Podcasts about australian

It's time for another big episode of one of the best comedy and video games podcasts available on the chiral network.DEATH STRANDING 2: ON THE BEACH is finally here and The Great Man has done it again. We've played roughly the first half-a-dozen or so hours of the new blockbuster from Hideo Kojima so we're wrapping up our initial thoughts on the improved pacing of the game, the stories, the characters and notable Australian figures we're hoping make an appearance! Hosted on Acast. See acast.com/privacy for more information.

In this episode we interview the Head Of The Church, the Supreme Leader of this Guitar Driven Chapter and the Archbishop of melodic melancholy, Steve Kilbey. Steve and his band The Church have been at the forefront of the Australian music scene since the 80's and in this interview I get to know more about the physicality of band dynamics, the songwriting process and the snare sound that almost destroyed an entire album. Purchase tickets for the upcoming The Church Tour here: https://premier.ticketek.com.au/shows/show.aspx?sh=CHURCH25   Video Version of this podcast: https://www.youtube.com/watch?v=yDxmp0G6w1E&t=428s   Facebook: https://www.facebook.com/profile.php?id=100063297726030 Youtube: https://www.youtube.com/@KnownPleasuresPodcast Instagram: https://www.instagram.com/knownpleasurespodcast/ Twitter: @pleasuresknown The Known Pleasures Theme Song: https://www.youtube.com/watch?v=dvn2bfFxC-0

News, Where sculpture meets freedom: Australian curator recieves Czech Gratias agit award, Young musicians tour Czech churches, bringing the cornett back to life, From castles to concrete: The expanding story of Prague

Australian households could be throwing out up to $2,500 a year of perfectly good food, because of unclear labelling

Alistair Kitchen has a warning for those planning travel to the United States. During a stopover in Los Angeles the Australian writer was pulled from the customs line, detained for 12 hours and questioned about his views on the Israel-Palestine conflict. He tells Jesse about the experience, and what happened next.

Our Australia Materials Analyst Rahul Anand discusses why critical minerals may be the Achilles' heel of humanoids as demand significantly outpaces supply amid geopolitical uncertainties.Read more insights from Morgan Stanley.----- Transcript -----Rahul Anand: Welcome to Thoughts on the Market. I'm Rahul Anand, Head of Morgan Stanley's Australia Materials Research team.Today, I'll dig deeper into one of the vital necessities for the development of robotics – critical minerals – and why they're so vital to be front of mind for the Western world today. It's Wednesday, June 25th at 8am in Sydney, Australia. Humanoid robots will soon become an integral part of our daily lives. A few weeks ago, you heard my colleagues Adam Jonas and Sheng Zhong discuss how humanoids are going to transform the economy and markets. Morgan Stanley Research expects this market to reach more than a billion units by 2050 and generate almost [$] 5 trillion in annual revenue. When we think about that market, and we think about what it could do for critical minerals demand, that could skyrocket. And the key areas of critical minerals demand would basically be focused on rare earths, lithium and graphite. Each one of these complex machines is going to require about a kilo of rare earths, 2 kgs of lithium, 6.5 kgs kilos of copper, 1.5 kgs of nickel, 3 kgs of graphite, and about 200 grams of cobalt. Importantly, this market from a cumulative standpoint by the year 2050, could be to the tune of about $800 billion U.S., which is staggering.And beyond that market size of $800 billion U.S., I think it's important to drill a bit deeper – because if we now consider how these markets are dominated currently, comes the China angle. And China currently dominates 88 percent of rare earth supply, 93 percent of graphite supply and 75 percent of refined lithium supply. China recently placed controls on seven heavy rare earths and permanent magnet exports in response to tariff announcements that were made by the U.S., and a comprehensive deal there is still awaited. It's very important that we have to think about diversification today, not just because these critical minerals are so heavily dominated by China. But more importantly, if we think about how the supply chain comes about, it's now taking circa 18 years to get a new mine online, and that's the statistic for the past five years of mines that came online. That number is up nearly 50 percent from last decade, and that's been driven basically by very long approval processes now in the Western world, alongside very long exploration times that are required to get some of these mines up and running. On top of that, when we think about the supply demand balance, by 2040 we're expecting that the NdPr, or the rare earth, market would be in a 26 percent deficit. Lithium could be in a deficit close to 80 percent. So, it's not just about supply security. It's also about how long it will take to bring these mines on. And on top of that, how big the amount of supply that's required is really going to be. I know when you think about 2040, it sounds very long dated, but it's important to understand that we have to act now. And in this humanoid piece of research that we have done as the global materials team, which was led by the Australian materials team, we basically have provided 34 global stocks to play this thematic in the rare earths, lithium and rare earth magnet space. It's also very important to remember and keep front of mind that as part of the London negotiations that happened between U.S. and China, no agreement was reached on critical military use rare earth magnets and exports. Now that's an important point because that's going to play as a key point of leverage in any future trade deal that comes about between the two countries. This remains an evolving situation, and this is something that we are going to continue monitoring and will bring you the latest on as time progresses.Look, thanks for listening. If you enjoy the show, please leave us a review and share thoughts on the market with a friend or colleague today.

Ende April 1875 macht sich das Walfangschiff Catalpa von New Bedford (USA) auf den Weg nach Fremantle im Westen Australiens. Dort hoffen sechs Fenians, irische Unabhängigkeitskämpfer, im entlegensten Gefängnis des gesamten Empires, auf ihre Rettung. Wir sprechen in der Folge über die Irish Republican Brotherhood, die Fenian Brotherhood, einen gescheiterten Aufstand und eine spektakuläre Flucht. //Erwähnte Folgen - GAG90: Aufstieg und Fall des Roger Casement – https://gadg.fm/90 - GAG71: Wie die Kartoffel nach Europa kam (und alles veränderte) – https://gadg.fm/71 - GAG470: Alexis Soyer – Koch, Innovator und Philanthrop – https://gadg.fm/470 - GAG483: Bounty, Brotfrucht und die Rum-Rebellion – https://gadg.fm/483 - GAG151: Manjirō, der erste Japaner in Amerika – https://gadg.fm/151 - GAG294: Erwin Kreuz – https://gadg.fm/294 //Literatur - Philip Fennell, Marie King: John Devoy's Catalpa Expedition, 2006. - Terry Golway. Irish Rebel: John Devoy and America's Fight for Ireland's Freedom, 1998. - Peter FitzSimons. The Catalpa Rescue: The Gripping Story of the Most Dramatic and Successful Prison Break in Australian and Irish History, 2019. //Aus unserer Werbung Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/GeschichtenausderGeschichte // Wir sind jetzt auch bei CampfireFM! Wer direkt in Folgen kommentieren will, Zusatzmaterial und Blicke hinter die Kulissen sehen will: einfach die App installieren und unserer Community beitreten: https://www.joincampfire.fm/podcasts/22 //Wir haben auch ein Buch geschrieben: Wer es erwerben will, es ist überall im Handel, aber auch direkt über den Verlag zu erwerben: https://www.piper.de/buecher/geschichten-aus-der-geschichte-isbn-978-3-492-06363-0 Wer Becher, T-Shirts oder Hoodies erwerben will: Die gibt's unter https://geschichte.shop Wer unsere Folgen lieber ohne Werbung anhören will, kann das über eine kleine Unterstützung auf Steady oder ein Abo des GeschichteFM-Plus Kanals auf Apple Podcasts tun. Wir freuen uns, wenn ihr den Podcast bei Apple Podcasts oder wo auch immer dies möglich ist rezensiert oder bewertet. Wir freuen uns auch immer, wenn ihr euren Freundinnen und Freunden, Kolleginnen und Kollegen oder sogar Nachbarinnen und Nachbarn von uns erzählt! Du möchtest Werbung in diesem Podcast schalten? Dann erfahre hier mehr über die Werbemöglichkeiten bei Seven.One Audio: https://www.seven.one/portfolio/sevenone-audio

Dry lips be gone! In partnership with our friends at Lano, we're sitting down with Kirsten Carriol, founder of Lano, the Australian skincare brand known for its beauty editor darling “Lanolips” and what could very well be “The Best Lip Balm On Earth.” A glistening byproduct of sheep-shearing, lanolin has been favoured by the ancient Egyptians, celebrities like Margot Robbie, and us.Tune in to hear about: What Lano's founder learned about lanolin's skin compatibility while growing up on her grandparents' sheep farm in South Australia – supported by molecular studies learned from Kirsten's father, a DNA scientistWhich skin types can benefit from lanolin most, and who should avoidIs lanolin an allergen? The case for not throwing out the proverbial baby with the bathwaterHow Kirsten managed to marry lanolin with SPF for the juicy new Sun Balm SPF 30 Tropical Lip Balm launched this summer – 16 years in the makingStay tuned to the end to hear about more best beauty imports that Kirsten recommends from the land down under Get social with us and let us know what you think of the episode! Find us on Instagram, Tiktok ,X, Threads. Join our private Facebook group. Or give us a call and leave us a voicemail at 1-844-227-0302. Sign up for our Substack here For any products or links mentioned in this episode, check out our website: https://breakingbeautypodcast.com/episode-recaps/ Related episodes like this:

This week, I had a powerful and heart-centered discussion with Johl Dunn, a talented Australian photographer turned mindset and business coach. We had such a great conversation a few years ago that I knew I would love another chance to connect.Johl spent over 20 years running successful wedding and portrait studios, earning titles like Creative Asia Wedding Photographer of the Year along the way. Now, he helps photographers build profitable businesses by combining strategy with mindset, self-awareness, and a little science-based spirituality.We talked about:Why slowing down can actually make you more productiveHow to avoid burnout and self-sabotageHis morning routine to start the day with intentionThe connection between gratitude, balance, and successHow to shift limiting beliefs that hold photographers backJohl's approach is holistic, honest, and incredibly helpful for anyone looking to grow a business and a life they love.He's also offering 3 free 1-on-1 strategy sessions to listeners!Connect with Johl:www.johldunn.comInstagram: @johldunnEmail: johl@jdmindsetcoaching.com.auWant support with your business goals? Let's chat at www.lucidumascoaching.comConnect with Photography Business Coach Luci Dumas: Website Email: luci@lucidumas.comInstagram FacebookYouTubeNew episodes drop every week — make sure to subscribe so you never miss an inspiring guest or a powerful solo episode designed to help you grow your photography business.

In this episode, Katie and Elizabeth sit down with Australian distance swimmer and world champion Lani Pallister. Lani opens up about the trials that changed everything - from post-race vomit and missed teams to overcoming an eating disorder and finding her stride with a new coach. She talks about leaving her mom's program, learning to be relentless, and the mindset shift that unlocked the best swims of her life. ----- DONATE TO EMILY KLUEH: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.gofundme.com/f/4sdbz-support-emilys-battle-against-cancer⁠⁠⁠⁠⁠⁠⁠⁠⁠ ----- Subscribe and watch full video episodes on ⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠, and follow us on social media (⁠⁠⁠⁠⁠⁠⁠⁠⁠@unfilteredwaterspodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠) for clips, bonus content, and updates throughout the week. ----- FOLLOW KATIE: ⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠ ----- FOLLOW MISSY: ⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠ ----- SUPPORT OUR SPONSORS IM8 - Go to https://im8health.com/discount/WATERS10 Use code UNFILTERED for 10% off! Endless Pools: Go to https://endlesspools.com/unfiltered for $1000 off your pool. Momentous: Head to https://livemomentous.com and use code UNFILTERED for up to 35% off your first order. ----- PRODUCED BY: ⁠⁠⁠⁠⁠⁠⁠⁠⁠Lagos Creative⁠

We Raid the Algorithm to hear an AI Audrey Hepburn do a MiraLax commercial, Matt Martin chirping, and Australians saying no.See omnystudio.com/listener for privacy information.

Today we talk Big Boy turf war, updates on the Australian mushroom poisoning lady, Weber gets Smoque-y and Panera's violating child labor laws. Who knew?As always, find us here:https://www.speakpipe.com/InTheWeedsWithBenRandallhttps://www.facebook.com/groups/774902433251568https://www.instagram.com/chefbenrandall/ https://podcasts.apple.com/us/podcast/in-the-weeds-with-ben-randall/id869521547intheweedswbr.comhttps://www.redbubble.com/people/enzwell/shopintheweedswbr@gmail.comhttps://www.ipetitions.com/petition/smoque

A Royal Australian Air Force jet carrying more than 100 Australian citizens trying to escape the conflict in the Middle East has flown out of a major Israeli city after the airspace was opened. But Foreign Minister Penny Wong said assisted departure flights from Iran are still not possible. The evacuations follow a tense week in which Australia backed US strikes on Iran nuclear sites, ahead of a tentative ceasefire.

Donald Trump yet to decide on whether there will be a US strike against Iran; evacuation of Australians from Israel and Iran underway; and, in AFL, Fremantle claim victory, five matches in a row, with a resounding win against Essendon.

Australia is known for its unusual animal life, from koalas to kangaroos. But once upon a time, the Australian landscape had even weirder fauna, like Palorchestes azael, a marsupial with immense claws and a small trunk. There was Protemnodon mamkurra, a massive, slow-moving, kangaroo-like creature. And Zygomaturus trilobus, a wombat the size of a hippo. They're all extinct now, and researchers are trying to figure out why. Host Flora Lichtman talks with researcher Carli Peters about ZooMS, a technique that allows researchers to use collagen from ancient bone fragments to identify species, offering clues to those ancient extinction events. Peters recently described using the technique in the journal Frontiers in Mammal Science.And, a recent study in the journal Nature Astronomy hints that our own Milky Way galaxy may not be doomed to collide with Andromeda after all. Till Sawala, an astrophysicist at the University of Helsinki, joins Flora to talk about the finding.Guests: Dr. Carli Peters is a postdoctoral researcher at the Interdisciplinary Center for Archaeology and the Evolution of Human Behavior at the University of Algarve in Faro, Portugal.Dr. Till Sawala is an astrophysicist at the University of Helsinki.Transcripts for each episode are available within 1-3 days at sciencefriday.com. Subscribe to this podcast. Plus, to stay updated on all things science, sign up for Science Friday's newsletters.

The history of the Brazilian gymnastics program, from its humble beginnings in the 1970s to Olympic glory in 2024 This week's episode is a commission from our Olympic Fantasy Gymnastics winner, Liam, who wants us to discuss the history of Brazilian gymnastics. From trailblazers like Daiane dos Santos and Daniele Hypolito who put Brazilian gymnastics on the map, to the current stars, Flavia Saraiva and Rebeca Andrade. GymCastic LIVE in CHICAGO: Tickets on sale now Get Tickets Setting the Scene How the Brazilian teams of recent years embody the energy of badass, confident adult women who do gymnastics as a team sport Why we think Marta Karolyi would probably hate the 2024 Brazilian Olympic team (in the most complimentary way possible) The early days of Brazilian Gymnastics When did Brazil send its first team to Worlds? Why we need a Brazilian gymnastics shrine dedicated to Claudia Costa How did the program start gaining momentum during the 1980s? The tumultuous 1990s: from finishing dead last at 1991 Worlds, to defeating the United States at the 1997 Pan Am Championships, what was going on in these years? The Pioneers of Career Longevity Nearly every Brazilian gymnast who has ever won a World or Olympic medal has continued with the sport past age 25. What does this tell us about the program's emphasis on career longevity? What do Jade Barbosa and Oksana Chusovitina have in common? Hint: it's more than just being a great vaulter The First Stars of Brazilian Gymnastics Daniele Hypolito wins Brazil's first-ever World medal at 2001 Worlds and finishes fourth all-around How the success of 2003 Worlds put Brazil on the gymnastics map thanks to greats like Daiane dos Santos and Lais Souza Innovative skills throughout the years from Dos Santos's piked double-arabian to Oliveira's double-arabian pike half-out The Birth of a Powerhouse Brazil starts bringing foreign coaches in: Oleg Ostapenko, Iryna Illyashenko, how did this contribute to Brazil's rise? Jade Barbosa's incredible senior debut at 2007 Worlds, winning Brazil's first-ever all-around medal In 2008, the powerhouse team of Jade Barbosa, Ana Cláudia Silva, Ethiene Franco, Laís Souza, Daniele Hypólito, and Daiane dos Santos helped Brazil qualify to the Olympic team finals for the first time EVERRR Controversies and DRAAMMAA Did you know Daiane dos Santos had a 5-month ban in 2009-2010 for diuretic usage following a surgery? Jade Barbosa was taken out of the London Olympics because of a *checks notes* apparel sponsorship conundrum? Gymnastics sabotage??!! That time someone cut the power at Brazilian Nationals Struggling Towards the Rio Olympics Era (2012-2015) Things were looking rough heading into the Rio quad No World or Olympic all-around finalists in 2012, 2013, 2014 Brazil did not automatically qualify a team to the Rio Olympics The emergence of Rebeca Andrade, Flavia Saraiva, and Lorrane Oliveira and how their success reshaped the program The Rio Olympic Games (2016) What were the expectations for this team heading into a home Olympic Games? Could Brazil have medalled as a team here? What were the standout performances? Event finals? The Perseverance Era (2017-2020) Rebeca Andrade has not one, but two more ACL tears (2017, 2019) No World or Olympic medals between Barbosa's 2010 vault and Andrade's 2021 Tokyo performance The Age of Brazil (2021-present) Rebeca Andrade's amazing comeback performance at the 2021 Tokyo Olympics, taking all-around silver and vault gold 2021 Kitakyushu Worlds: Rebeca's strategy to protect her body and play the long game Andrade wins her first World vault title 2022 Liverpool Worlds: Andrade takes home vault gold, floor bronze, and a fourth-place team placement 2023 Antwerp Worlds: The Brazilian team takes home SIX medals Team silver, Andrade all-around silver, vault gold, beam bronze, floor silver and bronze The Paris Olympic Games Brazil's historic team final performance, Andrade's floor gold, all-around silver, and vault silver What Are the Next Steps for Brazil? Building depth Remember the cautionary tales of the Romanian and Australian programs: don't be too reliant upon veterans to come and save the day; you need to invest in the next generation! Should Brazil's 2025 Pan American Championships performance worry us? Do we think there will be a "Rebeca Andrade effect" in Brazil and inspire more young kids to try gymnastics? Thanks to our sponsor, Huel. Get Huel today with this exclusive offer for New Customers of 15% OFF + a FREE Gift with code GymCastic at https://huel.com/GymCastic  (Minimum $75 purchase) BONUS CONTENT  Join Club Gym Nerd (or give it as a gift!) for access to weekly Behind the Scenes Q&A show. Club Gym Nerd members can watch the podcast being recorded and get access to all of our exclusive extended interviews, early bird discounts on live shows, two extra podcasts: Behind The Scenes and College & Cocktails. Not sure about joining the club?  College & Cocktails: The Friday Night NCAA Gymnastics Post-Meet Show is available to sample (even if you aren't a Club Gym Nerd member yet). Watch or listen here. MERCH GymCastic Store: clothing and gifts to let your gym nerd flag fly and even “tapestries” (banners, the perfect to display in an arena) to support your favorite gymnast! Baseball hats available now in the GymCastic store NEWSLETTERS Sign up for all three GymCastic newsletters  RESOURCES Spencer's essential website The Balance Beam Situation  Gymnastics History and Code of Points Archive from Uncle Tim The Gymternet Nations Database RESISTANCE  Submitted by our listeners. ACTION Indivisible Practical ideas about what you can actually do in this moment, check it out: indivisi.org/muskorus 5Calls App will call your Congresspeople by issue with a script to guide you Make 2 to your Congressional rep (local and DC office). 2 each to your US Senators (local and state offices) State your name and zip code or district Be concise with your question or demand (i.e. What specific steps is Senator X taking to stop XYZ) Wait for answer Ask for action items -  tell them what you want them to do (i.e. draft articles of impeachment immediately, I want to see you holding a press conference in front of...etc.) ResistBot Turns your texts into faxes, postal mail, or emails to your representatives in minutes ACLU Mobile Justice App Allows you to record encounters with public officials while streaming to your closest contacts and your local ACLU; REPORT any abuse by authorities to the ACLU and its networks. LAWSUITS Donate to organizations suing the administration for illegal actions ACLU, Southern Poverty Law Center, Northwest Immigration Law Project STAY INFORMED Suggested podcasts:  Amicus, Daily Beans, Pod Save America, Strict Scrutiny Immigrant Rights Know Your Rights Red Cards, We Have Rights Video, Your Rights on trains and buses video

In this episode, I sit down with Australian salon owner Luke Reynolds to talk about one of the most powerful drivers of salon success, which he believes is investing in the personal development of your people.Luke shares how he's integrated monthly life coaching sessions, meditation practices, and even equine therapy into his team culture. It's a fascinating conversation about building confidence, communication, and community in the workplace, and the profound effect this has on the day-to-day salon environment.What I really loved about this chat is how naturally these initiatives grew into a cornerstone of Luke's business, creating a safe, supportive, and high-functioning team that clients notice and appreciate. We also touch on the challenges younger team members face today and how personal development tools can help them not just survive, but thrive. If you're passionate about building a culture that retains great people, this is one you won't want to miss.IN THIS EPISODE:[00:00] Intro and welcome[00:48] Meet Luke Reynolds and his culture-first approach[02:00] Why Luke brought in a life coach for his team[05:00] Addressing anxiety and mental health in apprentices[07:00] How personal growth improves communication and confidence[10:35] Creating a safe, vulnerable space for learning[13:00] Why Luke stays out of the sessions and what happens after[16:35] When the life coach couldn't come: Sound healing and meditation[19:45] How these initiatives impact salon culture and performance[21:30] A client's unsolicited feedback that says it all[27:11] Equine therapy as a team building day[30:00] Trust, communication, and personal breakthroughs with horses[37:10] What's next for Luke's team[38:44] Wrapping up and plans for a follow-up episodeWant MORE to help you GROW?

This is Part One of a live show we performed - an original story by our GM Sean Flierl! Recorded March 15th, 2025, at The Lost Dice Cafe, as part of the Adelaide Fringe. Support the show on Patreon! PATREON https://www.patreon.com/roletocast Join our communities on Discord and Twitter DISCORD https://discord.gg/Jj7wyjecWb TWITTER https://twitter.com/roletocast These Violent Delights is played using Star Trek Adventures 2e, by Modiphius Entertainment. Role to Cast is an award-nominated TTRPG actual play podcast by four trained Australian actors. We play a different rpg system every season, bringing an original campaign, fresh music and audio drama caliber performances to the best games in the scene. Role To Cast are: Sean Flierl (https://twitter.com/SeanMeansJohn) Chris Bond (https://twitter.com/BondingChris) Phil Harker-Smith (https://twitter.com/Skkruf) Ellen Graham (https://twitter.com/EllenKGraham1) Made possible by the support of our Patrons including - Elliot Jay O'Neill Oliver Harker-Smith Xenocore FrozenKoda Nick Sappho Stephen Kellat Thank you! Music by Syrinscape Artwork by Jack Sumner Hosted on Acast. See acast.com/privacy for more information.

Send us a textBoxing's explosive moments take center stage as we break down Richardson Hitchins' career-defining performance against George Kambosos. Hitchins showcased a flawless jab combined with unexpected body work that ultimately secured his impressive eighth-round stoppage of the tough Australian former champion. While Kambosos showed heart despite defeat, we discuss what's next for him now that he's now lost many high-profile bouts.The conversation shifts to perhaps the most electrifying moment in boxing recently: Brian Norman Jr.'s spectacular knockout in Japan that instantly went viral. This finish wasn't just visually stunning—it demonstrated Norman's fighting IQ and vicious power against a legitimate opponent. We explore how this performance immediately elevated his standing in the welterweight division and sparked conversations about potential matchups with other rising stars.The Jahi "TAC" Tucker vs. Lorenzo "Truck" Simpson bout delivered everything boxing fans crave—genuine animosity, contrasting styles, and non-stop action. Tucker's unique approach—elusive yet aggressive—proved effective against Simpson's methodical counter-punching. This fight exemplified what boxing promotion should aspire to: build compelling storylines around real rivalries that connect with audiences beyond hardcore fans.The show closes out with takes on the recent Canelo vs. Crawford press conference, Jake Paul vs JCC Jr. fight and much more boxing debauchery. THE SPAR-INN ON YOUTUBE

Iran's Foreign Affairs Minister Abbas Araghchi has has denied reports that there is a ceasefire deal between Israel and Iran, despite US President Donald Trump declaring one.　Prime Minister Starmer announced an industrial military co-production agreement with Ukraine. The Australian Council of Social Services says around 3.3 million Australian are now living below the poverty line. - イスラエルとイランが完全かつ全面的に停戦することで合意したと、アメリカのトランプ大統領が発表。しかしイランのアラグチ外相は、停戦に関する合意は存在しないと述べるなど、混乱が続いています。ウクライナのウォロディミル・ゼレンスキー大統領がイギリスを訪問し、キア・スターマー首相と会談。軍事分野で共同生産に関する協定を結んだと発表しました。 オーストラリアではおよそ330万人が貧困ライン以下で暮らしていることが新たな調査でわかりました。午後１時から放送されたラジオ番組のニュース部分をお届けします。

The U.S. Supreme Court upheld Tennessee's ban on pediatric gender affirming health care with a decision that lowered the bar for establishing its constitutionality and that imperils the rights of young trans patients in the 20 other states with similar laws — all despite the opposition of every major U.S. medical association. Brad Sears, Distinguished Senior Scholar of the Williams Institute at the UCLA School of Law, unpacks the ruling (interviewed by David Hunt). And in NewsWrap: most Australian gay and bisexual men and transgender women who have sex with men will finally be able to donate blood without a three-month-celibacy requirement, funding for suicide prevention programs targeting LGBTQ young people is being eliminated by the Trump administration, a federal judge continues to block the U.S. State Department from denying the option of an “X” gender marker on U.S. passports, U.S. Vice President J.D. Vance breaks the record for most blocked accounts on Bluesky in only two days after a transphobic post in support of the Supreme Court's Skrmetti ruling, and more international LGBTQ+ news reported this week by Ava Davis and Michael LeBeau (produced by Brian DeShazor). All this on the June 23, 2025 edition of This Way Out! Join our family of listener-donors today at http://thiswayout.org/donate/

An Australian broadcast network has been criticised for zooming in on a crying child during Carlton's AFL shock loss to North Melbourne on the weekend. Sports reporter Bridget Tunnicliffe spoke to Lisa Owen.

In a wide-ranging interview with SBS News, Tehran's top diplomat in Canberra referred to US strikes on three Iranian nuclear facilities as "unprovoked and against international law". Ahmad Sadeghi says Australians who remain stranded in Iran are being provided with a way to transit to the Azerbaijan border, where they are getting consular support. He's told SBS Chief Political Correspondent Anna Henderson that Iran's willing to resume diplomatic negotiations and maintains his nation is peaceful and any attempts to overthrow the Supreme Leader would be disastrous

US and Australian markets have rallied after US President Donald Trump announced a ceasefire between Israel and Iran. Plus, Virgin Australia's shares take-off after re-listing on the ASX-200. Blackmore Capital's Yu Yi spoke with Ricardo Goncalves.

Frensh President Macron says bombs will not create regime chamnge in Iran; New statistics reveal one in eight Australian adults, and one in six children, are now living below the poverty line; and, in sport, Mixed news for Aussie women in the lead-up to Wimbledon

EUROPEAN CLIMATE WILDFIRE SEASON BEGINS.   1/4: A Future in Flames Paperback –by  Danielle Clode  (Author) https://www.amazon.com/Future-Flames-Danielle-Clode/dp/0648140776 Fire has shaped the Australian landscape and the lives of Australians for thousands of years—and will continue to do so as the climate changes. For all our advances in prevention and prediction, planning and communication, bushfires keep claiming our lives and our homes. How can we avoid another Ash Wednesday or Black Saturday?Danielle Clode has lived in the bushfire danger zone and studied the past and recent history of fire management and fire-fighting. Here she tells the complex story of Australia's relationship with fire, from indigenous practices to country fire brigades and royal commissions—as well as her own story of living with the threat of fire. A Future in Flames is a vivid history, a sombre reflection and an invaluable guide for living and dealing with fire.   1904 ADELAIDE                                                            

EUROPEAN CLIMATE WILDFIRE SEASON BEGINS.   2/4: A Future in Flames Paperback –by  Danielle Clode  (Author BRUSSELS) https://www.amazon.com/Future-Flames-Danielle-Clode/dp/0648140776 Fire has shaped the Australian landscape and the lives of Australians for thousands of years—and will continue to do so as the climate changes. For all our advances in prevention and prediction, planning and communication, bushfires keep claiming our lives and our homes. How can we avoid another Ash Wednesday or Black Saturday?Danielle Clode has lived in the bushfire danger zone and studied the past and recent history of fire management and fire-fighting. Here she tells the complex story of Australia's relationship with fire, from indigenous practices to country fire brigades and royal commissions—as well as her own story of living with the threat of fire. A Future in Flames is a vivid history, a sombre reflection and an invaluable guide for living and dealing with fire.                                                              

EUROPEAN CLIMATE WILDFIRE SEASON BEGINS.   3/4: A Future in Flames Paperback –by  Danielle Clode  (Author) https://www.amazon.com/Future-Flames-Danielle-Clode/dp/0648140776 Fire has shaped the Australian landscape and the lives of Australians for thousands of years—and will continue to do so as the climate changes. For all our advances in prevention and prediction, planning and communication, bushfires keep claiming our lives and our homes. How can we avoid another Ash Wednesday or Black Saturday?Danielle Clode has lived in the bushfire danger zone and studied the past and recent history of fire management and fire-fighting. Here she tells the complex story of Australia's relationship with fire, from indigenous practices to country fire brigades and royal commissions—as well as her own story of living with the threat of fire. A Future in Flames is a vivid history, a sombre reflection and an invaluable guide for living and dealing with fire.       1920 PACIIFIC PALISADE                                                        

EUROPEAN CLIMATE WILDFIRE SEASON BEGINS.   4/4: A Future in Flames Paperback –by  Danielle Clode  (Author) https://www.amazon.com/Future-Flames-Danielle-Clode/dp/0648140776 Fire has shaped the Australian landscape and the lives of Australians for thousands of years—and will continue to do so as the climate changes. For all our advances in prevention and prediction, planning and communication, bushfires keep claiming our lives and our homes. How can we avoid another Ash Wednesday or Black Saturday?Danielle Clode has lived in the bushfire danger zone and studied the past and recent history of fire management and fire-fighting. Here she tells the complex story of Australia's relationship with fire, from indigenous practices to country fire brigades and royal commissions—as well as her own story of living with the threat of fire. A Future in Flames is a vivid history, a sombre reflection and an invaluable guide for living and dealing with fire.                                                               1905 NEW ZEALAND

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

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Who Knew It with Matt Stewart is a comedy game show podcast hosted by Australian comedian Matt Stewart. This episode features comedians Brett Blake, Jordan Barr and Ray O'Leary!Check out Matt's stand up special: https://youtu.be/cWStRpI-BhESupport the show via http://patreon.com/dogoonpod and you can submit questions for the show!See the podcast/Matt live: https://www.mattstewartcomedy.com/Check out Matt's podcast network: https://dogoonpod.com/ Hosted on Acast. See acast.com/privacy for more information.

Find out more here: https://karenswain.com/thea-osmond/ Founder & Festival Manager, Australian UFO Festival Thea Ormonde, has always been drawn to the stars, and the mysteries they hold. Her lifelong fascination with the unknown began with a personal encounter at just seven years old, when she witnessed something unexplained in the night sky while camping with family and friends. Since then, she's experienced several more sightings, deepening her curiosity and commitment to exploring the unexplained. ATP Media Awakening Consciousness with KAren Swain Welcomes Founder & Festival Manager, Australian UFO Festival Thea Ormonde. Host: KAren Swain https://karenswain.com See our links https://linktr.ee/KArenSwain More shows here: https://karenswain.com/listen/ Appreciate KAren's work Awakening Consciousness? THANK YOU for your Support for the content. Share your appreciation on this link https://www.paypal.me/KArenASwain Join our Awakening Empowerment Network Facebook Group / awakeningempowermentnetwork KAren Swain Awakening & Expanding Consciousness

The OKC Thunder are the 2025 NBA Champions and SGA is your Finals MVP!! Wow… that was a #NBAFinals Game 7 and a half, with Tyrese Haliburton going down with a BRUTAL achilles injury, but Indiana fighting it out til the end. We break down how OKC won Game 7 (hint defence + forcing TOs) and LOADS more as we dig into it all on today's show. Plus: Kevin Durant got traded to Houston, where he will definitely be happy and fulfilled, right?  Anyway, it's covered in today's chokers episode of #NBA #straya!  It's all there in the NBA Straya Game Wrap, as well as the NBA Straya Awards: That's Not A Knife, Old Mate No Mates, Spud of the Night, Better Than Lonzo Ball and more.... Like MAGIC TWEET OF THE WEEK!  Plus some YEAH NAHs, Unpopular Opinion of the Day & OUTBACK TAKEHOUSE !!!  There's also an Aussie Player Watch as ALEX DUCAS just became the 9th ever Australian to win an NBA Championship! While JOHNNY FURPHY got out there for a little bit at the end of Game 7.  There's also an ANDREW GAZE GREY MAMBA AWARD FOR OUTSTANDING ACHIEVEMENT IN THE FIELD OF EXCELLENCE just to put SGA's season in context. Hint: it was REALLY GOOD.  We then quickly look ahead to who's favoured to win the 2026 title!    So… strap in, lean back & enjoy! … and remember to rate, review & subscribe!  Cheers legends, and thanks for tuning in to the best NBA podcast in the world!! #Onyas...   Love ya guts ledges!!

In this special episode of You Beauty, Leigh sits down with the iconic Jane Fonda for an intimate conversation about inner beauty, wellness, and the wisdom that comes with 87 incredible years of living. Fresh from her Australian adventures courtesy of Wanderlust True North, Jane opens up about what genuinely lights her up - from her fierce commitment to saving our planet to the daily rituals that keep her vibrant and energised. Jane gets honest about everything from beauty standards to perimenopause, and with her signature mix of wisdom and wit, she's living proof that reinvention and inner beauty is not only possible at any age - it's genuinely inspiring. This isn't just another celebrity chat; it's pure gold - a masterclass in living authentically from someone who's truly seen it all. Sometimes the most beautiful thing about a person is their courage to keep fighting for what matters, and Jane Fonda? She's the poster child. FOR MORE WHERE THIS CAME FROM: Watch & Subscribe on Youtube here Follow us on Instagram: @youbeautypodcast Follow us on TikTok: @youbeautypod Join our You Beauty Facebook Group here For our product recommendations, exclusive beauty news, reviews, articles, deals and much more - sign up for our free You Beauty weekly newsletter here Subscribe to Mamamia here GET IN TOUCH: Got a beauty question you want answered? Email us at youbeauty@mamamia.com.au or send us a voice message, and one of our Podcast Producers will come back to you ASAP. You Beauty is a podcast by Mamamia. Listen to more Mamamia podcasts here. CREDITS: Hosts: Leigh Campbell Guest: Jane Fonda, guest of Wanderlust True North Producer: Mollie Harwood Audio Producer: Tegan Sadler Mamamia's studios are furnished with thanks to Fenton & Fenton. For more head to their website here. Mamamia acknowledges the Traditional Owners of the Land we have recorded this podcast on, the Gadigal people of the Eora Nation. We pay our respects to their Elders past and present, and extend that respect to all Aboriginal and Torres Strait Islander cultures.Become a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

The full extent of damage from US strikes on Iran's nuclear sites still being assessed; safe and open airspace still a challenge in evacuating Australians from the Middle East; and, in sports, Mary Fowler nominated for two categories in the Professional Footballers' Association Awards.

He's well known to kiwi audiences through his hit shows - Guy Montgomery's Guy Mont-Spelling Bee, Have You Been Paying Attention, and Thank God You're Here. Guy has recently found success across the Tasman with the Australian version of his spelling bee show proving a big hit with audiences. The show was picked up for a second season and he's been nominated for a Logie for Most Popular New Talent at the prestigious Australian Televison awards.

Today's crocs are iconic semi-aquatic predators, but their extended family tree features lots of land-dwelling cousins. This episode, we take a tour through croc evolutionary history and explore the many times these reptiles have taken to life on dry land. We'll examine what features these terrestrial crocs shared, which ones they didn't, and what their fossils tell us about how the shape of crocs has changed over time. In the news: sauropod guts, Australian biomarkers, butterfly scales, and tropical archosaurs. Time markers: Intro & Announcements: 00:00:00 News: 00:07:25 Main discussion, Part 1: 00:44:20 Main discussion, Part 2: 01:23:20 Patron question: 02:17:25 Check out our website for this episode's blog post and more: http://commondescentpodcast.com/ Join us on Patreon to support the podcast and enjoy bonus content: https://www.patreon.com/commondescentpodcast Got a topic you want to hear about? Submit your episode request here: https://commondescentpodcast.com/request-a-topic/ Lots more ways to connect with us: https://linktr.ee/common_descent The Intro and Outro music is “On the Origin of Species” by Protodome. More music like this at http://ocremix.org Musical Interludes are "Professor Umlaut" by Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0

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My guest this episode is Tony Park, an Australian thriller writer who lives in southern Africa. After a journalism and PR career, Tony changed his life completely—splitting his time between Australia and the African bush, where he draws inspiration from the land, the people, and the wildlife. He's built a global indie career by taking control of his rights and expanding to new markets. Find more author advice, tips, and tools at our Self-publishing Author Advice Center, with a huge archive of 2,000+ blog posts, and a handy search box to find key info on the topic you need. We invite you to join our organization and become a self-publishing ally. Sponsor Inspirational Indie Authors is proudly sponsored by Bookvault. Sell high-quality, print-on-demand books directly to readers worldwide and earn maximum royalties selling directly. Automate fulfillment and create stunning special editions with BookvaultBespoke. Visit Bookvault.app today for an instant quote. About the Host Howard Lovy has been a journalist for 40 years and now amplifies the voices of independent author-publishers and works with authors as a developmental editor. Find Howard at howardlovy.com, LinkedIn, and X. About the Guest Tony Park was born in 1964 and grew up in Sydney, Australia. He worked as a newspaper reporter, government press secretary, and PR consultant prior to quitting full-time work to follow his dream to become an author. He found the inspiration he needed on a safari holiday in 1995 and since his first book, Far Horizon, was published in 2004, he has gone on to write twenty-three bestselling thrillers set in Africa and ten biographies. Tony and his wife, Nicola, divide their time between homes in Australia and South Africa, where his novels regularly hit number one. His latest book, Die by the Sword, will be released worldwide on July 29, 2025.  

APPLE | SPOTIFY | YOUTUBE In this deeply moving episode of Psychotherapy Central, I speak with Paul King and Craig McMahon about their personal experiences of spiritual awakening, connection with the afterlife, and how grief can open a path to purpose. Paul shares the story of how a reading with a psychic medium changed his life, leading to the creation of Awaken—a spiritually-minded festival in Sydney bringing together energy healers, mediums, and seekers. Craig, a film producer known for Life to Afterlife, talks about his calling to create spiritually uplifting media after working in mainstream Hollywood. Together, we explore: The moment Paul knew there was life after death How Craig's loss led to connection with angels and spirit guides Why synchronicity is a form of spiritual communication How grief can open us to deeper spiritual awareness What it means to awaken to your soul's path Whether you're navigating loss, exploring consciousness, or seeking a spiritual community—this episode offers warmth, insight, and hope.

Formed in 1978, Essendon Airport is an Australian electro music and post-punk group. The band was recently featured on a compilation album by Chapter Music, one of Australia's long-running independent labels. - 1978年に結成された、オーストラリアのエレクトロ・ミュージック、ポスト・パンクグループ、エッセンドン・エアポート。このほどオーストラリアの老舗インディペンデント・レーベル、チャプターミュージックのコンピレーションアルバムにフィーチャーされました。

On a special bonus episode of In Service Of Steve Baltin sits down with Gary and Jon of the iconic Australian band Inxs. One of the biggest rock bands in the world in the late 80a and early 90s Inxs sold over 60 million albums. Now they are celebrating the 40th anniversary of one of their biggest albums, Listen Like Thieves. See omnystudio.com/listener for privacy information.

You're all set to get your groove on with Shakedown Radio! Join Chris Caggs every Friday night at 7 PM (Melbourne time) on Ozz Mix Dance Radio for an electrifying mix of EDM, hip-hop, and R&B. Broadcasting from Chatswood, Sydney, Chris brings over two decades of radio experience to the airwaves, guaranteeing a musical journey that will get you dancing. How to Tune In You can catch Shakedown Radio on a variety of platforms:  * Mixcloud: www.mixcloud.com/chriscaggs  * Amazon Music Podcasts: https://bit.ly/3PhNuvZ  * Apple Podcasts / iTunes: https://apple.co/3tfyyDP  * iHeart Radio: https://ihr.fm/3ss7wr2  * Tune In App: http://tun.in/pmkVI  * Castbox: https://bit.ly/3maXTcb  * YouTube: http://www.YouTube.com/@chriscaggs For the full track listing and more, visit shakedownradio.com This weeks guest mix comes courtesy of Australian producer on the rise RYAN LUCIAN. Based in Sydney Ryan has been reshaping progressive house since 2023. His releases have gained support from Armin van Burren, Ferry Corsten, Above & Beyond, Kream and more.    This current single "Run" see's him team with fellow Australian, BIANCA out on the UK imprint Enhanced Recordings.  Here he provides a great 60 min that brings the club to airwaves. Quality all round.   Please keep me updated if you are giving it a run. Enjoy ! Ant ✌️:: Global PR Pool :: 0418 580 265 This Week's Featured Tracks Get ready to hear these hot tracks:   1. Ryan Lucian & Bianca - Run [Enhanced Recordings] 2. Goom Gum - Desire [Virgin Records] 3. Cassian - SOS [Experts Only] 4. Bigfett - Dreamer Soul [Radikon] 5. Ryan Lucian - Are You With Me [Enhanced Recordings] UNRELEASED 6. Cristoph (Feat. Jem Cooke) - Paradise [Consequence of Society]  7. Ryan Lucian & Jas. - Memory [Enhanced Recordings]  8. Harry Diamond, K-MRK - Never Gonna Let You Down [Fluentia Music] 9. Dark Heart - Damn Good [Truesoul]  10. Alphadog - It's Insanity (Goom Gum Remix) [Kinetika Music] 11. Claptone, Chichane, Moya Brennan - Saltwater [Armada]  12. Linska - Bad Boy (GENESI remix) [REALM Records] 13. Touchtalk - Change It (Westend edit) 14. Ryan Lucian & Wastemall - Electric Night [Enhanced Recordings] UNRELEASED 15. Biscits - Crush [WRONG]  

You're all set to get your groove on with Shakedown Radio! Join Chris Caggs every Friday night at 7 PM (Melbourne time) on Ozz Mix Dance Radio for an electrifying mix of EDM, hip-hop, and R&B. Broadcasting from Chatswood, Sydney, Chris brings over two decades of radio experience to the airwaves, guaranteeing a musical journey that will get you dancing. How to Tune In You can catch Shakedown Radio on a variety of platforms:  * Mixcloud: www.mixcloud.com/chriscaggs  * Amazon Music Podcasts: https://bit.ly/3PhNuvZ  * Apple Podcasts / iTunes: https://apple.co/3tfyyDP  * iHeart Radio: https://ihr.fm/3ss7wr2  * Tune In App: http://tun.in/pmkVI  * Castbox: https://bit.ly/3maXTcb  * YouTube: http://www.YouTube.com/@chriscaggs For the full track listing and more, visit shakedownradio.com This weeks guest mix comes courtesy of Australian producer on the rise RYAN LUCIAN. Based in Sydney Ryan has been reshaping progressive house since 2023. His releases have gained support from Armin van Burren, Ferry Corsten, Above & Beyond, Kream and more.    This current single "Run" see's him team with fellow Australian, BIANCA out on the UK imprint Enhanced Recordings.  Here he provides a great 60 min that brings the club to airwaves. Quality all round.   Please keep me updated if you are giving it a run. Enjoy ! Ant ✌️:: Global PR Pool :: 0418 580 265 This Week's Featured Tracks Get ready to hear these hot tracks:   1. Ryan Lucian & Bianca - Run [Enhanced Recordings] 2. Goom Gum - Desire [Virgin Records] 3. Cassian - SOS [Experts Only] 4. Bigfett - Dreamer Soul [Radikon] 5. Ryan Lucian - Are You With Me [Enhanced Recordings] UNRELEASED 6. Cristoph (Feat. Jem Cooke) - Paradise [Consequence of Society]  7. Ryan Lucian & Jas. - Memory [Enhanced Recordings]  8. Harry Diamond, K-MRK - Never Gonna Let You Down [Fluentia Music] 9. Dark Heart - Damn Good [Truesoul]  10. Alphadog - It's Insanity (Goom Gum Remix) [Kinetika Music] 11. Claptone, Chichane, Moya Brennan - Saltwater [Armada]  12. Linska - Bad Boy (GENESI remix) [REALM Records] 13. Touchtalk - Change It (Westend edit) 14. Ryan Lucian & Wastemall - Electric Night [Enhanced Recordings] UNRELEASED 15. Biscits - Crush [WRONG]  

June 20th, 2025 - We welcome back Edward Clancy of Aid to the Church in Need with updates on the murder of Christians in Nigeria. Then we're joined again by Dr. Anthony Stine of Return to Tradition to catch up on Catholic news from the week, including the appointment of a new Archbishop of Brisbane. Includes the full Aftershow conversation. TheStationOfTheCross.com/ACT  

This weekend interview is powered by Lululemon. Are you heading up to the Gold Coast Marathon? Lululemon is bringing together runners, crews, and clubs for one of the biggest weekends on the Australian run calendar. Join them for final race prep, recovery sessions, and post-race celebrations. You can register for the clubhouse here: https://events.bizzabo.com/738043/home This weekend interview is with decorated steeplechaser, middle distance runner and Olympian Youcef Abdi, talking with Brad about how running took him from Algeria to Australia. Recounting his days playing soccer in their village, Youcef talks about what his inspirations for getting into athletics leading him to representing Algeria for the 1500m in the 1996 World Junior Championships in Athletics held in Sydney. After the event, Youcef explored his options in his life and decided to make the move to Australia to pursue a career in athletics the transition, navigating accommodation, finding employment and visas to ultimately becoming an Australian citizen in 2000. After his citizenship Youcef recalls the infamous Sydney 2000 Olympic Trials 1500m race where Youcef was caught between Craig Mottram and Nick Howarth, the resulting re-run of that race while still pursuing an Olympic qualifying time. Rounding out this part of the interview Youcef shares with Brad his training structure in the early 2000s era, which emphasised on race-pace practice which earned him a Bronze medal at the 2002 Commonwealth Games. Youcef Abdi picks off from last week recounting his bronze medal performance at the Manchester Commonwealth Games in the 1500m in detail. After going through his personal bests, Youcef talks about what led to his transition from the 1500m to Steeplechase after the campaign for the 2004 Athens Olympics, addressing the challenges in combining hurdling with raw speed. Brad asks about training in Eldoret, Kenya at the time of their elections in the lead up to Beijing 2008 Olympics and Youcef then talks about his 6th place at the 2008 Beijing Olympics before retiring after the London 2012 Olympics, giving insight for what he attributes to having a resilient and durable running career. Youcef rounds out this interview sharing what his current life as a Development Officer for Little Athletics and coming full circle returning to soccer. Patreon Link: https://www.patreon.com/insiderunningpodcast Opening and Closing Music is Undercover of my Skin by Benny Walker. www.bennywalkermusic.com

In May of 2020, 58-year-old Colleen Rebelo was found dead in her home in the shower. At first, her death was not looked at suspiciously, but that changed when her 28-year-old son Andre tried cashing in on a $1 million life insurance policy on her. Andre and his girlfriend Grace, a local Australian model and influencer, were over $100k in debt, as the two tried to finance the lavish lifestyle they portrayed online with overdrawn credit cards and personal loans. — This episode is sponsored by: Factor Rocket Money Check out my foundation: Higher Hope Foundation: https://www.higherhope.org/ Watch my documentaries: 530 Days: https://www.youtube.com/watch?v=CjUWkmOjNLk Apartment 801: https://bit.ly/2RJ9XXr  True Crime with Kendall Rae podcast: Apple Podcasts: https://apple.co/3rks84o Spotify: https://spoti.fi/3jC66pr Shop my Merch! https://kendallrae.shop Check out my other podcasts: Mile Higher (True Crime) @milehigherpod YouTube: https://bit.ly/2ROzJcw Instagram: http://instagram.com/milehigherpod The Sesh (Current events, a little true crime, pop culture, and commentary) https://bit.ly/3Mtoz4X @the_seshpodcast Instagram: https://bit.ly/3a9t6Xr *Follow My Social!* @KendallRaeOnyt Instagram: http://instagram.com/kendallraeonyt Facebook: https://bit.ly/3kar4NK True Crime TikTok: https://bit.ly/3VDbc77 Personal TikTok: https://bit.ly/41hmRKg REQUESTS: General case suggestion form: https://zfrmz.com/yg9cuiWjUe2QY3hSC2V0 Form for people directly related/close to the victim: https://zfrmz.com/HGu2hZso42aHxARt1i67 Join my discord to chat with other viewers about this video, it's free! https://discord.com/invite/an4stY9BCN C O N T A C T: For Business Inquiries - kendallrae@night.co Send me mail: Kendall Rae 8547 E Arapahoe Rd Ste J #233 Greenwood Village, CO 80112

• Promo for Jeff's Bagel Run and Summer of Sips drinks • Use #TDBagel for monthly giveaways • Show opens from the Just Call Mo Studio • Savannah Boan joins in-studio, plays Deadpool pinball, shares disco aunt story • Talks Chirag, South Carolina roots, and jumping a train to get to work • Addresses fan misconceptions about past absences—just scheduling, no drama • Wildlife influencer and Gatorland rep discusses needing credit in conservation • Dan jokes about craving credit like his dad; influencer culture toxicity discussed • Savannah blocks trolls to avoid bandwagon hate; Dan never blocks • Savannah meets Tom & Dan fans at Gatorland, praises niche wildlife creators • Girl becomes cicada influencer; cicadas vs. toxic lubber grasshoppers clarified • Savannah named official Tom & Dan wildlife correspondent • Fans fabricate drama between her and Chris Gillette; they made joint video to clarify • Savannah gets strange DMs; impersonated online by teen scammer feeding fake gators • Legal action taken; catfishing dangers highlighted • Recognized at LAX; has met celebs through reptile work • Praise for Steve Irwin's no-gimmick fame; Savannah's voice and tattoos make her stand out • Grew up around monster trucks; dad built Carolina Crusher • Ran away at 16 to work as Cinderella; ended up partying with Billy Idol • Shares awkward Nick Swardson encounter and better meeting with TJ Miller • Treats celebs like regular people; most aren't that weird • Presented croc talk to Aussie scientists, forced them to take selfies • Sees herself as bridge between science, zoos, and public • Push to make conservation engaging and accessible • Mentions viral gator dummy video and Gatorland Global travels • Visited Australia, Jamaica, Cuba, Belize, Mexico; missed India trip due to COVID • South Africa trip included rhino dehorning and friend Dingo's death by snakebite • Rhino horns removed via helicopter-assisted vet crew; antiseptic and tags applied • Explains wild dogs' gruesome hunts and lion mating patterns • Lions tranquilized with baited zebra for contraceptives and blood work • Rhino and lion work brought staff to tears; sacrifice explained • Initiation involved drinking elephant dung water with venomous death adder nearby • Close elephant encounter; kicked beer can nearly provoked it • Savannah values rare access to behind-the-scenes wildlife work • Gatorland audience fades if crocs not involved; one panther there hates her • Story of wild gator leaping into a tree for birds • Modern humans are soft compared to wild animals in constant survival mode • Vote for Gatorland as Best Theme Park in Orlando Weekly • JustCallMoe.com promo and upcoming Cimarron Skateway event • Savannah's close inyala encounter at lodge; laid next to her, ate TP, watched TV • Contracted African tick bite fever; symptoms appeared back in U.S. • Got botfly from Cuban tree rat; missed its emergence on camera • Talk on authenticity in wildlife media; Bear Grylls faked past survival content • Dangerous boat encounter with hippos; they walk riverbeds and kill more than crocs • Raised pet hippo story ends in tragedy; maturity turns animals aggressive • Savannah balances kid-friendly content with high-risk animal work • Marine Corps background and past goal of air traffic control • Struggles of influencer life—millions of views but under a million subs • Running a show or channel requires nonstop work behind the scenes • Tom's family trip to Sweden; Savannah recalls chaotic Times Square • Drew Barrymore show visit; connected more with Ross Mathews • Some newsrooms felt hostile; entertainer mode helps smooth tension • Praises Orlando and Florida for supporting weird local talent • Cuba is her favorite place; Northern Australia is a close second • Crocodiles are more dangerous than gators; Australia's wildness fascinates her • Australians question trips to NT unless for crocs; she loves the remoteness • Got lost finding the studio; invited to return anytime ### **Social Media:**   [Website](https://tomanddan.com/) | [Twitter](https://twitter.com/tomanddanlive) | [Facebook](https://facebook.com/amediocretime) | [Instagram](https://instagram.com/tomanddanlive) **Where to Find the Show:**   [Apple Podcasts](https://podcasts.apple.com/us/podcast/a-mediocre-time/id334142682) | [Google Podcasts](https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkLnBvZGJlYW4uY29tL2FtZWRpb2NyZXRpbWUvcG9kY2FzdC54bWw) | [TuneIn](https://tunein.com/podcasts/Comedy/A-Mediocre-Time-p364156/) **The Tom & Dan Radio Show on Real Radio 104.1:**   [Apple Podcasts](https://podcasts.apple.com/us/podcast/a-corporate-time/id975258990) | [Google Podcasts](https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkLnBvZGJlYW4uY29tL2Fjb3Jwb3JhdGV0aW1lL3BvZGNhc3QueG1s) | [TuneIn](https://tunein.com/podcasts/Comedy/A-Corporate-Time-p1038501/) **Exclusive Content:** [Join BDM](https://tomanddan.com/registration) **Merch:** [Shop Tom & Dan](https://tomanddan.myshopify.com/)