny Ross, a producer and songwriter based in NYC, a columnist at Forbes, and founder of the largest songwriting camp in the world, Anti Social Camp. Danny's Anti Social Camp brings together over 250 songwriters, producers, and artists to collaborate amongst themselves and with major artists every summer in NYC. Past Anti Social Camp attendees have worked with artists including Jacob Collier, Miranda Lambert, Moby, Nile Rodgers, Kimbra, Andy Grammer, JP Saxe, and Rob Thomas. Brands like TikTok, Spotify, YouTube, Amazon, TIDAL, The Recording Academy, Republic Records, DistroKid, and The MLC are also intricately involved in the Anti Social Camp experience.If you are a songwriter or producer who's ever wondered what goes down at songwriting camps or how to get involved, you're going to learn all about that and more in this episode with Danny Ross. https://www.instagram.com/antisocialcamp/ Get $100 your Anti Social Camp Badge by using the code: ARIANTISOCIALVIP at antisocialcamp.comChapters00:00 The Importance of Reputation in the Music Industry03:02 Understanding Songwriting Camps05:48 The Structure and Dynamics of Songwriting Sessions08:47 The Evolution of the Anti Social Camp12:01 Building Community in New York's Music Scene14:54 The Anti Social Camp Experience17:54 Diverse Genres and Collaboration20:54 The Future of Songwriting Camps31:11 Creative Collaborations in Music Production32:26 Success Stories from the Camp33:44 Understanding Major vs. Indie vs. Self-Releasing Artists38:33 The Financial Landscape of Music Production44:53 Navigating Splits and Royalties in Music47:01 The Ethics of Publishing in the Music Industry52:39 Teaching the Next Generation of Music Creators56:40 The Importance of Community in Music Creation59:01 Defining Success in the New Music BusinessEdited and mixed by Ari DavidsMusic by Brassroots DistrictProduced by the team at Ari's TakeOrder the THIRD EDITION of How to Make It in the New Music Business: https://book.aristake.com Hosted on Acast. See acast.com/privacy for more information.

Tidal's Mike Venuto discusses the latest in ETF innovation, from 351 conversions and the ETF share class structure to options-based strategies and leveraged products.  VettaFi's Kirsten Chang offers a tour around the world of fixed income ETFs, highlighting recent flows,...

This episode delves into Ode to Billy Joe, a PG-rated film with adult themes.  Trigger warning: The film Ode to Billy Joe, and the song on which it is based, both discuss the suicide of one of the characters. Listener discretion is advised.  BONUS EPISODE: The celebration of the upcoming 150th episode of THE STORY SONG PODCAST continues with this special bonus episode. Join your hosts as they head up to Choctaw Ridge to discuss Ode to Billy Joe, the 1976 film adaptation of Bobbie Gentry's classic story song.    Ode to Billy Joe. Starring Robbie Benson and Glynnis O'Connor. Screenplay by Herman Raucher, based upon the song by Bobbie Gentry. Directed and produced by Max Baer, Jr. “Ode to Billie Joe” by Bobbie Gentry (from the album Ode to Billie Joe) is available on Apple Music, YouTube Music, Amazon Music, Tidal, Pandora, Spotify, or wherever you listen to music. Ode to Billy Joe is available to stream on YouTube. Learn more at IMDb. Continue the conversation; follow THE STORY SONG PODCAST on social media. Follow us on Instagram (storysongpodcast), and Facebook (thestorysongpodcast), Threads (storysongpodcast), GoodPods, and Podchaser. THE STORY SONG PODCAST is a member of the Pantheon Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

Adam invites Than Thein, owner of Tidal gardens, to discuss building for long-term success with your reef tank. They discuss old tank syndrome', resetting and why/when to do it. Precautions for quarantine, the biggest liabilities in terms of equipment and much more.Than is the founder and owner of Tidal Gardens, a coral reef aquaculture business located in Copley, OH. He is also an author and contributor to many reef keeping industry publications, as well as the host of the Tidal Gardens Podcast. Besides being a passionate entrepreneur, Than is a licensed attorney, has a Masters in Business Administration and Juris Doctor from the University of Akron and a Bachelor of Science in Biology from the University of Michigan.Tidal Gardens Links:https://www.facebook.com/tidalgardenshttps://tidalgardens.com/https://www.instagram.com/tidalgardenshttps://www.youtube.com/tidalgardensFrag Garage Links:https://www.patreon.com/BeyondTheReefPodcasthttps://fraggarage.ca/https://www.instagram.com/fraggarage/https://www.youtube.com/channel/UCLkiAJNqvoIRDRTFs34e6Twhttps://www.facebook.com/fraggarageBeyond the Reef Merch!https://fraggarage.ca/product-category/swag/ Hosted on Acast. See acast.com/privacy for more information.

We're on Patreon! Find us at https://www.patreon.com/AudioUnleashed This week, Dennis and Brent dig into the news about a new $25/month music streaming service that claims it's the first to deliver lossless and immersive audio. (Please don't tell Apple Music or Qobuz or Tidal or Amazon!) Then they look on as an AudioXpress writer does a Marianas Trench-level dive on the return of the 78 rpm record, and question whether these can deliver as profound a musical experience as lathe-cut records. They conclude by pondering which paper towel is best for cleaning up the drool after Stereophile, Hi-Fi+ and Hi-Fi News review dCS's almost-$300K, five-chassis DAC.

Sponsor Details:Incogni...if you don't like sharing your details with all and sundry online, then you need Incogni. To get our SpaceTime listener deal, visit www.incogni.com/stuartgary or use the coupon code STUARTGARY at checkout.Insta360 - the leaders in 360 degree video shooting. Check out their gear and get your SpaceTime free offer with purchase by visiting www.store.insta360.com and use the coupon code SpaceTime at checkout.This episode of SpaceTime explores remarkable discoveries and urgent cosmic events that are reshaping our understanding of the universe.New Giant Galaxies DiscoveredAstronomers unveil the discovery of 15 new giant radio galaxies, each spanning over 3 million light years and hosting supermassive black holes. Utilizing the advanced capabilities of the Australian Square Kilometer Array Pathfinder (ASCAP), researchers reveal the unique characteristics of these galaxies, including their powerful jets and lobes traveling at superluminal speeds. We delve into the implications of these findings for our understanding of galaxy formation and evolution.Changes on TitanNext, we discuss the intriguing changes occurring on Saturn's moon Titan, which is experiencing rapid orbital changes on geological timescales. Scientists explore the factors influencing Titan's tidal dissipation rate and what it reveals about the moon's internal structure and history. This study provides insights into the dynamic processes at play in our solar system's moons.Failed Soviet Spacecraft ReturnsWe also cover the dramatic re-entry of the Kosmos 482, a failed Soviet spacecraft that spent 53 years in orbit before crashing back to Earth. Launched in 1972 on a mission to Venus, the spacecraft's uncontrolled descent raises concerns about space debris and its potential impact on Earth.AI and Humanity's FutureFinally, we tackle the controversial topic of artificial intelligence and its potential risks to humanity. With AI evolving at an unprecedented pace, we examine the findings of a new study that assesses the likelihood of AI leading to human extinction. As science fiction warns of a future dominated by AI, we explore the reality of these threats and what they mean for our future.www.spacetimewithstuartgary.com✍️ Episode ReferencesScience Advanceshttps://www.science.org/journal/sciadvJournal of the American Medical Associationhttps://jamanetwork.com/journals/jamaBecome a supporter of this podcast: https://www.spreaker.com/podcast/spacetime-space-astronomy--2458531/support.00:00 This is space time series 28, episode 57 for broadcast on 12 May 202500:54 Astronomers have discovered 15 giant radio galaxies each hosting a supermassive black hole09:35 You're still learning about these galaxies11:57 Now you, uh, mentioned starburst galaxies earlier. What are we seeing in elliptical galaxies when this happens15:04 Foreign astronomers have discovered that the orbit of the moon Titan is changing quickly18:49 A failed Soviet era spacecraft has crashed back to Earth21:24 New study claims there's still little chance of artificial intelligence actually exterminating humanity25:39 Using cannabis during pregnancy may increase risk of several adverse birth outcomes, study finds

Send us a textIn this episode we break down fishing the tide and tidal waters. What to look for, how to fish the tides and what tides are the best.  We also talk about the cover and the different grass patterns.  As always, we have a great tackle talk section as well as a little tournament talk.  So sit back and enjoy the show. www.facebook.com/susquehannafishingtacklewww.instagram.com/sfttackle/For all your tackle needs www.SFTTackle.com

If you're a true music fan, you know the best songs are the ones that speak to your soul, and Las Vegas artist Kuttup is doing just that. On this electrifying episode of Music Monday, we sit down with Kuttup to uncover her journey into the music industry and what makes her style impossible to replicate. From her raw lyrics to her captivating stage presence, Kuttup is proving why she's one of the realest voices in the game right now. And to top it off, she takes the stage to perform her hit single, “What It Comes To.” Follow Kuttup: Instagram: @itskuttup TikTok: @kuttupmusic Stream her music on all platforms: Kuttup

On this week's episode of Women Speak — a segment on Northeast Newscast — hosts Northeast News Editor-in-Chief, Julia Williams and former Missouri House Representative for District 19 Ingrid Burnett sat down with Former Superintendent for the Municipal Correctional Institute (MCI), Nancy Leazer to continue our series on women who influence policy. Throughout this episode, Leazer delves into her career at Kansas City's Municipal Correctional Institute (formerly located near Truman Sports Complex), which she began in 1995 as a social work manager and finished as the superintendent when MCI closed its doors in 2009. She highlights various programs that were available throughout her work at the facility and how Jackson County Corrections (1300 Cherry St.) differs from the services MCI offered. Burnett and Williams discuss happenings within the Missouri State House in Jefferson city. This episode discusses a new electric facility from Evergy, which was approved by Missouri Governor Mike Kehoe, Farm Bureau health plans, current changes to 2024 general election ballot measure: Proposition A and a new caucasus within the Missouri House. Burnett additionally mentions vacant seats in several Ethics Commissions across the State. Music used within this Women Speak episode is a song called “I Wish I Knew You Then” by Kansas City local artist Honeybee and the group's lead female vocalist, Makayala Scott. “I Wish I Knew You Then” is a recent single, which Honeybee released in March 2025.  Honeybee's latest single “Charmed Life,” was released on April 25 and is now available on its streaming platforms. “I Wish I Knew You Then,” “Charmed Life” and additional Honeybee tracks are available on Spotify, Apple Music, Youtube, TIDAL and Youtube Music. *Disclaimer* I Wish I Knew You Then and any previous or future Honeybee songs used by The Northeast News within the Women Speak podcasts are courtesy of and approved by Makalya Scott and Honeybee under proper copyright law. Honeybee songs are not royalty free nor subject to free use and should not be used by additional publications or organizations without proper consent. This podcast as well as all Women Speak episodes are made possible by The Northeast News, Northeast Kansas City Chamber of Commerce and Independence Avenue Community Improvement District. 

Trigger warning: This episode delves into “Ode to Billie Joe” by Bobbie Gentry, a song that discusses the suicide of one of its characters. Listener discretion is advised. BONUS EPISODE: In this classic episode of THE STORY SONG PODCAST, your hosts revisit their review of the 1967 country classic, “Ode to Billie Joe” by trailblazing singer/songwriter, Bobbie Gentry. “Ode to Billie Joe” by Bobbie Gentry (from the album Ode to Billie Joe) is available on Apple Music, YouTube Music, Amazon Music, Tidal, Pandora, Spotify, or wherever you listen to music. Learn more about your ad choices. Visit megaphone.fm/adchoices

What makes the tiny island of Lindisfarne a “thin place” where the spiritual and physical worlds seem to meet? How does living in such a close-knit community shape one's identity? And what secrets lie beyond the tourist paths on this ancient sacred site? LK Wilde and J.F. Penn talk about their love of Lindisfarne.Laura is […] The post Thin Places and Tidal Shores: Lindisfarne, Holy Island, With LK Wilde appeared first on Books And Travel.

Kenny and Mark hide from the all-seeing eye to wrestle with this polarizing track from Rebel Heart. Topic include the golden calf, the arrival of Mike Dean, stoners, the true definition of the illuminati, the potential to dance, a reckoning with Kanye West (past & present), Claire Dederer's Monsters: A Fan's Dilemma, iconography, the TIDAL signing, and the desire (and danger) of channeling power to help others. Plus, Kenny makes Mark watch The Kardashians! “Don't make it into something sordid!”

This podcast is brought to you by Outcomes Rocket, your exclusive healthcare marketing agency. Learn how to accelerate your growth by going to outcomesrocket.com Healthcare providers thrive long-term by moving beyond transactional marketing to build brand authority and patient relationships before urgent care needs arise. In this episode, Bryan Cush, CEO of Tidal Health Group, explains how his agency helps care delivery brands navigate the online patient journey through authority building and patient acquisition. He warns against over-relying on short-term tactics, stressing the importance of trust-building in healthcare decisions, especially for specialized care. Bryan advises providers to focus on 1-2 core internal business metrics, such as net new patient visits, rather than short-term marketing ROI. He also shares how Tidal Health's specialization, custom marketing analytics, and emphasis on reputation management set it apart in the evolving digital landscape. Tune in and learn effective strategies for building provider authority, acquiring the right patients, and understanding the modern healthcare marketing landscape! Resources:  Connect and follow Bryan Cush on LinkedIn. Learn more about Tidal Health Group on their LinkedIn and website. Fast Track Your Business Growth: Outcomes Rocket is a full-service marketing agency focused on helping healthcare organizations like yours maximize your impact and accelerate growth. Learn more at outcomesrocket.com

On this week's episode of Women Speak — a segment on Northeast Newscast — hosts Northeast News Editor-in-Chief, Julia Williams and former Missouri House Representative for District 19 Ingrid Burnett sat down with Active Northeast Community Member Patricia Hernandez to continue our series on women who influence policy. Throughout this episode, Hernandez shares her story as a Northeast resident, former Indian Mound Neighborhood Association president — with neighborhood pioneered programs including the Urban Homesteading Project — community activist and business owner. She additionally discusses her experience as a committee woman, her efforts to advocate for the unhoused population in Kansas City and the women who have inspired her along the way.Burnett and Williams discuss happenings within the Missouri State House in Jefferson city. This episode discusses Prescription Benefit Manager (PBM) advertisements — including express grips — its connection to pharmacies and a related bill making its way through the Missouri Senate. Cannabis Facility Licenses and Missouri Secretary of State's suspension of State ebook funding are additional talking points.  Music used within Women Speak episodes is a song called “Ready to Talk” by Kansas City local artist Honeybee and the group's lead female vocalist, Makayala Scott. Ready to Talk is off of Honeybee's first studio extended play (EP) record, “Saturn Return,” which was released in March 2024. Honeybee's latest single “Charmed Life,” was released today and is now available on its streaming platforms. “Charmed Life” and additional Honeybee tracks are available on Spotify, Apple Music, Youtube, TIDAL and Youtube Music. *Disclaimer* Ready to Talk and any future Honeybee songs used by The Northeast News within the Women Speak podcasts are courtesy of and approved by Makalya Scott and Honeybee under proper copyright law. Honeybee songs are not royalty free nor subject to free use and should not be used by additional publications or organizations without proper consent. This podcast as well as all Women Speak episodes are made possible by The Northeast News, Northeast Kansas City Chamber of Commerce and Independence Avenue Community Improvement District. 

Let the gentle rhythm of ocean waves wash over your senses, accompanied by the soft tones of distant wind chimes drifting on a breeze. Tidal Stillness is designed to help you unwind, quiet the mind, and ease into deep, natural sleep. Whether you're ending a stressful day or seeking a moment of calm, this immersive soundscape invites you to let go and float into stillness.   Try Apigenin from partiQlar—pure, third-party tested, and designed to support deep, restful sleep. Get 15% off with code BETTERSLEEP at partiQlar.com. That's partiQlar with a Q—focused on long-term wellness.   You can also listen ad-free in the Your Sleep Guru app, available now on iOS, Android, and Apple TV. The app offers hundreds of calming nature sounds, guided visualisations, and sleep meditations to support your nightly wind-down ritual.

In this episode of THE STORY SONG PODCAST, your hosts review the 1976 heartland-rock classic, “Night Moves,” by Bob Seger & The Silver Bullet Band. Continue the conversation; follow THE STORY SONG PODCAST on social media. Follow us on Bluesky (@storysongpodcast.bsky.social), Instagram (storysongpodcast), Facebook (thestorysongpodcast), Threads (storysongpodcast), GoodPods, and Podchaser. “Night Moves” by Bob Seger & The Silver Bullet Band (from the album Night Moves) is available on Apple Music, YouTube Music, Amazon Music, Tidal, Pandora, Spotify, or wherever you listen to music. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's episode of Women Speak — a segment on Northeast Newscast — hosts Northeast News Editor-in-Chief, Julia Williams and former Missouri House Representative for District 19 Ingrid Burnett sat down with UAW local 249 retiree (Ford Motor Company) Shirley Mata to continue our series on women who influence policy. Throughout this episode, Mata shares her story as a former union worker including activism she has taken part in around the Kansas City metro — including Fight for 15 in a Union. Mata additionally discusses her inspirations and the importance of equal pay for women. Burnett and Williams discuss happenings within the Missouri State House in Jefferson city — including current leadership. At the time this podcast was recorded, Burnett mentioned the role of Minority Floor Leader Ashley Aune who was experiencing a recall of her role within the House. However, following the Missouri House's return from its legislative spring break session on March 24, Aune's role was reaffirmed as the Missouri House of Representatives minority floor leader. Additional bills are also discussed including open enrollment. Music used within Women Speak episodes is a song called “Ready to Talk” by Kansas City local artist Honeybee and the group's lead female vocalist, Makayala Scott. Ready to Talk is off of Honeybee's first studio extended play (EP) record, “Saturn Return,” which was released in March 2024. Honeybee's latest single “I Wish I knew You Then,” is now available on its streaming platforms. “I wish I Knew You Then” and additionally Honeybee tracks are available on Spotify, Apple Music, Youtube, TIDAL and Youtube Music. *Disclaimer* Ready to Talk and any future Honeybee songs used by The Northeast News within the Women Speak podcasts are courtesy of and approved by Makalya Scott and Honeybee under proper copyright law. Honeybee songs are not royalty free nor subject to free use and should not be used by additional publications or organizations without proper consent. This podcast as well as all Women Speak episodes are made possible by The Northeast News, Northeast Kansas City Chamber of Commerce and Independence Avenue Community Improvement District. 

In this episode of THE STORY SONG PODCAST, your hosts review the 1971 pop/rock hit, “Another Day,” the first solo single by legendary singer/songwriter, Paul McCartney. Continue the conversation; follow THE STORY SONG PODCAST on social media. Follow us on Bluesky (@storysongpodcast.bsky.social), Instagram (storysongpodcast), Facebook (thestorysongpodcast), Threads (storysongpodcast), GoodPods, and Podchaser. “Another Day” by Paul McCartney (originally a non-album single) is available on Ram: The Paul McCartney Archive Collection on Apple Music, YouTube Music, Amazon Music, Tidal, Pandora, Spotify, or wherever you listen to music. Learn more about your ad choices. Visit megaphone.fm/adchoices

Our picks for the top 10 best sounding speakers from the past 12 months. Marc and Brian rundown their best speaker picks from cheapest to most expensive. In preparation for the upcoming AXPONA show in Chicago, the pt.AUDIO staff presents some of the best speaker listens since the last show. Much has been updated, revealed and redeemed. Also don't forget to check out the show sponsor of this episode: Tidal Audio and The Voice That Is along with Audio Ultra and Artisan Fidelity will be at the Chicago Marriott Schaumburg April 11th and 12th from 10am to 5pm where they will feature three big rooms and the world premier of the new AP1 speaker. Also available for a listen will be the Contriva G3 and Piano G3 speakers, the new Ferios G2 mono amplifiers, the Contros Digital Music Converter, the Prisma preamplifier, TIDAL x Bugatti MP1 and MC1 electronics, Turnbull Audio Cables and more. Season 12 Merch is now available! The pt.AUDIO Record Weight In Walnut : 230 Gram S12E3 Sponsors: NORDOSTdotCOM - A Clear Choice For The Best Connection SCHIITdotCOM - Audio Components Designed & Built in Texas, Starting At $49 AXPONAdotCOM - North America's Audio Expo ZMFHEADPHONESdotCOM - Traditional Craft, Modern Acoustics

On this week's episode of Women Speak — a segment on Northeast Newscast — hosts Northeast News Editor-in-Chief, Julia Williams and former Missouri House Representative for District 19 Ingrid Burnett sat down with Founder and Executive Director of Hella Good Deeds, Béty Lê Shackelford to continue our series on women who influence policy. Lê Shackelford — a first-generation, Vietnamese American — is originally from the Bay Area in California. After moving to the Kansas City metro a few years ago, she began work with Columbus Park's Café Cà Phê owner, Jackie Nguyen to work toward Asian hate prevention in Kansas City. Through this, “Hella Good Deeds,” was created as a 501(c)(3) nonprofit organization. Throughout this episode, Lê Shackelford shares her journey and future hopes for the nonprofit as well as pivotal people who have inspired her along the way. Burnett and Williams additionally discuss happenings within the Missouri State House in Jefferson city — including government finances and what causes or organizations some of these funds are being allocated toward. The co-hosts additionally share information on the upcoming April 8 school board election. Of items mentioned is the school bond ballot measure informational session and presentation, which will be held from 5 to 6 p.m., on Wednesday, April 2 at the Kansas City Public Library's North-East branch (6000 Wilson Ave.) in “Meeting Room A.” Music used within Women Speak episodes is a song called “Ready to Talk” by Kansas City local artist Honeybee and the group's lead female vocalist, Makayala Scott. Ready to Talk is off of Honeybee's first studio extended play (EP) record, “Saturn Return,” which was released in March 2024. Honeybee's latest single “I Wish I knew You Then,” is now available on its streaming platforms. “I wish I Knew You Then” and additionally Honeybee tracks are available on Spotify, Apple Music, Youtube, TIDAL and Youtube Music. *Disclaimer* Ready to Talk and any future Honeybee songs used by The Northeast News within the Women Speak podcasts are courtesy of and approved by Makalya Scott and Honeybee under proper copyright law. Honeybee songs are not royalty free nor subject to free use and should not be used by additional publications or organizations without proper consent. 

This is a free preview of a paid episode. To hear more, visit chadcrouch.substack.comHello. Just wanted to let you know about my new 8 minute piece in 10 movements, Woods. A few weeks ago I released a similar instrumental work entitled Coots, mentioning it was the first in a series released under the pseudonym “Crou”. It immediately felt like a mistake. Not the music. (For someone who has never felt particularly self-confident as a musician, that was not the problem. I felt good about the music.) The problem was there was another artist going by Crou already, and though I professed the ambiguity of pronunciation appealed to me, I soon reasoned how it would not appeal to the likes of Siri, Alexa and Google Assistant in voice commands. Abort, abort, I thought on release day. So goodby Crou, we hardly knew ya. Hello Sleeping Animal. I like the new name. It's been switched for the Coots release for over a week now, and it's felt steady as she goes. It is one of ten releases I've served up to my distributor with release dates fanning out to September, so the name is pretty much set now. There's plenty more Sleeping Animal to come!Why Sleeping Animal? To me, the name has a warm, tender, and vulnerable connotation. It also doesn't hurt that, as an artist who has to devoted himself to environmental and wildlife recording for the past five years, the name functionally alludes to not containing wildlife sounds. That appeals to me.Starting from square one is always a hand-wringing affair, so if you enjoy it, do me a favor and tell one person about it. In an implacable algorithmic world, word-of-mouth is real.Woods follows in the footsteps of Coots. Not having an environmental sound bed opens up space for a sonic nuance that I've been enjoying experimenting with.And spoiler alert: The die is cast on monochrome cover art. I have another fun project to announce shortly that this aesthetic plays a big role in. Anyway, I'd be delighted if you gave Woods a listen. The sophomore release Woods by Sleeping Animal is available on all music streaming sites (Spotify, Apple, Amazon, Tidal, Qobuz etc.) today, Friday, March 28th.

In this episode of THE STORY SONG PODCAST, your hosts review the 1972 pop hit, “Daddy Don't You Walk So Fast” by Mr. Las Vegas, Wayne Newton.  Continue the conversation; follow THE STORY SONG PODCAST on social media. Follow us on Instagram (storysongpodcast), and Facebook (thestorysongpodcast), Threads (storysongpodcast), GoodPods, and Podchaser. “Daddy Don't You Walk So Fast” by Wayne Newton (originally from the album Daddy Don't You Walk So Fast) is available on The Best of Wayne Newton on Apple Music, YouTube Music, Amazon Music, Pandora, and Spotify; on Greatest Hits on Tidal; or wherever you listen to music. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kirk digs into Fiona Apple's breakneck 1999 single "Fast As You Can," a cornerstone in her late 90s collaborations with Jon Brion, as well as her work with drummer Matt Chamberlain.Written by: Fiona AppleProduced by: Jon BrionAlbum: When The Pawn..., 1999Listen/Buy via Album.LinkALSO REFERENCED/DISCUSSED:Jon Brion in Performing Songwriter Magazine, 2000"Criminal" by Fiona Apple from Tidal, 1996"Tymps (The Sick in the Head Song) by Fiona Apple from Extraordinary Machine, 2005"Monday" by Jon Brion from I Heart Huckabees, 2004"Epistrophy" by Thelonious Monk recorded w/ Milt Jackson in 1948Sound Space Studios demonstrating a Chamberlin keyboard----LINKS-----SUPPORT STRONG SONGS!Paypal | Patreon.com/StrongsongsMERCH STORE (NEW STUFF JUST IN!)store.strongsongspodcast.comKIRK'S GEAR & INSTRUMENT LISTkirkhamilton.com/gearSOCIAL MEDIAIG: @Kirk_Hamilton | Bluesky: @kirkhamilton.comKIRK'S NEWSLETTERnewsletter.kirkhamilton.comJOIN THE STRONG SONGS DISCORDhttps://discord.gg/GCvKqAM8SmSTRONG SONGS PLAYLISTSSpotify | Apple Music | YouTube MusicSHOW ARTTom Deja, Bossman Graphics--------------------MARCH 2025 WHOLE-NOTE PATRONSAndyLisa CrottyElizabeth CulverMeryl AllisonRobyn MetcalfeCesarCorpus FriskyBen BarronCatherine WarnerDamon WhiteJay SwartzRushDaniel Hannon-BarryChristopher MillerJamie WhiteChristopher McConnellDavid MascettiJoe LaskaKen HirshMelanie AndrichJenness GardnerNathaniel BauernfeindPaul DelaneySami SamhuriJeremy DawsonAccessViolationDave FloreyMARCH 2025 HALF-NOTE PATRONSRachelAruni JayatillekeRyan GillenTerry AuvenshineTBDaniel KaberonWiggy HashWhit SidenerJulie KellmanSimon HellmanBeaClaudia CartyDaniGlenn JacksonChristopher Selby SpinkPhilip KellyDaniel NervoKevin StaffordLawrenceSy JacobsirritableIan PiddAndrew HoferJordan GatenbyMelissa KuhnsAshleySeattle Trans And Nonbinary Choral EnsembleKevin MarceloSamantha CoatesJamesMark NadasdiJeffDan CutterJoseph RomeroOl ParkerJohn BerryDanielle KrizClint McElroyMordok's Vape PenInmar GivoniMichael SingerMerv AdrianJoe GalloLauren KnottsDave KolasHenry MindlinMonica St. AngeloStephen WolkwitzRand LeShayMaxeric spMatthew JonesThomasAnthony MentzJames McMurryEthan LaserBrian John PeterChris RemoMatt SchoenthalAaron WilsonDent EarlCarlos LernerMisty HaisfieldAbraham BenrubiLee R.Callum WebbLynda MacNeilDick MorganBen SteinGrettir AsmundarsonSean MurphyRandal VegterKellen SteffenKaya WoodallRobert Granatdave malloyAlan MaassNick Gallowayjohn halpinPeter HardingDavidJohn BaumanMartín SalíasStu BakerSteve MartinoDr Arthur A GrayCarolinaGary PierceMatt BaxterLuigi BocciaE Margaret WartonTim SheehanCharles McGeeCatherine ClauseEthan BaumanKenIsWearingAHatJordan BlockAaron WadeJeff UlmDavid FutterJamieDeebsPortland Eye CareRichard SneddonJanice BerryDoreen CarlsonDavid McDarbyWendy GilchristLisa TurnerPaul WayperMiles FormanBruno GaetaKenneth JungZak RemerRishi SahayJeffrey BeanJason ReitmanAilie FraserRob TsukNATALIE MISTILISJosh SingerAmy Lynn ThornsenAdam WKelli BrockingtonVictoria Yumino caposselaSteve PaquinDavid JoskeBernard KhooRobert HeuerDavid NoahGeraldine ButlerMadeleine MaderJason PrattAbbie BergDoug BelewDermot CrowleyAchint SrivastavaRyan RairighMichael BermanLinda DuffyBonnie PrinsenEoin de BurcaKevin PotterM Shane BordersDallas HockleyJason GerryNell MorseNathan GouwensLauren ReayEric PrestemoncbalmainAngela LivingstoneDiane HughesMichael CasnerLowell MeyerStephen TsoneffJoshua HillGeoff GoldenPascal RuegerRandy SouzaClare HolbertonDiane TurnerTom ColemanDhu WikMelmaniacEric HelmJonathan DanielsCaro FieldDave SharpeNaomi WatsonDavidAlexanderAdam GeorgandisChris KGavin DoigSam FennTanner MortonAJ SchusterJennifer BushDavid StroudBrad CallahanAmanda FurlottiAndrew BakerAndrew FairL.B. MorseBill ThorntonBrian AmoebasBrett DouvilleJeffrey OlsonMatt BetzelNate from KalamazooMelanie StiversRichard TollerAlexander PolsonJustin McElroyArjun SharmaJames JohnsonKevin MorrellColin Hodo

This week Ken welcomes singer-songwriter behind the must buy brand new album "Erotica Veronica", Miya Folick.   Ken and Miya discuss the troubles of LA, the stress of 2025, trying to be creative and make a living as an artist in 2025, life without respite, no longer being the main character, the dark timeline, allowing yourself to work through your own experience, promoting your stuff, not having kids, growing up as a huge nerd, being social, not getting into music until you were in college, loving doing homework, not having the "cool older brother" effect growing up, college radio, mix tapes, KERTH 101, good peer pressure, Live Journal, being a musician without being able to make every specific tone reference possible, collaboration, songwriting, being an idea generator, planning to learn about music history upon retirement, wanting to shred, Tidal, trusting the algorithym, finding new music, going through music droughts, mood and music, auditory sensitivity tied to your menstral cycle, listening to podcasts, The Ezra Klein Show, The Daily, Democracy Now, Heavyweight, Jonathan Goldman, unresolved issues of the heart, developing parasocial relationships with podcast hosts you listen to, being into super dorky opera competitions, Downtown LA, growing up in Orange County, jumping on the turtleneck bandwagon, master classes at the classical music society, trying and hating acting, the audition process, thinking about a return to acting, Paris, Texas, being inspired by Cinema, Portishead, The Three Colors Trilogy, the magic of cinema, pop music, wanting producers across the country, Steve Albini, the belief that the only good album a band makes is their first album, thinking about going back to or even starting a day job, going to sleep with white noise, not watching TV at night, Marvel Comics in the 1970s, and the nature of storytelling.