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There's a part in this conversation when JJ talks about feeling despair. I think that's why I needed to interview him. When have you felt despair? How did you respond to that? What caused it? What did you do to get out of it? I think it's important that we seek to move out of it ourselves first. Easier said than done, I know. But we have to have hope. We have to seek our Father and Savior. We have to have faith that They will respond. Because They will! I'm so grateful for JJ's life lessons. Now he seeks to share his testimony with his family and those who are willing to listen. I'm ever so grateful.

Richard Tandy, claviériste de longue date d'Electric Light Orchestra (ELO), est décédé à l'âge de 76 ans. Duane Eddy, légendaire guitariste intronisé au Rock & Roll Hall of Fame en 1994, est décédé à l'âge de 86 ans. Les membres de Blur ont partagé des images inédites du tournage de la vidéo « Parklife », ainsi qu'une version restaurée de la vidéo elle-même. Le titre du prochain long-métrage du groupe suédois Ghost a été révelé : Rite Here Rite Now. Mots-clés : partenaire, fondateur, groupe, Jeff Lynne, chanteur, musicien, réseaux sociaux, album, sortie, guitare basse, claviériste, line up, changement, membre, Bev Bevan, séparation, retrouvailles, Rock and Roll Hall of Fame, cancer, Tennessee, musicien instrumental, succès, rock 'n' roll, Rebel-'Rouser, Peter Gunn, Because They're Young, discographie, Have 'Twangy' Guitar Will Travel, Road Trip, dossier, site, clip, hymne, britpop, quatuor, camionnette, glacier, glace, ballon de football, danser, rue, pulvériser, peinture, Oscar, émission, Ozzy Speaks, récompense, co-animateur, Billy Morrison, film, Elton John, séquences , concert, show, Forum, Californie, Tobias Forge, leader, cinéma, sortie --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30. Merci pour votre écoute Pour écouter Classic 21 à tout moment : www.rtbf.be/classic21 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

WTOP Entertainment Reporter Jason Fraley interviews Jeff Friday, founder of the inaugural Because They're Funny Comedy Festival, which premieres the Friday, Saturday and Sunday at The Wharf in Washington D.C. They discuss his mission to diversify entertainment since launching the Black American Film Festival and Black Movie Awards, now known as the ABFF Honors. (Theme Music: Scott Buckley's "Clarion") Learn more about your ad choices. Visit megaphone.fm/adchoices

As a coach one of the hardest things for me is talking about results my clients get. Because… They aren't mine! I'm just a small drop of grease in their business wheel that helps them on the way. When it comes to business coaching especially when working with someone online I also know what a minefield it is. You know most weeks on my free fitting calls, I hear stories that make my blood boil of how people have invested in coaches who…  ....haven't really helped them and they feel burned having spent £1000's.  It's hard! rebuilding that trust! I can't guarantee results, I can only guarantee how I show up. But wanted to share Kate's story... Kate joined the Nail it Mastermind which merged to become the Stable Foundations Hub PLUS This is her story: “I had reservations about working with Jenni because, honestly I felt silly for not knowing the answers to very simple questions like What do I want? What's my target client? I knew I wasn't doing enough to promote myself, but I didn't know where to start or what to do! And even though it felt a bit self-indulgent, (to need an “assistant” for my very small modest business) I made the decision to join the Nail It Mastermind for a few months to see what could happen. Jenni is genuine, honest, and easy to talk to. Her encouraging logical, calm responses to problems, helped me gain confidence and was a calming influence. The most obvious benefit to my business from working with Jenni is how I promote my clinics. These now fill in the first week of advertising! I also find it easier to talk to people about what I do, and I feel comfortable with my holistic approach to coaching both horse and rider. And it might seem small, but I have clarity on who I really want to work with! I know I need to take time out from working and actually plan for the weeks ahead. I know that people need to hear about what I'm doing to feel able to join in. I know I am improving at self-promotion and marketing. In my time in the Nail it Mastermind I loved the Tuesday session. The timed working sessions made me do all the things I didn't want to, and I could ask the questions there and then. I would recommend Jenni to anyone who has lost their way or is lacking confidence to take the plunge into their desired profession, and a safe space for anyone wanting to be part of a group of like-minded people.” If you feel called to work with me but are battling reservations or are sceptical because it's a BIG investment. GOOD!  You are 100% normal (I'd actually be more concerned if you didn't) This is why I offer FREE fitting calls, These are mini-coaching sessions because I want you to have confidence that I can help you and if you don't then we aren't a good fit! (Everyone is allowed one Free Fitting call - its like try before you buy LOL!) If you've never had a free fitting with me you can book one here https://www.jennibush.com/free... (or if you've had one I'd love to hear what you thought about it and if it helped you or if you'd love to share your story of working with me like Kate, or leave a review, I'd appreciate it) Jenni https://www.jennibush.com/equestrian-business-toolbox/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/equine-business-podcast/message

Blessed is the man whose strength is in You, Whose heart is set on pilgrimage. As they pass through the Valley of Baca, They make it a spring; The rain also covers it with pools. They go from strength to strength; Each one appears before God in Zion. O LORD God of hosts, hear my prayer; Give ear, O God of Jacob! Selah O God, behold our shield, And look upon the face of Your anointed. For a day in Your courts is better than a thousand. I would rather be a doorkeeper in the house of my God Than dwell in the tents of wickedness. For the LORD God is a sun and shield; The LORD will give grace and glory; No good thing will He withhold From those who walk uprightly. O LORD of hosts, Blessed is the man who trusts in You!”  Today we are going to look at the heart of Psalm 84. From the context of this Psalm, especially in these middle verses, we learn that this Levite who was one of the sons of Korah, loved and delighted to go on pilgrimage to the House of God to worship. But for whatever reason at this time, he was not able to go. Instead of speaking of “we” he speaks of “they”. And it is obvious that he is very envious of them and their experience as they go and make this journey.   He already has declared how his delight is in the house of God and his desire to be there where His glory dwells. Now he writes about how they go from strength to strength in their pilgrimage to God's house. Though he had to remain at home, the psalmist's heart was set on pilgrimage, and the very map to Jerusalem was written on that heart. His love for God and His house helped him make right decisions in life so that he did not go astray. For sure those who dwell in the house of the Lord are blessed and they find their daily strength from Him.   A geographic site named "the Valley of Baca" is nowhere identified in Scripture. "Baca" is a Hebrew' word meaning "balsam tree," and the sap of this tree oozes like tears. The pilgrimage of life involves going through the valley of weeping. The "Valley of Baca" is a name for any difficult and painful place in life, where everything seems hopeless, and you feel helpless. It is like "the pit of despair" in Pilgrim's Progress. The people who love God expect to pass through this valley and not remain there.   Instead of wallowing in the hole of self-pity, by the grace of God and faith they turn the suffering and pain into a place of refreshment. They get a blessing from the experience, and they leave a blessing behind. Like Abraham and Isaac, they "dig a well" (Gen. 21:22-34; 26:17-33), and like Samuel and Elijah, they pray down the rain (1 Sam. 12:16-25; 1 Kings 18). It's wonderful to receive a blessing, but it's even greater to be a blessing and transform a desert into a garden.   True pilgrims "go from strength to strength" (Deut. 33:25; Isa. 40:28-31; Phil. 4:13) and trust God to enable them to walk a step at a time and work a day at a time. They are people of prayer who keep in communion with the Lord, no matter what their circumstances may be. Yes, my friend, "Blessed is the man whose strength is in You" (v. 5). Because “They go from strength to strength” (v. 7).   The Lord's grace and strength are available today for the person who by faith put their trust in the Lord. And like the Apostle Paul they will say: “And He said to me, "My grace is sufficient for you, for My strength is made perfect in weakness." Therefore most gladly I will rather boast in my infirmities, that the power of Christ may rest upon me. Therefore I take pleasure in infirmities, in reproaches, in needs, in persecutions, in distresses, for Christ's sake. For when I am weak, then I am strong” (2 Corinthians 12:9-10).   God bless!

Abortion: What You May Not Know, Because They're Not Telling You. Learn what Doctors say about this important topic; The Abortion Pill. Whether you are pro choice, or pro life be informed of science. Dr. Ingrid Skop of the Lozier Institute talks about the Amicus brief filed with the courts and what are the issues of the life changing topic. Life, and the beginning of life are connected. Learn from the Camel's Nose Story. Learn about our non profit work at www.likeitmatters.net/nonprofit. Check out our website www.LikeItMatters.Net.  Be sure to Like and Follow us on our facebook page. Get daily inspiration from our blog www.wayofwarrior.blog.See omnystudio.com/listener for privacy information.

Today on AirTalk, a new study answers what do Angelenos want our new mayor to tackle first? Also on the show, school districts are struggling with teacher retention; World Cup 2022 and the many controversies; and more. Survey Of LA Voters Shows Great Expectations For New Mayor To Address Homelessness (0:15) What Is The Current State Of K-12 Teacher Recruiting & Retainment In Southern California? (19:18) Why The Biden Administration Granted PG&E Over $1 Billion To Keep Diablo Canyon Nuclear Plant Over (51:28) The Youth Aren't Listening And It's Because They're Losing Hearing (1:06:49) World Cup 2022: US, Mexico Men's Teams Kick Off Championship Bids, Plus What It's Like To Be A Reporter in Qatar Covering The Tournament (1:28:03)

- "Archaeologists Uncover a 1500-Year-Old Inscription that Points to the Actual Location of the Apostle Peter's Home!" - RABBI JASON SOBEL: The God of the Way: A Journey into the Stories, People, and Faith That Changed the World Forever - "A New Jersey Religious Group is Being Accused of 'CHRISTIAN BULLYING' Because They are Trying to BUILD A CROSS ON THEIR OWN PROPERTY"

Krystal Trinkle, CRNP, with LVPG Pediatrics–Pennsburg joins Mike and Steph from B104 to talk about summertime safety for kids. Get all the “deets” on bug spray, sunscreen and screen time so you and your kids can have best (and safest) summer yet Visit LVHN.org/children to learn more. You can also check out our Because They're Kids: Virtual Info Sessions for Parents for more tips and advice. 

Episode one hundred and forty-seven of A History of Rock Music in Five Hundred Songs looks at “Hey Joe" by the Jimi Hendrix Experience, and is the longest episode to date, at over two hours. Patreon backers also have a twenty-two-minute bonus episode available, on "Making Time" by The Creation. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud mix containing all the music excerpted in this episode. For information on the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. Information on Arthur Lee and Love came from Forever Changes: Arthur Lee and the Book of Love by John Einarson, and Arthur Lee: Alone Again Or by Barney Hoskyns. Information on Gary Usher's work with the Surfaris and the Sons of Adam came from The California Sound by Stephen McParland, which can be found at https://payhip.com/CMusicBooks Information on Jimi Hendrix came from Room Full of Mirrors by Charles R. Cross, Crosstown Traffic by Charles Shaar Murray, and Wild Thing by Philip Norman. Information on the history of "Hey Joe" itself came from all these sources plus Hey Joe: The Unauthorised Biography of a Rock Classic by Marc Shapiro, though note that most of that book is about post-1967 cover versions. Most of the pre-Experience session work by Jimi Hendrix I excerpt in this episode is on this box set of alternate takes and live recordings. And "Hey Joe" can be found on Are You Experienced? Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just a quick note before we start – this episode deals with a song whose basic subject is a man murdering a woman, and that song also contains references to guns, and in some versions to cocaine use. Some versions excerpted also contain misogynistic slurs. If those things are likely to upset you, please skip this episode, as the whole episode focusses on that song. I would hope it goes without saying that I don't approve of misogyny, intimate partner violence, or murder, and my discussing a song does not mean I condone acts depicted in its lyrics, and the episode itself deals with the writing and recording of the song rather than its subject matter, but it would be impossible to talk about the record without excerpting the song. The normalisation of violence against women in rock music lyrics is a subject I will come back to, but did not have room for in what is already a very long episode. Anyway, on with the show. Let's talk about the folk process, shall we? We've talked before, like in the episodes on "Stagger Lee" and "Ida Red", about how there are some songs that aren't really individual songs in themselves, but are instead collections of related songs that might happen to share a name, or a title, or a story, or a melody, but which might be different in other ways. There are probably more songs that are like this than songs that aren't, and it doesn't just apply to folk songs, although that's where we see it most notably. You only have to look at the way a song like "Hound Dog" changed from the Willie Mae Thornton version to the version by Elvis, which only shared a handful of words with the original. Songs change, and recombine, and everyone who sings them brings something different to them, until they change in ways that nobody could have predicted, like a game of telephone. But there usually remains a core, an archetypal story or idea which remains constant no matter how much the song changes. Like Stagger Lee shooting Billy in a bar over a hat, or Frankie killing her man -- sometimes the man is Al, sometimes he's Johnny, but he always done her wrong. And one of those stories is about a man who shoots his cheating woman with a forty-four, and tries to escape -- sometimes to a town called Jericho, and sometimes to Juarez, Mexico. The first version of this song we have a recording of is by Clarence Ashley, in 1929, a recording of an older folk song that was called, in his version, "Little Sadie": [Excerpt: Clarence Ashley, "Little Sadie"] At some point, somebody seems to have noticed that that song has a slight melodic similarity to another family of songs, the family known as "Cocaine Blues" or "Take a Whiff on Me", which was popular around the same time: [Excerpt: The Memphis Jug Band, "Cocaine Habit Blues"] And so the two songs became combined, and the protagonist of "Little Sadie" now had a reason to kill his woman -- a reason other than her cheating, that is. He had taken a shot of cocaine before shooting her. The first recording of this version, under the name "Cocaine Blues" seems to have been a Western Swing version by W. A. Nichol's Western Aces: [Excerpt: W.A. Nichol's Western Aces, "Cocaine Blues"] Woody Guthrie recorded a version around the same time -- I've seen different dates and so don't know for sure if it was before or after Nichol's version -- and his version had himself credited as songwriter, and included this last verse which doesn't seem to appear on any earlier recordings of the song: [Excerpt: Woody Guthrie, "Cocaine Blues"] That doesn't appear on many later recordings either, but it did clearly influence yet another song -- Mose Allison's classic jazz number "Parchman Farm": [Excerpt: Mose Allison, "Parchman Farm"] The most famous recordings of the song, though, were by Johnny Cash, who recorded it as both "Cocaine Blues" and as "Transfusion Blues". In Cash's version of the song, the murderer gets sentenced to "ninety-nine years in the Folsom pen", so it made sense that Cash would perform that on his most famous album, the live album of his January 1968 concerts at Folsom Prison, which revitalised his career after several years of limited success: [Excerpt: Johnny Cash, "Cocaine Blues (live at Folsom Prison)"] While that was Cash's first live recording at a prison, though, it wasn't the first show he played at a prison -- ever since the success of his single "Folsom Prison Blues" he'd been something of a hero to prisoners, and he had been doing shows in prisons for eleven years by the time of that recording. And on one of those shows he had as his support act a man named Billy Roberts, who performed his own song which followed the same broad outlines as "Cocaine Blues" -- a man with a forty-four who goes out to shoot his woman and then escapes to Mexico. Roberts was an obscure folk singer, who never had much success, but who was good with people. He'd been part of the Greenwich Village folk scene in the 1950s, and at a gig at Gerde's Folk City he'd met a woman named Niela Miller, an aspiring songwriter, and had struck up a relationship with her. Miller only ever wrote one song that got recorded by anyone else, a song called "Mean World Blues" that was recorded by Dave Van Ronk: [Excerpt: Dave Van Ronk, "Mean World Blues"] Now, that's an original song, but it does bear a certain melodic resemblance to another old folk song, one known as "Where Did You Sleep Last Night?" or "In the Pines", or sometimes "Black Girl": [Excerpt: Lead Belly, "Where Did You Sleep Last Night?"] Miller was clearly familiar with the tradition from which "Where Did You Sleep Last Night?" comes -- it's a type of folk song where someone asks a question and then someone else answers it, and this repeats, building up a story. This is a very old folk song format, and you hear it for example in "Lord Randall", the song on which Bob Dylan based "A Hard Rain's A-Gonna Fall": [Excerpt: Ewan MacColl, "Lord Randall"] I say she was clearly familiar with it, because the other song she wrote that anyone's heard was based very much around that idea. "Baby Please Don't Go To Town" is a question-and-answer song in precisely that form, but with an unusual chord progression for a folk song. You may remember back in the episode on "Eight Miles High" I talked about the circle of fifths -- a chord progression which either increases or decreases by a fifth for every chord, so it might go C-G-D-A-E [demonstrates] That's a common progression in pop and jazz, but not really so much in folk, but it's the one that Miller had used for "Baby, Please Don't Go to Town", and she'd taught Roberts that song, which she only recorded much later: [Excerpt: Niela Miller, "Baby, Please Don't Go To Town"] After Roberts and Miller broke up, Miller kept playing that melody, but he changed the lyrics. The lyrics he added had several influences. There was that question-and-answer folk-song format, there's the story of "Cocaine Blues" with its protagonist getting a forty-four to shoot his woman down before heading to Mexico, and there's also a country hit from 1953. "Hey, Joe!" was originally recorded by Carl Smith, one of the most popular country singers of the early fifties: [Excerpt: Carl Smith, "Hey Joe!"] That was written by Boudleaux Bryant, a few years before the songs he co-wrote for the Everly Brothers, and became a country number one, staying at the top for eight weeks. It didn't make the pop chart, but a pop cover version of it by Frankie Laine made the top ten in the US: [Excerpt: Frankie Laine, "Hey Joe"] Laine's record did even better in the UK, where it made number one, at a point where Laine was the biggest star in music in Britain -- at the time the UK charts only had a top twelve, and at one point four of the singles in the top twelve were by Laine, including that one. There was also an answer record by Kitty Wells which made the country top ten later that year: [Excerpt: Kitty Wells, "Hey Joe"] Oddly, despite it being a very big hit, that "Hey Joe" had almost no further cover versions for twenty years, though it did become part of the Searchers' setlist, and was included on their Live at the Star Club album in 1963, in an arrangement that owed a lot to "What'd I Say": [Excerpt: The Searchers, "Hey Joe"] But that song was clearly on Roberts' mind when, as so many American folk musicians did, he travelled to the UK in the late fifties and became briefly involved in the burgeoning UK folk movement. In particular, he spent some time with a twelve-string guitar player from Edinburgh called Len Partridge, who was also a mentor to Bert Jansch, and who was apparently an extraordinary musician, though I know of no recordings of his work. Partridge helped Roberts finish up the song, though Partridge is about the only person in this story who *didn't* claim a writing credit for it at one time or another, saying that he just helped Roberts out and that Roberts deserved all the credit. The first known recording of the completed song is from 1962, a few years after Roberts had returned to the US, though it didn't surface until decades later: [Excerpt: Billy Roberts, "Hey Joe"] Roberts was performing this song regularly on the folk circuit, and around the time of that recording he also finally got round to registering the copyright, several years after it was written. When Miller heard the song, she was furious, and she later said "Imagine my surprise when I heard Hey Joe by Billy Roberts. There was my tune, my chord progression, my question/answer format. He dropped the bridge that was in my song and changed it enough so that the copyright did not protect me from his plagiarism... I decided not to go through with all the complications of dealing with him. He never contacted me about it or gave me any credit. He knows he committed a morally reprehensible act. He never was man enough to make amends and apologize to me, or to give credit for the inspiration. Dealing with all that was also why I made the decision not to become a professional songwriter. It left a bad taste in my mouth.” Pete Seeger, a friend of Miller's, was outraged by the injustice and offered to testify on her behalf should she decide to take Roberts to court, but she never did. Some time around this point, Roberts also played on that prison bill with Johnny Cash, and what happened next is hard to pin down. I've read several different versions of the story, which change the date and which prison this was in, and none of the details in any story hang together properly -- everything introduces weird inconsistencies and things which just make no sense at all. Something like this basic outline of the story seems to have happened, but the outline itself is weird, and we'll probably never know the truth. Roberts played his set, and one of the songs he played was "Hey Joe", and at some point he got talking to one of the prisoners in the audience, Dino Valenti. We've met Valenti before, in the episode on "Mr. Tambourine Man" -- he was a singer/songwriter himself, and would later be the lead singer of Quicksilver Messenger Service, but he's probably best known for having written "Get Together": [Excerpt: Dino Valenti, "Get Together"] As we heard in the "Mr. Tambourine Man" episode, Valenti actually sold off his rights to that song to pay for his bail at one point, but he was in and out of prison several times because of drug busts. At this point, or so the story goes, he was eligible for parole, but he needed to prove he had a possible income when he got out, and one way he wanted to do that was to show that he had written a song that could be a hit he could make money off, but he didn't have such a song. He talked about his predicament with Roberts, who agreed to let him claim to have written "Hey Joe" so he could get out of prison. He did make that claim, and when he got out of prison he continued making the claim, and registered the copyright to "Hey Joe" in his own name -- even though Roberts had already registered it -- and signed a publishing deal for it with Third Story Music, a company owned by Herb Cohen, the future manager of the Mothers of Invention, and Cohen's brother Mutt. Valenti was a popular face on the folk scene, and he played "his" song to many people, but two in particular would influence the way the song would develop, both of them people we've seen relatively recently in episodes of the podcast. One of them, Vince Martin, we'll come back to later, but the other was David Crosby, and so let's talk about him and the Byrds a bit more. Crosby and Valenti had been friends long before the Byrds formed, and indeed we heard in the "Mr. Tambourine Man" episode how the group had named themselves after Valenti's song "Birdses": [Excerpt: Dino Valenti, "Birdses"] And Crosby *loved* "Hey Joe", which he believed was another of Valenti's songs. He'd perform it every chance he got, playing it solo on guitar in an arrangement that other people have compared to Mose Allison. He'd tried to get it on the first two Byrds albums, but had been turned down, mostly because of their manager and uncredited co-producer Jim Dickson, who had strong opinions about it, saying later "Some of the songs that David would bring in from the outside were perfectly valid songs for other people, but did not seem to be compatible with the Byrds' myth. And he may not have liked the Byrds' myth. He fought for 'Hey Joe' and he did it. As long as I could say 'No!' I did, and when I couldn't any more they did it. You had to give him something somewhere. I just wish it was something else... 'Hey Joe' I was bitterly opposed to. A song about a guy who murders his girlfriend in a jealous rage and is on the way to Mexico with a gun in his hand. It was not what I saw as a Byrds song." Indeed, Dickson was so opposed to the song that he would later say “One of the reasons David engineered my getting thrown out was because I would not let Hey Joe be on the Turn! Turn! Turn! album.” Dickson was, though, still working with the band when they got round to recording it. That came during the recording of their Fifth Dimension album, the album which included "Eight Miles High". That album was mostly recorded after the departure of Gene Clark, which was where we left the group at the end of the "Eight Miles High" episode, and the loss of their main songwriter meant that they were struggling for material -- doubly so since they also decided they were going to move away from Dylan covers. This meant that they had to rely on original material from the group's less commercial songwriters, and on a few folk songs, mostly learned from Pete Seeger The album ended up with only eleven songs on it, compared to the twelve that was normal for American albums at that time, and the singles on it after "Eight Miles High" weren't particularly promising as to the group's ability to come up with commercial material. The next single, "5D", a song by Roger McGuinn about the fifth dimension, was a waltz-time song that both Crosby and Chris Hillman were enthused by. It featured organ by Van Dyke Parks, and McGuinn said of the organ part "When he came into the studio I told him to think Bach. He was already thinking Bach before that anyway.": [Excerpt: The Byrds, "5D"] While the group liked it, though, that didn't make the top forty. The next single did, just about -- a song that McGuinn had written as an attempt at communicating with alien life. He hoped that it would be played on the radio, and that the radio waves would eventually reach aliens, who would hear it and respond: [Excerpt: The Byrds, "Mr. Spaceman"] The "Fifth Dimension" album did significantly worse, both critically and commercially, than their previous albums, and the group would soon drop Allen Stanton, the producer, in favour of Gary Usher, Brian Wilson's old songwriting partner. But the desperation for material meant that the group agreed to record the song which they still thought at that time had been written by Crosby's friend, though nobody other than Crosby was happy with it, and even Crosby later said "It was a mistake. I shouldn't have done it. Everybody makes mistakes." McGuinn said later "The reason Crosby did lead on 'Hey Joe' was because it was *his* song. He didn't write it but he was responsible for finding it. He'd wanted to do it for years but we would never let him.": [Excerpt: The Byrds, "Hey Joe"] Of course, that arrangement is very far from the Mose Allison style version Crosby had been doing previously. And the reason for that can be found in the full version of that McGuinn quote, because the full version continues "He'd wanted to do it for years but we would never let him. Then both Love and The Leaves had a minor hit with it and David got so angry that we had to let him do it. His version wasn't that hot because he wasn't a strong lead vocalist." The arrangement we just heard was the arrangement that by this point almost every group on the Sunset Strip scene was playing. And the reason for that was because of another friend of Crosby's, someone who had been a roadie for the Byrds -- Bryan MacLean. MacLean and Crosby had been very close because they were both from very similar backgrounds -- they were both Hollywood brats with huge egos. MacLean later said "Crosby and I got on perfectly. I didn't understand what everybody was complaining about, because he was just like me!" MacLean was, if anything, from an even more privileged background than Crosby. His father was an architect who'd designed houses for Elizabeth Taylor and Dean Martin, his neighbour when growing up was Frederick Loewe, the composer of My Fair Lady. He learned to swim in Elizabeth Taylor's private pool, and his first girlfriend was Liza Minelli. Another early girlfriend was Jackie DeShannon, the singer-songwriter who did the original version of "Needles and Pins", who he was introduced to by Sharon Sheeley, whose name you will remember from many previous episodes. MacLean had wanted to be an artist until his late teens, when he walked into a shop in Westwood which sometimes sold his paintings, the Sandal Shop, and heard some people singing folk songs there. He decided he wanted to be a folk singer, and soon started performing at the Balladeer, a club which would later be renamed the Troubadour, playing songs like Robert Johnson's "Cross Roads Blues", which had recently become a staple of the folk repertoire after John Hammond put out the King of the Delta Blues Singers album: [Excerpt: Robert Johnson, "Cross Roads Blues"] Reading interviews with people who knew MacLean at the time, the same phrase keeps coming up. John Kay, later the lead singer of Steppenwolf, said "There was a young kid, Bryan MacLean, kind of cocky but nonetheless a nice kid, who hung around Crosby and McGuinn" while Chris Hillman said "He was a pretty good kid but a wee bit cocky." He was a fan of the various musicians who later formed the Byrds, and was also an admirer of a young guitarist on the scene named Ryland Cooder, and of a blues singer on the scene named Taj Mahal. He apparently was briefly in a band with Taj Mahal, called Summer's Children, who as far as I can tell had no connection to the duo that Curt Boettcher later formed of the same name, before Taj Mahal and Cooder formed The Rising Sons, a multi-racial blues band who were for a while the main rivals to the Byrds on the scene. MacLean, though, firmly hitched himself to the Byrds, and particularly to Crosby. He became a roadie on their first tour, and Hillman said "He was a hard-working guy on our behalf. As I recall, he pretty much answered to Crosby and was David's assistant, to put it diplomatically – more like his gofer, in fact." But MacLean wasn't cut out for the hard work that being a roadie required, and after being the Byrds' roadie for about thirty shows, he started making mistakes, and when they went off on their UK tour they decided not to keep employing him. He was heartbroken, but got back into trying his own musical career. He auditioned for the Monkees, unsuccessfully, but shortly after that -- some sources say even the same day as the audition, though that seems a little too neat -- he went to Ben Frank's -- the LA hangout that had actually been namechecked in the open call for Monkees auditions, which said they wanted "Ben Franks types", and there he met Arthur Lee and Johnny Echols. Echols would later remember "He was this gadfly kind of character who knew everybody and was flitting from table to table. He wore striped pants and a scarf, and he had this long, strawberry hair. All the girls loved him. For whatever reason, he came and sat at our table. Of course, Arthur and I were the only two black people there at the time." Lee and Echols were both Black musicians who had been born in Memphis. Lee's birth father, Chester Taylor, had been a cornet player with Jimmie Lunceford, whose Delta Rhythm Boys had had a hit with "The Honeydripper", as we heard way back in the episode on "Rocket '88": [Excerpt: Jimmie Lunceford and the Delta Rhythm Boys, "The Honeydripper"] However, Taylor soon split from Lee's mother, a schoolteacher, and she married Clinton Lee, a stonemason, who doted on his adopted son, and they moved to California. They lived in a relatively prosperous area of LA, a neighbourhood that was almost all white, with a few Asian families, though the boxer Sugar Ray Robinson lived nearby. A year or so after Arthur and his mother moved to LA, so did the Echols family, who had known them in Memphis, and they happened to move only a couple of streets away. Eight year old Arthur Lee reconnected with seven-year-old Johnny Echols, and the two became close friends from that point on. Arthur Lee first started out playing music when his parents were talked into buying him an accordion by a salesman who would go around with a donkey, give kids free donkey rides, and give the parents a sales pitch while they were riding the donkey, He soon gave up on the accordion and persuaded his parents to buy him an organ instead -- he was a spoiled child, by all accounts, with a TV in his bedroom, which was almost unheard of in the late fifties. Johnny Echols had a similar experience which led to his parents buying him a guitar, and the two were growing up in a musical environment generally. They attended Dorsey High School at the same time as both Billy Preston and Mike Love of the Beach Boys, and Ella Fitzgerald and her then-husband, the great jazz bass player Ray Brown, lived in the same apartment building as the Echols family for a while. Ornette Coleman, the free-jazz saxophone player, lived next door to Echols, and Adolphus Jacobs, the guitarist with the Coasters, gave him guitar lessons. Arthur Lee also knew Johnny Otis, who ran a pigeon-breeding club for local children which Arthur would attend. Echols was the one who first suggested that he and Arthur should form a band, and they put together a group to play at a school talent show, performing "Last Night", the instrumental that had been a hit for the Mar-Keys on Stax records: [Excerpt: The Mar-Keys, "Last Night"] They soon became a regular group, naming themselves Arthur Lee and the LAGs -- the LA Group, in imitation of Booker T and the MGs – the Memphis Group. At some point around this time, Lee decided to switch from playing organ to playing guitar. He would say later that this was inspired by seeing Johnny "Guitar" Watson get out of a gold Cadillac, wearing a gold suit, and with gold teeth in his mouth. The LAGs started playing as support acts and backing bands for any blues and soul acts that came through LA, performing with Big Mama Thornton, Johnny Otis, the O'Jays, and more. Arthur and Johnny were both still under-age, and they would pencil in fake moustaches to play the clubs so they'd appear older. In the fifties and early sixties, there were a number of great electric guitar players playing blues on the West Coast -- Johnny "Guitar" Watson, T-Bone Walker, Guitar Slim, and others -- and they would compete with each other not only to play well, but to put on a show, and so there was a whole bag of stage tricks that West Coast R&B guitarists picked up, and Echols learned all of them -- playing his guitar behind his back, playing his guitar with his teeth, playing with his guitar between his legs. As well as playing their own shows, the LAGs also played gigs under other names -- they had a corrupt agent who would book them under the name of whatever Black group had a hit at the time, in the belief that almost nobody knew what popular groups looked like anyway, so they would go out and perform as the Drifters or the Coasters or half a dozen other bands. But Arthur Lee in particular wanted to have success in his own right. He would later say "When I was a little boy I would listen to Nat 'King' Cole and I would look at that purple Capitol Records logo. I wanted to be on Capitol, that was my goal. Later on I used to walk from Dorsey High School all the way up to the Capitol building in Hollywood -- did that many times. I was determined to get a record deal with Capitol, and I did, without the help of a fancy manager or anyone else. I talked to Adam Ross and Jack Levy at Ardmore-Beechwood. I talked to Kim Fowley, and then I talked to Capitol". The record that the LAGs released, though, was not very good, a track called "Rumble-Still-Skins": [Excerpt: The LAGs, "Rumble-Still-Skins"] Lee later said "I was young and very inexperienced and I was testing the record company. I figured if I gave them my worst stuff and they ripped me off I wouldn't get hurt. But it didn't work, and after that I started giving my best, and I've been doing that ever since." The LAGs were dropped by Capitol after one single, and for the next little while Arthur and Johnny did work for smaller labels, usually labels owned by Bob Keane, with Arthur writing and producing and Johnny playing guitar -- though Echols has said more recently that a lot of the songs that were credited to Arthur as sole writer were actually joint compositions. Most of these records were attempts at copying the style of other people. There was "I Been Trying", a Phil Spector soundalike released by Little Ray: [Excerpt: Little Ray, "I Been Trying"] And there were a few attempts at sounding like Curtis Mayfield, like "Slow Jerk" by Ronnie and the Pomona Casuals: [Excerpt: Ronnie and the Pomona Casuals, "Slow Jerk"] and "My Diary" by Rosa Lee Brooks: [Excerpt: Rosa Lee Brooks, "My Diary"] Echols was also playing with a lot of other people, and one of the musicians he was playing with, his old school friend Billy Preston, told him about a recent European tour he'd been on with Little Richard, and the band from Liverpool he'd befriended while he was there who idolised Richard, so when the Beatles hit America, Arthur and Johnny had some small amount of context for them. They soon broke up the LAGs and formed another group, the American Four, with two white musicians, bass player John Fleckenstein and drummer Don Costa. Lee had them wear wigs so they seemed like they had longer hair, and started dressing more eccentrically -- he would soon become known for wearing glasses with one blue lens and one red one, and, as he put it "wearing forty pounds of beads, two coats, three shirts, and wearing two pairs of shoes on one foot". As well as the Beatles, the American Four were inspired by the other British Invasion bands -- Arthur was in the audience for the TAMI show, and quite impressed by Mick Jagger -- and also by the Valentinos, Bobby Womack's group. They tried to get signed to SAR Records, the label owned by Sam Cooke for which the Valentinos recorded, but SAR weren't interested, and they ended up recording for Bob Keane's Del-Fi records, where they cut "Luci Baines", a "Twist and Shout" knock-off with lyrics referencing the daughter of new US President Lyndon Johnson: [Excerpt: The American Four, "Luci Baines"] But that didn't take off any more than the earlier records had. Another American Four track, "Stay Away", was recorded but went unreleased until 2006: [Excerpt: Arthur Lee and the American Four, "Stay Away"] Soon the American Four were changing their sound and name again. This time it was because of two bands who were becoming successful on the Sunset Strip. One was the Byrds, who to Lee's mind were making music like the stuff he heard in his head, and the other was their rivals the Rising Sons, the blues band we mentioned earlier with Taj Mahal and Ry Cooder. Lee was very impressed by them as an multiracial band making aggressive, loud, guitar music, though he would always make the point when talking about them that they were a blues band, not a rock band, and *he* had the first multiracial rock band. Whatever they were like live though, in their recordings, produced by the Byrds' first producer Terry Melcher, the Rising Sons often had the same garage band folk-punk sound that Lee and Echols would soon make their own: [Excerpt: The Rising Sons, "Take a Giant Step"] But while the Rising Sons recorded a full album's worth of material, only one single was released before they split up, and so the way was clear for Lee and Echols' band, now renamed once again to The Grass Roots, to become the Byrds' new challengers. Lee later said "I named the group The Grass Roots behind a trip, or an album I heard that Malcolm X did, where he said 'the grass roots of the people are out in the street doing something about their problems instead of sitting around talking about it'". After seeing the Rolling Stones and the Byrds live, Lee wanted to get up front and move like Mick Jagger, and not be hindered by playing a guitar he wasn't especially good at -- both the Stones and the Byrds had two guitarists and a frontman who just sang and played hand percussion, and these were the models that Lee was following for the group. He also thought it would be a good idea commercially to get a good-looking white boy up front. So the group got in another guitarist, a white pretty boy who Lee soon fell out with and gave the nickname "Bummer Bob" because he was unpleasant to be around. Those of you who know exactly why Bobby Beausoleil later became famous will probably agree that this was a more than reasonable nickname to give him (and those of you who don't, I'll be dealing with him when we get to 1969). So when Bryan MacLean introduced himself to Lee and Echols, and they found out that not only was he also a good-looking white guitarist, but he was also friends with the entire circle of hipsters who'd been going to Byrds gigs, people like Vito and Franzoni, and he could get a massive crowd of them to come along to gigs for any band he was in and make them the talk of the Sunset Strip scene, he was soon in the Grass Roots, and Bummer Bob was out. The Grass Roots soon had to change their name again, though. In 1965, Jan and Dean recorded their "Folk and Roll" album, which featured "The Universal Coward"... Which I am not going to excerpt again. I only put that pause in to terrify Tilt, who edits these podcasts, and has very strong opinions about that song. But P. F. Sloan and Steve Barri, the songwriters who also performed as the Fantastic Baggies, had come up with a song for that album called "Where Where You When I Needed You?": [Excerpt: Jan and Dean, "Where Were You When I Needed You?"] Sloan and Barri decided to cut their own version of that song under a fake band name, and then put together a group of other musicians to tour as that band. They just needed a name, and Lou Adler, the head of Dunhill Records, suggested they call themselves The Grass Roots, and so that's what they did: [Excerpt: The Grass Roots, "Where Were You When I Needed You?"] Echols would later claim that this was deliberate malice on Adler's part -- that Adler had come in to a Grass Roots show drunk, and pretended to be interested in signing them to a contract, mostly to show off to a woman he'd brought with him. Echols and MacLean had spoken to him, not known who he was, and he'd felt disrespected, and Echols claims that he suggested the name to get back at them, and also to capitalise on their local success. The new Grass Roots soon started having hits, and so the old band had to find another name, which they got as a joking reference to a day job Lee had had at one point -- he'd apparently worked in a specialist bra shop, Luv Brassieres, which the rest of the band found hilarious. The Grass Roots became Love. While Arthur Lee was the group's lead singer, Bryan MacLean would often sing harmonies, and would get a song or two to sing live himself. And very early in the group's career, when they were playing a club called Bido Lito's, he started making his big lead spot a version of "Hey Joe", which he'd learned from his old friend David Crosby, and which soon became the highlight of the group's set. Their version was sped up, and included the riff which the Searchers had popularised in their cover version of  "Needles and Pins", the song originally recorded by MacLean's old girlfriend Jackie DeShannon: [Excerpt: The Searchers, "Needles and Pins"] That riff is a very simple one to play, and variants of it became very, very, common among the LA bands, most notably on the Byrds' "I'll Feel a Whole Lot Better": [Excerpt: The Byrds, "I'll Feel a Whole Lot Better"] The riff was so ubiquitous in the LA scene that in the late eighties Frank Zappa would still cite it as one of his main memories of the scene. I'm going to quote from his autobiography, where he's talking about the differences between the LA scene he was part of and the San Francisco scene he had no time for: "The Byrds were the be-all and end-all of Los Angeles rock then. They were 'It' -- and then a group called Love was 'It.' There were a few 'psychedelic' groups that never really got to be 'It,' but they could still find work and get record deals, including the West Coast Pop Art Experimental Band, Sky Saxon and the Seeds, and the Leaves (noted for their cover version of "Hey, Joe"). When we first went to San Francisco, in the early days of the Family Dog, it seemed that everybody was wearing the same costume, a mixture of Barbary Coast and Old West -- guys with handlebar mustaches, girls in big bustle dresses with feathers in their hair, etc. By contrast, the L.A. costumery was more random and outlandish. Musically, the northern bands had a little more country style. In L.A., it was folk-rock to death. Everything had that" [and here Zappa uses the adjectival form of a four-letter word beginning with 'f' that the main podcast providers don't like you saying on non-adult-rated shows] "D chord down at the bottom of the neck where you wiggle your finger around -- like 'Needles and Pins.'" The reason Zappa describes it that way, and the reason it became so popular, is that if you play that riff in D, the chords are D, Dsus2, and Dsus4 which means you literally only wiggle one finger on your left hand: [demonstrates] And so you get that on just a ton of records from that period, though Love, the Byrds, and the Searchers all actually play the riff on A rather than D: [demonstrates] So that riff became the Big Thing in LA after the Byrds popularised the Searchers sound there, and Love added it to their arrangement of "Hey Joe". In January 1966, the group would record their arrangement of it for their first album, which would come out in March: [Excerpt: Love, "Hey Joe"] But that wouldn't be the first recording of the song, or of Love's arrangement of it – although other than the Byrds' version, it would be the only one to come out of LA with the original Billy Roberts lyrics. Love's performances of the song at Bido Lito's had become the talk of the Sunset Strip scene, and soon every band worth its salt was copying it, and it became one of those songs like "Louie Louie" before it that everyone would play. The first record ever made with the "Hey Joe" melody actually had totally different lyrics. Kim Fowley had the idea of writing a sequel to "Hey Joe", titled "Wanted Dead or Alive", about what happened after Joe shot his woman and went off. He produced the track for The Rogues, a group consisting of Michael Lloyd and Shaun Harris, who later went on to form the West Coast Pop Art Experimental Band, and Lloyd and Harris were the credited writers: [Excerpt: The Rogues, "Wanted Dead or Alive"] The next version of the song to come out was the first by anyone to be released as "Hey Joe", or at least as "Hey Joe, Where You Gonna Go?", which was how it was titled on its initial release. This was by a band called The Leaves, who were friends of Love, and had picked up on "Hey Joe", and was produced by Nik Venet. It was also the first to have the now-familiar opening line "Hey Joe, where you going with that gun in your hand?": [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] Roberts' original lyric, as sung by both Love and the Byrds, had been "where you going with that money in your hand?", and had Joe headed off to *buy* the gun. But as Echols later said “What happened was Bob Lee from The Leaves, who were friends of ours, asked me for the words to 'Hey Joe'. I told him I would have the words the next day. I decided to write totally different lyrics. The words you hear on their record are ones I wrote as a joke. The original words to Hey Joe are ‘Hey Joe, where you going with that money in your hand? Well I'm going downtown to buy me a blue steel .44. When I catch up with that woman, she won't be running round no more.' It never says ‘Hey Joe where you goin' with that gun in your hand.' Those were the words I wrote just because I knew they were going to try and cover the song before we released it. That was kind of a dirty trick that I played on The Leaves, which turned out to be the words that everybody uses.” That first release by the Leaves also contained an extra verse -- a nod to Love's previous name: [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] That original recording credited the song as public domain -- apparently Bryan MacLean had refused to tell the Leaves who had written the song, and so they assumed it was traditional. It came out in November 1965, but only as a promo single. Even before the Leaves, though, another band had recorded "Hey Joe", but it didn't get released. The Sons of Adam had started out as a surf group called the Fender IV, who made records like "Malibu Run": [Excerpt: The Fender IV, "Malibu Run"] Kim Fowley had suggested they change their name to the Sons of Adam, and they were another group who were friends with Love -- their drummer, Michael Stuart-Ware, would later go on to join Love, and Arthur Lee wrote the song "Feathered Fish" for them: [Excerpt: Sons of Adam, "Feathered Fish"] But while they were the first to record "Hey Joe", their version has still to this day not been released. Their version was recorded for Decca, with producer Gary Usher, but before it was released, another Decca artist also recorded the song, and the label weren't sure which one to release. And then the label decided to press Usher to record a version with yet another act -- this time with the Surfaris, the surf group who had had a hit with "Wipe Out". Coincidentally, the Surfaris had just changed bass players -- their most recent bass player, Ken Forssi, had quit and joined Love, whose own bass player, John Fleckenstein, had gone off to join the Standells, who would also record a version of “Hey Joe” in 1966. Usher thought that the Sons of Adam were much better musicians than the Surfaris, who he was recording with more or less under protest, but their version, using Love's arrangement and the "gun in your hand" lyrics, became the first version to come out on a major label: [Excerpt: The Surfaris, "Hey Joe"] They believed the song was in the public domain, and so the songwriting credits on the record are split between Gary Usher, a W. Hale who nobody has been able to identify, and Tony Cost, a pseudonym for Nik Venet. Usher said later "I got writer's credit on it because I was told, or I assumed at the time, the song was Public Domain; meaning a non-copyrighted song. It had already been cut two or three times, and on each occasion the writing credit had been different. On a traditional song, whoever arranges it, takes the songwriting credit. I may have changed a few words and arranged and produced it, but I certainly did not co-write it." The public domain credit also appeared on the Leaves' second attempt to cut the song, which was actually given a general release, but flopped. But when the Leaves cut the song for a *third* time, still for the same tiny label, Mira, the track became a hit in May 1966, reaching number thirty-one: [Excerpt: The Leaves, "Hey Joe"] And *that* version had what they thought was the correct songwriting credit, to Dino Valenti. Which came as news to Billy Roberts, who had registered the copyright to the song back in 1962 and had no idea that it had become a staple of LA garage rock until he heard his song in the top forty with someone else's name on the credits. He angrily confronted Third Story Music, who agreed to a compromise -- they would stop giving Valenti songwriting royalties and start giving them to Roberts instead, so long as he didn't sue them and let them keep the publishing rights. Roberts was indignant about this -- he deserved all the money, not just half of it -- but he went along with it to avoid a lawsuit he might not win. So Roberts was now the credited songwriter on the versions coming out of the LA scene. But of course, Dino Valenti had been playing "his" song to other people, too. One of those other people was Vince Martin. Martin had been a member of a folk-pop group called the Tarriers, whose members also included the future film star Alan Arkin, and who had had a hit in the 1950s with "Cindy, Oh Cindy": [Excerpt: The Tarriers, "Cindy, Oh Cindy"] But as we heard in the episode on the Lovin' Spoonful, he had become a Greenwich Village folkie, in a duo with Fred Neil, and recorded an album with him, "Tear Down the Walls": [Excerpt: Fred Neil and Vince Martin, "Morning Dew"] That song we just heard, "Morning Dew", was another question-and-answer folk song. It was written by the Canadian folk-singer Bonnie Dobson, but after Martin and Neil recorded it, it was picked up on by Martin's friend Tim Rose who stuck his own name on the credits as well, without Dobson's permission, for a version which made the song into a rock standard for which he continued to collect royalties: [Excerpt: Tim Rose, "Morning Dew"] This was something that Rose seems to have made a habit of doing, though to be fair to him it went both ways. We heard about him in the Lovin' Spoonful episode too, when he was in a band named the Big Three with Cass Elliot and her coincidentally-named future husband Jim Hendricks, who recorded this song, with Rose putting new music to the lyrics of the old public domain song "Oh! Susanna": [Excerpt: The Big Three, "The Banjo Song"] The band Shocking Blue used that melody for their 1969 number-one hit "Venus", and didn't give Rose any credit: [Excerpt: Shocking Blue, "Venus"] But another song that Rose picked up from Vince Martin was "Hey Joe". Martin had picked the song up from Valenti, but didn't know who had written it, or who was claiming to have written it, and told Rose he thought it might be an old Appalchian murder ballad or something. Rose took the song and claimed writing credit in his own name -- he would always, for the rest of his life, claim it was an old folk tune he'd heard in Florida, and that he'd rewritten it substantially himself, but no evidence of the song has ever shown up from prior to Roberts' copyright registration, and Rose's version is basically identical to Roberts' in melody and lyrics. But Rose takes his version at a much slower pace, and his version would be the model for the most successful versions going forward, though those other versions would use the lyrics Johnny Echols had rewritten, rather than the ones Rose used: [Excerpt: Tim Rose, "Hey Joe"] Rose's version got heard across the Atlantic as well. And in particular it was heard by Chas Chandler, the bass player of the Animals. Some sources seem to suggest that Chandler first heard the song performed by a group called the Creation, but in a biography I've read of that group they clearly state that they didn't start playing the song until 1967. But however he came across it, when Chandler heard Rose's recording, he knew that the song could be a big hit for someone, but he didn't know who. And then he bumped into Linda Keith, Keith Richards' girlfriend,  who took him to see someone whose guitar we've already heard in this episode: [Excerpt: Rosa Lee Brooks, "My Diary"] The Curtis Mayfield impression on guitar there was, at least according to many sources the first recording session ever played on by a guitarist then calling himself Maurice (or possibly Mo-rees) James. We'll see later in the story that it possibly wasn't his first -- there are conflicting accounts, as there are about a lot of things, and it was recorded either in very early 1964, in which case it was his first, or (as seems more likely, and as I tell the story later) a year later, in which case he'd played on maybe half a dozen tracks in the studio by that point. But it was still a very early one. And by late 1966 that guitarist had reverted to the name by which he was brought up, and was calling himself Jimi Hendrix. Hendrix and Arthur Lee had become close, and Lee would later claim that Hendrix had copied much of Lee's dress style and attitude -- though many of Hendrix's other colleagues and employers, including Little Richard, would make similar claims -- and most of them had an element of truth, as Lee's did. Hendrix was a sponge. But Lee did influence him. Indeed, one of Hendrix's *last* sessions, in March 1970, was guesting on an album by Love: [Excerpt: Love with Jimi Hendrix, "Everlasting First"] Hendrix's name at birth was Johnny Allen Hendrix, which made his father, James Allen Hendrix, known as Al, who was away at war when his son was born, worry that he'd been named after another man who might possibly be the real father, so the family just referred to the child as "Buster" to avoid the issue. When Al Hendrix came back from the war the child was renamed James Marshall Hendrix -- James after Al's first name, Marshall after Al's dead brother -- though the family continued calling him "Buster". Little James Hendrix Junior didn't have anything like a stable home life. Both his parents were alcoholics, and Al Hendrix was frequently convinced that Jimi's mother Lucille was having affairs and became abusive about it. They had six children, four of whom were born disabled, and Jimi was the only one to remain with his parents -- the rest were either fostered or adopted at birth, fostered later on because the parents weren't providing a decent home life, or in one case made a ward of state because the Hendrixes couldn't afford to pay for a life-saving operation for him. The only one that Jimi had any kind of regular contact with was the second brother, Leon, his parents' favourite, who stayed with them for several years before being fostered by a family only a few blocks away. Al and Lucille Hendrix frequently split and reconciled, and while they were ostensibly raising Jimi (and for a  few years Leon), he was shuttled between them and various family members and friends, living sometimes in Seattle where his parents lived and sometimes in Vancouver with his paternal grandmother. He was frequently malnourished, and often survived because friends' families fed him. Al Hendrix was also often physically and emotionally abusive of the son he wasn't sure was his. Jimi grew up introverted, and stuttering, and only a couple of things seemed to bring him out of his shell. One was science fiction -- he always thought that his nickname, Buster, came from Buster Crabbe, the star of the Flash Gordon serials he loved to watch, though in fact he got the nickname even before that interest developed, and he was fascinated with ideas about aliens and UFOs -- and the other was music. Growing up in Seattle in the forties and fifties, most of the music he was exposed to as a child and in his early teens was music made by and for white people -- there wasn't a very large Black community in the area at the time compared to most major American cities, and so there were no prominent R&B stations. As a kid he loved the music of Bob Wills and the Texas Playboys, and when he was thirteen Jimi's favourite record was Dean Martin's "Memories are Made of This": [Excerpt: Dean Martin, "Memories are Made of This"] He also, like every teenager, became a fan of rock and roll music. When Elvis played at a local stadium when Jimi was fifteen, he couldn't afford a ticket, but he went and sat on top of a nearby hill and watched the show from the distance. Jimi's first exposure to the blues also came around this time, when his father briefly took in lodgers, Cornell and Ernestine Benson, and Ernestine had a record collection that included records by Lightnin' Hopkins, Howlin' Wolf, and Muddy Waters, all of whom Jimi became a big fan of, especially Muddy Waters. The Bensons' most vivid memory of Jimi in later years was him picking up a broom and pretending to play guitar along with these records: [Excerpt: Muddy Waters, "Baby Please Don't Go"] Shortly after this, it would be Ernestine Benson who would get Jimi his very first guitar. By this time Jimi and Al had lost their home and moved into a boarding house, and the owner's son had an acoustic guitar with only one string that he was planning to throw out. When Jimi asked if he could have it instead of it being thrown out, the owner told him he could have it for five dollars. Al Hendrix refused to pay that much for it, but Ernestine Benson bought Jimi the guitar. She said later “He only had one string, but he could really make that string talk.” He started carrying the guitar on his back everywhere he went, in imitation of Sterling Hayden in the western Johnny Guitar, and eventually got some more strings for it and learned to play. He would play it left-handed -- until his father came in. His father had forced him to write with his right hand, and was convinced that left-handedness was the work of the devil, so Jimi would play left-handed while his father was somewhere else, but as soon as Al came in he would flip the guitar the other way up and continue playing the song he had been playing, now right-handed. Jimi's mother died when he was fifteen, after having been ill for a long time with drink-related problems, and Jimi and his brother didn't get to go to the funeral -- depending on who you believe, either Al gave Jimi the bus fare and told him to go by himself and Jimi was too embarrassed to go to the funeral alone on the bus, or Al actually forbade Jimi and Leon from going.  After this, he became even more introverted than he was before, and he also developed a fascination with the idea of angels, convinced his mother now was one. Jimi started to hang around with a friend called Pernell Alexander, who also had a guitar, and they would play along together with Elmore James records. The two also went to see Little Richard and Bill Doggett perform live, and while Jimi was hugely introverted, he did start to build more friendships in the small Seattle music scene, including with Ron Holden, the man we talked about in the episode on "Louie Louie" who introduced that song to Seattle, and who would go on to record with Bruce Johnston for Bob Keane: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] Eventually Ernestine Benson persuaded Al Hendrix to buy Jimi a decent electric guitar on credit -- Al also bought himself a saxophone at the same time, thinking he might play music with his son, but sent it back once the next payment became due. As well as blues and R&B, Jimi was soaking up the guitar instrumentals and garage rock that would soon turn into surf music. The first song he learned to play was "Tall Cool One" by the Fabulous Wailers, the local group who popularised a version of "Louie Louie" based on Holden's one: [Excerpt: The Fabulous Wailers, "Tall Cool One"] As we talked about in the "Louie Louie" episode, the Fabulous Wailers used to play at a venue called the Spanish Castle, and Jimi was a regular in the audience, later writing his song "Spanish Castle Magic" about those shows: [Excerpt: The Jimi Hendrix Experience, "Spanish Castle Magic"] He was also a big fan of Duane Eddy, and soon learned Eddy's big hits "Forty Miles of Bad Road", "Because They're Young", and "Peter Gunn" -- a song he would return to much later in his life: [Excerpt: Jimi Hendrix, "Peter Gunn/Catastrophe"] His career as a guitarist didn't get off to a great start -- the first night he played with his first band, he was meant to play two sets, but he was fired after the first set, because he was playing in too flashy a manner and showing off too much on stage. His girlfriend suggested that he might want to tone it down a little, but he said "That's not my style".  This would be a common story for the next several years. After that false start, the first real band he was in was the Velvetones, with his friend Pernell Alexander. There were four guitarists, two piano players, horns and drums, and they dressed up with glitter stuck to their pants. They played Duane Eddy songs, old jazz numbers, and "Honky Tonk" by Bill Doggett, which became Hendrix's signature song with the band. [Excerpt: Bill Doggett, "Honky Tonk"] His father was unsupportive of his music career, and he left his guitar at Alexander's house because he was scared that his dad would smash it if he took it home. At the same time he was with the Velvetones, he was also playing with another band called the Rocking Kings, who got gigs around the Seattle area, including at the Spanish Castle. But as they left school, most of Hendrix's friends were joining the Army, in order to make a steady living, and so did he -- although not entirely by choice. He was arrested, twice, for riding in stolen cars, and he was given a choice -- either go to prison, or sign up for the Army for three years. He chose the latter. At first, the Army seemed to suit him. He was accepted into the 101st Airborne Division, the famous "Screaming Eagles", whose actions at D-Day made them legendary in the US, and he was proud to be a member of the Division. They were based out of Fort Campbell, the base near Clarksville we talked about a couple of episodes ago, and while he was there he met a bass player, Billy Cox, who he started playing with. As Cox and Hendrix were Black, and as Fort Campbell straddled the border between Kentucky and Tennessee, they had to deal with segregation and play to only Black audiences. And Hendrix quickly discovered that Black audiences in the Southern states weren't interested in "Louie Louie", Duane Eddy, and surf music, the stuff he'd been playing in Seattle. He had to instead switch to playing Albert King and Slim Harpo songs, but luckily he loved that music too. He also started singing at this point -- when Hendrix and Cox started playing together, in a trio called the Kasuals, they had no singer, and while Hendrix never liked his own voice, Cox was worse, and so Hendrix was stuck as the singer. The Kasuals started gigging around Clarksville, and occasionally further afield, places like Nashville, where Arthur Alexander would occasionally sit in with them. But Cox was about to leave the Army, and Hendrix had another two and a bit years to go, having enlisted for three years. They couldn't play any further away unless Hendrix got out of the Army, which he was increasingly unhappy in anyway, and so he did the only thing he could -- he pretended to be gay, and got discharged on medical grounds for homosexuality. In later years he would always pretend he'd broken his ankle parachuting from a plane. For the next few years, he would be a full-time guitarist, and spend the periods when he wasn't earning enough money from that leeching off women he lived with, moving from one to another as they got sick of him or ran out of money. The Kasuals expanded their lineup, adding a second guitarist, Alphonso Young, who would show off on stage by playing guitar with his teeth. Hendrix didn't like being upstaged by another guitarist, and quickly learned to do the same. One biography I've used as a source for this says that at this point, Billy Cox played on a session for King Records, for Frank Howard and the Commanders, and brought Hendrix along, but the producer thought that Hendrix's guitar was too frantic and turned his mic off. But other sources say the session Hendrix and Cox played on for the Commanders wasn't until three years later, and the record *sounds* like a 1965 record, not a 1962 one, and his guitar is very audible – and the record isn't on King. But we've not had any music to break up the narration for a little while, and it's a good track (which later became a Northern Soul favourite) so I'll play a section here, as either way it was certainly an early Hendrix session: [Excerpt: Frank Howard and the Commanders, "I'm So Glad"] This illustrates a general problem with Hendrix's life at this point -- he would flit between bands, playing with the same people at multiple points, nobody was taking detailed notes, and later, once he became famous, everyone wanted to exaggerate their own importance in his life, meaning that while the broad outlines of his life are fairly clear, any detail before late 1966 might be hopelessly wrong. But all the time, Hendrix was learning his craft. One story from around this time  sums up both Hendrix's attitude to his playing -- he saw himself almost as much as a scientist as a musician -- and his slightly formal manner of speech.  He challenged the best blues guitarist in Nashville to a guitar duel, and the audience actually laughed at Hendrix's playing, as he was totally outclassed. When asked what he was doing, he replied “I was simply trying to get that B.B. King tone down and my experiment failed.” Bookings for the King Kasuals dried up, and he went to Vancouver, where he spent a couple of months playing in a covers band, Bobby Taylor and the Vancouvers, whose lead guitarist was Tommy Chong, later to find fame as one half of Cheech and Chong. But he got depressed at how white Vancouver was, and travelled back down south to join a reconfigured King Kasuals, who now had a horn section. The new lineup of King Kasuals were playing the chitlin circuit and had to put on a proper show, and so Hendrix started using all the techniques he'd seen other guitarists on the circuit use -- playing with his teeth like Alphonso Young, the other guitarist in the band, playing with his guitar behind his back like T-Bone Walker, and playing with a fifty-foot cord that allowed him to walk into the crowd and out of the venue, still playing, like Guitar Slim used to. As well as playing with the King Kasuals, he started playing the circuit as a sideman. He got short stints with many of the second-tier acts on the circuit -- people who had had one or two hits, or were crowd-pleasers, but weren't massive stars, like Carla Thomas or Jerry Butler or Slim Harpo. The first really big name he played with was Solomon Burke, who when Hendrix joined his band had just released "Just Out of Reach (Of My Two Empty Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (Of My Two Empty Arms)"] But he lacked discipline. “Five dates would go beautifully,” Burke later said, “and then at the next show, he'd go into this wild stuff that wasn't part of the song. I just couldn't handle it anymore.” Burke traded him to Otis Redding, who was on the same tour, for two horn players, but then Redding fired him a week later and they left him on the side of the road. He played in the backing band for the Marvelettes, on a tour with Curtis Mayfield, who would be another of Hendrix's biggest influences, but he accidentally blew up Mayfield's amp and got sacked. On another tour, Cecil Womack threw Hendrix's guitar off the bus while he slept. In February 1964 he joined the band of the Isley Brothers, and he would watch the Beatles on Ed Sullivan with them during his first days with the group. Assuming he hadn't already played the Rosa Lee Brooks session (and I think there's good reason to believe he hadn't), then the first record Hendrix played on was their single "Testify": [Excerpt: The Isley Brothers, "Testify"] While he was with them, he also moonlighted on Don Covay's big hit "Mercy, Mercy": [Excerpt: Don Covay and the Goodtimers, "Mercy Mercy"] After leaving the Isleys, Hendrix joined the minor soul singer Gorgeous George, and on a break from Gorgeous George's tour, in Memphis, he went to Stax studios in the hope of meeting Steve Cropper, one of his idols. When he was told that Cropper was busy in the studio, he waited around all day until Cropper finished, and introduced himself. Hendrix was amazed to discover that Cropper was white -- he'd assumed that he must be Black -- and Cropper was delighted to meet the guitarist who had played on "Mercy Mercy", one of his favourite records. The two spent hours showing each other guitar licks -- Hendrix playing Cropper's right-handed guitar, as he hadn't brought along his own. Shortly after this, he joined Little Richard's band, and once again came into conflict with the star of the show by trying to upstage him. For one show he wore a satin shirt, and after the show Richard screamed at him “I am the only Little Richard! I am the King of Rock and Roll, and I am the only one allowed to be pretty. Take that shirt off!” While he was with Richard, Hendrix played on his "I Don't Know What You've Got, But It's Got Me", which like "Mercy Mercy" was written by Don Covay, who had started out as Richard's chauffeur: [Excerpt: Little Richard, "I Don't Know What You've Got, But It's Got Me"] According to the most likely version of events I've read, it was while he was working for Richard that Hendrix met Rosa Lee Brooks, on New Year's Eve 1964. At this point he was using the name Maurice James, apparently in tribute to the blues guitarist Elmore James, and he used various names, including Jimmy James, for most of his pre-fame performances. Rosa Lee Brooks was an R&B singer who had been mentored by Johnny "Guitar" Watson, and when she met Hendrix she was singing in a girl group who were one of the support acts for Ike & Tina Turner, who Hendrix went to see on his night off. Hendrix met Brooks afterwards, and told her she looked like his mother -- a line he used on a lot of women, but which was true in her case if photos are anything to go by. The two got into a relationship, and were soon talking about becoming a duo like Ike and Tina or Mickey and Sylvia -- "Love is Strange" was one of Hendrix's favourite records. But the only recording they made together was the "My Diary" single. Brooks always claimed that she actually wrote that song, but the label credit is for Arthur Lee, and it sounds like his work to me, albeit him trying hard to write like Curtis Mayfield, just as Hendrix is trying to play like him: [Excerpt: Rosa Lee Brooks, "My Diary"] Brooks and Hendrix had a very intense relationship for a short period. Brooks would later recall Little

Tonight we covered: (3:53) #TrendingTopics ~ Will Smith Slapping Chris Rock At The Oscars.. Does Will's Punishment Fit His Crime!!?? (14:25) #TrendingTopics ~ T.I. Jumps On Stage And Takes The Microphone From A Comedian That Mentions His Sexual Assault Allegations!!?? (25:10) #TrendingTopics ~ A Best Man At A Wedding Stole The Bride Away After Giving His Speech Confessing His Love For Her!!(37:25) #SlapOrCap ~ Women Should Sleep With Men For Money, Because They're Doing It For Free And Struggling (51:55) #SlapOrCap ~ Men Can't Flip On The Faithful Good Man Switch, If It's Not In You, It's Not In You!!?? (58:55) #SlapOrCap ~ Black People Don't Work Together To Build Wealth!!?? (77:35) #SlapOrCap ~ If You Have To Guess If She's Interested, Then She's Not!!??    Shout Out to my guest tonight: YourGoodKarma, LikaBug, Ecko The Model, Charity The Model, RazzMan, and our Amazing Producer Mr. Boom! Congratulations to Mr. Boom for winning the $10 CashApp Random Trivia! A SPECIAL THANKS to the AMAZING LISTENERS for putting this show into the TOP 25% OF PODCASTS!! Be a part of the fun every week Live on Thursday Nights @ 8:30 PM CST via PodBean. And Available EVERYWHERE You Get Your Podcasts! #TrendingTopics #WillSmith #TI #SlapOrCap #Prostitution #GoodMan #Wealth #Women #Men #Trivia #RantingTime #Live

Elementary school employee accused of eavesdropping on students in bathroom. ​​Bomb threats made to historically Black schools across US. An off-duty NYPD cop recorded himself committing his anti-muslim hate crime. A karen mother of the groom interrupts vows. Apartment manager calls cops on Black resident to ‘see which apartment' is his. Nazi took to the streets of Orlando, FL. Milwaukee committee OKs $650,000 settlement in police shooting of unarmed Black teenager on rooftop. Dick Durbin calls Biden's SCOTUS picks ‘assertive women of color'.Co-Host: Wosny LambreRead And View More HERE:Elementary school employee accused of eavesdropping on students in bathroomBomb threats made to historically Black schools across USHe recorded himself committing the crime: NYPD officer indicted on hate crime, assault charges following anti-Muslim road rage incident.And they lived happily ever after. The end‘It's not OK': Apartment manager calls cops on Black resident to ‘see which apartment' is his in viral TikTok'Heil Hitler and what he did': Florida Nazis harass 'Jew' driving by white supremacist rallyMilwaukee committee OKs $650,000 settlement in police shooting of unarmed man on rooftopSen. Dick Durbin Bizarrely Describes Biden's Court Picks as ‘Controversial' Because They're ‘Assertive Women of Color' See acast.com/privacy for privacy and opt-out information.

Much same as Episode 30 recommendations, but slightly different here! Normally, the best people to SPONSOR/RECRUIT are your BEST customers! Why? Because: They know the value of the products, and they have their own success stories with them They have experienced the products, became their BEST customer, thus sharing their stories with their INNER CIRCLE is easy – DUPLICATION, remember? How did THEY become your Customer, then your Business Partner? Same strategy, same system…. People are always looking for an additional source of income! If your prospects have followed a Business Presentation, but did not sign up, make sure you FOLLOW up, first one within the first 48 hours: First to thank them! Then, to ask them for their appreciation of the presentation: What they liked What was their highlight What did they learn Was the time well invested Make sure you UNDERSTAND what problem they want to solve in their life: Will an additional INCOME help them? If yes, how much? ASK the right questions to help them share their expectations with you Then use that to formulate a way that your business can help them achieve that/those goal(s) What do they want to do as a NEXT step? Try the products? Do they need samples? Or do they WANT to buy some products? OR were they interested in the opportunity? Whatever be the answers, keep grinding for their feedback and take great notes. IF you are doing it virtually, you can even ask for their permission to record the interview. Ask for testimonials – written or as a video Ask for permission to use them in your marketing Put them on your mailing list with their permission for more articles for their knowledge on how your products/opportunity change lives Ask for referrals – products or opportunity Serve, serve, serve Keep listening to the Show…or download the podcast to learn more about Become a Network Marketing Superstar

Episode one hundred and thirty-six of A History of Rock Music in Five Hundred Songs is a special long episode, running almost ninety minutes, looking at "My Generation" by the Who. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "The Name Game" by Shirley Ellis. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I mispronounce the Herman's Hermits track "Can't You Hear My Heartbeat" as "Can You Hear My Heartbeat". I say "Rebel Without a Cause" when I mean "The Wild One". Brando was not in "Rebel Without a Cause". Resources As usual, I've created a Mixcloud playlist of the music excerpted here. This mix does not include the Dixon of Dock Green theme, as I was unable to find a full version of that theme anywhere (though a version with Jack Warner singing, titled "An Ordinary Copper" is often labelled as it) and what you hear in this episode is the only fragment I could get a clean copy of. The best compilation of the Who's music is Maximum A's & B's, a three-disc set containing the A and B sides of every single they released. The super-deluxe five-CD version of the My Generation album appears to be out of print as a CD, but can be purchased digitally. I referred to a lot of books for this episode, including: Generations: The History of America's Future, 1584 to 2069 by William Strauss and Neil Howe, which I don't necessarily recommend reading, but which is certainly an influential book. Revolt Into Style: The Pop Arts by George Melly which I *do* recommend reading if you have any interest at all in British pop culture of the fifties and sixties. Jim Marshall: The Father of Loud by Rich Maloof gave me all the biographical details about Marshall. The Who Before the Who by Doug Sandom, a rather thin book of reminiscences by the group's first drummer. The Ox by Paul Rees, an authorised biography of John Entwistle based on notes for his never-completed autobiography. Who I Am, the autobiography of Pete Townshend, is one of the better rock autobiographies. A Band With Built-In Hate by Peter Stanfield is an examination of the group in the context of pop-art and Mod. And Anyway, Anyhow, Anywhere by Andy Neill and Matt Kent is a day-by-day listing of the group's activities up to 1978. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript In 1991, William Strauss and Neil Howe wrote a book called Generations: The History of America's Future, 1584 to 2069. That book was predicated on a simple idea -- that there are patterns in American history, and that those patterns can be predicted in their rough outline. Not in the fine details, but broadly -- those of you currently watching the TV series Foundation, or familiar with Isaac Asimov's original novels, will have the idea already, because Strauss and Howe claimed to have invented a formula which worked as well as Asimov's fictional Psychohistory. Their claim was that, broadly speaking, generations can be thought to have a dominant personality type, influenced by the events that took place while they were growing up, which in turn are influenced by the personality types of the older generations. Because of this, Strauss and Howe claimed, American society had settled into a semi-stable pattern, where events repeat on a roughly eighty-eight-year cycle, driven by the behaviours of different personality types at different stages of their lives. You have four types of generation, which cycle -- the Adaptive, Idealist, Reactive, and Civic types. At any given time, one of these will be the elder statespeople, one will be the middle-aged people in positions of power, one will be the young rising people doing most of the work, and one will be the kids still growing up. You can predict what will happen, in broad outline, by how each of those generation types will react to challenges, and what position they will be in when those challenges arise. The idea is that major events change your personality, and also how you react to future events, and that how, say, Pearl Harbor affected someone will have been different for a kid hearing about the attack on the radio, an adult at the age to be drafted, and an adult who was too old to fight. The thesis of this book has, rather oddly, entered mainstream thought so completely that its ideas are taken as basic assumptions now by much of the popular discourse, even though on reading it the authors are so vague that pretty much anything can be taken as confirmation of their hypotheses, in much the same way that newspaper horoscopes always seem like they could apply to almost everyone's life. And sometimes, of course, they're just way off. For example they make the prediction that in 2020 there would be a massive crisis that would last several years, which would lead to a massive sense of community, in which "America will be implacably resolved to do what needs doing and fix what needs fixing", and in which the main task of those aged forty to sixty at that point would be to restrain those in leadership positions in the sixty-to-eighty age group from making irrational, impetuous, decisions which might lead to apocalypse. The crisis would likely end in triumph, but there was also a chance it might end in "moral fatigue, vast human tragedy, and a weak and vengeful sense of victory". I'm sure that none of my listeners can think of any events in 2020 that match this particular pattern. Despite its lack of rigour, Strauss and Howe's basic idea is now part of most people's intellectual toolkit, even if we don't necessarily think of them as the source for it. Indeed, even though they only talk about America in their book, their generational concept gets applied willy-nilly to much of the Western world. And likewise, for the most part we tend to think of the generations, whether American or otherwise, using the names they used. For the generations who were alive at the time they were writing, they used five main names, three of which we still use. Those born between 1901 and 1924 they term the "GI Generation", though those are now usually termed the "Greatest Generation". Those born between 1924 and 1942 were the "Silent Generation", those born 1943 through 1960 were the Boomers, and those born between 1982 and 2003 they labelled Millennials. Those born between 1961 and 1981 they labelled "thirteeners", because they were the unlucky thirteenth generation to be born in America since the declaration of independence. But that name didn't catch on. Instead, the name that people use to describe that generation is "Generation X", named after a late-seventies punk band led by Billy Idol: [Excerpt: Generation X, "Your Generation"] That band were short-lived, but they were in constant dialogue with the pop culture of ten to fifteen years earlier, Idol's own childhood. As well as that song, "Your Generation", which is obviously referring to the song this week's episode is about, they also recorded versions of John Lennon's "Gimme Some Truth", of Johnny Kidd and the Pirates' "Shakin' All Over", and an original song called "Ready Steady Go", about being in love with Cathy McGowan, the presenter of that show. And even their name was a reference, because Generation X were named after a book published in 1964, about not the generation we call Generation X, but about the Baby Boomers, and specifically about a series of fights on beaches across the South Coast of England between what at that point amounted to two gangs. These were fights between the old guard, the Rockers -- people who represented the recent past who wouldn't go away, what Americans would call "greasers", people who modelled themselves on Marlon Brando in Rebel Without A Cause, and who thought music had peaked with Gene Vincent and Eddie Cochran -- and a newer, younger, hipper, group of people, who represented the new, the modern -- the Mods: [Excerpt: The Who, "My Generation"] Jim Marshall, if he'd been American, would have been considered one of the Greatest Generation, but his upbringing was not typical of that, or of any, generation. When he was five, he was diagnosed as having skeletal tuberculosis, which had made his bones weak and easily broken. To protect them, he spent the next seven years of his life, from age five until twelve, in hospital in a full-body cast. The only opportunity he got to move during those years was for a few minutes every three months, when the cast would be cut off and reapplied to account for his growth during that time. Unsurprisingly, once he was finally out of the cast, he discovered he loved moving -- a lot. He dropped out of school aged thirteen -- most people at the time left school at aged fourteen anyway, and since he'd missed all his schooling to that point it didn't seem worth his while carrying on -- and took on multiple jobs, working sixty hours a week or more. But the job he made most money at was as an entertainer. He started out as a tap-dancer, taking advantage of his new mobility, but then his song-and-dance man routine became steadily more song and less dance, as people started to notice his vocal resemblance to Bing Crosby. He was working six nights a week as a singer, but when World War II broke out, the drummer in the seven-piece band he was working with was drafted -- Marshall wouldn't ever be drafted because of his history of illness. The other members of the band knew that as a dancer he had a good sense of rhythm, and so they made a suggestion -- if Jim took over the drums, they could split the money six ways rather than seven. Marshall agreed, but he discovered there was a problem. The drum kit was always positioned at the back of the stage, behind the PA, and he couldn't hear the other musicians clearly. This is actually OK for a drummer -- you're keeping time, and the rest of the band are following you, so as long as you can *sort of* hear them everyone can stay together. But a singer needs to be able to hear everything clearly, in order to stay on key. And this was in the days before monitor speakers, so the only option available was to just have a louder PA system. And since one wasn't available, Marshall just had to build one himself. And that's how Jim Marshall started building amplifiers. Marshall eventually gave up playing the drums, and retired to run a music shop. There's a story about Marshall's last gig as a drummer, which isn't in the biography of Marshall I read for this episode, but is told in other places by the son of the bandleader at that gig. Apparently Marshall had a very fraught relationship with his father, who was among other things a semi-professional boxer, and at that gig Marshall senior turned up and started heckling his son from the audience. Eventually the younger Marshall jumped off the stage and started hitting his dad, winning the fight, but he decided he wasn't going to perform in public any more. The band leader for that show was Clifford Townshend, a clarinet player and saxophonist whose main gig was as part of the Squadronaires, a band that had originally been formed during World War II by RAF servicemen to entertain other troops. Townshend, who had been a member of Oswald Moseley's fascist Blackshirts in the thirties but later had a change of heart, was a second-generation woodwind player -- his father had been a semi-professional flute player. As well as working with the Squadronaires, Townshend also put out one record under his own name in 1956, a version of "Unchained Melody" credited to "Cliff Townsend and his singing saxophone": [Excerpt: Cliff Townshend and his Singing Saxophone, "Unchained Melody"] Cliff's wife often performed with him -- she was a professional singer who had  actually lied about her age in order to join up with the Air Force and sing with the group -- but they had a tempestuous marriage, and split up multiple times. As a result of this, and the travelling lifestyle of musicians, there were periods where their son Peter was sent to live with his grandmother, who was seriously abusive, traumatising the young boy in ways that would affect him for the rest of his life. When Pete Townshend was growing up, he wasn't particularly influenced by music, in part because it was his dad's job rather than a hobby, and his parents had very few records in the house. He did, though, take up the harmonica and learn to play the theme tune to Dixon of Dock Green: [Excerpt: Tommy Reilly, "Dixon of Dock Green Theme"] His first exposure to rock and roll wasn't through Elvis or Little Richard, but rather through Ray Ellington. Ellington was a British jazz singer and drummer, heavily influenced by Louis Jordan, who provided regular musical performances on the Goon Show throughout the fifties, and on one episode had performed "That Rock 'n' Rollin' Man": [Excerpt: Ray Ellington, "That Rock 'N' Rollin' Man"] Young Pete's assessment of that, as he remembered it later, was "I thought it some kind of hybrid jazz: swing music with stupid lyrics. But it felt youthful and rebellious, like The Goon Show itself." But he got hooked on rock and roll when his father took him and a friend to see a film: [Excerpt: Bill Haley and the Comets, "Rock Around the Clock"] According to Townshend's autobiography, "I asked Dad what he thought of the music. He said he thought it had some swing, and anything that had swing was OK. For me it was more than just OK. After seeing Rock Around the Clock with Bill Haley, nothing would ever be quite the same." Young Pete would soon go and see Bill Haley live – his first rock and roll gig. But the older Townshend would soon revise his opinion of rock and roll, because it soon marked the end of the kind of music that had allowed him to earn his living -- though he still managed to get regular work, playing a clarinet was suddenly far less lucrative than it had been. Pete decided that he wanted to play the saxophone, like his dad, but soon he switched first to guitar and then to banjo. His first guitar was bought for him by his abusive grandmother, and three of the strings snapped almost immediately, so he carried on playing with just three strings for a while. He got very little encouragement from his parents, and didn't really improve for a couple of years. But then the trad jazz boom happened, and Townshend teamed up with a friend of his who played the trumpet and French horn. He had initially bonded with John Entwistle over their shared sense of humour -- both kids loved Mad magazine and would make tape recordings together of themselves doing comedy routines inspired by the Goon show and Hancock's Half Hour -- but Entwistle was also a very accomplished musician, who could play multiple instruments. Entwistle had formed a trad band called the Confederates, and Townshend joined them on banjo and guitar, but they didn't stay together for long. Both boys, though, would join a variety of other bands, both together and separately. As the trad boom faded and rock and roll regained its dominance among British youth, there was little place for Entwistle's trumpet in the music that was popular among teenagers, and at first Entwistle decided to try making his trumpet sound more like a saxophone, using a helmet as a mute to try to get it to sound like the sax on "Ramrod" by Duane Eddy: [Excerpt: Duane Eddy, "Ramrod"] Eddy soon became Entwistle's hero. We've talked about him before a couple of times, briefly, but not in depth, but Duane Eddy had a style that was totally different from most guitar heroes. Instead of playing mostly on the treble strings of the guitar, playing high twiddly parts, Eddy played low notes on the bass strings of his guitar, giving him the style that he summed up in album titles like "The Twang's the Thang" and "Have Twangy Guitar Will Travel". After a couple of years of having hits with this sound, produced by Lee Hazelwood and Lester Sill, Eddy also started playing another instrument, the instrument variously known as the six-string bass, the baritone guitar, or the Danelectro bass (after the company that manufactured the most popular model).  The baritone guitar has six strings, like a normal guitar, but it's tuned lower than a standard guitar -- usually a fourth lower, though different players have different preferences. The Danelectro became very popular in recording studios in the early sixties, because it helped solve a big problem in recording bass tones. You can hear more about this in the episodes of Cocaine and Rhinestones I recommended last week, but basically double basses were very, very difficult to record in the 1950s, and you'd often end up just getting a thudding, muddy, sound from them, which is one reason why when you listen to a lot of early rockabilly the bass is doing nothing very interesting, just playing root notes -- you couldn't easily get much clarity on the instrument at all. Conversely, with electric basses, with the primitive amps of the time, you didn't get anything like the full sound that you'd get from a double bass, but you *did* get a clear sound that would cut through on a cheap radio in a way that the sound of a double bass wouldn't. So the solution was obvious -- you have an electric instrument *and* a double bass play the same part. Use the double bass for the big dull throbbing sound, but use the electric one to give the sound some shape and cut-through. If you're doing that, you mostly want the trebly part of the electric instrument's tone, so you play it with a pick rather than fingers, and it makes sense to use a Danelectro rather than a standard bass guitar, as the Danelectro is more trebly than a normal bass. This combination, of Danelectro and double bass, appears to have been invented by Owen Bradley, and you can hear it for example on this record by Patsy Cline, with Bob Moore on double bass and Harold Bradley on baritone guitar: [Excerpt: Patsy Cline, "Crazy"] This sound, known as "tic-tac bass", was soon picked up by a lot of producers, and it became the standard way of getting a bass sound in both Nashville and LA. It's all over the Beach Boys' best records, and many of Jack Nitzsche's arrangements, and many of the other records the Wrecking Crew played on, and it's on most of the stuff the Nashville A-Team played on from the late fifties through mid-sixties, records by people like Elvis, Roy Orbison, Arthur Alexander, and the Everly Brothers. Lee Hazelwood was one of the first producers to pick up on this sound -- indeed, Duane Eddy has said several times that Hazelwood invented the sound before Owen Bradley did, though I think Bradley did it first -- and many of Eddy's records featured that bass sound, and eventually Eddy started playing a baritone guitar himself, as a lead instrument, playing it on records like "Because They're Young": [Excerpt: Duane Eddy, "Because They're Young"] Duane Eddy was John Entwistle's idol, and Entwistle learned Eddy's whole repertoire on trumpet, playing the saxophone parts. But then, realising that the guitar was always louder than the trumpet in the bands he was in, he realised that if he wanted to be heard, he should probably switch to guitar himself. And it made sense that a bass would be easier to play than a regular guitar -- if you only have four strings, there's more space between them, so playing is easier. So he started playing the bass, trying to sound as much like Eddy as he could. He had no problem picking up the instrument -- he was already a multi-instrumentalist -- but he did have a problem actually getting hold of one, as all the electric bass guitars available in the UK at the time were prohibitively expensive. Eventually he made one himself, with the help of someone in a local music shop, and that served for a time, though he would soon trade up to more professional instruments, eventually amassing the biggest collection of basses in the world. One day, Entwistle was approached on the street by an acquaintance, Roger Daltrey, who said to him "I hear you play bass" -- Entwistle was, at the time, carrying his bass. Daltrey was at this time a guitarist -- like Entwistle, he'd built his own instrument -- and he was the leader of a band called Del Angelo and his Detours. Daltrey wasn't Del Angelo, the lead singer -- that was a man called Colin Dawson who by all accounts sounded a little like Cliff Richard -- but he was the bandleader, hired and fired the members, and was in charge of their setlists. Daltrey lured Entwistle away from the band he was in with Townshend by telling him that the Detours were getting proper paid gigs, though they weren't getting many at the time. Unfortunately, one of the group's other guitarists, the member who owned the best amp, died in an accident not long after Entwistle joined the band. However, the amp was left in the group's possession, and Entwistle used it to lure Pete Townshend into the group by telling him he could use it -- and not telling him that he'd be sharing the amp with Daltrey. Townshend would later talk about his audition for the Detours -- as he was walking up the street towards Daltrey's house, he saw a stunningly beautiful woman walking away from the house crying. She saw his guitar case and said "Are you going to Roger's?" "Yes." "Well you can tell him, it's that bloody guitar or me". Townshend relayed the message, and Daltrey responded "Sod her. Come in." The audition was a formality, with the main questions being whether Townshend could play two parts of the regular repertoire for a working band at that time -- "Hava Nagila", and the Shadows' "Man of Mystery": [Excerpt: The Shadows, "Man of Mystery"] Townshend could play both of those, and so he was in. The group would mostly play chart hits by groups like the Shadows, but as trad jazz hadn't completely died out yet they would also do breakout sessions playing trad jazz, with Townshend on banjo, Entwistle on trumpet and Daltrey on trombone. From the start, there was a temperamental mismatch between the group's two guitarists. Daltrey was thoroughly working-class, culturally conservative,  had dropped out of school to go to work at a sheet metal factory, and saw himself as a no-nonsense plain-speaking man. Townshend was from a relatively well-off upper-middle-class family, was for a brief time a member of the Communist Party, and was by this point studying at art school, where he was hugely impressed by a lecture from Gustav Metzger titled “Auto-Destructive Art, Auto-Creative Art: The Struggle For The Machine Arts Of The Future”, about Metzger's creation of artworks which destroyed themselves. Townshend was at art school during a period when the whole idea of what an art school was for was in flux, something that's typified by a story Townshend tells about two of his early lectures. At the first, the lecturer came in and told the class to all draw a straight line. They all did, and then the lecturer told off anyone who had drawn anything that was anything other than six inches long, perfectly straight, without a ruler, going north-south, with a 3B pencil, saying that anything else at all was self-indulgence of the kind that needed to be drummed out of them if they wanted to get work as commercial artists. Then in another lecture, a different lecturer came in and asked them all to draw a straight line. They all drew perfectly straight, six-inch, north-south lines in 3B pencil, as the first lecturer had taught them. The new lecturer started yelling at them, then brought in someone else to yell at them as well, and then cut his hand open with a knife and dragged it across a piece of paper, smearing a rough line with his own blood, and screamed "THAT'S a line!" Townshend's sympathies lay very much with the second lecturer. Another big influence on Townshend at this point was a jazz double-bass player, Malcolm Cecil. Cecil would later go on to become a pioneer in electronic music as half of TONTO's Expanding Head Band, and we'll be looking at his work in more detail in a future episode, but at this point he was a fixture on the UK jazz scene. He'd been a member of Blues Incorporated, and had also played with modern jazz players like Dick Morrissey: [Excerpt: Dick Morrissey, "Jellyroll"] But Townshend was particularly impressed with a performance in which Cecil demonstrated unorthodox ways to play the double-bass, including playing so hard he broke the strings, and using a saw as a bow, sawing through the strings and damaging the body of the instrument. But these influences, for the moment, didn't affect the Detours, who were still doing the Cliff and the Shadows routine. Eventually Colin Dawson quit the group, and Daltrey took over the lead vocal role for the Detours, who settled into a lineup of Daltrey, Townshend, Entwistle, and drummer Doug Sandom, who was much older than the rest of the group -- he was born in 1930, while Daltrey and Entwistle were born in 1944 and Townshend in 1945. For a while, Daltrey continued playing guitar as well as singing, but his hands were often damaged by his work at the sheet-metal factory, making guitar painful for him. Then the group got a support slot with Johnny Kidd and the Pirates, who at this point were a four-piece band, with Kidd singing backed by bass, drums, and Mick Green playing one guitar on which he played both rhythm and lead parts: [Excerpt: Johnny Kidd and the Pirates, "Doctor Feel Good"] Green was at the time considered possibly the best guitarist in Britain, and the sound the Pirates were able to get with only one guitar convinced the Detours that they would be OK if Daltrey switched to just singing, so the group changed to what is now known as a "power trio" format. Townshend was a huge admirer of Steve Cropper, another guitarist who played both rhythm and lead, and started trying to adopt parts of Cropper's style, playing mostly chords, while Entwistle went for a much more fluid bass style than most, essentially turning the bass into another lead instrument, patterning his playing after Duane Eddy's work. By this time, Townshend was starting to push against Daltrey's leadership a little, especially when it came to repertoire. Townshend had a couple of American friends at art school who had been deported after being caught smoking dope, and had left their records with Townshend for safe-keeping. As a result, Townshend had become a devotee of blues and R&B music, especially the jazzier stuff like Ray Charles, Mose Allison, and Booker T and the MGs. He also admired guitar-based blues records like those by Howlin' Wolf or Jimmy Reed. Townshend kept pushing for this music to be incorporated into the group's sets, but Daltrey would push back, insisting as the leader that they should play the chart hits that everyone else played, rather than what he saw as Townshend's art-school nonsense. Townshend insisted, and eventually won -- within a short while the group had become a pure R&B group, and Daltrey was soon a convert, and became the biggest advocate of that style in the band. But there was a problem with only having one guitar, and that was volume. In particular, Townshend didn't want to be able to hear hecklers. There were gangsters in some of the audiences who would shout requests for particular songs, and you had to play them or else, even if they were completely unsuitable for the rest of the audience's tastes. But if you were playing so loud you couldn't hear the shouting, you had an excuse. Both Entwistle and Townshend had started buying amplifiers from Jim Marshall, who had opened up a music shop after quitting drums -- Townshend actually bought his first one from a shop assistant in Marshall's shop, John McLaughlin, who would later himself become a well-known guitarist. Entwistle, wanting to be heard over Townshend, had bought a cabinet with four twelve-inch speakers in it. Townshend, wanting to be heard over Entwistle, had bought *two* of these cabinets, and stacked them, one on top of the other, against Marshall's protestations -- Marshall said that they would vibrate so much that the top one might fall over and injure someone. Townshend didn't listen, and the Marshall stack was born. This ultra-amplification also led Townshend to change his guitar style further. He was increasingly reliant on distortion and feedback, rather than on traditional instrumental skills. Now, there are basically two kinds of chords that are used in most Western music. There are major chords, which consist of the first, third, and fifth note of the scale, and these are the basic chords that everyone starts with. So you can strum between G major and F major: [demonstrates G and F chords] There's also minor chords, where you flatten the third note, which sound a little sadder than major chords, so playing G minor and F minor: [demonstrates Gm and Fm chords] There are of course other kinds of chord -- basically any collection of notes counts as a chord, and can work musically in some context. But major and minor chords are the basic harmonic building blocks of most pop music. But when you're using a lot of distortion and feedback, you create a lot of extra harmonics -- extra notes that your instrument makes along with the ones you're playing. And for mathematical reasons I won't go into here because this is already a very long episode, the harmonics generated by playing the first and fifth notes sound fine together, but the harmonics from a third or minor third don't go along with them at all. The solution to this problem is to play what are known as "power chords", which are just the root and fifth notes, with no third at all, and which sound ambiguous as to whether they're major or minor. Townshend started to build his technique around these chords, playing for the most part on the bottom three strings of his guitar, which sounds like this: [demonstrates G5 and F5 chords] Townshend wasn't the first person to use power chords -- they're used on a lot of the Howlin' Wolf records he liked, and before Townshend would become famous the Kinks had used them on "You Really Got Me" -- but he was one of the first British guitarists to make them a major part of his personal style. Around this time, the Detours were starting to become seriously popular, and Townshend was starting to get exhausted by the constant demands on his time from being in the band and going to art school. He talked about this with one of his lecturers, who asked how much Townshend was earning from the band. When Townshend told him he was making thirty pounds a week, the lecturer was shocked, and said that was more than *he* was earning. Townshend should probably just quit art school, because it wasn't like he was going to make more money from anything he could learn there. Around this time, two things changed the group's image. The first was that they played a support slot for the Rolling Stones in December 1963. Townshend saw Keith Richards swinging his arm over his head and then bringing it down on the guitar, to loosen up his muscles, and he thought that looked fantastic, and started copying it -- from very early on, Townshend wanted to have a physical presence on stage that would be all about his body, to distract from his face, as he was embarrassed about the size of his nose. They played a second support slot for the Stones a few weeks later, and not wanting to look like he was copying Richards, Townshend didn't do that move, but then he noticed that Richards didn't do it either. He asked about it after the gig, and Richards didn't know what he was talking about -- "Swing me what?" -- so Townshend took that as a green light to make that move, which became known as the windmill, his own. The second thing was when in February 1964 a group appeared on Thank Your Lucky Stars: [Excerpt: Johnny Devlin and the Detours, "Sometimes"] Johnny Devlin and the Detours had had national media exposure, which meant that Daltrey, Townshend, Entwistle, and Sandom had to change the name of their group. They eventually settled on "The Who", It was around this time that the group got their first serious management, a man named Helmut Gorden, who owned a doorknob factory. Gorden had no management experience, but he did offer the group a regular salary, and pay for new equipment for them. However, when he tried to sign the group to a proper contract, as most of them were still under twenty-one he needed their parents to countersign for them. Townshend's parents, being experienced in the music industry, refused to sign, and so the group continued under Gorden's management without a contract. Gorden, not having management experience, didn't have any contacts in the music industry. But his barber did. Gorden enthused about his group to Jack Marks, the barber, and Marks in turn told some of his other clients about this group he'd been hearing about. Tony Hatch wasn't interested, as he already had a guitar group with the Searchers, but Chris Parmenter at Fontana Records was, and an audition was arranged. At the audition, among other numbers, they played Bo Diddley's "Here 'Tis": [Excerpt: Bo Diddley, "Here 'Tis"] Unfortunately for Doug, he didn't play well on that song, and Townshend started berating him. Doug also knew that Parmenter had reservations about him, because he was so much older than the rest of the band -- he was thirty-four at the time, while the rest of the group were only just turning twenty -- and he was also the least keen of the group on the R&B material they were playing. He'd been warned by Entwistle, his closest friend in the group, that Daltrey and Townshend were thinking of dropping him, and so he decided to jump before he was pushed, walking out of the audition. He agreed to come back for a handful more gigs that were already booked in, but that was the end of his time in the band, and of his time in the music industry -- though oddly not of his friendship with the group. Unlike other famous examples of an early member not fitting in and being forced out before a band becomes big, Sandom remained friends with the other members, and Townshend wrote the foreword to his autobiography, calling him a mentor figure, while Daltrey apparently insisted that Sandom phone him for a chat every Sunday, at the same time every week, until Sandom's death in 2019 at the age of eighty-nine. The group tried a few other drummers, including someone who Jim Marshall had been giving drum lessons to, Mitch Mitchell, before settling on the drummer for another group that played the same circuit, the Beachcombers, who played mostly Shadows material, plus the Beach Boys and Jan and Dean songs that their drummer, Keith Moon, loved. Moon and Entwistle soon became a formidable rhythm section, and despite having been turned down by Fontana, they were clearly going places. But they needed an image -- and one was provided for them by Pete Meaden. Meaden was another person who got his hair cut by Jack Marks, and he had had  little bit of music business experience, having worked for Andrew Oldham, the Rolling Stones' manager, for a while before going on to manage a group called the Moments, whose career highlight was recording a soundalike cover version of "You Really Got Me" for an American budget label: [Excerpt: The Moments, "You Really Got Me"] The Moments never had any big success, but Meaden's nose for talent was not wrong, as their teenage lead singer, Steve Marriott, later went on to much better things. Pete Meaden was taken on as Helmut Gorden's assistant, but from this point on the group decided to regard him as their de facto manager, and as more than just a manager. To Townshend in particular he was a guru figure, and he shaped the group to appeal to the Mods. Now, we've not talked much about the Mods previously, and what little has been said has been a bit contradictory. That's because the Mods were a tiny subculture at this point -- or to be more precise, they were three subcultures. The original mods had come along in the late 1950s, at a time when there was a division among jazz fans between fans of traditional New Orleans jazz -- "trad" -- and modern jazz. The mods were modernists, hence the name, but for the most part they weren't as interested in music as in clothes. They were a small group of young working-class men, almost all gay, who dressed flamboyantly and dandyishly, and who saw themselves, their clothing, and their bodies as works of art. In the late fifties, Britain was going through something of an economic boom, and this was the first time that working-class men *could* buy nice clothes. These working-class dandies would have to visit tailors to get specially modified clothes made, but they could just about afford to do so. The mod image was at first something that belonged to a very, very, small clique of people. But then John Stephens opened his first shop. This was the first era when short runs of factory-produced clothing became possible, and Stephens, a stylish young man, opened a shop on Carnaby Street, then a relatively cheap place to open a shop. He painted the outside yellow, played loud pop music, and attracted a young crowd. Stephens was selling factory-made clothes that still looked unique -- short runs of odd-coloured jeans, three-button jackets, and other men's fashion. Soon Carnaby Street became the hub for men's fashion in London, thanks largely to Stephens. At one point Stephens owned fifteen different shops, nine of them on Carnaby Street itself, and Stephens' shops appealed to the kind of people that the Kinks would satirise in their early 1966 hit single "Dedicated Follower of Fashion": [Excerpt: The Kinks, "Dedicated Follower of Fashion"] Many of those who visited Stephens' shops were the larger, second, generation of mods. I'm going to quote here from George Melly's Revolt Into Style, the first book to properly analyse British pop culture of the fifties and sixties, by someone who was there: "As the ‘mod' thing spread it lost its purity. For the next generation of Mods, those who picked up the ‘mod' thing around 1963, clothes, while still their central preoccupation, weren't enough. They needed music (Rhythm and Blues), transport (scooters) and drugs (pep pills). What's more they needed fashion ready-made. They hadn't the time or the fanaticism to invent their own styles, and this is where Carnaby Street came in." Melly goes on to talk about how these new Mods were viewed with distaste by the older Mods, who left the scene. The choice of music for these new Mods was as much due to geographic proximity as anything else. Carnaby Street is just round the corner from Wardour Street, and Wardour Street is where the two clubs that between them were the twin poles of the London R&B scenes, the Marquee and the Flamingo, were both located. So it made sense that the young people frequenting John Stephens' boutiques on Carnaby Street were the same people who made up the audiences -- and the bands -- at those clubs. But by 1964, even these second-generation Mods were in a minority compared to a new, third generation, and here I'm going to quote Melly again: "But the Carnaby Street Mods were not the final stage in the history of this particular movement. The word was taken over finally by a new and more violent sector, the urban working class at the gang-forming age, and this became quite sinister. The gang stage rejected the wilder flights of Carnaby Street in favour of extreme sartorial neatness. Everything about them was neat, pretty and creepy: dark glasses, Nero hair-cuts, Chelsea boots, polo-necked sweaters worn under skinny V-necked pullovers, gleaming scooters and transistors. Even their offensive weapons were pretty—tiny hammers and screwdrivers. En masse they looked like a pack of weasels." I would urge anyone who's interested in British social history to read Melly's book in full -- it's well worth it. These third-stage Mods soon made up the bulk of the movement, and they were the ones who, in summer 1964, got into the gang fights that were breathlessly reported in all the tabloid newspapers. Pete Meaden was a Mod, and as far as I can tell he was a leading-edge second-stage Mod, though as with all these things who was in what generation of Mods is a bit blurry. Meaden had a whole idea of Mod-as-lifestyle and Mod-as-philosophy, which worked well with the group's R&B leanings, and with Townshend's art-school-inspired fascination with the aesthetics of Pop Art. Meaden got the group a residency at the Railway Hotel, a favourite Mod hangout, and he also changed their name -- The Who didn't sound Mod enough. In Mod circles at the time there was a hierarchy, with the coolest people, the Faces, at the top, below them a slightly larger group of people known as Numbers, and below them the mass of generic people known as Tickets. Meaden saw himself as the band's Svengali, so he was obviously the Face, so the group had to be Numbers -- so they became The High Numbers. Meaden got the group a one-off single deal, to record two songs he had allegedly written, both of which had lyrics geared specifically for the Mods. The A-side was "Zoot Suit": [Excerpt: The High Numbers, "Zoot Suit"] This had a melody that was stolen wholesale from "Misery" by the Dynamics: [Excerpt: The Dynamics, "Misery"] The B-side, meanwhile, was titled "I'm the Face": [Excerpt: The High Numbers, "I'm the Face"] Which anyone with any interest at all in blues music will recognise immediately as being "Got Love if You Want It" by Slim Harpo: [Excerpt: Slim Harpo, "Got Love if You Want it"] Unfortunately for the High Numbers, that single didn't have much success. Mod was a local phenomenon, which never took off outside London and its suburbs, and so the songs didn't have much appeal in the rest of the country -- while within London, Mod fashions were moving so quickly that by the time the record came out, all its up-to-the-minute references were desperately outdated. But while the record didn't have much success, the group were getting a big live following among the Mods, and their awareness of rapidly shifting trends in that subculture paid off for them in terms of stagecraft. To quote Townshend: "What the Mods taught us was how to lead by following. I mean, you'd look at the dance floor and see some bloke stop during the dance of the week and for some reason feel like doing some silly sort of step. And you'd notice some of the blokes around him looking out of the corners of their eyes and thinking 'is this the latest?' And on their own, without acknowledging the first fellow, a few of 'em would start dancing that way. And we'd be watching. By the time they looked up on the stage again, we'd be doing that dance and they'd think the original guy had been imitating us. And next week they'd come back and look to us for dances". And then Kit Lambert and Chris Stamp came into the Railway Hotel. Kit Lambert was the son of Constant Lambert, the founding music director of the Royal Ballet, who the economist John Maynard Keynes described as the most brilliant man he'd ever met. Constant Lambert was possibly Britain's foremost composer of the pre-war era, and one of the first people from the serious music establishment to recognise the potential of jazz and blues music. His most famous composition, "The Rio Grande", written in 1927 about a fictitious South American river, is often compared with Gershwin's Rhapsody in Blue: [Excerpt: Constant Lambert, "The Rio Grande"] Kit Lambert was thus brought up in an atmosphere of great privilege, both financially and intellectually, with his godfather being the composer Sir William Walton while his godmother was the prima ballerina Dame Margot Fonteyn, with whom his father was having an affair. As a result of the problems between his parents, Lambert spent much of his childhood living with his grandmother. After studying history at Oxford and doing his national service, Lambert had spent a few months studying film at the Institut des hautes études cinématographiques in Paris, where he went because Jean-Luc Godard and Alain Renais taught there -- or at least so he would later say, though there's no evidence I can find that Godard actually taught there, so either he went there under a mistaken impression or he lied about it later to make himself sound more interesting. However, he'd got bored with his studies after only a few months, and decided that he knew enough to just make a film himself, and he planned his first documentary. In early 1961, despite having little film experience, he joined two friends from university, Richard Mason and John Hemming, in an attempt to make a documentary film tracing the source of the Iriri, a river in South America that was at that point the longest unnavigated river in the world. Unfortunately, the expedition was as disastrous as it's possible for such an expedition to be. In May 1961 they landed in the Amazon basin and headed off on their expedition to find the source of the Iriri, with the help of five local porters and three people sent along by the Brazillian government to map the new areas they were to discover. Unfortunately, by September, not only had they not found the source of the Iriri, they'd actually not managed to find the Iriri itself, four and a half months apparently not being a long enough time to find an eight-hundred-and-ten-mile-long river. And then Mason made his way into history in the worst possible way, by becoming the last, to date, British person to be murdered by an uncontacted indigenous tribe, the Panará, who shot him with eight poison arrows and then bludgeoned his skull. A little over a decade later the Panará made contact with the wider world after nearly being wiped out by disease. They remembered killing Mason and said that they'd been scared by the swishing noise his jeans had made, as they'd never encountered anyone who wore clothes before. Before they made contact, the Panará were also known as the Kreen-Akrore, a name given them by the Kayapó people, meaning "round-cut head", a reference to the way they styled their hair, brushed forward and trimmed over the forehead in a way that was remarkably similar to some of the Mod styles. Before they made contact, Paul McCartney would in 1970 record an instrumental, "Kreen Akrore", after being inspired by a documentary called The Tribe That Hides From Man. McCartney's instrumental includes sound effects, including McCartney firing a bow and arrow, though apparently the bow-string snapped during the recording: [Excerpt: Paul McCartney, "Kreen Akrore"] For a while, Lambert was under suspicion for the murder, though the Daily Express, which had sponsored the expedition, persuaded Brazillian police to drop the charges. While he was in Rio waiting for the legal case to be sorted, Lambert developed what one book on the Who describes as "a serious anal infection". Astonishingly, this experience did not put Lambert off from the film industry, though he wouldn't try to make another film of his own for a couple of years. Instead, he went to work at Shepperton Studios, where he was an uncredited second AD on many films, including From Russia With Love and The L-Shaped Room. Another second AD working on many of the same films was Chris Stamp, the brother of the actor Terence Stamp, who was just starting out in his own career. Stamp and Lambert became close friends, despite -- or because of -- their differences. Lambert was bisexual, and preferred men to women, Stamp was straight. Lambert was the godson of a knight and a dame, Stamp was a working-class East End Cockney. Lambert was a film-school dropout full of ideas and grand ambitions, but unsure how best to put those ideas into practice, Stamp was a practical, hands-on, man. The two complemented each other perfectly, and became flatmates and collaborators. After seeing A Hard Day's Night, they decided that they were going to make their own pop film -- a documentary, inspired by the French nouvelle vague school of cinema, which would chart a pop band from playing lowly clubs to being massive pop stars. Now all they needed was to find a band that were playing lowly clubs but could become massive stars. And they found that band at the Railway Hotel, when they saw the High Numbers. Stamp and Lambert started making their film, and completed part of it, which can be found on YouTube: [Excerpt: The High Numbers, "Oo Poo Pa Doo"] The surviving part of the film is actually very, very, well done for people who'd never directed a film before, and I have no doubt that if they'd completed the film, to be titled High Numbers, it would be regarded as one of the classic depictions of early-sixties London club life, to be classed along with The Small World of Sammy Lee and Expresso Bongo. What's even more astonishing, though, is how *modern* the group look. Most footage of guitar bands of this period looks very dated, not just in the fashions, but in everything -- the attitude of the performers, their body language, the way they hold their instruments. The best performances are still thrilling, but you can tell when they were filmed. On the other hand, the High Numbers look ungainly and awkward, like the lads of no more than twenty that they are -- but in a way that was actually shocking to me when I first saw this footage. Because they look *exactly* like every guitar band I played on the same bill as during my own attempts at being in bands between 2000 and about 2005. If it weren't for the fact that they have such recognisable faces, if you'd told me this was footage of some band I played on the same bill with at the Star and Garter or Night and Day Cafe in 2003, I'd believe it unquestioningly. But while Lambert and Stamp started out making a film, they soon pivoted and decided that they could go into management. Of course, the High Numbers did already have management -- Pete Meaden and Helmut Gorden -- but after consulting with the Beatles' lawyer, David Jacobs, Lambert and Stamp found out that Gorden's contract with the band was invalid, and so when Gorden got back from a holiday, he found himself usurped. Meaden was a bit more difficult to get rid of, even though he had less claim on the group than Gorden -- he was officially their publicist, not their manager, and his only deal was with Gorden, even though the group considered him their manager. While Meaden didn't have a contractual claim though, he did have one argument in his favour, which is that he had a large friend named Phil the Greek, who had a big knife. When this claim was put to Lambert and Stamp, they agreed that this was a very good point indeed, one that they hadn't considered, and agreed to pay Meaden off with two hundred and fifty pounds. This would not be the last big expense that Stamp and Lambert would have as the managers of the Who, as the group were now renamed. Their agreement with the group had the two managers taking forty percent of the group's earnings, while the four band members would split the other sixty percent between themselves -- an arrangement which should theoretically have had the managers coming out ahead. But they also agreed to pay the group's expenses. And that was to prove very costly indeed. Shortly after they started managing the group, at a gig at the Railway Hotel, which had low ceilings, Townshend lifted his guitar up a bit higher than he'd intended, and broke the headstock. Townshend had a spare guitar with him, so this was OK, and he also remembered Gustav Metzger and his ideas of auto-destructive art, and Malcolm Cecil sawing through his bass strings and damaging his bass, and decided that it was better for him to look like he'd meant to do that than to look like an idiot who'd accidentally broken his guitar, so he repeated the motion, smashing his guitar to bits, before carrying on the show with his spare. The next week, the crowd were excited, expecting the same thing again, but Townshend hadn't brought a spare guitar with him. So as not to disappoint them, Keith Moon destroyed his drum kit instead. This destruction was annoying to Entwistle, who saw musical instruments as something close to sacred, and it also annoyed the group's managers at first, because musical instruments are expensive. But they soon saw the value this brought to the band's shows, and reluctantly agreed to keep buying them new instruments. So for the first couple of years, Lambert and Stamp lost money on the group. They funded this partly through Lambert's savings, partly through Stamp continuing to do film work, and partly from investors in their company, one of whom was Russ Conway, the easy-listening piano player who'd had hits like "Side Saddle": [Excerpt: Russ Conway, "Side Saddle"] Conway's connections actually got the group another audition for a record label, Decca (although Conway himself recorded for EMI), but the group were turned down. The managers were told that they would have been signed, but they didn't have any original material. So Pete Townshend was given the task of writing some original material. By this time Townshend's musical world was expanding far beyond the R&B that the group were performing on stage, and he talks in his autobiography about the music he was listening to while he was trying to write his early songs. There was "Green Onions", which he'd been listening to for years in his attempt to emulate Steve Cropper's guitar style, but there was also The Freewheelin' Bob Dylan, and two tracks he names in particular, "Devil's Jump" by John Lee Hooker: [Excerpt: John Lee Hooker, "Devil's Jump"] And "Better Get Hit in Your Soul" by Charles Mingus: [Excerpt: Charles Mingus, "Better Get Hit In Your Soul"] He was also listening to what he described as "a record that changed my life as a composer", a recording of baroque music that included sections of Purcell's Gordian Knot Untied: [Excerpt: Purcell, Chaconne from Gordian Knot Untied] Townshend had a notebook in which he listed the records he wanted to obtain, and he reproduces that list in his autobiography -- "‘Marvin Gaye, 1-2-3, Mingus Revisited, Stevie Wonder, Jimmy Smith Organ Grinder's Swing, In Crowd, Nina in Concert [Nina Simone], Charlie Christian, Billie Holiday, Ella, Ray Charles, Thelonious Monk Around Midnight and Brilliant Corners.'" He was also listening to a lot of Stockhausen and Charlie Parker, and to the Everly Brothers -- who by this point were almost the only artist that all four members of the Who agreed were any good, because Daltrey was now fully committed to the R&B music he'd originally dismissed, and disliked what he thought was the pretentiousness of the music Townshend was listening to, while Keith Moon was primarily a fan of the Beach Boys. But everyone could agree that the Everlys, with their sensitive interpretations, exquisite harmonies, and Bo Diddley-inflected guitars, were great, and so the group added several songs from the Everlys' 1965 albums Rock N Soul and Beat N Soul to their set, like "Man With Money": [Excerpt: The Everly Brothers, "Man With Money"] Despite Daltrey's objections to diluting the purity of the group's R&B sound, Townshend brought all these influences into his songwriting. The first song he wrote to see release was not actually recorded by the Who, but a song he co-wrote for a minor beat group called the Naturals, who released it as a B-side: [Excerpt: The Naturals, "It Was You"] But shortly after this, the group got their first big break, thanks to Lambert's personal assistant, Anya Butler. Butler was friends with Shel Talmy's wife, and got Talmy to listen to the group. Townshend in particular was eager to work with Talmy, as he was a big fan of the Kinks, who were just becoming big, and who Talmy produced. Talmy signed the group to a production deal, and then signed a deal to license their records to Decca in America -- which Lambert and Stamp didn't realise wasn't the same label as British Decca. Decca in turn sublicensed the group's recordings to their British subsidiary Brunswick, which meant that the group got a minuscule royalty for sales in Britain, as their recordings were being sold through three corporate layers all taking their cut. This didn't matter to them at first, though, and they went into the studio excited to cut their first record as The Who. As was typical at the time, Talmy brought in a few session players to help out. Clem Cattini turned out not to be needed, and left quickly, but Jimmy Page stuck around -- not to play on the A-side, which Townshend said was "so simple even I could play it", but the B-side, a version of the old blues standard "Bald-Headed Woman", which Talmy had copyrighted in his own name and had already had the Kinks record: [Excerpt: The Who, "Bald-Headed Woman"] Apparently the only reason that Page played on that is that Page wouldn't let Townshend use his fuzzbox. As well as Page and Cattini, Talmy also brought in some backing vocalists. These were the Ivy League, a writing and production collective consisting at this point of John Carter and Ken Lewis, both of whom had previously been in a band with Page, and Perry Ford. The Ivy League were huge hit-makers in the mid-sixties, though most people don't recognise their name. Carter and Lewis had just written "Can You Hear My Heartbeat" for Herman's Hermits: [Excerpt: Herman's Hermits, "Can You Hear My Heartbeat?"] And, along with a couple of other singers who joined the group, the Ivy League would go on to sing backing vocals on hits by Sandie Shaw, Tom Jones and others. Together and separately the members of the Ivy League were also responsible for writing, producing, and singing on "Let's Go to San Francisco" by the Flowerpot Men, "Winchester Cathedral" by the New Vaudeville Band, "Beach Baby" by First Class, and more, as well as their big hit under their own name, "Tossing and Turning": [Excerpt: The Ivy League, "Tossing and Turning"] Though my favourite of their tracks is their baroque pop masterpiece "My World Fell Down": [Excerpt: The Ivy League, "My World Fell Down"] As you can tell, the Ivy League were masters of the Beach Boys sound that Moon, and to a lesser extent Townshend, loved. That backing vocal sound was combined with a hard-driving riff inspired by the Kinks' early hits like "You Really Got Me" and "All Day and All of the Night", and with lyrics that explored inarticulacy, a major theme of Townshend's lyrics: [Excerpt: The Who, "I Can't Explain"] "I Can't Explain" made the top ten, thanks in part to a publicity stunt that Lambert came up with. The group had been booked on to Ready, Steady, Go!, and the floor manager of the show mentioned to Lambert that they were having difficulty getting an audience for that week's show -- they were short about a hundred and fifty people, and they needed young, energetic, dancers. Lambert suggested that the best place to find young, energetic, dancers, was at the Marquee on a Tuesday night -- which just happened to be the night of the Who's regular residency at the club. Come the day of filming, the Ready, Steady, Go! audience was full of the Who's most hardcore fans, all of whom had been told by Lambert to throw scarves at the band when they started playing. It was one of the most memorable performances on the show. But even though the record was a big hit, Daltrey was unhappy. The man who'd started out as guitarist in a Shadows cover band and who'd strenuously objected to the group's inclusion of R&B material now had the zeal of a convert. He didn't want to be doing this "soft commercial pop", or Townshend's art-school nonsense. He wanted to be an R&B singer, playing hard music for working-class men like him. Two decisions were taken to mollify the lead singer. The first was that when they went into the studio to record their first album, it was all soul and R&B apart from one original. The album was going to consist of three James Brown covers, three Motown covers, Bo Diddley's "I'm a Man", and a cover of Paul Revere and the Raiders' "Louie Louie" sequel "Louie Come Home", retitled "Lubie". All of this was material that Daltrey was very comfortable with. Also, Daltrey was given some input into the second single, which would be the only song credited to Daltrey and Townshend, and Daltrey's only songwriting contribution to a Who A-side. Townshend had come up with the title "Anyway, Anyhow, Anywhere" while listening to Charlie Parker, and had written the song based on that title, but Daltrey was allowed to rewrite the lyrics and make suggestions as to the arrangement. That record also made the top ten: [Excerpt: The Who, "Anyway, Anyhow, Anywhere"] But Daltrey would soon become even more disillusioned. The album they'd recorded was shelved, though some tracks were later used for what became the My Generation album, and Kit Lambert told the Melody Maker “The Who are having serious doubts about the state of R&B. Now the LP material will consist of hard pop. They've finished with ‘Smokestack Lightning'!” That wasn't the only thing they were finished with -- Townshend and Moon were tired of their band's leader, and also just didn't think he was a particularly good singer -- and weren't shy about saying so, even to the press. Entwistle, a natural peacemaker, didn't feel as strongly, but there was a definite split forming in the band. Things came to a head on a European tour. Daltrey was sick of this pop nonsense, he was sick of the arty ideas of Townshend, and he was also sick of the other members' drug use. Daltrey didn't indulge himself, but the other band members had been using drugs long before they became successful, and they were all using uppers, which offended Daltrey greatly. He flushed Keith Moon's pill stash down the toilet, and screamed at his band mates that they were a bunch of junkies, then physically attacked Moon. All three of the other band members agreed -- Daltrey was out of the band. They were going to continue as a trio. But after a couple of days, Daltrey was back in the group. This was mostly because Daltrey had come crawling back to them, apologising -- he was in a very bad place at the time, having left his wife and kid, and was actually living in the back of the group's tour van. But it was also because Lambert and Stamp persuaded the group they needed Daltrey, at least for the moment, because he'd sung lead on their latest single, and that single was starting to rise up the charts. "My Generation" had had a long and torturous journey from conception to realisation. Musically it originally had been inspired by Mose Allison's "Young Man's Blues": [Excerpt: Mose Allison, "Young Man's Blues"] Townshend had taken that musical mood and tied it to a lyric that was inspired by a trilogy of TV plays, The Generations, by the socialist playwright David Mercer, whose plays were mostly about family disagreements that involved politics and class, as in the case of the first of those plays, where two upwardly-mobile young brothers of very different political views go back to visit their working-class family when their mother is on her deathbed, and are confronted by the differences they have with each other, and with the uneducated father who sacrificed to give them a better life than he had: [Excerpt: Where the Difference Begins] Townshend's original demo for the song was very much in the style of Mose Allison, as the excerpt of it that's been made available on various deluxe reissues of the album shows: [Excerpt: Pete Townshend, "My Generation (demo)"] But Lambert had not been hugely impressed by that demo. Stamp had suggested that Townshend try a heavier guitar riff, which he did, and then Lambert had added the further suggestion that the music would be improved by a few key changes -- Townshend was at first unsure about this, because he already thought he was a bit too influenced by the Kinks, and he regarded Ray Davies as, in his words, "the master of modulation", but eventually he agreed, and decided that the key changes did improve the song. Stamp made one final suggestion after hearing the next demo version of the song. A while earlier, the Who had been one of the many British groups, like the Yardbirds and the Animals, who had backed Sonny Boy Williamson II on his UK tour. Williamson had occasionally done a little bit of a stutter in some of his performances, and Daltrey had picked up on that and started doing it. Townshend had in turn imitated Daltrey's mannerism a couple of times on the demo, and Stamp thought that was something that could be accentuated. Townshend agreed, and reworked the song, inspired by John Lee Hooker's "Stuttering Blues": [Excerpt: John Lee Hooker, "Stuttering Blues"] The stuttering made all the difference, and it worked on three levels. It reinforced the themes of inarticulacy that run throughout the Who's early work -- their first single, after all, had been called "I Can't Explain", and Townshend talks movingly in his autobiography about talking to teenage fans who felt that "I Can't Explain" had said for them the things they couldn't say th

There really wouldn't be much of a story .. never mind a whole series … if there was no Harry Potter … in the Harry Potter books or movies. Because he went onto save the wizarding world.Just in the same way that Katniss helped overthrow the Capitol in the Hunger Games … Moana saved helped save her whole community … or how Batman helps protect Gotham City & the Karate Kid went on to win the championship.They are the heroes!The truth may hurt but your clients or prospective clients don't want you to be the hero.Because THEY want to be the hero & so they should be!It doesn't mean you, or your services or products aren't valuable or helpful to them, or part of their journey.Just in the way that the heroes & sheroes of your favourite movies & books would have struggled to ‘win', without having certain key people in their corner.But it can actually stop you from getting clients if you're marketing yourself or acting like the hero, in their story.Have you been doing that? Because it's so easy to do without realising it.Instead, how about you play a different role & see how that can help you & them?This is the topic of this week's podcast, where I share even more practical & real-life examples to help you to get out your way, from the great book 'Building a Story Brand' by Donald Miller.Be sure to let me know what your biggest insight & takeaway is from it, plus how it will help you.Best wishes as always.Osmaan---Here's the extra links & resources for this episode:* Take the free Get Out Your Way Quiz here.* Book in for a free virtual cuppa (15 mins) here.* Ask a question for the podcast here.* Build a Storybrand by Donald Miller* Discover which of the 8 Entrepreneurial Superpowers you have through the Wealth Dynamics Profile test here* Connect with me on LinkedIn; Instagram & on my Facebook Page here. Or e-mail me at hello@rapidtransformation.co.uk See acast.com/privacy for privacy and opt-out information.

It's not weird that Democrats are bringing back Jim Crow. (Because THEY were the Jim Crow folks a few years ago.) Human: Overtaxing the rich has never worked. Socialist: that's because they had freedom and liberty every time we tried to seize their wealth--it'll work under tyranny because tyrants will force the outcome. Human: Forced outcomes provide fleeting conditions. Joe Briben's handler forgot to tell him minors crossing the border were being horribly abused. Joe thinks kids should be bought and sold by their parents and traffickers. BTW-the cages were his and Obama's. Cliffnotes: it's always Trump's fault. The Illinois Fair-Tax Act was socialism on the ballot. A no strings attached "lower your taxes by hammering the wealthy" ballot measure failed in DEEP BLUE ILLINOIS in 2020. The popularity of socialism is fake theatre. (It's a power grab ploy and we should thank Big Tech and lying media for the high-quality Nobel, Oscar, Pulitzer, Emmy, Grammy Awards work.)

For decades, Anthony Gignac pretended to be Saudi royalty, racking up hotel bills, department store charges, and even swindling Syracuse University out of money. Strange Country co-hosts Beth and Kelly would talk more about this, but are trapped in Nigeria with their huge fortune, and need your help. If you could send your bank account number, they would be happy to share in their wealth. Theme music: Big White Lie by A Cast of Thousands Cite your sources: Cohn, Scott. “Four Surefire Ways to Spot a Con Artist-and What to Do When You See Them.” CNBC, CNBC, 4 Jan. 2020, www.cnbc.com/2020/01/03/four-sure-fire-ways-to-spot-a-con-artistand-what-to-do-when-you-see-them.html. Eder, S. (2008, Dec 21). Siblings with sordid past turn to bernadette noe; the former lucas county GOP leader assists two brothers whose records rouse suspicion. The Blade Retrieved from https://login.ezproxy.oswego.edu/login?url=https://www-proquest-com.ezproxy.oswego.edu/newspapers/siblings-with-sordid-past-turn-bernadette-noe/docview/380807805/se-2?accountid=13025 Long, Stephanie Topacio. “8 Strange Facts About Con Artists, Because They're More Common Than You Think.” Bustle, Bustle, 15 Jan. 2016, www.bustle.com/articles/135836-8-strange-facts-about-con-artists-because-theyre-more-common-than-you-think. Scott, Cathy. “The Art of the Con and Why People Fall for It.” Psychology Today, Sussex Publishers, 26 Sept. 2019, www.psychologytoday.com/us/blog/crime-she-writes/201909/the-art-the-con-and-why-people-fall-it#:~:text=By definition, a con artist,up taking the victim's money. Seal, Mark. “The Amazing 30-Year Odyssey of a Counterfeit Saudi Prince.” Vanity Fair, 5 Oct. 2018, www.vanityfair.com/style/2018/10/he-actually-believes-he-is-khalid-the-odyssey-of-a-counterfeit-saudi-prince. Seal, Mark. “How the Fake Saudi Prince, Anthony Gignac, Was Exposed.” Vanity Fair, 30 Oct. 2018, www.vanityfair.com/style/2018/10/how-the-fake-saudi-prince-anthony-gignac-was-exposed. Stack, Liam. “Man Who Posed as Saudi Prince and Defrauded Investors Out of $8 Million Is Sent to Prison.” The New York Times, The New York Times, 1 June 2019, www.nytimes.com/2019/06/01/us/fake-saudi-prince-anthony-gignac.html?searchResultPosition=2. Swenson, Kyle. "He convinced people he was a rich 'Saudi prince.' He was really a poor street kid from Bogota." Washingtonpost.com, 30 May 2018. Gale OneFile: News, link.gale.com/apps/doc/A540885876/STND?u=nysl_sc_flls&sid=STND&xid=47c3f428. Accessed 2 Mar. 2021. Weaver, J. (2018, May 30). Bogus saudi sultan pleads guilty, faces years in jail anthony gignac admits he stole $8 million from dozens of victims in his pretended role. Portland Press Herald Retrieved from https://login.ezproxy.oswego.edu/login?url=https://www-proquest-com.ezproxy.oswego.edu/newspapers/bogus-saudi-sultan-pleads-guilty-faces-years-jail/docview/2046443596/se-2?accountid=13025

Summary: In this week’s episode, we discuss RFPs and how each of our agencies approach them. We talk about investigating whether an RFP is worth your time or not; we share our own experiences with assessing RFPs and guiding potential clients toward a better plan of action; we talk about speaking to clients’ needs in a way that inspires them; and we also share our framework for not just meeting RFP requirements, but creating a genuine connection and cultivating real relationships with potential clients.   Top 3 Curtain Pulls in this episode:  Don’t naively participate - “The end result with any potential client, especially one with an RFP, is you want to build a relationship with them where you get outside the level of a commodity. You need to short circuit that somehow, and show that you’re different and make a unique connection.” Stand out - We often say that in business, you can be the Cheapest, the Best, or the Only. This applies to RFPs as well! You don’t want to be the cheapest, as that’s a hard way to consistently win. So how do you become the Only? By truly showing why you are the BEST! Consider the true upside - When deciding whether an RFP is right for your agency, consider the potential for long-term loyalty. Will this client be a long-term business partner, or are they just looking for a quick turnaround? The time needed upfront to investigate this is worth your while, every time.    For more tips, discussion, and behind the scenes: Follow us on Instagram @AgencyPodcast Join our closed Facebook community for agency leaders   About The Guys:  Bob Hutchins: Founder of BuzzPlant, a digital agency that he ran from from 2000-2017. He is also the author of 3 books. More on Bob:  Bob on LinkedIn twitter.com/BobHutchins instagram.com/bwhutchins Bob on Facebook Brad Ayres: Founder of Anthem Republic, an award-winning ad agency. Brad’s knowledge has led some of the biggest brands in the world. Originally from Detroit, Brad is an OG in the ad agency world and has the wisdom and scars to prove it. Currently that knowledge is being applied to his boutique agency. More on Brad: Brad on LinkedIn Anthem Republic twitter.com/bradayres instagram.com/therealbradayres facebook.com/Bradayres Ken Ott: Co-Founder and Chief Growth Rebel of Metacake, an Ecommerce Growth Team for some of the world’s most influential brands with a mission to Grow Brands That Matter. Ken is also an author, speaker, and was nominated for an Emmy for his acting on the Metacake Youtube Channel (not really). More on Ken:  Ken on LinkedIn Metacake - An Ecommerce Growth Team Growth Rebel TV twitter.com/iamKenOtt instagram.com/iamKenOtt facebook.com/iamKenOtt   Show Notes: [0:32] Bob welcomes us to the show and introduces today’s topic: RFPs or requests for proposal.  [3:37] Ken says that Metacake gets around 10 a year, and that it’s not something they rely on to get business.  [3:56] Brad’s agency gets roughly 70% of new business without RFPs, and the clients that do bring them are typically larger companies.  [4:52] Bob defines RFP for us and gives a brief history. “In the late 1880s, industrialism standardized the productions of goods and accelerated communication between businesses… made it possible for businesses to solicit from vendors… included questions to help the buyer evaluate and compare each supplier’s offering.”  [7:10] Bob continues. RFPs can be 50 or 100 pages long, and contain a breakdown of every step of every part of your process. There can be questions about examples of work done in the past, referrals, and typically they want it written in a specific format. Long story short: they’re term papers! [8:00] Brad says that RFPs usually boil down to figuring out how an agency thinks.  [8:57] Brad talks about how the need for RFPs has changed over time, and often companies want a more straightforward financial estimate than anything else—a more generalized document than the 100-page assignments of the past. The time wasted for marketing managers to write these massive documents is a waste of time and manpower in itself.  [10:09] Ken talks about the “apples to apples” comparison of RFPs, saying that there really is no way to compare one company or agency against the next. This makes the review of RFPs more about discernment—and most of them are just written wrong, in his opinion.  [12:18] Brad talks about the RFPs that attempt to plan out a two-year contract with an agency. In reality, you want to be able to pivot when you enter into an agreement with someone. And so for many agencies, RFPs are a risk to take on.  [13:49] Bob says that some companies and agencies have divisions that do nothing but respond to RFPs.  [14:37] Brad says that if an agency’s clients are mostly Fortune 500 companies, they are more likely doing a lot more RFPs. [15:02] Bob asks Brad and Ken about tactics they use that can either minimize the process or ensure that they have a greater chance over some competitors that are out there.  [15:20] Ken says that Metacake doesn’t consider RFPs an efficient use of their time. Often due to the quality of the document, it is clear that more communication is going to be needed other than the RFP.  [18:14] Brad talks about two types of RFPs—the ones that he values and the ones that he doesn’t. Often the ones that aren’t super valuable have a lot of get-to-know-you questions, whereas the valuable ones have data and information about the project, technical requirements that give real insight into the cost of the project.  [19:39] Ken counters that even when they are specific, because you have already decided on the method before you’ve decided on the strategy, there is a built-in challenge in communication.  “The end result with any potential client, especially one with an RFP, is you want to build a relationship with them where you get outside the level of a commodity, you need to short circuit that somehow and show that you’re different and make a unique connection.”  [20:18] Ken continues, saying that if you don’t have a unique backdoor channel or even an inkling that the RFP is merely a formality, you are likely on a fool’s errand. Because otherwise you’ve caught yourself in a comparison game against 10 others that they are rationalizing to choose the one that they want.  [21:38] Brad says that there is a good way gauge whether the RFP is worth your time or not to review: are their questions written in a way that you can actually respect those questions and understand that you as a client are going to let us do what we do?  [23:05] Ken says that going about these conversations can be challenging to do while also building rapport and not coming off as sleazy. But by maintaining you professionalism and being really confident at what you do, you can usually figure out whether something is a good fit relatively quickly.  [24:12] Bob suggests a personal Zoom call or in-person meeting, where you can discuss additional concerns that the RFP didn’t address. If you really do want to work with the company, genuinely reaching out to make that connection can go far.  [27:01] Ken says that Metacake stopped doing RFPs. “We'll work with anyone that wants to work with this, as long as they're the right fit, and we're the right fit, and we can add value… we’ll build a proposal, but we won’t build it through an RFP method.”  [27:54] Ken explains further that they bill for a meeting where the basics of an RFP are laid out, they work on strategy in-person and build that RFP out for them that they can then take to other agencies. This gives Metacake the opportunity to build relationships, learn more about the company, build that trust and understanding and then make it obvious that working to put the RFP to use with Metacake is the best option.  [31:05] Brad asks Ken about his experience with RFPs and what specific details he’s looking for that would make him feel comfortable about the RFPs requirements.  [32:14] Ken responds. “So that's why we say we don't work through the RFP method, we'll get the RFP, we'll validate it, we'll build you a project plan. But typically, we get paid to do that.”  [36:04] Bob says that in the past he’s gotten emails from people who’ve sent RFPs but in reality they have already decided to use his services.  [39:06] Bob talks about an RFP from a non-profit  that was received by his agency recently. They spoke to the company and found out that they were genuinely interested in an agency but had no idea where to start. Their search was genuine and unbiased, so after chatting, Bob decided it was worth his time to create a short-form RFP for them and do some great digging for them to fill that need.  [40:20] Brad says that he has come across great RFPs with genuine responses and questions.  [42:39] Brad continues, saying that it’s okay to bail out of the RFPs response after a bit of back and forth. You want to be able to best serve their clients in the best way possible, and if you can’t gauge that after meeting in person and discussing details, it’s okay to back off and say that it won’t be a great fit.  [43:47] Ken ties in the theme of “you can be the cheapest, the best, or the only” to RFPs as well. You don’t want to be the cheapest, as it’s hard to win that way. How do you become the only one, truly because you are the best?  The challenge is eliminating everyone else, short circuiting the search and making them realize you have what they need.  [45:19] Bob says that it can be difficult to convince someone that you are really the only option they have to get what they’re looking for. You can say, “Well we don’t do that, but we can give you something better and here’s the price you’d pay.” He clarifies Ken’s tactic: to prove that you’re better than the RFP in what you can provide without criticizing their method.  [47:33] Ken says that what is lacking in most RFPs is the goal—a clear, uniform goal for what is actually going to be done in a project.  [48:14] Brad says that he sees 15-20% of clients who use an RFP to work with an agency who will realize a couple months into the project that they didn’t choose the right agency.  [49:20] Ken says that from a client perspective, if you can pay an agency to help you come up with a plan, go for it. Because THEY are the ones who are experts, and if you pay good people, you’ll get good work! [53:30] Ken continues, saying that for many service providers, RFPs can be a fool’s errand. Meaning that choosing a partner based purely on RFPs will rob you of a lot of authenticity and real connection with a service provider or client that is RIGHT.  [54:29] Bob talks about the cost effectiveness of having a long-term client versus constantly having an influx of new clients. 

Muziek van John Williams uit de film Star Wars: Episode IX, The Rise of Skywalker. En in de bonus: muziek van John Williams bij Jaws, toegelicht door filmjournalist Noa Johannes. De muziek bij het negende deel uit de Star Wars-serie is, zo heeft hij laten weten, de laatste Star Wars-film waarvoor John Williams de muziek wilde schrijven. Het thema van de Star Wars films is vermoedelijk het bekendste filmmuziekdeuntje ter wereld, en is al een herkenbaar element vanaf de allereerste Star Wars-film uit 1977. Het verhaal speelt zich één jaar na de gebeurtenissen in Star Wars: Episode VIII, The Last Jedi af. Je moet wel een beetje thuis zijn in de StarWars wereld om te snappen wat er allemaal gebeurt en hoe het allemaal met elkaar samenhangt. Neem bijvoorbeeld deze samenvattende zinnen die ik op Wikipedia aantrof: Kylo Ren heeft op Mustafar de Sith Wayfinder gevonden om naar Exegol te reizen, waar een uit de dood herrezen Keizer Palpatine nog blijkt te leven door middel van een machine. En het aangrijpende slot wordt op dezelfde Wikipagina zo beschreven: als de Rebellen aankomen op Exegol ontstaat er een gevecht waarbij Rey oog in oog komt te staan met haar grootvader Palpatine, en met een naar de Light Side bekeerde Ben Solo wil Rey haar grootvader verslaan, maar Palpatine is sterker dan ze dacht. Na stemmen te hebben gehoord van overleden Jedi kan Rey Palpatine verslaan en ze sterft daarna, maar Ben redt haar leven en na een kus sterft Ben. Uiteindelijk begraaft Rey de lightsabers van Luke en Leia op Tatooine, gebruikt ze zelf een gele lightsaber en noemt ze zichzelf Rey Skywalker na het zien van de geesten van Luke en Leia. Dat hier louter heldhaftige muziek bij past spreekt vanzelf. Maar dat konden wel aan John Williams overlaten! John Towner Williams, geboren in New York in 1932 is zonder twijfel een van de bekendste naoorlogse filmcomponisten. Bekende films waar hij de muziek voor schreef zijn: Star Wars, Superman, Indiana Jones, Jaws, Jurassic Park, E.T. the Extra-Terrestrial, Schindler's List, Home Alone en de Harry Potter-films. John Williams heeft maar liefst 51 Oscar (nominaties op zijn naam staan, en hij won van al die nominaties ook daadwerkelijk vijf maal de prijs voor de beste filmmuziek. Na een muziekopleiding wilde hij eigenlijk pianist worden, maar eind jaren '50 treffen we hem in dienst van Columbia Pictures. Zijn eerste filmmuziek was voor een televisie-film: Because They're Young. En vanaf dat moment groeide zijn rol in de film- en televisiewereld. Eerste bioscoopfilm was in 1963 Diamond Head, en daarna volgen allerlei films en vooral muziek voor komedies, zoals de Dick van Dyke-film Fitzwilly. Hij raakte bevriend met componist Aaron Copland, en zo ontstond de muziek voor een paar beroemde rampenfilms, zoals The Towering Inferno (1974). En in 1974 werd hij benaderd door Steven Spielberg voor de film The Sugarland Express, en een jaar later... maakten ze Jaws. - The Force is with you 3'59" - Fanfare and Prologue 4'35" - Journey to Exegol 2'49" - The Old Death Star 3'17" - Destiny of a Jedi 5'12"

Look I know we are all having a hard time with COVID-19 and everything. But we cannot forget about our children. They are also having a hard time with COVID-19. They have to learn from home all by themselves, I think they deserve some appreciation. So go out and have fun with your kid while you can and do something they want to do. Because They’ve been stuck inside too long looking at a computer screen. My Twitter is @brekellyy --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Rage Against The Machine's TOM MORELLO is one of the most charismatic and energising figures in rock'n'roll and politics. He tells Dorian Lynskey about the role of radicalism in rock, protofascism, AOC, Trump, the Presidential Election, cancel culture, and his political journey from a super-progressive childhood – via arguing with teenage Trotskyists at Harvard and working for a US Senator – to spearheading rock'n'roll's most righteous band. Tom Morello's photo memoir Whatever It Takes is available to pre-order now at www.TomMorelloBook.com. “There's only two positions when it comes to free speech. You're either for ALL of it or you're against ANY of it.”“If I was in a job where I couldn't call a damn racist a damn racist, I knew I was in the wrong job.”“Injustice met me head on in the playground when I was three or four years old.”“Taking anyone's ideas off the board is very dangerous – because I know there are people in office who would like to take MY ideas off the board, permanently.”“Everything is at stake right now. So someone better be singing or rapping about it.”“Trump vs Biden is not the lesser of two evils. It's the evil of two lessers.”“Why do I vote? Because THEY don't want me to.” Presented by Dorian Lynskey. Produced by Andrew Harrison. Assistant producer Jacob Archbold. Music by Kenny Dickinson. Audio production by Alex Rees. THE BUNKER is a Podmasters Production See acast.com/privacy for privacy and opt-out information.

Maxwell Anders, Beau Alexander, and Jackie James explore and share on the ups and downs of dating, sex, relationships, and all things related to the Big D.On episode 22 - school Days, Jackie James from Dallas fills in as our guest host.  We go back to our dating experiences in high school and college.  Young adulthood is formative, to say the least, and nowhere is dating and love more chaotic than in high school and in college.  The times are constantly changing but school is still filled with social food chains, popularity, drama, and teen angst.  How different are relationships and dating in jr, high and high school versus college?  How does dating and sex in high school shape our romantic relationships in college and beyond? Jackie starts putting himself out there again.  He gets out of his comfort zone with a new attitude and tries out new dating behaviors.  Brooklyn shares on taking and giving over control in the bedroom on his couple's therapy update. Maxwell meets a horny guy who can't follow directions, has a rock climbing date with an awesome guy and learns about polycule relationships, and even has a date planned with a cutie after this episode.Our own Beau Alexander steps in as our guest dating guru on short notice. We answer your dating e-mails and discuss the article "How Dating Changes Between High School & College, Because They're Nothing Alike” from Elite Daily.  We go over our Call to Action and  Episode Quote.  We dedicate this episode to Buddy, beloved beagle, good boy, and best friend who crossed over the rainbow bridge last week.Music featured on this episode:Treat me this way by Otis McDonald Otis McDonald Channel on YouTubeLicense: Creative Commons Attribution license (reuse allowed)I Saw A Ghost Last Night by Leonell Cassio Lenonell Cassio Channel on YouTubeNever Be Friends by Dylan EmmetCreative Commons — Attribution 3.0 Unported — CC BY 3.0Free Download / StreamMusic promoted by Audio Library

Break out your redneck Florida Or Not Bingo card! It’s about to get FULLLLLL Story #1 – Drunk Man Arrested for Firing Flare Gun at Process Servers Story #2 – Unmasked Man Gets Kicked Out of McDonald’s, Breaks Window, Steals Women’s Undies from Walmart Story #3 – Two Guys Flip Over Tables at an Applebee’s Because They’re Mad About Last Call

Break out your redneck Florida Or Not Bingo card! It’s about to get FULLLLLL Story #1 – Drunk Man Arrested for Firing Flare Gun at Process Servers Story #2 – Unmasked Man Gets Kicked Out of McDonald’s, Breaks Window, Steals Women’s Undies from Walmart Story #3 – Two Guys Flip Over Tables at an Applebee’s Because They’re Mad About Last Call

(0:00) Show Open: Frank Against The World Frank has another altercation with a maskless man at Circle K, and Charlie Girl Calls in to report how it seems like everyone has given up on wearing masks.  (11:30) Entertainment News   Dave Grohl Says It's "Hard to Imagine" Playing Live Concerts Again Adam Sandler recorded a song about sleeping through lockdown.  It features lyrics like:  Quote, "I wake up in the morning, get up on my feet, dress my arms and legs, then fall right back asleep. The People Behind "Tiger King" Are Taking on Siegfried & Roy? ‘Price Is Right' donates almost $100k to Planned Parenthood causing uproar amongst fans WWE superstar BECKY LYNCH is expecting her first child with her fiancé SETH ROLLINS. 36-year-old Vili Fualaau is looking for a new girlfriend "his own age or younger" after splitting from Mary Kay Letourneau.  How young?  He says "maybe someone around 30."  Hey, you have to ask. Dr. Anthony Fauci says COVID-19 will decide if there's an NFL season . . .    (25:00) Carol Kane From 'The Princess Bride' & Amazon Show 'Hunters' to New Interactive Netflix Special "Carol Kane is a two-time Emmy Award winner for her role as Simka Gravas on “Taxi”. She also received an Oscar nomination for Best Actress for the film “Hester Street”. Other notable roles include Valerie in “The Princess Bride”, Corrine on “Seinfeld”, Allison in “Annie Hall”, & Mindy Markowitz on the 2020 Amazon show “Hunters”. Carol reprises her role as Lillian Kaushtupper on the Interactive special “Unbreakable Kimmy Schmidt: Kimmy vs The Reverend”. Kimmy's getting married, but first she has to foil the Reverend's evil plot. It's your move: What should she do next? Available May 12^th on Netflix.  (36:35) Dumbass of the Day   Two Guys Flip Over Tables at an Applebee's Because They're Mad About Last Call A woman in Houston was caught on camera running over a bunch of headstones in a cemetery . . . as she tried to beat traffic on Mother's Day. A mail carrier in Ohio has been indicted for selling drugs along her postal route. A woman in New Hampshire was busted for driving over 90 miles-an-hour twice in 13 minutes . . . and the second time, cops searched her car and found heroin and meth.   (46:20) Xander From Cactus Auto Details: (1) Cactus Auto employees will be responsible for all the grocery buying and filling of the bags…and handing then out with mask/gloves, etc…I pulled together all the funding for this and they will write the check directly to Cactus who is buying everything…they are working with food city see if they can even get more food for FREE…this is very simple…drive over to Cactus Auto…pick up your free bag of non-perishable food…200 bags of food...value approx $20 per bag…no lines, no crowds, just pick up your bag of food and go…no questions asked…you need it, we got it... (55:00) MLB owners approve plan to start season in July Support the show: https://podcave.app/subscribe/the-world-famous-frank-show-4eehjczc See omnystudio.com/listener for privacy information.

Break out your redneck Florida Or Not Bingo card! It's about to get FULLLLLL Story #1 - Drunk Man Arrested for Firing Flare Gun at Process Servers Story #2 - Unmasked Man Gets Kicked Out of McDonald's, Breaks Window, Steals Women's Undies from Walmart Story #3 - Two Guys Flip Over Tables at an Applebee's Because They're Mad About Last Call

Break out your redneck Florida Or Not Bingo card! It's about to get FULLLLLL Story #1 - Drunk Man Arrested for Firing Flare Gun at Process Servers Story #2 - Unmasked Man Gets Kicked Out of McDonald's, Breaks Window, Steals Women's Undies from Walmart Story #3 - Two Guys Flip Over Tables at an Applebee's Because They're Mad About Last Call

Break out your redneck Florida Or Not Bingo card! It’s about to get FULLLLLL Story #1 – Drunk Man Arrested for Firing Flare Gun at Process Servers Story #2 – Unmasked Man Gets Kicked Out of McDonald’s, Breaks Window, Steals Women’s Undies from Walmart Story #3 – Two Guys Flip Over Tables at an Applebee’s Because They’re Mad About Last Call

Break out your redneck Florida Or Not Bingo card! It’s about to get FULLLLLL Story #1 – Drunk Man Arrested for Firing Flare Gun at Process Servers Story #2 – Unmasked Man Gets Kicked Out of McDonald’s, Breaks Window, Steals Women’s Undies from Walmart Story #3 – Two Guys Flip Over Tables at an Applebee’s Because They’re Mad About Last Call

Break out your redneck Florida Or Not Bingo card! It’s about to get FULLLLLL Story #1 – Drunk Man Arrested for Firing Flare Gun at Process Servers Story #2 – Unmasked Man Gets Kicked Out of McDonald’s, Breaks Window, Steals Women’s Undies from Walmart Story #3 – Two Guys Flip Over Tables at an Applebee’s Because They’re Mad About Last Call

This week, in part 2 of our 4 part tribute, we discuss the history of SETI@Home: What inspired it? Where did it come from? Who helped it get off the ground? How did it evolve over time? Where might it go in the future? Relevant Links 2020 BOINC Workshop (https://www.rechenkraft.net/wiki/BOINC_Workshop_2020) Smash Childhood Cancer Team Announces New Principal Investigator and New Project Targets (https://www.worldcommunitygrid.org/about_us/viewNewsArticle.do?articleId=620) Seti@home is on Pause. Unfortunately, it’s not Because They’ve Discovered Aliens (https://www.universetoday.com/145317/setihome-is-on-pause-unfortunately-its-not-because-theyve-discovered-aliens/) BOINCNetwork Discord (https://discord.gg/wPRafUq) BOINC Projects page (https://boinc.berkeley.edu/projects.php) Twitter: @thejringo (https://twitter.com/thejringo) Twitter: @delta_1512 (https://twitter.com/delta_1512) Twitter: @BOINCNetwork (https://twitter.com/BOINCNetwork)

Most high achievers work to "earn it." But when have you "earned" what you deserve?Kimberly breaks down how to shift your mindset on earning to set you up for so much more joy as you work toward your dreams. @crownyourselfnow In this episode, you will learn… Why does earning come after you deserve it? (2:50) What does earning after the grace mean? (4:30) How do you deserve your dream? (6:45) Earning comes AFTER grace. You deserve your dreams BECAUSE They were placed Your heart. And because you have that calling you have to EARN it through action. Most people think earning comes before deserve. That you deserve it because you earned it. It's not by works, but by every breath of God. God speaks in whispers to your heart you dream, you desire to stand out, to lean in. You then EARN that BECAUSE you deserve it. MIND FULL Meals Book https://crownyourself.securechkout.com/mindful-meals-presale For a 90-Minute 1:1 Consult https://crownyourself.com/private-coaching For Revolutionary Empire Builders https://crownyourself.com/revolutionaryempirebuilders And, one of the best ways to reprogram your subconscious mind is through hypnosis. Download my FREE 5-minute “You Are Worthy” hypnosis. GET YOUR FREE GIFT! Thank you so much for tuning in! Please leave a review on iTunes here so we can keep the magic coming your way. For more biz inspo + mindset tools, follow us on Instagram: @crownyourself.now Follow my own mompreneur journey to #CrownYourself on Instagram: @kimberly.spencer Join the Facebook Group: "Crown Yourself Coaching" For more mindset, motivation, actionable strategies, and business-building tips, check out: crownyourself.com

Most high achievers work to "earn it." But when have you "earned" what you deserve?Kimberly breaks down how to shift your mindset on earning to set you up for so much more joy as you work toward your dreams. @crownyourselfnow   In this episode, you will learn… Why does earning come after you deserve it? (2:50) What does earning after the grace mean? (4:30) How do you deserve your dream? (6:45)   Earning comes AFTER grace. You deserve your dreams BECAUSE They were placed Your heart.  And because you have that calling you have to EARN it through action.  Most people think earning comes before deserve. That you deserve it because you earned it. It's not by works, but by every breath of God. God speaks in whispers to your heart you dream, you desire to stand out, to lean in. You then EARN that BECAUSE you deserve it. MIND FULL Meals Book https://crownyourself.securechkout.com/mindful-meals-presale For a 90-Minute 1:1 Consult  https://crownyourself.com/private-coaching For Revolutionary Empire Builders https://crownyourself.com/revolutionaryempirebuilders And, one of the best ways to reprogram your subconscious mind is through hypnosis. Download my FREE 5-minute “You Are Worthy” hypnosis. GET YOUR FREE GIFT! Thank you so much for tuning in! Please leave a review on iTunes here so we can keep the magic coming your way. For more biz inspo + mindset tools, follow us on Instagram: @crownyourselfnow Follow my own mompreneur journey to #CrownYourself on Instagram: @kimberly.spencer Join the Facebook Group: "Crown Yourself Coaching" For more mindset, motivation, actionable strategies, and business-building tips, check out: crownyourself.com

--{ "When Words Collide: Create, Control Dialectic, Direct Each Side, Then Guide to Synthesis, When Words Collide." © Alan Watt }-- Trotsky's book, My Life - Trotsky was a Freemason; All the Revolutionaries were Freemasons - Politicians Trained Like Actors - Expressions like "Special Relationship", UK and USA - During Cold War, Scotland had Heavily-Fortified Nuclear Subs - Movie, Threads - Controlled by Terror and Fear - Intelligence Agencies Fostering Belief that They're Superior - Purpose of Media is Propaganda - Gorbachev Presented as Hip - Jeanne Kirkpatrick, Communist Training, Worked for Reagan who was Presented as Conservative - Eisenhower Lend-Lease Program - Stalin said Communism is Socialism in a Hurry - Fabian used the Gramsci Technique - Kirkpatrick's Plan of Hundreds of U.S. Military Bases Across the Middle East; Nothing to Do with Cold War - It's Important to Understand Symbology - The Great Depression - UK and US Work Projects Corresponded to Similar in USSR (CCCP); The USSR was Congratulating America for its Civilian Conservation Corp (CCC); Workers for the CCC (CCCW) - Carroll Quigley - Book, Fringes of Power by Churchill's Personal Secretary - Peter Wright - Bertrand Russell's Experimental School - Russell on Those Who Could Think Slipping Through the Cracks; Diet, Injections and Injunctions - Mao's Greatest Fear was a Big Idea - Bush Sr. and Jr. Speeches on the New World Order and the Big Idea - Massive Reduction of Population because You're No Longer Needed - We Peasants are the Fuel for the Various Stages of the Evolution of the Elite's New World Order - Cold Spring Harbor - Eugenics - Tony Blair - Zero Interest on Your Savings - The Short Window of Freedom to Speak on the Internet, but Folk will Stay on Because They're Addicted - Climate Change - NSW Fires Not Due to Climate Change says Expert in 2013 - Australia's Smart Cities Plan - Agenda 21, No Private Vehicles Allowed - NASA has Known for More than 60 Years that Climate Change Occurs because of Changes in Earth's Solar Orbit, Not Because of Fossil Fuels - Milutin Milankovitch - Breakthrough in CDC Vaping Illness Investigation: Vitamin E acetate and THC may Be to Blame - Coronavirus - Mobile Game About Wiping Out Humanity With a Deadly Disease Tops Chinese App Chart As Coronavirus Spreads - Think for Yourselves and Verify Information - Turn Off Every So Often. *Title and Dialogue Copyrighted Alan Watt - Jan. 26, 2020 (Exempting Music and Literary Quotes)

There is a lot of what I'd call, “Financial Planner Groupspeak” out there. Some of it was good and OK to follow, some of it is not so good.  If you want to thrive as a financial planner, you need to develop a willingness to break the rules. I'm not talking about the ethics or legal stuff all planners need to adhere to - I'm talking about the so-called rules of how to be successful. This episode is about that. My rules for helping you break the rules. That makes sense, right? Outline of This Episode [0:59] An example of how we tend to follow what others say, rather than our gut [4:04] I had to learn to market the way I felt comfortable marketing [6:05] Going to innovators outside the financial planning industry is helpful [11:01] My rules for playing by your own rules OK - let's get right to my rules for breaking the rules as a financial planner - you can get a better grasp of each by listening to this episode. Trust yourself I recently talked with a fellow financial planner who has started his own podcast. He wanted to do a solo show but gave in to the advice of many others who told him that he should do interviews instead. Why? Because THEY said it would be better.  He turned out to be unsatisfied with how his podcast was going - and that's when he reached out to me. Listen to hear what he did - and let it serve as an example to you of what YOU can do (because it fits YOU). Surround yourself with foxhole buddies who get you and what you're doing -  In my journey toward building a practice and lifestyle that I love - I had to let some people go. It's not that they weren't good people or didn't care about me. They just didn't get me and what I was doing with my business. But I found others to surround myself with who DID get me and who COULD support me. It's made all the difference. Listen to learn how to go about picking the right foxhole buddies and to understand why they are so important. Follow people you like, watch what they do, take what makes sense for you Just about everything I've done that has been successful is something I stole from someone else. OK, maybe I didn't outright steal them, but I definitely took massive amounts of inspiration and direction from what they were doing. One example (among many) that I chat about on this episode is my “Six Shot Saturday” email. It's one of the best things I ever did and has proven to be a boon to my business. And guess what? It wasn't my idea. It was something I stole from Tim Ferriss. Listen to learn more. Read, read, read and take what makes sense One of the pieces of conventional wisdom with which I fully agree is the old maxim that “Readers are leaders, and leaders are readers.” If you stop to consider the vast resources available to people who are willing to set aside time for reading, you will see why the statement is true. You get the opportunity to learn from some of the most brilliant minds in history simply by picking up a book. And if you apply what you learn - BOOM. You start getting the kind of results those smart people got.  As you know, I have more to say about this. It's on this episode. Resources & People Mentioned The Rockie Ziegler Show The Retirement Answer Man Show The Stacking Benjamins Podcast My 6 Shot Saturday email series (check the bottom of this page) Agile Project Management Theory Tim Ferriss Connect With Roger www.RogerWhitney.com Subscribe to Financial Planner Freedom Click here and choose your preferred app Audio Production and Show notes by PODCAST FAST TRACK https://www.podcastfasttrack.com

Cruisin’ Part 3 (#153) A Jukebox Program. Enjoy! https://ia601502.us.archive.org/0/items/mutation153/Mutation153.mp3   HOUR 1: 01.) Alley Oop * The Hollywood Argyles * Cruisin’ 1960 02.) Stay * Maurice Williams And The Zodiacs * Cruisin’ 1960 03.) Running Bear * Johnny Preston * Cruisin’ 1960 04.) The Big Hurt * Toni Fisher * Cruisin’ 1960 05.) Because They’re … Continue reading Cruisin’ Part 3 (#153)

We've got another teenage drama for you on this episode: "Because They're Young." It's a bit more dramatic than John Williams' first foray into the teenybopper genre, Daddy-O, with Dick Clark in his first film role and some obvious attempts to mimic the more popular film The Blackboard Jungle. There are also some connections to West Side Story, both intentional and unintentional. Sit back as host Jeff Commings analyzes this bongo-heavy score for a film that might have you reliving your high school days.

Latest episode of The Rant: Politics & Society In this episode: The Left: Anything Actually Important is Nonsense...Because THEY say so! Megyn Kelly apologizes for making sense: blackface, not ok, cowering at the feet of the increasingly totalitarian left, EVEN WORSE! Seattle minimum wage increase: the left sticks it to poor people. Again. --- Support this podcast: https://anchor.fm/therant/support

Put down your phone before you eyes rot out of your skull and your mind turns to mush.To the oblivious kid, I saw walk thru an intersection completely unaware the light was about to change.PUT DOWN YOUR PHONE!to the cute chick at the coffee shop, I'm trying to chat up...PUT DOWN YOUR PHONE!To the mom who is letting her disobedient child run wild thru the store...Will you put down your damn phone? You can't do it, can you?PUT DOWN THE DAMM THING!I'm sure everyone YOU know wants to say this to you, even though they don't, PUT DOWN YOUR PHONE!Why don't they say this to you? Because THEY have a problem too.So, the next time you are out having a good time, trying to meet new peopleput down your phone. Ladies, how do you know if the guy right next to you was your soul mate?you can't because you have your face stuck on your phone. Women playing textual grab ass with men that aren't even in the STATE. PUT DOWN THE PHONE.there is nothing more offputting than an adult that needs an inanimate object as a security blanketThe death of western civilization won't end with the blast from a bomb, it'll end by the soft glow of smart-screens.A sea of zombies in darkened barrooms, only illuminated by the blue light glow of their phones.I just said PHONE and you want to pick up your PHONE, leave it alone!Quit raping and abusing your phone! Give it a rest!How in gods name were you unable to navigate this earth without your phone? You did it before? But now you can't leave the house without it or you'll get lost in your own backyard.You can't remember a 10 digit phone number anymore, but you could 10 years agoThe next text you get WON'T change your life.the next BIG thing is NOT about to flash across your phone alerts.For the love of god, STOP listening to this podcast and put down, turn off, and hide your phone.But you can't do it, can you? You are an addict!The TRUE answers to LIFES eternal questions are not hidden on your phone!!!Turn it off! Hide it! Run away! PUT DOWN YOUR DAMN PHONE!

Put down your phone before you eyes rot out of your skull and your mind turns to mush.To the oblivious kid, I saw walk thru an intersection completely unaware the light was about to change.PUT DOWN YOUR PHONE!to the cute chick at the coffee shop, I'm trying to chat up...PUT DOWN YOUR PHONE!To the mom who is letting her disobedient child run wild thru the store...Will you put down your damn phone? You can't do it, can you?PUT DOWN THE DAMM THING!I'm sure everyone YOU know wants to say this to you, even though they don't, PUT DOWN YOUR PHONE!Why don't they say this to you? Because THEY have a problem too.So, the next time you are out having a good time, trying to meet new peopleput down your phone. Ladies, how do you know if the guy right next to you was your soul mate?you can't because you have your face stuck on your phone. Women playing textual grab ass with men that aren't even in the STATE. PUT DOWN THE PHONE.there is nothing more offputting than an adult that needs an inanimate object as a security blanketThe death of western civilization won't end with the blast from a bomb, it'll end by the soft glow of smart-screens.A sea of zombies in darkened barrooms, only illuminated by the blue light glow of their phones.I just said PHONE and you want to pick up your PHONE, leave it alone!Quit raping and abusing your phone! Give it a rest!How in gods name were you unable to navigate this earth without your phone? You did it before? But now you can't leave the house without it or you'll get lost in your own backyard.You can't remember a 10 digit phone number anymore, but you could 10 years agoThe next text you get WON'T change your life.the next BIG thing is NOT about to flash across your phone alerts.For the love of god, STOP listening to this podcast and put down, turn off, and hide your phone.But you can't do it, can you? You are an addict!The TRUE answers to LIFES eternal questions are not hidden on your phone!!!Turn it off! Hide it! Run away! PUT DOWN YOUR DAMN PHONE!

--{ "Expert" Knows Anything Goes: "It is the Age of Authorized Organized Crime, Money Laundered to Banks Means Not Doing Time, The Amounts Daily Laundered Make You Pale, If the Crooks don't Deposit, Banks Would Fail, The Average Citizen with His Savings Deposit Is in Governments' Sights Set to "Crop It" Or "Haircut" Depending On How You Feel About Governments' Intention For to Steal And Plunder the Public of Their Savin's, Because They don't Have Trusts or Safe Havens, So the "Experts" have Said to "Save Us All", They Must Steal Our Money, Now That's Gall" © Alan Watt }-- Mafia in Soviet System - Money Laundering - Insiders Tipped-off before Bank Crashes - Fall in Gold and Commodity Prices - Countries Selling Gold Reserves - Billionaires Buying Greek Islands - Boston Marathon Bombs - Biofuels Industry - Fantasy of "Celebrities" - Normalization of Paedophilia - Degradation through Television - US Immigration Reform - Schumer-Toomey-Manchin Gun Control Bill - China-France Currency Deal - Insider Trading OK for Members of Congress and Most Fed. Employees - New Feudalism - Patenting of Human Genes - Media Trivia and Trash - Wealth Tax Coming - Increase in Afghanistan Opium Cultivation since Arrival of Troops. (See http://www.cuttingthroughthematrix.com for article links.) *Title/Poem and Dialogue Copyrighted Alan Watt - April 15, 2013 (Exempting Music, Literary Quotes, and Callers' Comments)

--{ Greening is Just an Appearance, For Rural-Urban Clearance: "Democracy's Too Cumbersome, Just an Old Bone, Says the U.N. Think-Tank, The Club of Rome, The Collectivist System is to Be Promoted, Pushed by All Leaders, The Well-Paid Devoted, Who Themselves are Exempt, They Live Apart, Because They're So Caring, One Big Loving Heart, For Non-Bureaucrats, They're Crammed with the Rest, Monitored Cradle to Grave by Those Who Know Best, There's No Need to Think, Your Life is All Planned, Country Life for Rich, City Ghettos for Damned" © Alan Watt }-- Definition of "Democracy" - Water Fluoridation - Privatized Electric Grid - Holland - Constant Monitoring, No Right to Vanish - Mandatory ID Card linked with Bank Account - "Ghosts" and "Primitives" Outside the System. The Green Agenda - Club of Rome: Mankind is the Enemy - Public given "Scary Scenarios" of Global Warming/Climate Change - Al Gore - Post-Democratic Authoritarian Society under World Government. Introduction of System of Money, Lending and Commerce - Genealogies, Interbreeding of Leaders - Historical Figure of Jesus - Sadducees and Pharisees - Temple Priests - Entombments, Raising from the Dead - Standardized New Testament - Roman Empire and Early Christianity - Mystery Religion - The Curia. Property Law and Codes coming from United Nations - "Expert"-Run World - Incoming "Civilization", Lawyers, Taxes etc. under Law. (See http://www.cuttingthroughthematrix.com for article links.) *Title/Poem and Dialogue Copyrighted Alan Watt - June 1, 2011 (Exempting Music, Literary Quotes, and Callers' Comments)

Hey folks, thanks for coming back. In this episode we discuss; Sparking Up A Relationship With Another Mans Ex Mistress, Stalkers, How To Break Up A Relationship, Men Are Not Scared Of Commitment, The Theory Every Woman Already Knows The Man They SHOULD Be With But Aren’t Because They’re Too Nice, If Black Women Go Out With White Men Because They Can Dominate Him, Will & Jada vs Jay-Z & Beyonce, Does Hard Work = Success Automatically?, Peoples Complaints On Our Views & If Going Through A Partners Phone Is OK? Another week done, hope we made you life better. As usual, check the links below for the bits and bobs we mentioned in the show. Remember, the show is nothing without your questions, request & comments so keep them coming. You can email us at esnpodcast@gmail.com. Enjoy and come back next time for more. Eloquently Saying Nothing until the next time when we start saying something. S4L!