Podcasts about Tilt

E dopo l'apertura di Italo Carmignani sui disagi per i voli, Anna Guaita ci ragguaglia sull'iniziativa di Trump per Gaza, con Angelo Paura andiamo invece nella silicon Valley dove tutti sono in caccia di giovani geni, per la pagina dello spettacolo, l'esperta di cinema Gloria Satta ci svela l'ultimo film di 007, quindi il Festival di Spoleto con il programma scelto da Antonella Manni

E dopo l'apertura sui disagi per i voli, Anna Guaita ci ragguaglia sull'iniziativa di Trump nei confronti di Israele, con Angelo Paura andiamo nella silicon valley dove sono le big tech sono tutte a caccia di giovani geni , per la pagine della spettacolo, l'esperta di cinema Gloria Satta ci svela l'ultimo film dedicato a 007, quindi Spoleto con il programma del Festival dei Due Mondi scelto da Antonella Manni.

OAS: BRAZIL SEEKING TO TILT THE OAS TOWARD ALLY PRC. MARY ANASTASIA O'GRADY 10-23-1962 OAS

In Ep. 199, Susie Boutry (@NovelVisits), Catherine Gilmore (@GilmoreGuide), and Sarah are all back on the mic, ready to catch up on how their reading is shaping up for 2025 — so far!  They talk about the current publishing landscape, what books are topping bestseller lists to date, and their personal reading as it stands halfway through the year. They share reading stats and talk about expectations and hopes for the remainder of the year. Plus, their TOP 5 books and their biggest disappointments so far. This post contains affiliate links through which I make a small commission when you make a purchase (at no cost to you!). CLICK HERE for the full episode Show Notes on the blog. The Bookish Landscape [1:13] Books Mentioned Onyx Storm by Rebecca Yarros (2025) [3:28]  Fourth Wing by Rebecca Yarros (2023) [4:08] Iron Flame by Rebecca Yarros (2023) [4:11] The Women by Kristin Hannah (2024) [4:22] Sunrise on the Reaping by Suzanne Collins (2025) [4:53]  The Hunger Games by Suzanne Collins (2008) [4:59]  The Let Them Theory by Mel Robbins (2024) [5:02]  Dog Man: Big Jim Begins (Dog Man, #13) by Dav Pilkey (2024) [5:07] The Housemaid by Freida McFadden (2022) [5:13] The Crash by Freida McFadden (2025) [5:17] Atomic Habits by James Clear (2018) [5:24] A Court of Thorns and Roses by Sarah J. Maas (2015) [5:41] Next to Heaven by James Frey (2025) [9:44]  James by Percival Everett (2024) [11:20] Martyr! by Kaveh Akbar (2024) [11:22] Audition by Katie Kitamura (2025) [12:31]  The Names by Florence Knapp (2025) [13:51]  A Little Life by Hanya Yanagihara (2015) [15:52]  The Wedding People by Alison Espach (2024) [17:03]  The Correspondent by Virginia Evans (2025) [17:22]  Broken Country by Clare Leslie Hall (2025) [17:35]  Death of the Author by Nnedi Okorafor (2025) [18:35]  The Heart of Winter by Jonathan Evison (2025) [19:10] The Garden by Nick Newman (2025) [19:16]   The Road to Tender Hearts by Annie Hartnett (2025) [19:34]  Three Days in June by Anne Tyler (2025) [19:58]  Wild Dark Shore by Charlotte McConaghy (2025) [20:34] Tilt by Emma Pattee (2025) [20:38]   The Compound by Aisling Rawle (2025) [20:44]  Dream State by Eric Puchner (2025) [20:49]  Run for the Hills by Kevin Wilson (2025) [21:06] Hot Wax by M. L. Rio (September 9, 2025) [21:18]  Killer Potential by Hannah Deitch (2025) [21:39]  Personal Reading for 2025 (So Far) [22:49] Books Mentioned Dear Edward by Ann Napolitano (2020) [27:14]  The Frozen River by Ariel Lawhon (2023) [27:16]  Careless People by Sarah Wynn-Williams (2025) [31:07] Top Five (So Far)  [31:27] Susie Deep Cuts by Holly Brickley (2025) | Amazon | Bookshop.org [31:49] Broken Country by Clare Leslie Hall (2025) | Amazon | Bookshop.org [37:03] The Death of Us by Abigail Dean (2025) | Amazon | Bookshop.org [38:07] Nesting by Roisín O'Donnell (2025) | Amazon | Bookshop.org [49:11] The Names by Florence Knapp (2025) | Amazon | Bookshop.org [53:12] Catherine The Heart of Winter by Jonathan Evison (2025) | Amazon | Bookshop.org[33:45] This Is a Love Story by Jessica Soffer (2025) | Amazon | Bookshop.org [42:06] Heartwood by Amity Gaige (2025) | Amazon | Bookshop.org [51:28] Wild Dark Shore by Charlotte McConaghy (2025) | Amazon | Bookshop.org[53:59] Abigail and Alexa Save the Wedding by Lian Dolan (2025) | Amazon | Bookshop.org [56:03] Sarah Broken Country by Clare Leslie Hall (2025) | Amazon | Bookshop.org [36:00] The Death of Us by Abigail Dean (2025) | Amazon | Bookshop.org [40:31] The Slip by Lucas Schaefer (2025) | Amazon | Bookshop.org [44:03] The Bright Years by Sarah Damoff (2025) | Amazon | Bookshop.org [52:26] The Road to Tender Hearts by Annie Hartnett (2025) | Amazon | Bookshop.org[54:55] Other Books Mentioned The River Is Waiting by Wally Lamb (2025) [40:25] Bright Young Women by Jessica Knoll (2025) [40:40] Headshot by Rita Bullwinkel (2024) [47:47] The Knockout Queen by Rufi Thorpe (2020) [48:22] I Could Live Here Forever by Hanna Halperin (2023) [52:54] Biggest Disappointments (So Far)  [57:46] Susie The Strange Case by Jane O by Karen Thompson Walker (2025) | Amazon | Bookshop.org [58:09] The Road to Tender Hearts by Annie Hartnett (2025) | Amazon | Bookshop.org[58:13] Fulfillment by Lee Cole (2025) | Amazon | Bookshop.org [58:18] Catherine The Favorites by Layne Fargo (2025) | Amazon | Bookshop.org [58:51] Dream State by Eric Puchner (2025) | Amazon | Bookshop.org [58:56] The River Is Waiting by Wally Lamb (2025) | Amazon | Bookshop.org [59:08] Atmosphere by Taylor Jenkins Reid (2025) | Amazon | Bookshop.org [59:45] Sarah Memorial Days by Geraldine Brooks (2025) | Amazon | Bookshop.org [1:00:16] What Happened to the McCrays? by Tracey Lange (2025) | Amazon | Bookshop.org [1:00:28] Audition by Katy Kitamura (2025) | Amazon | Bookshop.org  [1:00:51] Finding Grace by Loretta Rothschild (July 8, 2025) | Amazon | Bookshop.org[1:01:43]

Iran launches missiles at the largest American military base in the Middle East. Is this the beginning of a larger war between the U.S., Israel, and Iran? The Constitution says Congress has the power to declare war. But it also designates the president as the commander-in-chief of the armed forces, with the power to respond to emergencies, including limited military actions overseas. Need a good book for summer? Consider “The Bombshell,” “An Oral History of Atlantis,” “A Marriage at Sea,” “A Truce That is Not Peace,” “The Hounding,” and “Tilt.” Laguna Beach native Ty Segall has experimented with different music genres over the years. Now his 16th album centers on American storytelling.

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

Ariel Blake narrates this story of nine-months-pregnant Annie, who must find a way to reach her husband and make her way home from crib-shopping after an earthquake hits Portland, Oregon. AudioFile's Michele Cobb and host Jo Reed discuss how Blake's dramatic narration captures Annie's fears and concerns as she talks to "Bean," her unborn child. Blake's voice quavers as she presents a mother-to-be who is full of emotion and self-reflection. Blake conveys Annie's worries, as well as the day-to-day details of her and her husband's lives while confronting the natural disaster.  Read our review of the audiobook at our website Published by Simon & Schuster Audio. Discover thousands of audiobook reviews and more at AudioFile's website     Support for AudioFile's Behind the Mic comes from HarperCollins Focus, and HarperCollins Christian Publishing, publishers of some of your favorite audiobooks and authors, including Reba McEntire, Bob Goff, Kathie Lee Gifford, Max Lucado, Lysa TerKeurst, and so many more! Learn more about your ad choices. Visit megaphone.fm/adchoices

"Tilt," the debut novel by Portland writer Emma Pattee imagines the aftermath of a Cascadia Subduction Zone earthquake. As a journalist, Pattee has reported on the danger that Portland schools' unreinforced masonry buildings pose during an earthquake. Today, we're talking with Pattee about the book, the real science behind it, and how she still finds joy living in Portland while acknowledging the threat.  Become a member of City Cast Portland today! Get all the details and sign up here.  Who would you like to hear on City Cast Portland? Shoot us an email at portland@citycast.fm, or leave us a voicemail at 503-208-5448. Want more Portland news? Then make sure to sign up for our morning newsletter, Hey Portland, and be sure to follow us on Instagram.  Looking to advertise on City Cast Portland? Check out our options for podcast and newsletter ads at citycast.fm/advertise. Learn more about the sponsors of this June 23rd episode: PaintCare Visit Walla Walla Kenai Red Fish Northwest Children's Theater Oregon Health Authority Learn more about your ad choices. Visit megaphone.fm/adchoices

Iran launches missiles at the largest American military base in the Middle East. Is this the beginning of a larger war between the U.S., Israel, and Iran? The Constitution says Congress has the power to declare war. But it also designates the president as the commander-in-chief of the armed forces, with the power to respond to emergencies, including limited military actions overseas. Need a good book for summer? Consider “The Bombshell,” “An Oral History of Atlantis,” “A Marriage at Sea,” “A Truce That is Not Peace,” “The Hounding,” and “Tilt.” Laguna Beach native Ty Segall has experimented with different music genres over the years. Now his 16th album centers on American storytelling.

(0:00) The Besties welcome Thomas Laffont! (3:26) State of LA, Hollywood's decline, positivity around GDP growth and AI productivity (10:19) Zuck on tilt over AI: $100M offers, Scale AI deal, hiring spree (23:58) Mag 7 AI Showdown: Ranking the most likely AI winners, biggest stock divergences, and more (42:41) Why Apple is fumbling AI and how they can fix it? (57:02) IPOs and M&A heating up in 2025 (1:16:18) State of liquidity: SPACs, Direct Listings, and more (1:25:40) Amazon's "kingmaker" position, job displacement (1:37:47) Sacks joins to discuss the GENIUS Act passing the Senate (1:52:13) Animal trailer Follow Thomas Laffont: https://x.com/thomas_coatue Animal Trailer: https://www.youtube.com/watch?v=8NNW5r63oXU Follow the besties: https://x.com/chamath https://x.com/Jason https://x.com/DavidSacks https://x.com/friedberg Follow on X: https://x.com/theallinpod Follow on Instagram: https://www.instagram.com/theallinpod Follow on TikTok: https://www.tiktok.com/@theallinpod Follow on LinkedIn: https://www.linkedin.com/company/allinpod Intro Music Credit: https://rb.gy/tppkzl https://x.com/yung_spielburg Intro Video Credit: https://x.com/TheZachEffect Referenced in the show: https://techcrunch.com/2025/06/17/sam-altman-says-meta-tried-and-failed-to-poach-openais-talent-with-100m-offers https://www.cnbc.com/2025/06/10/zuckerberg-makes-metas-biggest-bet-on-ai-14-billion-scale-ai-deal.html https://www.nytimes.com/2025/06/12/technology/meta-scale-ai.html https://scale.com/blog/scale-ai-announces-next-phase-of-company-evolution https://www.reuters.com/business/meta-talks-hire-former-github-ceo-nat-friedman-join-ai-efforts-information-2025-06-18 https://techcrunch.com/2012/09/11/mark-zuckerberg-our-biggest-mistake-with-mobile-was-betting-too-much-on-html5 https://www.reuters.com/technology/china-launch-new-40-bln-state-fund-boost-chip-industry-sources-say-2023-09-05 https://x.com/JoannaStern/status/1933564098291048764 https://www.youtube.com/watch?v=wCEkK1YzqBo https://x.com/chamath/status/1932157508698919320 https://www.renaissancecapital.com/IPO-Center/Stats/Pricings https://www.aboutamazon.com/news/company-news/amazon-ceo-andy-jassy-on-generative-ai https://x.com/chamath/status/1935369326321877153 https://x.com/chamath/status/1935740807925100853 https://www.google.com/finance/quote/COIN:NASDAQ https://www.google.com/finance/quote/SPOT:NYSE https://x.com/ylecun/status/1935108028891861393 https://x.com/ben_j_todd/status/1934284189928501482 https://apnews.com/article/election-2024-senate-ohio-brown-moreno-74c4b91e5866215d4201377fefcadad0 https://companiesmarketcap.com/microsoft/revenue https://apnews.com/article/election-2024-senate-ohio-brown-moreno-74c4b91e5866215d4201377fefcadad0 https://www.youtube.com/watch?v=8NNW5r63oXU

Canberra halfback Jamal Fogarty says his Raiders teammates have the belief they can go all the way and win this year's premiership after a strong start to the season.See omnystudio.com/listener for privacy information.

Daniel talks about the latest FOMC meeting and its implications on asset classes. Speaker:  - Daniel Lam, Head of Equity Strategy, Standard Chartered Bank For more of our latest market insights, visit Market views on-the-go or subscribe to Standard Chartered Wealth Insights on YouTube.

Practical, measurable growth—Brandon Salisbury joins Mason Cosby on Scrappy ABM to share the framework behind a 456% pipeline increase and 255% revenue growth at Tilt. This episode is for marketers and revenue leaders who want actionable steps, not just theory.Hear how Brandon Salisbury broke down historical data to identify segments with true product-market fit, shifted messaging from generic ROI to sharp, outcome-based content, and partnered closely with sales to make every campaign count. Brandon goes deep on targeting, channel mix, content strategy, and the lessons learned from RFIs, Gong transcripts, and buying committee insights. Whether you're starting your first ABM program or leveling up an existing one, you'll find candid advice on aligning teams, overcoming old mindsets, and scaling what works—without chasing vanity metrics.

The newest episode of The Chemical Sensitivity Podcast is available now! It's called “Environmental Disability.” I'm speaking with Norwegian sociology researcher, Pia Aimée Tordly. Her research on Environmental Disability is informed by her experiences living with MCS. When Pia first developed the illness in 2010, she lost her job, had move 10 times, and had no other option but to live in her vehicle for a time. Since then, she has completed two master's degrees focused on Environmental Disability and MCS. You'll hear Pia explore:·      Her use of the term Environmental Disability.·      How health authorities in Norway mystify, psychologize, and stigmatize people with MCS. ·      How officials largely dismiss Environmental Disability and downplay the need to include and support people with MCS. ·      How the medical system increases the social isolation that many individuals with MCS experience. ·      And how the medical authorities could to a better job responding to people with MCS. Thank you for listening! Please join The Chemical Sensitivity Podcast's new Facebook group.You can reach me at aaron@chemicalsensitivitypodcast.orgPia Aimée Tordly's 2025 co-authored paper:"Environmental disability – a languageless diffusestigma" #MCSAwareness #MCS #MultipleChemicalSensitivity #TILT  #MultipleChemicalSensitivityPodcast #ChemicalIntolerance #ChronicIllness #InvisibleIllness DISCLAIMER: THIS WEBSITE DOES NOT PROVIDE MEDICAL ADVICE  The information, including but not limited to, text, graphics, images, and other material contained on this website are for informational purposes only. No material on this site is intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your physician or other qualified health care provider with any questions you may have regarding a medical condition or treatment and before undertaking a new health care regimen, and never disregard professional medical advice or delay in seeking it because of something you have read on this website. No material or information provided by The Chemical Sensitivity Podcast, or its associated website is intended to be a substitute for professional medical advice, diagnosisSupport the showThank you very much to the Marilyn Brachman Hoffman Foundation for its generous support of the podcast.If you like the podcast, please consider becoming a supporter! Support the podcast. Find the podcast on Patreon. If you like, please buy me a coffee. Follow the podcast on YouTube! Read captions in any language. Please follow the podcast on social media:FacebookInstagramXBlueSkyTikTokSponsorship Opportunites Are you an organization or company interested in helping to create greater awareness about Multiple Chemical Sensitivity and Chemical Intolerance and/or looking for sponsorship opportunities? Please email us at info@chemicalsensitivitypodcast.org

George Russell vence o GP do Canadá em dia de batida das McLarens - Norris deu tilt?

Tubes talks Kaz through the Southern Football League (SFL) matches over the weekend, sharing a post-game chat with Connor McGee from the Dodges Ferry Sharks.See omnystudio.com/listener for privacy information.

It's Winnipeg week! Matt, Nik and MOJ start by recapping the big win over Edmonton last Saturday, which was another banger of a Concert Kickoff! MOJ is fired up over one key element of Thursday's Bomber clas,h while the fellas also welcome in Darrin Bauming from Bonfire Sports for a look at what they're saying in Manitoba ahead of this matchup. Nik's famous trivia is Buck Pierce-themed as the head coach makes his return to Princess Auto Stadium. The fellas also bring in Cam Tucker from BCLC and PlayNow to discuss some noteworthy lines for the coming week in the CFL. 0:00 - intro 0:33 - Week 1 vs. Edmonton recap 13:45 - Week 2 at Winnipeg preview 23:25 - Darrin Bauming interview 39:45 - Kowalski's BC Lions Trivia 50:11 - Between the Lines with PlayNow

SPORTS: Obiena places fifth in Netherlands tilt | June 11, 2025Visit our website at https://www.manilatimes.netFollow us:Facebook - https://tmt.ph/facebookInstagram - https://tmt.ph/instagramTwitter - https://tmt.ph/twitterDailyMotion - https://tmt.ph/dailymotionSubscribe to our Digital Edition - https://tmt.ph/digitalSign up to our newsletters: https://tmt.ph/newslettersCheck out our Podcasts:Spotify - https://tmt.ph/spotifyApple Podcasts - https://tmt.ph/applepodcastsAmazon Music - https://tmt.ph/amazonmusicDeezer: https://tmt.ph/deezerStitcher: https://tmt.ph/stitcherTune In: https://tmt.ph/tunein#TheManilaTimes Hosted on Acast. See acast.com/privacy for more information.

If I lost everything – the audience, the money, the reputation – and had to start over, here's what I'd do. Step 0: Take Inventory What do I still have? My skills. My story. My scars. Just because the list is gone doesn't mean the asset is. This helps frame that even starting from “nothing” isn't truly nothing. Step 1: Cry I'd spend at least a week screaming into the void. “Why me Oh Lord, why me?” Then I would get down to business. I'd remind myself: “There's never been a better time to start over. The tools are free. The gatekeepers are gone. The only thing missing is your plan.” Step 2: Pick a weirdly specific niche I'd need to spend time to really find my purpose…my Tilt. As Warren Buffett and Simon Sinek discuss, every successful person is really good at one thing. What am I really good at or know something about to truly differentiate? And it's not about being louder or flashier. It's about being more specific, more real, and more essential to a group of people who need exactly what I have. I'd need to work on it, but things like: ·         Helping laid-off corporate marketers build a business around one weekly email. ·         Guiding former agency owners to repurpose their network into a publishing-driven business. ·         Helping Midwest Gen Xers who want to escape the job ladder and own something by 50. ·         Coaching marketers over 40 to build businesses that don't require social media. ·         Teaching people with 1,000 email subscribers how to make a full-time income. ·         Helping podcast hosts averaging over 10,000 downloads per month turn their show into a live event, a book, and a revenue flywheel. I'd obsess over a tiny group of people with a burning problem. I'd need to remind myself that you can't be too niche. The more specific the better. I'm already thinking that a number of the ones I listed are not specific enough. Step 3: Define Success What will success look like? I'd spend some time visualizing what that could be. Family life? Money needs? Living situation? Career goals? Basically, what do I really want here? What's the dream? Then, I would write that statement down in my journal and review it every day. Something like: We are the leading event education resource for podcast hosts and sell the company for two million dollars in 2028. Something like that. Step 4: Start an email newsletter. Twice Per Week. Non-negotiable. I'd write one useful, entertaining email two times per week. No fluff. No templates. Just my honest take. This would be the home base for everything. The email list is the new land. Social is just rented space. Even though I really like using Kit (how you received this email), I probably would opt for Substack, where you get the benefit of the direct connection (email) with a little more help from a network (social media). Step 5: Spread the Word I would create a list of 15-20 places where I believe my audience is hanging out, mostly other newsletters and podcasts. I would reach out and form relationships with these people to do guest articles and serve as podcast guests. I would also prepare a few sample speeches and start submitting to relevant in-person events. Step 6: Write the Book As I create my newsletter I would start thinking about how I can take these newsletters and put it into a print, ebook and audiobook for sale. This will, ultimately, become my greatest marketing vehicle…the business card everyone wishes they had. Of course, I would use Tilt Publishing. Step 7: Launch a product before I feel ready By month 2, I'd offer something—a digital guide, a paid workshop, a 1-hour consult. Not to make money at first. But to get skin in the game and test what people will pay for. Revenue doesn't come from a viral moment. It comes from consistent service to a small, loyal group. Step 8: Build in public I'd document every win, fail, and lesson. Why? Because people don't follow perfection. They follow momentum. I'd most likely include my own creation strategies in every newsletter. Step 9: Stack assets By month 6, I'd package my best content into a course I could sell forever. Not for viral growth. For long-term leverage. Step 10: Diversify into second channel By six to nine months, I should have a small but growing email newsletter following, a newly published book, a speaking event here or there, some podcast appearances, a couple small consulting clients and a newly launched course. If the small wins are there, I'd diversify into a second channel, most likely a podcast, which could also be a YouTube show. More than anything, this would be marketing for the main channel, the email newsletter. Register for Content Entreprenuer Expo at CEX.events today. ------- Like this episode? SUBSCRIBE on Apple, Spotify or Google. See all Content Inc episodes at the Content Inc. podcast home. Get my personal newsletter today and receive my free goal-setting guide today.  

SPORTS: Eldrew Yulo guns for gold at Asian junior tilt | June 8, 2025Visit our website at https://www.manilatimes.netFollow us:Facebook - https://tmt.ph/facebookInstagram - https://tmt.ph/instagramTwitter - https://tmt.ph/twitterDailyMotion - https://tmt.ph/dailymotionSubscribe to our Digital Edition - https://tmt.ph/digitalSign up to our newsletters: https://tmt.ph/newslettersCheck out our Podcasts:Spotify - https://tmt.ph/spotifyApple Podcasts - https://tmt.ph/applepodcastsAmazon Music - https://tmt.ph/amazonmusicDeezer: https://tmt.ph/deezerStitcher: https://tmt.ph/stitcherTune In: https://tmt.ph/tunein#TheManilaTimes Hosted on Acast. See acast.com/privacy for more information.

Summary: Let's talk about babies, baby! Today our hosts discuss books featuring pregnant protagonists. This is especially timely given that Holly is pregnant (and upon release, perhaps Baby has already arrived!). Whether you're looking for an unexpected romance or a real look into vulnerability and perseverance, reading works centered on pregnant folks is a great avenue to go down. Note: Given the imminent arrival of Holly's baby, we will be going on a hiatus after our 90th episode, through the summer and fall. We will keep you all posted from there about what's next as Holly gets adjusted to this new phase of life—in the meantime, thanks for your patience and of course we have 90 episodes you can revisit at any time in case you miss us.  Topics Discussed: The Heart (4:28): Devin discussed Ready or Not by Cara Bastone, a novel following Eve Hatch after a one night stand leads to an unintended pregnancy. Living in Brooklyn with a dream-adjacent career, best friends, and a cozy if not exciting life, Eve now has her whole future thrown into uncertainty. Whether it's collaborating with her baby daddy or increasingly relying on her best friend's brother, Shep, Eve needs to figure out what she really wants now, beyond her child. Devin's key takeaways were: The portrayal of pregnancy and the pacing of this story by Bastone give the reader time to experience (secondhand) the trajectory of those pivotal 9 months and how Eve navigates not only her growing belly but also her growing network and expanding world. With ups and downs, excitement and fear, whether you've been pregnant before or not you should expect to empathize and better understand that experience.  While there are romantic elements to this book, it's not a very intense or dramatic part of the book. The greater emotional arc of the book is around found family for Eve and the way she explores platonic and romantic intimacy outside of sexuality. If you're looking for a slow burn, emotionally intelligent connection, this book is for you.  As the reader follows Eve from her predictable and controlled life in Brooklyn into this surprising and unexpected future, we explore how she learns to embrace the unexpected and let go of her need to control her life too much. The best laid plans almost never work out and for Eve, that might be a great thing.  The Dagger (15:48): Holly discussed Tilt by Emma Pattee, a climate fiction story following Annie, a 37-week-pregnant woman who is shopping in IKEA when a massive earthquake - modeled after the predicted Cascadia Subduction Zone event - devastates Portland, OR. Trapped momentarily amidst the chaos, she escapes the huge store only to find the city in ruins: communication lines are down, infrastructure is destroyed, and everyone is panicking. With no way to get in touch with her husband, Annie embarks on a treacherous journey across the city to reunite with him. Holly's key takeaways were: Throughout her journey, Annie grapples with her identity and the societal expectations of motherhood. She reflects on her past aspirations, including her abandoned dream of becoming a playwright, and how these unfulfilled ambitions intersect with her current role as a mother-to-be. The narrative delves into her internal conflicts, questioning traditional notions of maternal instinct and the societal pressures placed upon mothers.  The earthquake serves as a catalyst for Annie's transformation. Initially portrayed as overwhelmed and uncertain, her experiences during the disaster compel her to confront her fears and reassess her priorities. This journey mirrors the transformative process of becoming a mother, highlighting themes of growth, sacrifice, and the redefinition of self. Annie's odyssey underscores the human capacity to endure and adapt in the face of overwhelming adversity. Throughout her journey, Annie meets a spectrum of individuals—some offering aid, others posing danger—each interaction shedding light on human nature in crisis. Interspersed with her physical journey are Annie's reflections on her past: her career aspirations, the strains in her marriage, and her ambivalence about motherhood. Hot On the Shelf (32:01): Devin: We Solve Murders by Richard Osman Holly: King of Ashes by S.A. Cosby What's Making Our Hearts Race (36:01): Holly: IMO Podcast with Michelle Obama and Craig Robinson Devin: Silicon Valley on HBO Max   Instagram: @heartsanddaggerspod Website: www.heartsanddaggerspod.com   If you like what you hear, please tell your friends and rate and review us on Apple Podcasts and Spotify so that we can find our perfect audience.

In this episode of the, the hosts review the highly anticipated comeback of Red Velvet's Irene and Seulgi with their new song 'Tilt' diving into the significance of sensuality and in kpop music videos, and the challenges faced by veteran groups in the current industry landscape. They also discuss new music from Kim Jaejoong, SHINee, and independent artist Hersh feat JUSTHIS.Join the Kpopcast Slack: https://join.slack.com/t/kpopcast/shared_invite/zt-93kzxcv6-YNej2QkyY6vaPnhEQJxk0AChip in for editing: https://ko-fi.com/thekpopcast HIT REPLAYS:김재중(KIM JAE JOONG) 'ROCK STAR' MV https://youtu.be/UrZXzp2t91M?si=Heg2CJV62lvnU2nE Hersh - Falling Into You (Feat. JUSTHIS) https://youtu.be/hGgCiS2T72o?si=Bb3AI7IfrWNNgNId SHINee 샤이니 'Poet | Artist' MV https://youtu.be/QF6P6BSPDRw?si=wA-TU0IFqdv-aZw1 Chapters00:00 Introduction to K-Pop Cast and Hit Replays03:46 Spotlight on Kim Jaejoong: A K-Pop Legend09:41 Exploring Independent Artists: Hirsch and Justice14:34 SHINee's Comeback: Remembering Jonghyun19:30 Red Velvet's Irene & Seulgi: The Long-Awaited Return21:25 Introduction and Initial Reactions22:22 Expectations vs. Reality in Title Tracks23:13 Desire for Sensual Storytelling in K-Pop24:24 Comparing Sensuality in K-Pop History25:16 The Role of Government and Cultural Norms26:16 The Evolution of Female Sensuality in K-Pop27:11 Choreography and Performance Quality28:12 The Impact of NCT and ESPA on SM's Focus28:59 Comparing Previous Works and Current Trends29:53 Choreography and Audience Connection31:02 The Essence of K-Pop Choreography31:56 The Storytelling Aspect in Music Videos33:00 The Future of Red Velvet and SM's Direction33:49 Final Thoughts and Wrap-Up Hosted on Acast. See acast.com/privacy for more information.

The Buffalo Bills have high organizational aspirations for the 2025 NFL Campaign. With Training Camp still several weeks away, the guys will be taking the next few weeks looking ahead at the 2026 roster at notable key positions. The running back position has been the topic of conversation for many months during the offseason. Tilt takes a deep dive into the contract situation for all of the Bills current running backs. We will also start early discussions on some notable running back prospects for the upcoming 2026 draft class. Which running backs should have our attention as the college season plays out, and which prospects could be on the Bills radar come the 2026 NFL Draft? Share your thoughts and reactions in the comments section. Go Bills!

Steak Shapiro and Sandra Golden talk about the surprising hire or former Braves manager Fredi Gonzalez to be the new Braves 3rd base coach, and the injuries to A.J. Smith-Shawver and Marcell Ozuna.

Spanners, Trumpets and Kristian buckle up for some wheel banging as they wrangle all the intricacies of the Spanish Grand Prix in this, the latest episode of Missed Apex Podcast! ⭐Missed Apex Tik Tokhttps://www.tiktok.com/@missedapexf1⭐ Spanners https://x.com/SpannersReadyhttps://bsky.app/profile/spannersready.bsky.social⭐ Matt Trumpets https://x.com/mattpt55https://bsky.app/profile/mattpt55.bsky.socialWays To Support Missed Apex:✅ Join our Patreon to gain access to our exclusive Patreon Only Discord Chat + Bonus ContentWe Only Exist Due to Our Patron Support https://www.patreon.com/MissedApex✅ Leave a tip https://missedapexpodcast.com/tipjarOn Tonight's Show:⭐Missed Apex Tik Tokhttps://www.tiktok.com/@missedapexf1⭐ Spanners https://x.com/SpannersReadyhttps://bsky.app/profile/spannersready.bsky.social⭐ Matt Trumpets https://x.com/mattpt55https://bsky.app/profile/mattpt55.bsky.social⭐Kristian KP Pederson https://bsky.app/profile/kredep.bsky.socialGive Spanners Insta a go!!!https://www.instagram.com/spannersreadyAnd give Kristian a big BlueSky welcomehttps://bsky.app/profile/kredep.bsky.socialAnd the awesome Missed Apex MotoGP podhttps://open.spotify.com/show/3IEB1Q2STelYNP7nda3gxd Hosted on Acast. See acast.com/privacy for more information.

Annie is nine months pregnant and shopping for a crib when a massive earthquake hits Portland, Oregon. All she can do is try to walk home. We follow her journey across a transformed city as she reflects on her life and re-considers hope for the future.

Check out the newest episode of The Chemical Sensitivity Podcast!   It's called “MCS Advocates and Activists.”I'm speaking with two women in the U.S. and two women in Canada. All have severe MCS and are activists when it comes to the illness, creating awareness and calling for change in unique and important ways. You'll hear them explore: Why they decided to engage in advocacy How they respond to disbelievers and ask people to choose fragrance-free productsAnd their hopes for the future. Thank you for listening! Please share your feedback about the episode on social media. Please subscribe where you get your podcasts and leave a review. It helps others find the podcast.Please join the podcast's new Facebook group to stay informed:https://www.facebook.com/groups/chemicalsensitivitypodcast #MCS #MultipleChemicalSensitivity #MCSAwareness #TILT  #MultipleChemicalSensitivityPodcast DISCLAIMER: THIS WEBSITE DOES NOT PROVIDE MEDICAL ADVICE  The information, including but not limited to, text, graphics, images, and other material contained on this website are for informational purposes only. No material on this site is intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your physician or other qualified health care provider with any questions you may have regarding a medical condition or treatment and before undertaking a new health care regimen, and never disregard professional medical advice or delay in seeking it because of something you have read on this website. No material or information provided by The Chemical Sensitivity Podcast, or its associated website is intended to be a substitute for professional medical advice, diagnosis, or treatment. Support the showThank you very much to the Marilyn Brachman Hoffman Foundation for its generous support of the podcast.If you like the podcast, please consider becoming a supporter! Support the podcast. Find the podcast on Patreon. If you like, please buy me a coffee. Follow the podcast on YouTube! Read captions in any language. Please follow the podcast on social media:FacebookInstagramXBlueSkyTikTokSponsorship Opportunites Are you an organization or company interested in helping to create greater awareness about Multiple Chemical Sensitivity and Chemical Intolerance and/or looking for sponsorship opportunities? Please email us at info@chemicalsensitivitypodcast.org

Here's the transcript condensed into five sentences in the first person past tense:I went to the UVic track to do a racewalking workout, warmed up with a couple of laps, and set up my camera to capture my form from a distance. I used a voice recorder in my left hand and wore a heart rate strap to monitor my zones, adjusting my pace to stay mostly in zones three and four. Throughout the session, I reflected on the efficiency of racewalking compared to running, noting how smooth and low-impact it felt on my joints. I reversed direction halfway through to maintain balance and symmetry, and observed others arriving for high jump practice while I continued my laps. By the end, I had captured enough footage, stayed under a nine-minute pace, and felt satisfied with a solid cardiovascular workout.

Before you find your Tilt, activities will dart around you like they have no specific purpose. But if you lean into all these different activities, they'll start to make sense to you, and you'll begin to realize your true purpose. Once you accept this, you'll be more open to who you can and will become. ------- Like this episode? SUBSCRIBE on Apple, Spotify or Google. See all Content Inc episodes at the Content Inc. podcast home. Get my personal newsletter today and receive my free goal-setting guide today.

Within the space of one week, US President Donald Trump endorsed tax increases for America's top earners and promised to slash drug prices by up to 70 per cent. It's a platform that echoes former presidential candidate Bernie Sanders and others on the political left. So why are we hearing it from Trump, and why now? FT's Washington bureau chief James Politi and global business columnist Rana Foroohar are on the show to discuss.Subscribe to the new Swamp Notes feed here. Mentioned in this podcast:Trump leans left in bid to revive flagging poll numbersWhy ‘Make Hollywood Great Again' makes senseSign up for the FT's Swamp Notes newsletter hereSwamp Notes is produced by Katya Kumkova. Topher Forhecz is the acting co-head of audio. Special thanks to Sonja Hutson and Pierre Nicholson. CREDIT: clip from Forbes Hosted on Acast. See acast.com/privacy for more information.

For those who haven't heard the announcement I posted, songs from this point on will sometimes be split among multiple episodes, so this is the first 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 twenty-seven-minute bonus episode available, on “Baby It’s You” by Smith. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ (more…)

Tilt takes viewer takes and questions in a live Q&A. 

Welcome to a special series of Art Pays Me interviews with the winners of the 2024 Creative Nova Scotia Awards. Presented annually by Arts Nova Scotia and the Creative Nova Scotia Leadership Council, these awards celebrate artistic excellence across Mi'kma'ki. This would not be possible without the fantastic production work of Heist and Keke Beatz. On this episode I spoke with Emerging Artist Award recipient, Susanne Chui.  A central figure in Halifax's contemporary dance community, Susanne became Co-Artistic Director of Mocean Dance in 2012. With Mocean, Susanne has developed roles in works by Heidi Strauss, Serge Bennathan, Tedd Robinson, Lesandra Dodson and Claire French, and co-created Burnwater: Alchemy with Erin Donovan (Hear Here Productions). Susanne trained professionally at the School of Toronto Dance Theatre and was based in Toronto from 1999-2007. During that time she danced for many independent choreographers and extensively with Yvonne Ng, with whom she toured to Singapore in 2005. She was a founding member of TILT: sound + motion dance company, where she had the pleasure of performing works by some of Canada's finest choreographers including, Robert Abubo, Marie-Julie Asselin, Bill Coleman, Lesandra Dodson, Deborah Dunn, Sasha Ivanochko, Sharon Moore, and Heidi Strauss. Since returning to Halifax, Susanne has become immersed in the dance community collaborating with dance artists Jacinte Armstrong, Lesandra Dodson, Veronique MacKenzie, Gwen Noah Dance, Phin Performing Arts, as well as with SiNS, a collective she co-founded in 2005 with Jacinte Armstrong and Sara Coffin. Susanne collaborates across disciplines, working regularly with master musician Jerry Granelli and teaching at Creative Music Workshop, an annual improvisation-based summer program. As a choreographer she has received funding from Canada Council for the Arts and Arts Nova Scotia and her works have been presented in Moncton, Toronto and in Halifax by Kinetic Studio and the TD Halifax Jazz Festival. She was the first recipient of Kinetic Studio's Explorations Choreographic Scholarship and was the 2012 recipient of the Diane Moore Creation Scholarship. In 2016 she received the Lieutenant Governor of Nova Scotia's Masterworks Award, for her role as a dancer in Mocean's Canvas 5 x 5, choreographed by Tedd Robinson. An active arts manager, Susanne has worked in various roles in the arts community. She has served on the boards of Live Art Dance Productions, Kinetic Studio and the Legacy Centre for the Performing Arts, and participated on various committees and juries including Arts Nova Scotia, City of Halifax, Nova Scotia Talent Trust and the Canadian Dance Assembly. She is a member of Dancer Transition Resource Centre, Canadian Alliance of Dance Artists and Canadian Dance Assembly.

Tilt Renewables CEO Anthony Fowler on plans for first giga-scale wind project in NSW, and its first battery projects. Plus: Election washup and NSW grid access rights.

Sports Daily Full Show 8 May 2025

The 2025 NFL Draft is officially in the books and the Buffalo Bills came away with nine selections. Headlined by Max Hairston (CB), T.J. Sanders (IDL), and Landon Jackson (Edge), the Bills drafted heavily on the defensive side of the ball (6 of 9 selections on defense). What does this mean for the the current players on the roster and at what position groups do the Bills now have legitimate competition for roster spots? Join Judge and Tilt as they recap all of the happenings from yet another exciting draft weekend. Share your thoughts and reactions in the comments section. Go Bills!

The newest episode of The Chemical Sensitivity Podcast is available now! You'll hear my first in a series of personal reflections about MCS.The episode is called “Nutrition, Detox, and MCS.” I'm speaking with Dr. Jenny Goodman, a medical doctor specializing in environmental medicine based in London, England. We're talking about Dr. Goodman's new book, “Getting Healthy in Toxic Times.”I ask her about: ·       Nutrition and detox for people with MCS·       The widespread dismissal and misdiagnosis of people with MCS ·       The lack of medical training about MCS·       The greatest sources of indoor air pollution·       The harms of pesticides·       And more.Thank you for listening! Please join the podcast's new Facebook group:https://www.facebook.com/groups/23868735136043301Dr. Jenny Goodmanhttps://www.drjennygoodman.com/#MCSAwareness #MCS #MultipleChemicalSensitivity #TILT #MultipleChemicalSensitivityPodcast  DISCLAIMER: THIS WEBSITE DOES NOT PROVIDE MEDICAL ADVICE The information, including but not limited to, text, graphics, images, and other material contained on this website are for informational purposes only. No material on this site is intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your physician or other qualified health care provider with any questions you may have regarding a medical condition or treatment and before undertaking a new health care regimen, and never disregard professional medical advice or delay in seeking it because of something you have read on this website. No material or information provided by The Chemical Sensitivity Podcast, or its associated website is intended to be a substitute for professional medical advice, diagnosis, or treatment. Support the showThank you very much to the Marilyn Brachman Hoffman Foundation for its generous support of the podcast.If you like the podcast, please consider becoming a supporter! Support the podcast. Find the podcast on Patreon. If you like, please buy me a coffee. Follow the podcast on YouTube! Read captions in any language. Please follow the podcast on social media:FacebookInstagramXBlueSkyTikTokSponsorship Opportunites Are you an organization or company interested in helping to create greater awareness about Multiple Chemical Sensitivity and Chemical Intolerance and/or looking for sponsorship opportunities? Please email us at info@chemicalsensitivitypodcast.org

Mai menü:RF DEW aka. RapidDestroyerOperation SOYCLIPSE - 4chan sagaAge Verification Using Facial Scans - Schneier on SecurityDOGE-veszélyben a CVE Elérhetőségeink:TelegramTwitterInstagramFacebookMail: info@hackeslangos.show

The Buffalo Bills and the rest of the NFL are now only a few days away from the start of the 2025 NFL Draft. The Bills currently hold the 30th overall pick along with their pair of second rounders for the early portions of the draft. Are there any realistic trade scenarios and trade partners for Brandon Beane to make a move during round one? In the 2024 draft, Beane traded down and out of the first round, but in prior drafts he has been aggressive in moving up the board to secure the player he wanted. Join Judge and Tilt as they analyze all of the player pick and trade possibilities for the Bills in the early stages of the NFL Draft. Share your thoughts and reactions in the comments section. Go Bills!

The networks demonstrated biases by their choice of anecdotes. They completely skip murders by illegal aliens. like the newly convicted killer of Rachel Morin. Instead, they've gone all in to advocate for illegal alien Kilmar Abrego-Garcia, despite his gang connections and domestic-violence accusations.

Preview: Colleague Charles Burton comments that the Ontario voters are not persuaded by the record of the new PM Mark Carney's noticeable tilt toward the PRC. More later. FEBRUARY 1932

​In this special 9-year anniversary episode, I'm doing things a little differently. Instead of a guest interview, I'm doing a solocast in which I share nine shifts I've noticed in the parenting paradigm for those of us raising neurodivergent kids over the past almost decade since I first founded Tilt. Some of the things I explore in this episode include the evolution of language within the neurodiversity movement, the increased recognition of dual diagnoses like Autistic ADHD and new identifications such as PDA, how concepts like Polyvagal theory and co-reguation have profoundly changed the ways differently wired children are understood, the importance of centering neurodivergent voices, and much more. * I've put together a special anniversary playlist of the podcast episodes I reference in this episode over on Spotify. To listen to that, click here.*   About Debbie Debbie Reber, MA is a parenting activist, bestselling author, speaker, and the CEO and founder of Tilt Parenting, a resource, top-performing podcast, consultancy, and community with a focus on shifting the paradigm for parents raising and embracing neurodivergent children. A regular contributor to Psychology Today and ADDitude Magazine, and the author of more than a dozen books for children and teens, Debbie's most recent book is Differently Wired: A Parent's Guide to Raising an Atypical Child with Confidence and Hope.   Resources mentioned Dr. Megan Anna Neff and Neurodivergent Insights Unmasking Autism: Discovering the New Faces of Neurodiversity by Devon Price, PhD Are you autistic? How a 'lost generation' of women on the spectrum went under the radar (The Telegraph)  The lost girls: ‘Chaotic and curious, women with ADHD all have missed red flags that haunt us' (The Guardian) The Electricity of Every Living Thing: A Woman's Walk in the Wild to Find Her Way Home by Katherine May Wintering: The Power of Rest and Retreat in Difficult Times by Katherine May Is This Autism? A Guide for Clinicians and Everyone Else by Dr. Donna Henderson and Dr. Sarah Wayland Dr. Stephen Porges Brain-Body Parenting: How to Stop Managing Behavior and Start Raising Joyful, Resilient Kids by Dr. Mona Delahooke Beyond Behaviors: Using Brain Science and Compassion to Understand and Solve Children's Behavioral Challenges by Dr. Mona Delahooke Deb Dana's website, Rhythm of Regulation Anchored: How to Befriend Your Nervous System Using Polyvagal Theory by Deb Dana Navigating PDA in America: A Framework to Support Anxious, Demand-Avoidant Autistic Children, Teens, and Young Adults  by Ruth Fidler and Diane Gould The Family Experience of PDA by Eliza Fricker Normal Sucks: How to Live, Learn and Thrive Outside the Lines by Jonathan Mooney Look Me in the Eye: My Life with Aspergers by John Elder Robison Demystifying Disability: What to Know, What to Say, and How to be an Ally by Emily Ladau Unmasking for Life: The Autistic Person's Guide to Connecting, Loving, and Living Authentically by Dr. Devon Price Executive Function Coach Seth Perler Learn more about your ad choices. Visit podcastchoices.com/adchoices

Emma Pattee is the author of the debut novel Tilt, available from Marysue Rucci Books. It is the official April 2025 pick of the Otherppl Book Club. Pattee is a climate journalist and fiction writer. Her work has been published in The Atlantic, The New York Times, The Washington Post, The Guardian, and elsewhere. She lives in Oregon. *** Otherppl with Brad Listi is a weekly podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: Apple Podcasts, Spotify, YouTube, etc. Subscribe to Brad Listi's email newsletter. Support the show on Patreon Merch Twitter Instagram  TikTok Bluesky Email the show: letters [at] otherppl [dot] com The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textWelcome backThe breeze is talking again. The sea too, whispering something older than the market, more enduring than yield curves. This episode was recorded beneath Saharan skies on the island of St. Barts, during Acid Capitalist Summer Camp 2.0. But what is a camp if not a gathering of searchers. A pause in the trade winds to ask the old questions.I was met by a journalist. Young, wide-eyed, barefoot. She carried a pencil and the memory of a mixtape. She asked me to speak of fear, folly, volatility and love. I answered not with answers but with exhalation. We spoke of exile, of turtles, of the dull ache of markets remembered and misremembered.Just like Johnny Rotten sang, "This is Not a Love Song", in 1983, this is not an investment interview, more a moment.The market is a hallucination. It's also a mirror. I once managed billions. Today, I manage time. There's something here, in this place, that bends the arc of memory. You come to St. Barts to heal, or to vanish. Perhaps both.There is no grand thesis. Only a few half-remembered charts, a Rolling Stones lyric, and the suspicion that finance was never about spreadsheets but about stories.This episode is a love letter. To serendipity. To misfits. To the exquisite loneliness of being early.Draw close to the speaker. Tilt your face toward the trade winds. Pour something cold and forget, for a moment, the noise.The tape begins...Hugh HendryThe Acid Capitalist⬇️ Subscribe on Patreon or Substack for full episodes ⬇️https://www.patreon.com/HughHendryhttps://hughhendry.substack.comhttps://www.instagram.com/hughhendryofficialhttps://blancbleustbarts.comhttps://www.instagram.com/blancbleuofficial⭐⭐⭐⭐⭐ Leave a five star review and comment on Apple Podcasts!

Annie is 37 weeks pregnant. She's shopping at IKEA in Portland, Oregon, when everything around her begins to shake. It's an earthquake – the big one. Unable to get in touch with her husband or anyone else, she starts to walk. This is the setup for Emma Pattee's new novel Tilt, which the author says was inspired by the major earthquake predicted to hit the Pacific Northwest in the next 50 years. In today's episode, Pattee talks with NPR's Mary Louise Kelly about millennial disappointment, striving for scientific accuracy in the writing process, and what it means to prepare for disaster.To listen to Book of the Day sponsor-free and support NPR's book coverage, sign up for Book of the Day+ at plus.npr.org/bookofthedayLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Jenn and Julee talk about all the brands sponsoring women's sports leagues this year—and the athletes who bring the best looks. Plus, Jenn's experience at The Othership bathhouse; Julee's latest celebrity encounter; the FDA's voluntary recall of acne products due to elevated levels of benzene; a perfume you can lick (if you want to?); a pelvic wellness brand from Diva Cup; the Shark Beauty LED face mask; and Tilt, a new beauty brand with comfy, grippable packaging that received The Arthritis Foundation's Ease of Use Certification.Episode recap: fatmascara.com/blog/ep-571Products mentioned in this episode: shopmy.us/collections/1438768Sponsor links & discount codes: fatmascara.com/sponsorsPrivate Facebook Group: Fat Mascara Raising a WandTikTok & Instagram: @fatmascara, @jenn_edit, @jessicamatlin + contributors @garrettmunce, @missjuleeSubmit a "Raise A Wand" product recommendation: text us or leave a voicemail at 646-481-8182 or email info@fatmascara.com Become a member at https://plus.acast.com/s/fatmascara. Hosted on Acast. See acast.com/privacy for more information.

For those who haven't heard the announcement I posted, songs from this point on will sometimes be split among multiple episodes, so this is the third and final (and very, very long) part of a multi-episode look at the song “Never Learn Not to Love” by the Beach Boys, and the links between Charles Manson and the LA music scene, as well as the life of Huddie “Lead Belly” Ledbetter. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ninety-minute bonus episode available, on “The Letter” by the Box Tops and the career of Alex Chilton. I've also started up an email newsletter at https://it-was-ninety-years-ago-today.ghost.io/. I took a temporary break from that while finishing this episode, as it became much, much longer than I expected, but I will be resuming it shortly. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ (more…)