Podcasts about Wild Mountain Thyme

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

ONE MORE MATINEE (2000) WILD MOUNTAIN THYME (2002) BEACHCOMBING (2006) HE'S THE MAN (2000) SAILING TO PHILADELPHIA (2000) WHAT IT IS (2000) WHY AYE MAN (2002) THIS IS US (2006) GRAVY TRAIN (1996) CANNIBALS (1996) DARLING PRETTY (1996)

Aujourd'hui nous sommes le lundi 24 mars de la 3ème semaine de Carême. Avec le Parcours mettre de l'ordre dans sa vie, nous sommes entrés dans le Carême sous le regard aimant de Dieu. Nous vous proposons cette semaine de continuer à nous interroger sur notre rapport aux choses matérielles. Je suis à mi-chemin dans ce temps de conversion pour me tourner davantage vers le Christ, le laisser envahir mon cœur pour mieux l'aimer et aimer les autres. Pour cela, Jésus nous donne quelques pistes : Le partage, la prière ou le jeûne. Je dis au Seigneur ma soif et ma disponibilité à le chercher et à le rencontrer particulièrement dans ce temps... Chaque jour, retrouvez 12 minutes une méditation guidée pour prier avec un texte de la messe ! A retrouver sur l'application et le site www.prieenchemin.org. Musiques : Viens, Esprit Saint (Veni Sancte Spiritus) de Communauté de l'Emmanuel interprété par Communauté de l'Emmanuel - Viens, Esprit-Saint © Éditions de l'Émmanuel ; Wild Mountain Thyme de Lisa Lynne et George Tortorelli interprété par Lisa Lynne et George Tortorelli - Light in the Wood © Creative Commons by-nc-sa license from Magnatunes.

Hello! This week, we're continuing our deep dive into Philip Seymour Hoffman's oeuvre (we're fancy) and looking at John Patrick Shanley's Doubt (2008), a very different movie than Wild Mountain Thyme, which he made in 2020, and which we have also done an episode about. In Doubt, we see PSH navigate the role of a 1964 priest whom head nun Sister Aloysius (Meryl Streep) accuses of abusing a child. This movie makes us so angry, but also impresses the dickens out of us, and we're happy to share our thoughts about it with you.In case you missed it, this is a movie about a priest accused of child sexual abuse, so please take care of yourselves and skip this one if you need to. Otherwise, we'd love to hear your thoughts, so send us an email at thejuiciestbitspodcast@gmail.com or leave a comment on Spotify, and PLEASE don't forget to rate and review us!

S 21 E 01 # 477 Archives 01042025 Music from: Celtic Squall, Gallowglass Irish Trio, Bard of the South, Maidens III, Lindsay Smith, Owain Phyfe, Minstrosity, Half Pint, Wild Mountain Thyme, Peregrine, Rosewood Guild, In Our Cups, John C. Wiseman, Rum Runners, Kerridwynn, Siler and Clarc, Phillip Hole, Triskelion, Dublin Double, Emerald Rose, The Awards are now open for voting. VISIT OUR SPONSORS RESCU https://RESCU.org Ocean Renaissance Foundation http://www.oceancityrenaissance.com/ The Ren List http://www.therenlist.com Happy To Be Coloring Pages https://happytobecoloring.justonemore.website The Patrons of the Podcast https://www.patreon.com/RenFestPodcast Songs Green Grow the Rashes[3] performed by Celtic Squall from the album Celtic Squall www.facebook.com/pg/Celtic-Squall-14178220745/ Step It Out Mary[6] performed by Gallowglass Irish Trio from the album All the Best www.myspace.com/gallowglassband Last Princess Of Wales performed by Bard of the South from the album The Minstrel Boy www.bardofthesouth.com/ One-Armed Fiddler performed by Maidens III from the album Charm & Fire A Love That Grows performed by Lindsay Smith from the album Beautiful Life Daphne[2] performed by Owain Phyfe from the album Where Beauty Moves and Wit Delights The Ferryman's Fee performed by Minstrosity from the album Why Am I Not Surprised? Hare's Lament performed by Half Pint from the album Fair and Tender Ladies www.theharperandtheminstrel.com/ Fiddler's Green[18] performed by Wild Mountain Thyme from the album There Can Only Be One Sidhe Beag Sidhe Mor performed by Peregrine from the album Peregrine Sheebeg performed by Rosewood Guild from the album Forever And A Day Aunt Clara performed by In Our Cups from the album Foolish Pleasure Planxty Irwin[2] performed by John C. Wiseman from the album Simply Entitled www.johncwiseman.com/ The Moorish Hornpipe performed by Rum Runners from the album Got Rum? Spanish Ladies[6] performed by Kerridwynn from the album Memories In Thyme Two Long at the Faire performed by Siler and Clarc from the album Two Long At The Faire Isn't It Grand[7] performed by Phillip Hole from the album The Singing Gravedigger The Water Is Wide[13] performed by Triskelion from the album Music On Fridays www.facebook.com/pg/Triskelion-107786252590854 Donald Where's Your Trousers![3] performed by Dublin Double from the album Where's Yer Trousers? Whistler's Farewell performed by Emerald Rose from the album Archives of Ages to Come www.emeraldrose.com HOW TO CONTACT US Please post it on Facebook https://www.facebook.com/renfestmusic Please email us at renfestpodcast@gmail.com HOW TO LISTEN Patreon https://www.patreon.com/RenFestPodcast Apple https://podcasts.apple.com/us/podcast/renaissance-festival-podcast/id74073024 Spotify https://open.spotify.com/show/76uzuG0lRulhdjDCeufK15?si=obnUk_sUQnyzvvs3E_MV1g Listennotes http://www.listennotes.com/podcasts/renaissance-festival-podcast-minions-1Xd3YjQ7fWx/

Aujourd'hui nous sommes le lundi 7 octobre. Nous fêtons Marie, Bienheureuse Vierge du Rosaire.Je prends le temps d'offrir ce temps de prière au Seigneur. A la suite de Marie, je peux lui demander la grâce de Le suivre, au-delà de tout ce qui... Chaque jour, retrouvez 12 minutes une méditation guidée pour prier avec un texte de la messe ! A retrouver sur l'application et le site www.prieenchemin.org. Musiques : A l'ombre d'El Shaddaï de Claire Bouchadeill interprété par Claire Bouchadeill - Sentinelle © Voir le site de Claire Bouchadeill ; Wild Mountain Thyme de Lisa Lynne et George Tortorelli interprété par Lisa Lynne et George Tortorelli - Light in the Wood © Creative Commons by-nc-sa license from Magnatunes.

S 20 E 20 S 470 Archives 9/28/2024 VISIT OUR SPONSORS The Louisiana Renaissance Festival https://www.larf.org/ The Ren List http://www.therenlist.com/ Happy To Be Coloring Pages https://happytobecoloring.justonemore.website/ RESCU https://rescu.org/ The Patrons of the Podcast https://www.patreon.com/RenFestPodcast SONGS Sing We At Pleasure performed by Myschyffe Managed from the album Faire Play[1] www.myschyffemanaged.com Cuncti Simus Concanentes (LV) performed by Istanpitta from the album PilgrimageToTheShrine www.istanpitta.com/ Soul Cakes performed by Carolina Ceili  from the album Fifty Shades of Green www.carolinaceili.com/ Work Of The Weavers performed by Tullamore from the album Wild And Wicked Youth www.tullamore.band/home O'Carolan Trio[1] performed by Dublin Harpers from the album Dublin Harpers Live www.dublinharpers.bandcamp.com Hills of Connemara[1] performed by Blackjacks n' Blarney from the album Bite Size www.twitter.com/bnbpyrates Settlers of Kataan performed by Battlelegs from the album The Soup Mages www.battlelegs.bandcamp.com Two Bards and a Rogue(2018)(Sci-Fi,D&D) performed by Clearly Guilty  from the album Throwing Shade www.facebook.com/ClearlyGuilty/ Shady Grove[3] performed by The Craic Show from the album Down in the Juke www.thecraicshow.com/ Real Old Mountain Dew[3] performed by Merry Wives of Windsor from the album Tales From Windsor's Tavern www.mwow.net Mary Ellen Carter9 performed by The Cross Jacks from the album The Cross Jacks www.sites.google.com/site/thecrossjacks/ Bridget Cruise 3rd Air performed by Harper & Minstrel  from the album The Road To Lindemar www.theharperandtheminstrel.com Bells of Alluria performed by Sandra Parker from the album Call of the Faerie www.reverbnation.com/sandramparker Wild Mountain Thyme[35] performed by Pirates For Sail from the album Dark Side of the Lagoon www.piratesforsail.com/ Irish Rover[7] performed by Flying Fish Sailors from the album Loch Ness Monster www.flyingfishsailors.coM My Son John[4] performed by Rum Fellows from the album Okie Maritime Music-For The Landlocked Pirate www.facebook.com/OkiePirates/ Horse Bransel(Goned Native) performed by Grey Aengus from the album Gaelic Soup www.facebook.com/grey.aengus.1 Hobbit Polka performed by Marc Gunn from the album Dancing with Hobbits www.marcgunn.com Proudfoot Shuffle performed by Marc Gunn from the album Dancing with Hobbits www.marcgunn.com Smoke & Ashes performed by Pictus from the album Fire www.pictusmusic.com Mason's Apron , Dance of the Fairie Kings [Irish Trad] performed by EznDil from the album EznDil (2008) www.frontdoorfarmmarket.com The Girl I Left Behind Me[1] performed by DeCantus from the album Tonight We'll Merry Bee www.decantus.com/ A Farewell Song performed by New Minstrel Revue from the album Many Hands Parting Glass[28] performed by Jack Salt and the Captain's Daughter from the album Bring Us a Barrel www.jacksalt.bandcamp.com HOW TO CONTACT US Post it on Facebook https://www.facebook.com/renfestmusic Email us at renfestpodcast@gmail.com HOW TO LISTEN Patreon https://www.patreon.com/RenFestPodcast Apple https://podcasts.apple.com/us/podcast/renaissance-festival-podcast/id74073024 Spotify https://open.spotify.com/show/76uzuG0lRulhdjDCeufK15?si=obnUk_sUQnyzvvs3E_MV1g Pandora https://www.pandora.com/podcast/renaissance-festival-podcast/PC:1139 Listennotes http://www.listennotes.com/podcasts/renaissance-festival-podcast-minions-1Xd3YjQ7fWx/

Such dead lions, these two. In 2020, John Patrick Shanley adapted his successful play “Outside Mullingar” to a feature film, with results. Adam and Aidan have different opinions on the nature of those results.

VISIT OUR SPONSORS The Louisiana Renaissance Festival https://www.larf.org/ The Ren List http://www.therenlist.com/ Happy To Be Coloring Pages https://happytobecoloring.justonemore.website/RESCU https://rescu.org/ The Patrons of the Podcast https://www.patreon.com/RenFestPodcast SONGS Dance in a Circle performed by Alexander James Adams from the album A Familiar Promise www.faerietaleminstrel.com/ Wild Mountain Thyme[38] performed by Rusty Mudd from the album The Darkling Road www.facebook.com/rusty.mudd.1 Desert Dream performed by Ladies at Play from the album Once Upon A Waltz www.ladiesatplayband.com If I Were a Blackbird[6] performed by The Captain and Malarky from the album Singles[1] www.myspace.com/thecaptainandmalarky All for Me Grog[16] performed by Terrible Musicians from the album No Royalty- Songs of Pirates, Paupers and Vagrants www.facebook.com/TerribleMusicians/ Whiskey You're the Devil[7] performed by The Craic Show from the album Up in the Pub www.thecraicshow.com/ Road To Kolozsvar Town[1] performed by Rowan from the album Tales Through Time[1] Irish Rover[19] performed by The Pride of Ireland from the album Here's to Dear Old Erin www.theprideofireland.com/ Bachelor's March performed by Misfits of Avalon from the album Avalon Moon www.facebook.com/misfitsofavalon/ Banish Morrisons performed by Jackdaws from the album Troubles www.thejackdaws.com/ John Brain's , Laura's Reel , Jenny Dang The Weaver (Live) performed by The Reelin Rogues from the album Live At Claddagh www.thereelinrogues.com/ The Seaside Promenade performed by Vince Conaway from the album Liminal Spaces www.vinceconaway.com/ The Gallowglass from Calontir performed by Shillelagh Law from the album Songs from the Bridge Ten Stone[3] performed by Trinket from the album Landlocked www.facebook.com/Trinket-144275768995318/ All Harpists Go To Heaven performed by Carl Asch from the album Songs Of The Open Road www.facebook.com/Official.CarlAsch.Page/ Tappster Drynker performed by Quarter Master Band from the album Quarter Master www.facebook.com/QuarterMasterBand/ Llamia performed by Gallows Humor from the album Necrodancer www.gallowshumorband.com/ Old Black Rum[5] performed by Maguire Brothers from the album Sibling Rivalry www.facebook.com/maguirebrothers3 Old Black Rum[4] performed by Luku the Mad Skald from the album Pissed Drunk and Pissed Off www.lukuthemad.com Rattlin Bog[8] performed by Painted Trillium from the album Painted Trillium www.paintedtrillium.com A - Beggin I Will Go & Little Beggarman performed by Ky Hote from the album A Mintrel's Life www.kyhote.com John Barleycorn[6] performed by Scott Boswell from the album Jug Of Punch www.myspace.com/flutecart Moron With the Bodhran performed by Ceann from the album Making Friends www.reverbnation.com/ceann Parting Glass[2] performed by Bardmageddon from the album Bardmaggeddon www.squareup.com/store/bardmageddon/ HOW TO CONTACT US Post it on Facebook https://www.facebook.com/renfestmusic Email us at renfestpodcast@gmail.com HOW TO LISTEN Patreon https://www.patreon.com/RenFestPodcast Apple https://podcasts.apple.com/us/podcast/renaissance-festival-podcast/id74073024 Spotify https://open.spotify.com/show/76uzuG0lRulhdjDCeufK15?si=obnUk_sUQnyzvvs3E_MV1 Pandora https://www.pandora.com/podcast/renaissance-festival-podcast/PC:1139 Listennotes http://www.listennotes.com/podcasts/renaissance-festival-podcast-minions-1Xd3YjQ7fWx/

Mary & Blake chat about House Of The Dragon Episode 2.04 – The Red Dragon And The Gold. We we raise a glass to Rhaenys, talk about how this episode and the last are better each other because of context, why the motivations for all the characters are clearly defined, and why we STILL can’t get over that movie Wild Mountain Thyme… SUBSCRIBE TO GET NOTIFICATIONS FOR NEW EPISODES APPLE PODCASTS YOUTUBE SPOTIFY CONNECT WITH MARY & BLAKE Like Our Facebook Page  Join Our Facebook Group Join The #NerdClan Follow On Twitter Follow On Instagram  CHECK OUT THE BEST MERCH ON THE PLANET AT:  THE MARY & BLAKE STORE Shop for all of our podcasts, sayings, and listener inspired designs in one easy place. FOLLOW ALL OF OUR PODCASTS AT MARY & BLAKE: This Is Us Too: A This Is Us Podcast The Pokemon Pokedex With Rhys & Felicity: A Pokemon Podcast The Percy Jackson Prophecy: A Percy Jackson Podcast The MCU Diaries: Essays On Marvel Television Podcast  Bridgerton With Mary & Blake: A Bridgerton Podcast Keep Calm And Crown On: The Crown Podcast Minute With Mary: A Younique Network Marketing Podcast Rise Up!: A Hamilton Podcast The Leftovers Podcast: The Living Reminders The North Remembers: A Game Of Thrones Podcast Wicked Rhody: A Podcast About Rhode Island Events and Life You've Been Gilmored: A Gilmore Girls Podcast ParentCast: A Podcast For New Parents Outlander Cast: An Outlander Podcast The Potterverse: A Harry Potter Podcast The Last Kingdom With Mary & Blake: A Podcast For The Last Kingdom House Of The Dragon With Mary & Blake: A Podcast For House Of The Dragon The Rings Of Power With Mary & Blake: A Rings Of Power Podcast READ OUR LATEST BLOGS AT MARY & BLAKE: Mary & Blake’s Blog The MCU Diaries The Handmaid’s Diaries Minute With Mary Outlander Cast Blog A huge thank you to all of our members at the #NERDCLAN for helping to make this podcast possible. EXECUTIVE PRODUCERS Bobbi Franchella lisa kroencke Maryanne St Laurent Tara Vicki Adams Anne Gavin Dana Mott-Bronson Joanne Felci Kathleen Katy Valentine Kirstie Wilson Sara Zaknoen, MD Siobhan M. O’Connor SuzyQ CO-PRODUCERS Peg Rogers Angie Leith Barbara Falk Dena Kendig Jennifer L. Dominick Katelyn Cassidy Keelin Dawe Martha Meredith Bustillo ASSOCIATE PRODUCERS Cary Robinson Laura Roche Norma Perez Bethany Fowler Brenda Lowrie Brittany McCausland Candy Hartsock Carolyn Needham Christina Tomazinis Christine Milleker Jennifer Richie Karen Snelling Marilyn L Neenan Shonna Chapman Stephanie Holm Suzanne Moss Tracy Enos  CLICK HERE to join the #NERDCLAN House Of The Dragon: 2.04 – The Red Dragon And The Gold | Recap & Reaction

VISIT OUR SPONSORS The Louisiana Renaissance Festival https://www.larf.org/ The Ren List http://www.therenlist.com/ Happy To Be Coloring Pages https://happytobecoloring.justonemore.website/ RESCU https://rescu.org/ The Patrons of the Podcast https://www.patreon.com/RenFestPodcast SONGS When I Was A Young Maid performed by Tania Opland and Mike Freeman from the album Choice Fare Roll the Old Chariot Along[2] performed by Jim Hancock from the album Rolling Home www.jimhancock.com The Woodcutter's Song(Trad) performed by Maggie and the Tinker from the album Huh? www.facebook.com/maggieandthetinker Parting Glass[16] performed by Donal Hinely from the album Glass Stories www.donalhinely.com/ Itches in Me Britches[1] performed by Better Than Nun from the album #NunLyfe www.betterthannun.bandcamp.com/ A Capitol Ship performed by Bounding Main from the album Lost at Sea - Sea Shanties and Nautical Ballads www.boundingmain.com Old Dun Cow[1] performed by Axel the Sot from the album Bottled Up! www.facebook.com/pg/Axel-the-Sot-145245625508912 All for Me Grog [22] performed by Limey Birds from the album Tweet www.facebook.com/thelimeybirds/ Mingulay Boat Song[5] performed by Bounding Main from the album Fish Out of Water www.boundingmain.com Skillywidden[2] performed by Cantiga from the album A Timeless Journey www.cantigamusic.com/ Epiphany performed by Vince Conaway from the album Dulce Melos www.vinceconaway.com/ Fires At Midnight performed by Blackmore's Night from the album Fires At Midnight www.blackmoresnight.com The Fox[5] performed by James Cedrick Hazlerig from the album Cedric's Overmode Johnny Jump Up[45] performed by The Captain and Malarky from the album Singles[1] www.myspace.com/thecaptainandmalarky Blackthorn performed by Music the Gathering from the album LVL 1 www.musicthegathering.com Two Magicians[3] performed by Empty Hats from the album Released www.emptyhats.com Smaug the Magic Dragon  performed by Merry Mischief from the album Singles[9] www.merrymischief.net Hobbit Drinking Song performed by Merry Mischief from the album Singles[9] www.merrymischief.net What Do You Do With A Drunken Hobbit performed by Merry Mischief from the album Singles[9] www.merrymischief.net Goddess Within[2] performed by Counterfeit Bards from the album Bard from This Hall The Cat Came Back[1] performed by Flying Fish Sailors from the album Loch Ness Monster www.flyingfishsailors.coM Big Jigs[2] performed by Tartanic from the album Unmistakeable www.facebook.com/tartanicofficial Irish Blessing[5] performed by Wild Mountain Thyme from the album There Can Only Be One Health to the Company[9] performed by Brobdignagian Bards from the album A Faire To Remember www.thebards.net HOW TO CONTACT US Post it on Facebook https://www.facebook.com/renfestmusic Email us at renfestpodcast@gmail.com HOW TO LISTEN Patreon https://www.patreon.com/RenFestPodcast Apple https://podcasts.apple.com/us/podcast/renaissance-festival-podcast/id74073024 Spotify https://open.spotify.com/show/76uzuG0lRulhdjDCeufK15?si=obnUk_sUQnyzvvs3E_MV1g Pandora https://www.pandora.com/podcast/renaissance-festival-podcast/PC:1139 Listennotes http://www.listennotes.com/podcasts/renaissance-festival-podcast-minions-1Xd3YjQ7fWx/

  Direct Download Another snippet of the May 8th edition of Mountain Dulcimer in the JAM!, a monthly online workshop/jam sprung from the pages of the tune-and-backing-track series, Mountain Dulcimer in the Band. Today's episode features “Wild Mountain Thyme” in the style of Dire Straits! Bing Futch is endorsed by Folkcraft Instruments, V-Picks and Wolf Hill Woodworking. Enjoy "Dulcimerica"? Consider supporting the program by becoming a patron!

  Direct Download Another snippet of the May 8th edition of Mountain Dulcimer in the JAM!, a monthly online workshop/jam sprung from the pages of the tune-and-backing-track series, Mountain Dulcimer in the Band. Today's episode features “Wild Mountain Thyme” in the style of Dire Straits! Bing Futch is endorsed by Folkcraft Instruments, V-Picks and Wolf Hill Woodworking. Enjoy "Dulcimerica"? Consider supporting the program by becoming a patron!

Martha Wainwright is touring Australia this month and Rhythms Editor Brian Wise caught up with her by Zoom to talk about the tour, her return to touring, writing new songs and a tribute to singer/songwriter Connie Converse. The podcast starts with music from Martha's lates studio album Love Is Reborn.  Songs: Hole In My Heart/Getting Older/Love Will Be Reborn - Martha Wainwright (Love Will Be Reborn), Five Years Old - Loudon Wainwright III (Fame & Wealth), One By One - Martha Wainwright, Wild Mountain Thyme (feat. Anna McGarrigle, Chaim Tannenbaum, Lily Lanken, Lucy Wainwright Roche & Martha Wainwright) - Rufus Wainwright (Folkocracy). You can find Martha's tour dates at: https://www.marthawainwright.com/shows  

Opening music: Rebecca Loebe "Redneck Karaoke Bar" - Mystery Prize www.rebeccaloebe.com Raina Rose "Albatross" - Vesta www.rainarose.com www.folkpotions.com Carrie Elkin "Albatross" - The Penny Collector www.carrieelkin.com Sarah Shook ""Lesson"- Years www.disarmers.com Karen Jonas "Butter" - Lucky, Resivited www.karenjonas.com ******************** Aerynn "Light With You" www.aerynn.com Grace Morrison "Get Along" - Maybe Modern www.gracemorrison.com Scott Sean White "God Is Good" - Even Better On The Bad Days www.scottseanwhite.com Jann Klose "Sugar My" - surrender www.jannklose.com Amy Speace "Blues For Joy" - Tuscon www.amyspeace.com Kirsten Maxwell "I Can't Help It" - Crimson www.kirstenmaxwell.com David G Smith "Weight You Carry" - Witness Trees www.davidgsmithmusic.com ********************** ALBUM FOCUS: Christian Parker - Change Is Now: A Tribute To The Byrds www.christianparker.com "I'll Feel A Whole Lot Better" "Chimes Of Freedom" "Wild Mountain Thyme" "Ballad Of Easy Rider" *********************** Frenchy And The Punk "Blood" - Zen Ghost www.frenchyandthepunk.com Swansea Sound "Markin' It Down"- Twentieth Century www.facebook.com/swanseasound Ivytide "Baseboards" - Portable Darkroom www.ivytide.com Reaven "Never Let Me Go" www.reavenmusic.net The Jellybricks "All About You" - www.thejellybricks.com Mest "When We Were Young' www.mestmusic.com Purusa "Words" - Repair www.purusaband.com Castle Black "Heart Can't Feel" - The Highway At Night www.castlebackmusic.com Swive "Diamond Path" - Stereophonic Stylings Volume One https://www.facebook.com/Swivetheband/ The Idoru "Sewn Shut" - Undertow https://www.facebook.com/TheIdoruBand --- Send in a voice message: https://podcasters.spotify.com/pod/show/radiocblue/message Support this podcast: https://podcasters.spotify.com/pod/show/radiocblue/support

On Inside Hollywood this week, We discuss I The Medallion, Wild Mountain Thyme and Far and Away with Dee Reddy, Podcaster and Cultural commentator.

The Dream Blunt Rotation continues with John Patrick Shanley's Wild Mountain Thyme. But is this truly a dream blunt? After the reaction to Jungle Cruise, the Mixed Bag crew are hoping the Emerald Isles of Ireland and performances therein can dazzle us with their Irish charm. THERE'S NOTHING MORE DANGEROUS… THAN AN IRISH WOMAN IN LOVE. Headstrong farmer Rosemary Muldoon has her heart set on winning her neighbour Anthony Reilly's love. The problem is, Anthony seems to have inherited a family curse, and remains oblivious to his beautiful admirer. Stung by his father's plans to sell the family farm to his American nephew, Anthony is jolted into pursuing his dreams. (Sourced from Letterboxd) Will this be another Moonstruck for the Irish community? How will Blunt fare with the accent? And WHERE. IS. FIONA?? Find out if we're buzzing or feel drowsy in need of some honey from Wild Mountain Thyme.

Gary invites you on a tour which takes in the music of Scotland, Ireland, Northumbria, Asturias, Brittany, New Zealand and Cuba. And there's a first chance to hear a brand new bagpipe-infused single from Linlithgow's very own town piper, Ross Miller. The Battlefield Band with The Merry Macs, Dr Iain MacAonghais and Mrs Chisholm's Delight from Happy Daze Tejedor with Salton d'Lyana from Music na Maleta Canterbury Caledonian Society with Chief Grey Feather, Guards Club Recital Series, McPhedran's Strathspey, Cockerel in the Creel, Dr Alasdair MacKenzie, Alasdair's Reel, Wild Mountain Thyme, Miss Campbell of Sheerness and The Hard Drive  Calum Stewart with True North from True North Brian Lamond with the Islay Ball, The Shepherd's Crook, Loch Carron and The Rookery from Another Day at the Office Xavier Boderiou, Sylvain Barou and Antoine Lahay with Kernivinen Plinn from Liamm Anthony Robb with I Saw My Love Come Passing By Me from Northumberland Rant Ross Miller with Newly Wed At Newhall and Murray & Jacqui Ross of Torri Dhu – New single Salsa Celtica with Cajan Solo, Rumba Ecossia and Llego from Live in Concert at the Universal Hall, Findorn        Support the show

Aujourd'hui nous sommes le 21 janvier, 3ème dimanche du Temps Ordinaire.Nous vivons cette semaine la semaine de l'unité des chrétiens. En écoutant la prière pour l'unité des chrétiens du Chemin Neuf, je me remémore les visages de chrétiens d'autres confessions que je connais et je m'imagine marcher avec eux, depuis toute la surface de la terre, vers le Christ.Je demande au Seigneur de me donner de témoigner du Christ dans ma vie et mes paroles... Chaque jour, retrouvez 12 minutes une méditation guidée pour prier avec un texte de la messe ! A retrouver sur l'application et le site www.prieenchemin.org. Musiques : Prière pour l'unité des chrétiens de Chemin Neuf interprété par Chemin Neuf - Messes et cantiques © Communauté du Chemin Neuf ; Wild Mountain Thyme de Lisa Lynne et George Tortorelli interprété par Lisa Lynne et George Tortorelli - Light in the Wood © Creative Commons by-nc-sa license from Magnatunes.

VISIT OUR SPONSORS The Louisiana Renaissance Festival https://www.larf.org The Patrons of the Podcast https://www.patreon.com/RenFestPodcast Happy To Be Coloring Pages https://happytobecoloring.justonemore.website The Ren List http://www.therenlist.com RESCU https://RESCU.org SONGS The Gathering performed by Elflore from the album The Gathering www.elfloreofficial.com Whiskey In The Jar performed by King's Busketeers from the album Boston To Belfast - The Bedroom Sessions https://www.thekingsbusketeers.com the Drummer and the Cook performed by DeCantus from the album Tonight We'll Merry Bee http://www.decantus.com/ Never Did No Wanderin' performed by Maggie and the Tinker from the album Huh? https://www.facebook.com/maggieandthetinker/ Dennis Murphy & John Ryan's Polka Medley performed by Capt'n Tor and the Naer do Well Cads Pirate Invasion from the album Fanny http://www.pirateparties.ca The Night That Paddy Murphy Died performed by MenageAMoi from the album Raise a Toast www.menageamoicomedy.com Walkin' the Cinders performed by Cu Dubh from the album Walkn' the Cinders https://www.cudubhtribe.com/ Maid of Bedlam performed by Silent Lion from the album Into the Medieval World https://silentlion.com/ Drinking Hymn performed by Better Than Nun from the album #NunLyfe http://www.betterthannun.bandcamp.com/ Lilly The Pink performed by Turtle and the Hair from the album On A Rampage Dog That Bit Ya performed by Rum Fellows from the album Okie Maritime Music-For The Landlocked Pirate https://www.facebook.com/OkiePirates/ Maggie Mae performed by Pirates Of Rogues Cove from the album Setting Sail http://www.roguescove.org The Veil performed by Shillelagh from the album Evening Pint https://shillelaghtexas.bandcamp.com/?fbclid=IwAR3mjZjDyr_7D4rwb4FW3k_EOqm-FNtvzXXLyYDfdQHq5_gGAKN9zkoLFX8 The Ranger Of Gonzales performed by Tullamore from the album Two to Get Ready https://www.tullamore.band/home Rogue performed by Sarah Donner from the album That Is A Pegasus https://www.sarahdonner.com  The Ace And Deuce Of Pipering, The King Of The Fairies performed by T J Hall & Jeff Ksiazek from the album Éist The Cat Came Back performed by Flying Fish Sailors from the album Loch Ness Monster http://www.flyingfishsailors.com The Autumn Leaf Shuffle performed by Withe & Stone from the album Holiday Traditions www.witheandstone.com Mandala performed by Circa Paleo from the album Eleven Lives http://www.circapaleo.com/ King Otool And His Goose performed by The Skald's Circle from the album Stories Of Eire CD1 https://theskaldscircle.com/ Ships Are Sailing/Islay/Ranter's Reel/Father Kelly's Reel performed by Carolina Ceili  from the album Fifty Shades of Green http://www.carolinaceili.com/ The Minguelay Boat Song performed by New Minstrel Revue from the album Far And Away Beggerman's Waltz performed by Gibbon the Troubador from the album Ode of the Troubadour https://www.gibbonthetroubadour.net/about Wild Mountain Thyme performed by Rusty Mudd from the album The Darkling Road https://www.facebook.com/rusty.mudd.1 HOW TO CONTACT US Post it on Facebook https://www.facebook.com/renfestmusic Email us at renfestpodcast@gmail.com HOW TO LISTEN Apple https://podcasts.apple.com/us/podcast/renaissance-festival-podcast/id74073024 Spotify https://open.spotify.com/show/76uzuG0lRulhdjDCeufK15?si=obnUk_sUQnyzvvs3E_MV1g Pandora http://www.pandora.com/ Podbay http://www.podbay.fm/show/74073024 Listennotes http://www.listennotes.com/podcasts/renaissance-festival-podcast-minions-1Xd3YjQ7fWx/  

  Direct Download Bing continues his short-term residency at Kentucky Horse Park with a simple breakdown of "Wild Mountain Thyme" for mountain dulcimer tuned DAD in the key of D major. Bing Futch is endorsed by Folkcraft Instruments, V-Picks and Wolf Hill Woodworking. Enjoy "Dulcimerica"? Consider supporting the program by becoming a patron!

VISIT OUR SPONSORS: Louisiana Renaissance Festival https://www.larf.net/ The Ren Cruise http://www.canigoadventures.com/ SONGS Four-Paw Bandit performed by Alexander Silver from the album The Gate Home and other Tales http://www.alexthebard1.wixsite.com/traveling-bard a Drop of Reever Blood performed by Bedlam Bards from the album Firefly Drinking Songs https://www.bedlambards.com Bienvenue À B'o'r performed by Barbar 'O 'Rhum from the album Toutes les Routes Mènent au Rhum http://barbarorhum31.wix.com/barbarorhum A Very Blue Moon performed by Brian Tinker Leo from the album Down That Road https://www.facebook.com/tinkersings/ The Fox And The Crow performed by Bonny Moffatt The Traveller and Storyteller from the album First Fabulae https://facebook.com/BlackLipsBonnyMoffatt/ Sundown performed by Music the Gathering from the album LVL 1 www.musicthegathering.com Do You Love an Apple performed by A Minstrel Meets a Harper from the album A Minstrel Meets A Harper http://www.minstrelmeetsharper.bandcamp.com Fig for a Kiss performed by Abby Green from the album Fig for a Kiss https://www.AbbyGreen.com No Grave But The Sea performed by Alestorm from the album No Grave But The Sea http://www.alestorm.net/ Tears of a Dragon performed by Alexander Silver from the album The Gate Home and other Tales http://www.alexthebard1.wixsite.com/traveling-bard Haul Away Joe performed by Angus McHugh, Scottish Pirate from the album Rebels Pirates and Cutthroats https://www.matthughesmusic.com The Cat On the Stairs performed by April Knight from the album Allons Y Time Traveler's Tunes https://www.aprylknight.com/ Rocky Road To Dublin performed by Crimson Pirates from the album Come 'n Be A Pirate http://www.crimsonpirates.com/ Gypsy Wine performed by Iron Hill Vagabonds from the album Circus Vagabonds http://www.ironhillvagabonds.com/ Banish Morrisons performed by Jackdaws from the album Troubles http://www.thejackdaws.com/ Csm 166 performed by Wolgemut from the album Momento https://wolgemut.net Scarborough Faire (Child Ballad #2) performed by Leza Mesiah, The Moor Of Dundee from the album The Moor Of Dundee http://www.moorofdundee.com/ Childgrove performed by Erika the Harpist from the album A Fyne Faire Daye http://wwww.erikatheharpist.com The Grenadier and the Lady performed by Erika the Harpist from the album A Fyne Faire Daye http://wwww.erikatheharpist.com Round About Reel performed by Dublin Harpers from the album Dublin Harpers Live https://dublinharpers.bandcamp.com Red Is the Rose performed by Bardmageddon from the album Bardmaggeddon https://www.squareup.com/store/bardmageddon/ Wild Mountain Thyme performed by Bardy Pardy from the album Bardy Pardy (Self-Titled) http://www.bardypardy.com Whiskey in the Jar performed by Barleyjuice from the album Another Round http://www.barleyjuice.com The Night Pat Murphy Died performed by The Bilge Pumps from the album Bail Money https://www.thebilgepumps.com/ SEGMENTS Festival update brought to you by The Ren List http://www.therenlist.com SHOUT OUT Renfaire Planners In Areas With Low Populations Looking For Nearby Planners https://www.facebook.com/groups/947018746379158/ HOW TO CONTACT US Post it on Facebook https://www.facebook.com/renfestmusic Email us at renfestpodcast@gmail.com HOW TO LISTEN Apple https://podcasts.apple.com/us/podcast/renaissance-festival-podcast/id74073024 Spotify https://open.spotify.com/show/76uzuG0lRulhdjDCeufK15?si=obnUk_sUQnyzvvs3E_MV1g Pandora http://www.pandora.com/ Podbay http://www.podbay.fm/show/74073024 Listennotes http://www.listennotes.com/podcasts/renaissance-festival-podcast-minions-1Xd3YjQ7fWx/

This pub is not a real Irish pub, but it's the most-authentic Irish pub that is not in Ireland. Enjoy music from Kinnfolk and Fire in the Glen. Learn when Coffee with The Celtfather returns and what the future holds for this fall. This is Pub Songs & Stories #272. 0:19 - Kinnfolk “Siúil a Rún” from Kinnfolk 3:34 - WELCOME TO PUB SONGS & STORIES I am Marc Gunn. I'm a rhythm and folk Celtic musician and podcaster living in Atlanta, Georgia. This episode kicks off the fall season of Pub Songs & Stories. I'm gonna talk about what I have in store for the fall. I'm also gonna share with you a live concert from the Maggie McGuinness Pub. The most-Irish of Irish pubs that are NOT in Ireland. The first band was Kinnfolk. They are a wife and husband duo out of Virginia. They hosted show #609 of the Irish & Celtic Music Podcast. Where they talked about Irish sessions they performed at during their recent honeymoon in Ireland. That song is from the CD… If you're new to the show, please subscribe. You can do that PubSong.com or even better or you can subscribe and download all of my songs in this show. Just send me an email.  pubsong@celtfather . You will get an auto responder to download the month's songs. You will also get that subscribe link. It's quick and easy. While you're emailing me to get your free EP, well album, let me know what you're doing while listening to this episode. 5:10 - UPCOMING SHOWS AUG 19: Fiddler's Green Coffeehouse Concert series at First Existentialist Congregation of Atlanta. 470 Candler Park Dr. NE / Atlanta GA 30307. 404-378-5570. Presented by Atlanta Area Friends of Folk Music (AAFFM). Tickets $10 AUG 24: Marc Gunn Livestreaming Concert on Bandcamp AUG 26: Pepper Place Farmer's Market, Birmingham, AL AUG 23: Coffee with The Celtfather Returns AUG 31-SEP 4: Dragon Con with Brobdingnagian Bards 6:36 - WHAT'S COMING THIS FALL I tried a lot of new things out in the spring. I tried 2 or 3 different show names. I bounced the format around. I did an interview. I shared tips for visiting County Mayo, Ireland. I linked the podcast more tightly to my newsletter. I even shared a Countdown of Celtic music favorites from 2022. It felt to me like I didn't have a direction. And to a large degree, I didn't. As always, I love having this podcast and opportunity to talk about what's new and promote what's coming up. I love sharing stories about sustainability and how to protect our planet. I love sharing stories from my travels. I enjoyed interviewing people. I also know that I don't have a ton of time for this podcast, especially because I have the Irish & Celtic Music Podcast. That's my main show. It's the one I promote. It's tough promoting multiple shows. But this podcast serves a very special audience, you, the Gunn Runners who enjoy my music. So the show will continue in a very similar fashion… without the constant show name changes. Whether Pub Songs & Stories is a misnomer or a reflection of my love and appreciation of public house music… folk music for people, it's gonna continue in a similar fashion. I have a list of about 40 things I'd love to talk about. They include shows about sustainability and climate change, stories from my recent trip to Ireland, making better choices for your community, staying healthy with exercise, looking to the future to make things better, and of course, I'll share the stories behind each of the songs I write or have written. Plus, I still want to highlight my fellow musicians, Celtic or otherwise. Because that's just what I do. So we're gonna do that right now with a funny track from the band Fire in the Glen. Rod hosted show #611 of the Irish & Celtic Music Podcast and shared a story for Star of the County Down in this podcast. 10:52 - Fire in the Glen “From Amish to Irish” from Cutting Backen 14:23 - JOIN THE GUNN RUNNERS CLUB The show is brought to you by my Gunn Runners on Patreon. If you enjoy this podcast or my music, please join the Club. You will access scores of podcasts, download dozens of songs and sheet music. Plus, you get weekly access to my Coffee with The Celtfather video concerts. Those shows return on Wednesday August 23 at 11 AM Eastern. Sign up for as little as $5 per month and save 15% with an annual membership. Thanks to my newest Gunn Runners on Patreon: DWS, Melissa Randall, A. Lynch, Traci Girard-Turner, Michelle Hahn, Lisa, David Willer, Jo Navarre, Tracy O'Shea, Antoinette Brenion, John Dowling, Kate Smith 15:32 - LIVE SHOW FROM MAGGIE MCGUINNESS PUB 16:36 - “Slainte Mhaith” 20:37 - “Kilted” 23:38 - “Mingulay Boat Song” 29:41 - “Reaver's Lullaby” 34:44 - “Bright Side of Everything” 41:41 - “Shiny” 46:39 - “Breathing” 52:13 - “Mingulay Cat Song” 58:57 - “Black Velvet Band” 1:02:39 - “Don't Go Drinking With Hobbits” 1:06:45 - “Wild Mountain Thyme” 1:11:04 - “Come Adventure With Me” 1:16:55 - “Johnny Jump Up” 1:22:03 - NEXT TIME I'm gonna share some stories from my Celtic Invasion of County Mayo. So make sure you subscribe. And also please consider posting a review on Apple Podcasts. I'm still hoping to get those 10 new reviews. I'm still about 8 shy. Seriously, it means a lot to me when you post a review of the show. It also helps others know if they should subscribe as well. And if you can't support me financially, you can always leave a review for free. 1:22:44 - CREDITS Thanks for listening to Pub Songs & Stories. The show is brought to you by my Gunn Runners on Patreon. Every week, you'll get a new podcast or song or video or video concert. You'll save 25% off all the merch in my store. The show was edited by Mitchell Petersen with graphics by Miranda Nelson Designs. You can subscribe and listen to the show wherever you find podcasts. Sign up to my mailing list to read the show notes for this episode and find out where I'm performing. And of course, please tell one friend about this podcast. Word of mouth is the absolute best way to support any creative endeavor. Have fun and sing along at www.pubsong.com! #pubstories #irishpubsongs #irishdrinkingsongs  

In a replay of episode 175, the utterly delightful & returning Erin McGathy (a comedian, an artist, a writer & a podcaster as well as co-founder of MOB Theatre Dublin) & I discuss celebrating Christmas in Ireland, birthdays, cats, Australia, Wild Mountain Thyme, the new Beatles documentary & ever-so-much more. Erin is great. www.instagram.com/erinmcgathy www.twitter.com/ErinMcGathy www.mobtheatre.ie

VISIT OUR SPONSORS: Louisiana Renaissance Festival https://www.larf.net/ The Ren Cruise http://www.canigoadventures.com/ SONGS The Beast Of Pirate's Bay performed by Voltaire from the album To the Bottom Of The Sea www.voltaire.net Davy Jones performed by Side Tracked from the album Extraordinary Ding Dong Merrily On High performed by Moat Jumper from the album Christmas At The Renaissance Fair www.moatjumper.com Hrunvaldskaja Bitva (Grunwald Battle of 1410) performed by Stary Olsa from the album Kola Rycerska http://staryolsa.com/en/home.html Real Old Mountain Dew performed by Barleyjuice from the album Six Yanks http://www.barleyjuice.com Rum in the Flask performed by The Dread Crew of Oddwood from the album Reign the Helm https://thedreadcrewofoddwood.com/ The Worst Pirate Song performed by Ceann from the album Almost Irish https://www.reverbnation.com/ceann Charlie Mopps performed by Axel the Sot from the album Bottled Up! https://www.facebook.com/pg/Axel-the-Sot-145245625508912 Fields of Athenry performed by Fishbones & Scurvy from the album On the Cheap https://www.bandmix.com/fishbonesandscurvy/ Old Black Rum performed by LandLoch'd from the album The Devil's Own Invention www.landlochd.com The Battle of Curacao performed by Sea Dog Slams Poems from the album The Call https://www.facebook.com/seadogslam/ Spancil Hill performed by Chris Gray from the album Fuist http://www.mdipiper.com/ Spying on Starfall performed by Gwyneth Whistlewood the Feral Flute from the album Waking the Devas http://feralflute.blogspot.com/ Wild Mountain Thyme performed by Kilted Kings from the album Name On My Soul https://www.kiltedkings.com the Summer Before the War performed by Darren Raleigh from the album Silverwheel http://www.darrenraleigh.com/ A Sonnet For The Queen performed by Harper & Minstrel  from the album A Sonnet For The Queen www.theharperandtheminstrel.com The Pirate Alphabet(Orig) performed by Maggie and the Tinker from the album Huh? https://www.facebook.com/maggieandthetinker/ The Fox performed by Burly Minstrels from the album Go Merrily http://www.jimhancock.com The Faerie Dance performed by Oakley the Faerie from the album First Sapling https://www.facebook.com/OakleyTheFaerie/ Troll Song performed by Broceliande from the album The Starlit Jewel http://www.broceliande.org Mist Covered Mountains performed by Music the Gathering from the album LVL 1 www.musicthegathering.com Rights Of Man performed by Kathleen Johnson from the album Faire Music http://kathleen-johnson.com/ Some Say... performed by Hey Nunnie Nunnie from the album Hey Nunnie! Nunnie! http://www.heynunnienunnie.com/ Health To The Company performed by The Pirate Shantyman & Bonnie Lasse from the album Faire Favorites And Songs Of The Sea SEGMENTS Festival update brought to you by The Ren List http://www.therenlist.com HOW TO CONTACT US Post it on Facebook https://www.facebook.com/renfestmusic Email us at renfestpodcast@gmail.com HOW TO LISTEN Apple https://podcasts.apple.com/us/podcast/renaissance-festival-podcast/id74073024 Spotify https://open.spotify.com/show/76uzuG0lRulhdjDCeufK15?si=obnUk_sUQnyzvvs3E_MV1g Pandora http://www.pandora.com/ Podbay http://www.podbay.fm/show/74073024 Listennotes http://www.listennotes.com/podcasts/renaissance-festival-podcast-minions-1Xd3YjQ7fWx/    

VISIT OUR SPONSORS: Louisiana Renaissance Festival https://www.larf.net/ The Ren Cruise http://www.canigoadventures.com/ SONGS Dennis Murphy & John Ryan's Polka Medley performed by Capt'n Tor and the Naer do Well Cads Pirate Invasion from the album Fanny http://www.pirateparties.ca Courting In The Kitchen performed by Crimson Pirates from the album Come 'n Be A Pirate http://www.crimsonpirates.com/ O'Carolan Trio performed by Dublin Harpers from the album Dublin Harpers Live https://dublinharpers.bandcamp.com Loch Tay Boat Song performed by Darcy Nair from the album I Feel My Heart Fly Bar und Imbiss performed by Alestorm from the album No Grave But The Sea http://www.alestorm.net/ Sugar And Flame performed by Gallows Humor from the album Necrodancer http://gallowshumorband.com/ Banana Boat Pirates performed by The Bilge Pumps from the album Bail Money https://www.thebilgepumps.com/ Black And Tans performed by King's Busketeers from the album Boston To Belfast - The Bedroom Sessions https://www.thekingsbusketeers.com Rakes Of Mallow performed by Men of Thunda from the album Men Of Thunda Mingulay Boat Song performed by Righteous Blackguards from the album Just The Tip http://www.righteousblackguards.com Raven's Call performed by Jenna Greene from the album Wings Sherwood performed by Heather Dale from the album The Gabriel Hounds https://heatherdale.com Loch Lomond performed by Chaste Treasure from the album Chaste Treasure https://www.chastetreasure.com The Sailor's Wife Glasgow Reel performed by The Irish Bard from the album The Irish Bard http://theirishbard.com/ The Mary Ellen Carter performed by The Cross Jacks from the album The Cross Jacks https://sites.google.com/site/thecrossjacks/ Road To Lisdoonvarna - Swallowtail Jig performed by Misfits of Avalon from the album Avalon Moon www.facebook.com/misfitsofavalon/ Drinking Hymn performed by Better Than Nun from the album #NunLyfe http://www.betterthannun.bandcamp.com/ Drop of Good Beer performed by Celtic Squall from the album Celtic Squall https://www.facebook.com/pg/Celtic-Squall-14178220745/ Me Old Dun Cow performed by Fishbones & Scurvy from the album On the Cheap https://www.bandmix.com/fishbonesandscurvy/ If I Was A Blackbird performed by The Captain and Malarky from the album Singles https://myspace.com/thecaptainandmalarky Wild Mountain Thyme performed by Luku the Mad Skald from the album Pissed Drunk and Pissed Off www.lukuthemad.com High Barbaree performed by Marooned from the album Dance Macaw http://www.marooned.us Dandelion Wine performed by Blackmore's Night from the album Ghost Of A Rose https://www.blackmoresnight.com Parting Glass performed by Embra from the album Three Part One Heart https://www.facebook.com/EmbraKC/ SEGMENTS Festival update brought to you by The Ren List http://www.therenlist.com HOW TO CONTACT US Post it on Facebook https://www.facebook.com/renfestmusic Email us at renfestpodcast@gmail.com HOW TO LISTEN Apple https://podcasts.apple.com/us/podcast/renaissance-festival-podcast/id74073024 Spotify https://open.spotify.com/show/76uzuG0lRulhdjDCeufK15?si=obnUk_sUQnyzvvs3E_MV1g Pandora http://www.pandora.com/ Podbay http://www.podbay.fm/show/74073024 Listennotes http://www.listennotes.com/podcasts/renaissance-festival-podcast-minions-1Xd3YjQ7fWx/  

Gwen O'Neil was born in New York, NY and lives and works in Los Angeles. She received her BFA from Savannah College of Art and Design. Her solo exhibition, Wild Mountain Thyme opens May 13th at Anat Egbi follows recent presentations of her work by the gallery in group contexts including KIAF (Korea International Art Fair), Seoul, Korea; The Armory Show, New York NY; Felix Art Fair, Los Angeles, CA; and If you forget my name, You will go astray—at the gallery's new Fountain Avenue location. Gwen's work is currently on view at the Long Beach Museum of Art in the group exhibition Color Fields.

VISIT OUR SPONSORS: Louisiana Renaissance Festival https://www.larf.net/ The Ren Cruise http://www.canigoadventures.com/ SONGS On Powdered Wings performed by Djilia Phralengo from the album Oracle https://www.ernestovillarrealmusic.com Call Of Spring performed by Maidens IV from the album Emerald Fire Gran'ther and the Leprechaun performed by Siler and Clarc from the album A Little Longer Whiskey in the Jar. performed by Wild Mountain Thyme from the album There Can Only Be One Last Princess Of Wales performed by Bard of the South from the album The Minstrel Boy http://www.bardofthesouth.com/ Bedlam Boys performed by In Our Cups from the album Foolish Pleasure Solveigs Song performed by Jenneth Tollin from the album The Bardic Wyrd https://www.youtube.com/playlist?list=OLAK5uy_k-P7A6YetaThhJ-0wlYUSQ10LQAo4Ik4I The Fallen Cavalier performed by Beerside Scoundrels from the album Duel! https://www.reverbnation.com/thebeersidescoundrels She's Our Queen performed by The Minstrels of Mayhem from the album Live at My Dear Mother's Pub The Pub Song For Those Who Can't Drink performed by Melody Baird from the album Witch Of The Westmoreland Maying Song performed by Jack Montgomery from the album Everywhere I Look https://myspace.com/shadowdancerjack QuarterGirl performed by Clandestine from the album Red http://clandestineceltic.com Cossack Folk Song performed by Owain Phyfe and the New World Renaissance Band from the album Tales From The Vineyard Crazy Man Michael performed by Minstrel Wood from the album Driftwoode Rosin the Bow performed by Seperated at Birth from the album Separated at Birth the re^reunion tour 13th aniversarry re-release The Parting Glass performed by Limey Birds from the album  https://www.facebook.com/thelimeybirds/ Dragon for Sale performed by Bramblebush from the album Songs from the Glade Wraggle Taggle Gypsies performed by Howl-O from the album Where Legend Remains I Wish They'd Do it Now performed by Gallowglass Irish Trio from the album All the Best https://myspace.com/gallowglassband Drunken Sailor performed by Kerridwynn from the album Castleton's Best Dagger of the Moon performed by Emerald Rose from the album Archives of Ages to Come http://www.emeraldrose.com Parting Glass performed by Laughing Hearts from the album Laughing Hearts Live! SEGMENTS Festival update brought to you by The Ren List http://www.therenlist.com HOW TO CONTACT US Post it on Facebook https://www.facebook.com/renfestmusic Email us at renfestpodcast@gmail.com HOW TO LISTEN Apple https://podcasts.apple.com/us/podcast/renaissance-festival-podcast/id74073024 Spotify https://open.spotify.com/show/76uzuG0lRulhdjDCeufK15?si=obnUk_sUQnyzvvs3E_MV1g Pandora http://www.pandora.com/ Podbay http://www.podbay.fm/show/74073024 Listennotes http://www.listennotes.com/podcasts/renaissance-festival-podcast-minions-1Xd3YjQ7fWx/

John Patrick Shanley is from The Bronx. His plays include Prodigal Son, Outside Mullingar (Tony nomination), Danny and the Deep Blue Sea, Savage in Limbo, Italian-American Reconciliation, Welcome to the Moon, Four Dogs and a Bone, Dirty Story, Defiance, and Beggars in the House of Plenty. His theatrical work is performed extensively across the United States and around the world. For his play, Doubt, he received both the Tony Award and the Pulitzer Prize. In the arena of screenwriting, he has ten films to his credit, most recently Wild Mountain Thyme, with Emily Blunt, Jamie Dornan, and Christopher Walken. His film of Doubt, with Meryl Streep, Philip Seymour Hoffman, Amy Adams, and Viola Davis, which he also directed, was nominated for five Academy Awards, including Best Adapted Screenplay. Other films include Five Corners (Special Jury Prize, Barcelona Film Festival), Alive, Joe Versus the Volcano (which he also directed), and Live From Baghdad for HBO (Emmy nomination). For his script of Moonstruck he received both the Writers Guild of America Award and an Academy Award for best original screenplay. In 2009, The Writers Guild of America awarded Mr. Shanley the Lifetime Achievement In Writing."You grow up wherever you grow up. And there are things there, and there are other things that are not there, and the things that are not there, you can imagine. And I did a lot of imagining in the Bronx because there were a lot of things that I gravitated toward that just weren't there: the fantastic, The Thief of Baghdad, magic, beautiful clothes, beautiful places, the exoticism of that. And then at another later point, I thought, I am missing my whole life from my work. I am writing about all these things that are not my life. Because I think everything that I actually saw and heard and felt is so ordinary that it's not worth repeating. And I think most of us feel that way, and we're dead wrong. That in fact, those things are gold. Those are the things that we actually have to write about. And you can write about anything when you start with those things and embrace them. Embrace your own life."www.imdb.com/name/nm0788234www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"You grow up wherever you grow up. And there are things there, and there are other things that are not there, and the things that are not there, you can imagine. And I did a lot of imagining in the Bronx because there were a lot of things that I gravitated toward that just weren't there: the fantastic, The Thief of Baghdad, magic, beautiful clothes, beautiful places, the exoticism of that. And then at another later point, I thought, I am missing my whole life from my work. I am writing about all these things that are not my life. Because I think everything that I actually saw and heard and felt is so ordinary that it's not worth repeating. And I think most of us feel that way, and we're dead wrong. That in fact, those things are gold. Those are the things that we actually have to write about. And you can write about anything when you start with those things and embrace them. Embrace your own life."John Patrick Shanley is from The Bronx. His plays include Prodigal Son, Outside Mullingar (Tony nomination), Danny and the Deep Blue Sea, Savage in Limbo, Italian-American Reconciliation, Welcome to the Moon, Four Dogs and a Bone, Dirty Story, Defiance, and Beggars in the House of Plenty. His theatrical work is performed extensively across the United States and around the world. For his play, Doubt, he received both the Tony Award and the Pulitzer Prize. In the arena of screenwriting, he has ten films to his credit, most recently Wild Mountain Thyme, with Emily Blunt, Jamie Dornan, and Christopher Walken. His film of Doubt, with Meryl Streep, Philip Seymour Hoffman, Amy Adams, and Viola Davis, which he also directed, was nominated for five Academy Awards, including Best Adapted Screenplay. Other films include Five Corners (Special Jury Prize, Barcelona Film Festival), Alive, Joe Versus the Volcano (which he also directed), and Live From Baghdad for HBO (Emmy nomination). For his script of Moonstruck he received both the Writers Guild of America Award and an Academy Award for best original screenplay. In 2009, The Writers Guild of America awarded Mr. Shanley the Lifetime Achievement In Writing.www.imdb.com/name/nm0788234www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"I knew Philip Seymour Hoffman for several years. We went on vacation together. He produced a play of mine. Before we did Doubt, we worked in the same theater company together, and he was, you know, very committed to excellence. And so he could become impatient with anybody who was not committed to excellence, and that could make him a volatile person to deal with. Phil cared. He cared a great deal. And he worked really hard.They're very committed. Like with Viola Davis. Viola had done a decent amount of big work before Doubt, but she was not recognized yet. And she was careful. You know, she certainly wasn't throwing weight around. She was, I'm the new kid on the block, and I'm just here to work and be serious and do my job, keep my head down, and get out. And pretty much that's what I was doing too, you know, because I've got Meryl Streep, I've got Philip Hoffman, who I was friends with, but Phil's not an easy guy to be friends with or was not easy to be friends with. He's a very prickly person prone to getting pissed off about things that you might not expect. And then Amy Adams was somebody who, you know, tried to get along with everybody and Phil would say like, 'You just want everybody to like you.' So, you know, you're in the middle of that group, and you just, you don't want to put yourself in a position where you're trying to prove something. You have to let them...they're very, very smart people, and they're going to figure out whatever it is that you're doing. They're going to figure out whether you are in any way trying to handle that. And that's not going to go well. And so I didn't do that.Meryl is very, very smart and very focused and, in a sense, very private. Her work, you know, she isn't going to talk a great deal about her secrets, the secrets of her character. She's going to carry them with her." John Patrick Shanley is from The Bronx. His plays include Prodigal Son, Outside Mullingar (Tony nomination), Danny and the Deep Blue Sea, Savage in Limbo, Italian-American Reconciliation, Welcome to the Moon, Four Dogs and a Bone, Dirty Story, Defiance, and Beggars in the House of Plenty. His theatrical work is performed extensively across the United States and around the world. For his play, Doubt, he received both the Tony Award and the Pulitzer Prize. In the arena of screenwriting, he has ten films to his credit, most recently Wild Mountain Thyme, with Emily Blunt, Jamie Dornan, and Christopher Walken. His film of Doubt, with Meryl Streep, Philip Seymour Hoffman, Amy Adams, and Viola Davis, which he also directed, was nominated for five Academy Awards, including Best Adapted Screenplay. Other films include Five Corners (Special Jury Prize, Barcelona Film Festival), Alive, Joe Versus the Volcano (which he also directed), and Live From Baghdad for HBO (Emmy nomination). For his script of Moonstruck he received both the Writers Guild of America Award and an Academy Award for best original screenplay. In 2009, The Writers Guild of America awarded Mr. Shanley the Lifetime Achievement In Writing.www.imdb.com/name/nm0788234www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

John Patrick Shanley is from The Bronx. His plays include Prodigal Son, Outside Mullingar (Tony nomination), Danny and the Deep Blue Sea, Savage in Limbo, Italian-American Reconciliation, Welcome to the Moon, Four Dogs and a Bone, Dirty Story, Defiance, and Beggars in the House of Plenty. His theatrical work is performed extensively across the United States and around the world. For his play, Doubt, he received both the Tony Award and the Pulitzer Prize. In the arena of screenwriting, he has ten films to his credit, most recently Wild Mountain Thyme, with Emily Blunt, Jamie Dornan, and Christopher Walken. His film of Doubt, with Meryl Streep, Philip Seymour Hoffman, Amy Adams, and Viola Davis, which he also directed, was nominated for five Academy Awards, including Best Adapted Screenplay. Other films include Five Corners (Special Jury Prize, Barcelona Film Festival), Alive, Joe Versus the Volcano (which he also directed), and Live From Baghdad for HBO (Emmy nomination). For his script of Moonstruck he received both the Writers Guild of America Award and an Academy Award for best original screenplay. In 2009, The Writers Guild of America awarded Mr. Shanley the Lifetime Achievement In Writing."I knew Philip Seymour Hoffman for several years. We went on vacation together. He produced a play of mine. Before we did Doubt, we worked in the same theater company together, and he was, you know, very committed to excellence. And so he could become impatient with anybody who was not committed to excellence, and that could make him a volatile person to deal with. Phil cared. He cared a great deal. And he worked really hard.They're very committed. Like with Viola Davis. Viola had done a decent amount of big work before Doubt, but she was not recognized yet. And she was careful. You know, she certainly wasn't throwing weight around. She was, I'm the new kid on the block, and I'm just here to work and be serious and do my job, keep my head down, and get out. And pretty much that's what I was doing too, you know, because I've got Meryl Streep, I've got Philip Hoffman, who I was friends with, but Phil's not an easy guy to be friends with or was not easy to be friends with. He's a very prickly person prone to getting pissed off about things that you might not expect. And then Amy Adams was somebody who, you know, tried to get along with everybody and Phil would say like, 'You just want everybody to like you.' So, you know, you're in the middle of that group, and you just, you don't want to put yourself in a position where you're trying to prove something. You have to let them...they're very, very smart people, and they're going to figure out whatever it is that you're doing. They're going to figure out whether you are in any way trying to handle that. And that's not going to go well. And so I didn't do that.Meryl is very, very smart and very focused and, in a sense, very private. Her work, you know, she isn't going to talk a great deal about her secrets, the secrets of her character. She's going to carry them with her." www.imdb.com/name/nm0788234www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"I knew Philip Seymour Hoffman for several years. We went on vacation together. He produced a play of mine. Before we did Doubt, we worked in the same theater company together, and he was, you know, very committed to excellence. And so he could become impatient with anybody who was not committed to excellence, and that could make him a volatile person to deal with. Phil cared. He cared a great deal. And he worked really hard.They're very committed. Like with Viola Davis. Viola had done a decent amount of big work before Doubt, but she was not recognized yet. And she was careful. You know, she certainly wasn't throwing weight around. She was, I'm the new kid on the block, and I'm just here to work and be serious and do my job, keep my head down, and get out. And pretty much that's what I was doing too, you know, because I've got Meryl Streep, I've got Philip Hoffman, who I was friends with, but Phil's not an easy guy to be friends with or was not easy to be friends with. He's a very prickly person prone to getting pissed off about things that you might not expect. And then Amy Adams was somebody who, you know, tried to get along with everybody and Phil would say like, 'You just want everybody to like you.' So, you know, you're in the middle of that group, and you just, you don't want to put yourself in a position where you're trying to prove something. You have to let them...they're very, very smart people, and they're going to figure out whatever it is that you're doing. They're going to figure out whether you are in any way trying to handle that. And that's not going to go well. And so I didn't do that.Meryl is very, very smart and very focused and, in a sense, very private. Her work, you know, she isn't going to talk a great deal about her secrets, the secrets of her character. She's going to carry them with her." John Patrick Shanley is from The Bronx. His plays include Prodigal Son, Outside Mullingar (Tony nomination), Danny and the Deep Blue Sea, Savage in Limbo, Italian-American Reconciliation, Welcome to the Moon, Four Dogs and a Bone, Dirty Story, Defiance, and Beggars in the House of Plenty. His theatrical work is performed extensively across the United States and around the world. For his play, Doubt, he received both the Tony Award and the Pulitzer Prize. In the arena of screenwriting, he has ten films to his credit, most recently Wild Mountain Thyme, with Emily Blunt, Jamie Dornan, and Christopher Walken. His film of Doubt, with Meryl Streep, Philip Seymour Hoffman, Amy Adams, and Viola Davis, which he also directed, was nominated for five Academy Awards, including Best Adapted Screenplay. Other films include Five Corners (Special Jury Prize, Barcelona Film Festival), Alive, Joe Versus the Volcano (which he also directed), and Live From Baghdad for HBO (Emmy nomination). For his script of Moonstruck he received both the Writers Guild of America Award and an Academy Award for best original screenplay. In 2009, The Writers Guild of America awarded Mr. Shanley the Lifetime Achievement In Writing.www.imdb.com/name/nm0788234www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

John Patrick Shanley is from The Bronx. His plays include Prodigal Son, Outside Mullingar (Tony nomination), Danny and the Deep Blue Sea, Savage in Limbo, Italian-American Reconciliation, Welcome to the Moon, Four Dogs and a Bone, Dirty Story, Defiance, and Beggars in the House of Plenty. His theatrical work is performed extensively across the United States and around the world. For his play, Doubt, he received both the Tony Award and the Pulitzer Prize. In the arena of screenwriting, he has ten films to his credit, most recently Wild Mountain Thyme, with Emily Blunt, Jamie Dornan, and Christopher Walken. His film of Doubt, with Meryl Streep, Philip Seymour Hoffman, Amy Adams, and Viola Davis, which he also directed, was nominated for five Academy Awards, including Best Adapted Screenplay. Other films include Five Corners (Special Jury Prize, Barcelona Film Festival), Alive, Joe Versus the Volcano (which he also directed), and Live From Baghdad for HBO (Emmy nomination). For his script of Moonstruck he received both the Writers Guild of America Award and an Academy Award for best original screenplay. In 2009, The Writers Guild of America awarded Mr. Shanley the Lifetime Achievement In Writing."I knew Philip Seymour Hoffman for several years. We went on vacation together. He produced a play of mine. Before we did Doubt, we worked in the same theater company together, and he was, you know, very committed to excellence. And so he could become impatient with anybody who was not committed to excellence, and that could make him a volatile person to deal with. Phil cared. He cared a great deal. And he worked really hard.They're very committed. Like with Viola Davis. Viola had done a decent amount of big work before Doubt, but she was not recognized yet. And she was careful. You know, she certainly wasn't throwing weight around. She was, I'm the new kid on the block, and I'm just here to work and be serious and do my job, keep my head down, and get out. And pretty much that's what I was doing too, you know, because I've got Meryl Streep, I've got Philip Hoffman, who I was friends with, but Phil's not an easy guy to be friends with or was not easy to be friends with. He's a very prickly person prone to getting pissed off about things that you might not expect. And then Amy Adams was somebody who, you know, tried to get along with everybody and Phil would say like, 'You just want everybody to like you.' So, you know, you're in the middle of that group, and you just, you don't want to put yourself in a position where you're trying to prove something. You have to let them...they're very, very smart people, and they're going to figure out whatever it is that you're doing. They're going to figure out whether you are in any way trying to handle that. And that's not going to go well. And so I didn't do that.Meryl is very, very smart and very focused and, in a sense, very private. Her work, you know, she isn't going to talk a great deal about her secrets, the secrets of her character. She's going to carry them with her." www.imdb.com/name/nm0788234www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

John Patrick Shanley is from The Bronx. His plays include Prodigal Son, Outside Mullingar (Tony nomination), Danny and the Deep Blue Sea, Savage in Limbo, Italian-American Reconciliation, Welcome to the Moon, Four Dogs and a Bone, Dirty Story, Defiance, and Beggars in the House of Plenty. His theatrical work is performed extensively across the United States and around the world. For his play, Doubt, he received both the Tony Award and the Pulitzer Prize. In the arena of screenwriting, he has ten films to his credit, most recently Wild Mountain Thyme, with Emily Blunt, Jamie Dornan, and Christopher Walken. His film of Doubt, with Meryl Streep, Philip Seymour Hoffman, Amy Adams, and Viola Davis, which he also directed, was nominated for five Academy Awards, including Best Adapted Screenplay. Other films include Five Corners (Special Jury Prize, Barcelona Film Festival), Alive, Joe Versus the Volcano (which he also directed), and Live From Baghdad for HBO (Emmy nomination). For his script of Moonstruck he received both the Writers Guild of America Award and an Academy Award for best original screenplay. In 2009, The Writers Guild of America awarded Mr. Shanley the Lifetime Achievement In Writing."I knew Philip Seymour Hoffman for several years. We went on vacation together. He produced a play of mine. Before we did Doubt, we worked in the same theater company together, and he was, you know, very committed to excellence. And so he could become impatient with anybody who was not committed to excellence, and that could make him a volatile person to deal with. Phil cared. He cared a great deal. And he worked really hard.You can't get trapped in your head when you're a playwright, or probably any kind of real artist. You have to find your center, which involves your spirit and your emotions, and some intellect.I think that that is a problem that we're enduring, experiencing now in film and theater. It's because of the politicization of media that you see like if you're going to cast a part of a guy with one leg, you have to hire a guy with one leg. And that's exactly what theater isn't. Theater is you take a pot from your kitchen and put it on your head and say, 'I'm the King of England!' And if you believe it, I'll believe it. And that frees all the one-legged people to be Fred Astaire, to do whatever they want. If they believe it, I'll believe it. So that kind of literalism is, I think, inhibiting to everyone."www.imdb.com/name/nm0788234www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"I knew Philip Seymour Hoffman for several years. We went on vacation together. He produced a play of mine. Before we did Doubt, we worked in the same theater company together, and he was, you know, very committed to excellence. And so he could become impatient with anybody who was not committed to excellence, and that could make him a volatile person to deal with. Phil cared. He cared a great deal. And he worked really hard.You can't get trapped in your head when you're a playwright, or probably any kind of real artist. You have to find your center, which involves your spirit and your emotions, and some intellect.I think that that is a problem that we're enduring, experiencing now in film and theater. It's because of the politicization of media that you see like if you're going to cast a part of a guy with one leg, you have to hire a guy with one leg. And that's exactly what theater isn't. Theater is you take a pot from your kitchen and put it on your head and say, 'I'm the King of England!' And if you believe it, I'll believe it. And that frees all the one-legged people to be Fred Astaire, to do whatever they want. If they believe it, I'll believe it. So that kind of literalism is, I think, inhibiting to everyone."John Patrick Shanley is from The Bronx. His plays include Prodigal Son, Outside Mullingar (Tony nomination), Danny and the Deep Blue Sea, Savage in Limbo, Italian-American Reconciliation, Welcome to the Moon, Four Dogs and a Bone, Dirty Story, Defiance, and Beggars in the House of Plenty. His theatrical work is performed extensively across the United States and around the world. For his play, Doubt, he received both the Tony Award and the Pulitzer Prize. In the arena of screenwriting, he has ten films to his credit, most recently Wild Mountain Thyme, with Emily Blunt, Jamie Dornan, and Christopher Walken. His film of Doubt, with Meryl Streep, Philip Seymour Hoffman, Amy Adams, and Viola Davis, which he also directed, was nominated for five Academy Awards, including Best Adapted Screenplay. Other films include Five Corners (Special Jury Prize, Barcelona Film Festival), Alive, Joe Versus the Volcano (which he also directed), and Live From Baghdad for HBO (Emmy nomination). For his script of Moonstruck he received both the Writers Guild of America Award and an Academy Award for best original screenplay. In 2009, The Writers Guild of America awarded Mr. Shanley the Lifetime Achievement In Writing.www.imdb.com/name/nm0788234www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

John Patrick Shanley is from The Bronx. His plays include Prodigal Son, Outside Mullingar (Tony nomination), Danny and the Deep Blue Sea, Savage in Limbo, Italian-American Reconciliation, Welcome to the Moon, Four Dogs and a Bone, Dirty Story, Defiance, and Beggars in the House of Plenty. His theatrical work is performed extensively across the United States and around the world. For his play, Doubt, he received both the Tony Award and the Pulitzer Prize. In the arena of screenwriting, he has ten films to his credit, most recently Wild Mountain Thyme, with Emily Blunt, Jamie Dornan, and Christopher Walken. His film of Doubt, with Meryl Streep, Philip Seymour Hoffman, Amy Adams, and Viola Davis, which he also directed, was nominated for five Academy Awards, including Best Adapted Screenplay. Other films include Five Corners (Special Jury Prize, Barcelona Film Festival), Alive, Joe Versus the Volcano (which he also directed), and Live From Baghdad for HBO (Emmy nomination). For his script of Moonstruck he received both the Writers Guild of America Award and an Academy Award for best original screenplay. In 2009, The Writers Guild of America awarded Mr. Shanley the Lifetime Achievement In Writing."And so there's always that element of doubt. It's like, I'm going to tell you a story. I'm going to tell you everything I know, but I don't know everything. And that little area creates a vibration that can run very deep because you can have that about your entire spiritual experience of life where you go on, I think this, I feel this, or I believe this, but I don't, I don't ultimately really know. And if you are very invested, the way Sister Aloysius (the older nun) is in her faith and her worldview and how she operates. For her to admit that she has doubt is an earthquake under the whole culture. And it's something that I think the whole culture has experienced."www.imdb.com/name/nm0788234www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"And so there's always that element of doubt. It's like, I'm going to tell you a story. I'm going to tell you everything I know, but I don't know everything. And that little area creates a vibration that can run very deep because you can have that about your entire spiritual experience of life where you go on, I think this, I feel this, or I believe this, but I don't, I don't ultimately really know. And if you are very invested, the way Sister Aloysius (the older nun) is in her faith and her worldview and how she operates. For her to admit that she has doubt is an earthquake under the whole culture. And it's something that I think the whole culture has experienced."John Patrick Shanley is from The Bronx. His plays include Prodigal Son, Outside Mullingar (Tony nomination), Danny and the Deep Blue Sea, Savage in Limbo, Italian-American Reconciliation, Welcome to the Moon, Four Dogs and a Bone, Dirty Story, Defiance, and Beggars in the House of Plenty. His theatrical work is performed extensively across the United States and around the world. For his play, Doubt, he received both the Tony Award and the Pulitzer Prize. In the arena of screenwriting, he has ten films to his credit, most recently Wild Mountain Thyme, with Emily Blunt, Jamie Dornan, and Christopher Walken. His film of Doubt, with Meryl Streep, Philip Seymour Hoffman, Amy Adams, and Viola Davis, which he also directed, was nominated for five Academy Awards, including Best Adapted Screenplay. Other films include Five Corners (Special Jury Prize, Barcelona Film Festival), Alive, Joe Versus the Volcano (which he also directed), and Live From Baghdad for HBO (Emmy nomination). For his script of Moonstruck he received both the Writers Guild of America Award and an Academy Award for best original screenplay. In 2009, The Writers Guild of America awarded Mr. Shanley the Lifetime Achievement In Writing.www.imdb.com/name/nm0788234www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

John Patrick Shanley is from The Bronx. His plays include Prodigal Son, Outside Mullingar (Tony nomination), Danny and the Deep Blue Sea, Savage in Limbo, Italian-American Reconciliation, Welcome to the Moon, Four Dogs and a Bone, Dirty Story, Defiance, and Beggars in the House of Plenty. His theatrical work is performed extensively across the United States and around the world. For his play, Doubt, he received both the Tony Award and the Pulitzer Prize. In the arena of screenwriting, he has ten films to his credit, most recently Wild Mountain Thyme, with Emily Blunt, Jamie Dornan, and Christopher Walken. His film of Doubt, with Meryl Streep, Philip Seymour Hoffman, Amy Adams, and Viola Davis, which he also directed, was nominated for five Academy Awards, including Best Adapted Screenplay. Other films include Five Corners (Special Jury Prize, Barcelona Film Festival), Alive, Joe Versus the Volcano (which he also directed), and Live From Baghdad for HBO (Emmy nomination). For his script of Moonstruck he received both the Writers Guild of America Award and an Academy Award for best original screenplay. In 2009, The Writers Guild of America awarded Mr. Shanley the Lifetime Achievement In Writing."You grow up wherever you grow up. And there are things there, and there are other things that are not there, and the things that are not there, you can imagine. And I did a lot of imagining in the Bronx because there were a lot of things that I gravitated toward that just weren't there: the fantastic, The Thief of Baghdad, magic, beautiful clothes, beautiful places, the exoticism of that. And then at another later point, I thought, I am missing my whole life from my work. I am writing about all these things that are not my life. Because I think everything that I actually saw and heard and felt is so ordinary that it's not worth repeating. And I think most of us feel that way, and we're dead wrong. That in fact, those things are gold. Those are the things that we actually have to write about. And you can write about anything when you start with those things and embrace them. Embrace your own life."www.imdb.com/name/nm0788234www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"I'm New York to the soles of my feet, and more specifically, The Bronx. I was formed in The Bronx. I lived there till I was 19. Then I went into the Marine Corps, and I came up against really something that I feel has really been lost when they stopped drafting people. I came up against everybody in the country, mostly poor people of every persuasion from Virginia to DC to wherever. And we lived together in an open barracks, like 90 of us in double-decker bunks for a year. And that is gold. It's irreplaceable. Not simply as an artist, but as a citizen of a given country, you really come to realize we're all in this together. And you see all of the prejudices play out in a kind of healthily violent way. People just punch each other in the face. So, this is back then. Now, apparently, it's much more civilized. I'm not sure I'm in favor of that, but back then, people said Marines said the most awful things to each other imaginable, of a racist nature, and of every other kind of nature. And you know, the shape of your head, anything.And then fists were thrown and somehow the world didn't come to an end. Then everybody calmed down, and they went back to their bunks and read their comic books or whatever they were going to do, and went to bed. And we got up the next day, and we worked together. That's a big lesson in how to get along, how to live, and how to live with people you don't necessarily agree with."John Patrick Shanley is from The Bronx. His plays include Prodigal Son, Outside Mullingar (Tony nomination), Danny and the Deep Blue Sea, Savage in Limbo, Italian-American Reconciliation, Welcome to the Moon, Four Dogs and a Bone, Dirty Story, Defiance, and Beggars in the House of Plenty. His theatrical work is performed extensively across the United States and around the world. For his play, Doubt, he received both the Tony Award and the Pulitzer Prize. In the arena of screenwriting, he has ten films to his credit, most recently Wild Mountain Thyme, with Emily Blunt, Jamie Dornan, and Christopher Walken. His film of Doubt, with Meryl Streep, Philip Seymour Hoffman, Amy Adams, and Viola Davis, which he also directed, was nominated for five Academy Awards, including Best Adapted Screenplay. Other films include Five Corners (Special Jury Prize, Barcelona Film Festival), Alive, Joe Versus the Volcano (which he also directed), and Live From Baghdad for HBO (Emmy nomination). For his script of Moonstruck he received both the Writers Guild of America Award and an Academy Award for best original screenplay. In 2009, The Writers Guild of America awarded Mr. Shanley the Lifetime Achievement In Writing.www.imdb.com/name/nm0788234www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"You grow up wherever you grow up. And there are things there, and there are other things that are not there, and the things that are not there, you can imagine. And I did a lot of imagining in the Bronx because there were a lot of things that I gravitated toward that just weren't there: the fantastic, The Thief of Baghdad, magic, beautiful clothes, beautiful places, the exoticism of that. And then at another later point, I thought, I am missing my whole life from my work. I am writing about all these things that are not my life. Because I think everything that I actually saw and heard and felt is so ordinary that it's not worth repeating. And I think most of us feel that way, and we're dead wrong. That in fact, those things are gold. Those are the things that we actually have to write about. And you can write about anything when you start with those things and embrace them. Embrace your own life."John Patrick Shanley is from The Bronx. His plays include Prodigal Son, Outside Mullingar (Tony nomination), Danny and the Deep Blue Sea, Savage in Limbo, Italian-American Reconciliation, Welcome to the Moon, Four Dogs and a Bone, Dirty Story, Defiance, and Beggars in the House of Plenty. His theatrical work is performed extensively across the United States and around the world. For his play, Doubt, he received both the Tony Award and the Pulitzer Prize. In the arena of screenwriting, he has ten films to his credit, most recently Wild Mountain Thyme, with Emily Blunt, Jamie Dornan, and Christopher Walken. His film of Doubt, with Meryl Streep, Philip Seymour Hoffman, Amy Adams, and Viola Davis, which he also directed, was nominated for five Academy Awards, including Best Adapted Screenplay. Other films include Five Corners (Special Jury Prize, Barcelona Film Festival), Alive, Joe Versus the Volcano (which he also directed), and Live From Baghdad for HBO (Emmy nomination). For his script of Moonstruck he received both the Writers Guild of America Award and an Academy Award for best original screenplay. In 2009, The Writers Guild of America awarded Mr. Shanley the Lifetime Achievement In Writing.www.imdb.com/name/nm0788234www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"You grow up wherever you grow up. And there are things there, and there are other things that are not there, and the things that are not there, you can imagine. And I did a lot of imagining in the Bronx because there were a lot of things that I gravitated toward that just weren't there: the fantastic, The Thief of Baghdad, magic, beautiful clothes, beautiful places, the exoticism of that. And then at another later point, I thought, I am missing my whole life from my work. I am writing about all these things that are not my life. Because I think everything that I actually saw and heard and felt is so ordinary that it's not worth repeating. And I think most of us feel that way, and we're dead wrong. That in fact, those things are gold. Those are the things that we actually have to write about. And you can write about anything when you start with those things and embrace them. Embrace your own life."John Patrick Shanley is from The Bronx. His plays include Prodigal Son, Outside Mullingar (Tony nomination), Danny and the Deep Blue Sea, Savage in Limbo, Italian-American Reconciliation, Welcome to the Moon, Four Dogs and a Bone, Dirty Story, Defiance, and Beggars in the House of Plenty. His theatrical work is performed extensively across the United States and around the world. For his play, Doubt, he received both the Tony Award and the Pulitzer Prize. In the arena of screenwriting, he has ten films to his credit, most recently Wild Mountain Thyme, with Emily Blunt, Jamie Dornan, and Christopher Walken. His film of Doubt, with Meryl Streep, Philip Seymour Hoffman, Amy Adams, and Viola Davis, which he also directed, was nominated for five Academy Awards, including Best Adapted Screenplay. Other films include Five Corners (Special Jury Prize, Barcelona Film Festival), Alive, Joe Versus the Volcano (which he also directed), and Live From Baghdad for HBO (Emmy nomination). For his script of Moonstruck he received both the Writers Guild of America Award and an Academy Award for best original screenplay. In 2009, The Writers Guild of America awarded Mr. Shanley the Lifetime Achievement In Writing.www.imdb.com/name/nm0788234www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

John Patrick Shanley is from The Bronx. His plays include Prodigal Son, Outside Mullingar (Tony nomination), Danny and the Deep Blue Sea, Savage in Limbo, Italian-American Reconciliation, Welcome to the Moon, Four Dogs and a Bone, Dirty Story, Defiance, and Beggars in the House of Plenty. His theatrical work is performed extensively across the United States and around the world. For his play, Doubt, he received both the Tony Award and the Pulitzer Prize. In the arena of screenwriting, he has ten films to his credit, most recently Wild Mountain Thyme, with Emily Blunt, Jamie Dornan, and Christopher Walken. His film of Doubt, with Meryl Streep, Philip Seymour Hoffman, Amy Adams, and Viola Davis, which he also directed, was nominated for five Academy Awards, including Best Adapted Screenplay. Other films include Five Corners (Special Jury Prize, Barcelona Film Festival), Alive, Joe Versus the Volcano (which he also directed), and Live From Baghdad for HBO (Emmy nomination). For his script of Moonstruck he received both the Writers Guild of America Award and an Academy Award for best original screenplay. In 2009, The Writers Guild of America awarded Mr. Shanley the Lifetime Achievement In Writing."You grow up wherever you grow up. And there are things there, and there are other things that are not there, and the things that are not there, you can imagine. And I did a lot of imagining in the Bronx because there were a lot of things that I gravitated toward that just weren't there: the fantastic, The Thief of Baghdad, magic, beautiful clothes, beautiful places, the exoticism of that. And then at another later point, I thought, I am missing my whole life from my work. I am writing about all these things that are not my life. Because I think everything that I actually saw and heard and felt is so ordinary that it's not worth repeating. And I think most of us feel that way, and we're dead wrong. That in fact, those things are gold. Those are the things that we actually have to write about. And you can write about anything when you start with those things and embrace them. Embrace your own life."www.imdb.com/name/nm0788234www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Because it's St. Patrick's Day, we thought it was only right to present to you this recent episode from our Patreon page, where we discuss the film that best represents modern Irish culture. Learn more about your ad choices. Visit megaphone.fm/adchoices

Adam Pally joins Paul and Jason to chat about Adam's new movie Who Invited Charlie? co-starring Fast and Furious family member Jordana Brewster. Plus, before Paul announces next week's movie he shares a special message from Sleepaway Camp star Felissa Rose, digs into Corrections and Omissions from Wild Mountain Thyme, and invites his alter ego "The Love Doctor" to answer questions on the Help Line. Places people, it's time for Last Looks! Go to www.hdtgm.com for tour dates, merch, and more.Follow Paul on Letterboxd https://letterboxd.com/paulscheer/HDTGM Discord: discord.gg/hdtgmPaul's Discord: https://discord.gg/paulscheerCheck out Paul and Rob Huebel live on Twitch (https://www.twitch.tv/friendzone) every Thursday 8-10pm ESTSubscribe to The Deep Dive with Jessica St. Clair and June Diane Raphael here: listen.earwolf.com/deepdiveSubscribe to Unspooled with Paul and Amy Nicholson here: listen.earwolf.com/unspooledCheck out The Jane Club over at www.janeclub.comCheck out new HDTGM merch over at https://www.teepublic.com/stores/hdtgmWhere to Find Jason, June & Paul:@PaulScheer on Instagram & Twitter@Junediane on IG and @MsJuneDiane on TwitterJason is not on Twitter

The HDTGM crew dissect a film that's neither a rom nor a com—2020's Wild Mountain Thyme starring Emily Blunt, Jamie Dornan, and Christopher Walken. They get into the bonkers honeybee reveal, the questionable Irish accents, and how the characters act like time travelers from the past. Plus, they ask important questions about Ireland like, "Is getting horny difficult when it's so cold and damp?" and "Are people allowed to go around two gates?"Go to www.hdtgm.com for tour dates, merch, and more.Follow Paul on Letterboxd https://letterboxd.com/paulscheer/HDTGM Discord: discord.gg/hdtgmPaul's Discord: https://discord.gg/paulscheerCheck out Paul and Rob Huebel live on Twitch (https://www.twitch.tv/friendzone) every Thursday 8-10pm ESTSubscribe to The Deep Dive with Jessica St. Clair and June Diane Raphael here: listen.earwolf.com/deepdiveSubscribe to Unspooled with Paul and Amy Nicholson here: listen.earwolf.com/unspooledCheck out The Jane Club over at www.janeclub.comCheck out new HDTGM merch over at https://www.teepublic.com/stores/hdtgmWhere to Find Jason, June & Paul:@PaulScheer on Instagram & Twitter@Junediane on IG and @MsJuneDiane on TwitterJason is not on Twitter

Joe vs. The Volcano is a film that we bonded over. Most people that we talk to about this film hate it and we love it. We put it to the test with our bonus episode. The film stars Tom Hanks as Joe and Meg Ryan as Dede, Angelica and Patricia. Director, Patrick Stanley who also wrote and directed a film we talked about last year, Wild Mountain Thyme. The film is about Joe, a hypochondriac, upon learning that he is dying makes a decision to help others and jump into a volcano. Throughout the film he learns about love and what life is really about.   We Have A Big Announcement - Guess the Monthly Theme for 2023 Contest   The Rules: Throughout the month you may guess the theme as many times as you want to. At the end of the month we will announce the theme and the winners.   Winners receive: A shout out in the episode  A shout out on social media Your name posted on the website with number of wins Each month one winner will get a video message from Mike and get to select a film for the podcast in 2024   ***At the end of the year every winner will get their name added to the pot to win a $100 Amazon gift card.***   Mr Water - “If I had said that I would have been wrong”   Timecodes: 0:00 - Introduction 7:00 - Why we choose this film for the 100th episode 8:31 - Trivia 14:54 - Mike's pick up line 21:39 - Lighting & make-up 25:00 - Visiting the doctor scene 29:28 - Meeting Angelica 31:32 - More cinematography 37:27 - Writing 38: 13 - Costume 40:23 - Sound 41:20 - Head Trauma 42:04 - Smoochie, Smoochie, Smoothie 42:41 - Driving Review 43:45 - To the Numbers   Links: Jos. A. Bank Inspired by Hello Aloha The doctor's office scene The Trunk scene - Come Go With Me The Opening Scene Nurses caps   To guess the theme of this month's films you can call or text us at 971-245-4148 or email to christi@dodgemediaproductions.com You can guess as many times as you would like. Special thanks to Melissa Villagrana our social media posts. Next week's film will be Going the Distance (2010)   Subscribe, Rate & Share Your Favorite Episodes! Thanks for tuning into today's episode of Dodge Movie Podcast with your host, Mike and Christi Dodge. If you enjoyed this episode, please head over to Apple Podcasts to subscribe and leave a rating and review. Don't forget to visit our website, connect with us on Instagram, Facebook,   LinkedIn, and share your favorite episodes across social media. Give us a call at 971-245-4148 or email at christi@dodgemediaproductions.com

Robert Hinchliffe – Words Upon an Ocean The Corries – The Wild Mountain Thyme Michael Hurley – Rue of the Ruby Whores Bert Jansch – Just A Dream Medicine Head – This Love of Old Charles Dixon – Come To Me The Mellow Larks – Time To Pray Terry Callier ft. Beth Orton – The Dolphins

Today on the show we have producer Bradley Gallo. His production company, Amasia Entertainment, is behind the upcoming Wild Mountain Thyme, starring Emily Blunt, Christopher Walken, Jon Hamm, and Jamie Dornan.His 2019's Official Sundance Selection Them That Follow, starring Olivia Coleman, Jim Gaffigan, Walton Goggins, Kaitlyn Dever, Lewis Pullman, Alice Englert, and Thomas Mann is now on Showtime.Amasia has also recently acquired the rights to the Green Hornet franchise. Bradley's other credits include Mr. Rightwith Anna Kendrick and Sam Rockwell (available on Netflix); The Call with Halle Berry; and Careful What You Wish Forwith Nick Jonas and Dermot Mulroney.Bradley and I discuss the ever-changing film marketplace, how he is positioning his new project to adapt to the new rules of the game, and much more.Enjoy my conversation with Bradley Gallo.

We're cracking the seal on our Class of 2020 films and somehow manage to do it without miring ourselves in the depression that was the first covid year! And as promised, we're talking about Wild Mountain Thyme, the oddball romantic comedy from Moonstruck Oscar winner John Patrick Shanley, adapted from his Tony-nominated play Outside Mullingar. … Continue reading "188 – Wild Mountain Thyme"