Podcasts about Hogshead

Robert Bell, from Hogshead, and friend of the show Neil Spake join us for this episode of Brew Strong! Topics include open fermentation at home, how to expand your home brewery, and more! Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of Chill Filtered, Cole and Bryan are joined by a special guest — Beau Beckman of Hogshead, a company specializing in online brokering of whiskey barrels from a variety of distilleries. The guys dive deep into Beau's background, including his time working with the Buffalo Trace Single Barrel Select Program, and swap stories about barrel picks, whiskey profiles, and those classic Jim Beam nutty notes.   It's a laid-back, whiskey-nerdy conversation you won't want to miss. And if you're curious about what Beau and his team are up to, check them out at hogshead.com

Calling in all the way from beautiful Denver, Colorado is Robert Bell, brewer at Hogshead Brewery! The fellas are excited about this one, because Robert specializes in authentic Cask Ales - a style that really needs to see a resurgence in popularity. Robert breaks down just what a cask ale is, how you can brew them at home, and gets Mike reved up to brew one of his own! Learn more about your ad choices. Visit megaphone.fm/adchoices

“Title IX says no person shall be discriminated against on the basis of sex…as measured three different ways, one is equal opportunities to participate, two is equal scholarship dollars between men and women, and third is, they've got to get treated the same way.” Guest Bio: Life-long advocate for access and equality in athletics, internationally recognized legal expert on sports issues, scholar and author Nancy Hogshead has a commitment to equality, using sport as a vehicle for social change.  As one of the foremost exponents for gender equity, she advocates for access and equality in sports participation. Legal issues include sexual harassment, sexual abuse and assault, employment, pregnancy, and legal enforcement under Title IX of the Education Amendments of 1972. Her book, co-authored with Andrew Zimbalist, Equal Play, Title IX and Social Change, has received acclaim since its release by Temple University Press. She was the lead author of Pregnant and Parenting Student-Athletes; Resources and Model Policies, published by the NCAA, and her book chapter, The Ethics of Title IX and Gender Equity for Coaches, appears in The Ethics of Coaching Sports; Moral, Social and Legal Issues, edited by Robert L. Simon. Hogshead has testified in Congress numerous times on the topic of gender equity in athletics, written numerous scholarly and lay articles, and has been a frequent guest on national news programs on the topic, including 60 Minutes, Fox News, CNN, ESPN, NPR, MSNBC and network morning news programming. She serves as an expert witness in Title IX cases and has written amicus briefs representing athletic organizations in precedent-setting litigation. From 2003 – 2012 she was the Co-Chair of the American Bar Association Committee on the Rights of Women. She was elected to the editorial board of the Journal of Intercollegiate Sport.  Sports Illustrated magazine listed her as one of the most influential people in the history of Title IX. Hogshead practiced law at the law firm of Holland & Knight, in both their litigation and public law departments. She was a tenured Professor of Law at the Florida Coastal School of Law, where she taught Torts, Sports Law and Gender Equity in Athletics courses for twelve years. Hogshead-Makar had a 30 year history with the Women's Sports Foundation, starting as a college intern, becoming the third President from 1992-94, it's the legal advisor from 2003-10, and serving as a consultant as the Senior Director of Advocacy until 2014.  She earned her law degree from Georgetown University Law Center and is an honors graduate of Duke University. Hogshead has received significant awards recognizing her commitment to athletics, including: an honorary doctorate from Springfield College, induction into the Academic All-America Hall of Fame and the International Scholar-Athlete Hall of Fame, the Hall of Fame for the National Association for Sports and Physical Education, and receipt of the National Association of Collegiate Women Athletic Administrators' “Honor Award”. In 2011 she was presented with the National Organization for Women's “Courage Award,” and was inducted into the National Consortium for Academics and Sports Hall of Fame. In 2012 she was awarded the “Title IX Advocate Award” from the Alliance of Women Coaches. In 2014 she was awarded the “Babe Didrikson Zaharias” Award. Hogshead capped eight years as a world class swimmer at the 1984 Olympics, where she won three Gold medals and one Silver medal. Through high school and college dual meets she was undefeated. Other major awards include the Nathan Mallison Award, given to Florida's outstanding athlete, and the prestigious Kiphuth Award, given to the best all-around swimmer nationally. Nancy has been inducted into eleven halls of fame, including the International Swimming Hall of Fame and the International Women's Sports Hall of Fame. Resources: Nancy Hogshead  Donation page Nancy Hogshead Introduction Olympic Gold Medalist Fighting to Stop Sexual Abuse in Sport ½The Players' Tribune Nancy Hogshead ½ CEO Champion Women Where to find R.O.G. Podcast: R.O.G on YouTube R.O.G on Apple Podcasts R.O.G on Spotify How diverse is your network?  N.D.I. Network Diversity Index What is your Generosity Style?  Generosity Quiz Credits: Nancy Hogshead, Sheep Jam Productions, Host Shannon Cassidy, Bridge Between, Inc. Coming Next: Please join us next week, Episode 204, Host, Shannon Cassidy.

In this engaging conversation, Olympic champion Nancy Hogshead discusses her journey from elite athlete to civil rights attorney and CEO of Champion Women, an organization advocating for equality in sports. The discussion covers the unifying power of the Olympics, the evolution of training methods in swimming, and the importance of addressing sexual abuse in sports. Hogshead also delves into the contentious debate surrounding transgender athletes in women's sports, emphasizing the need for fairness and safety while advocating for women's rights and opportunities in athletics. Takeaways The Olympics serve as a powerful unifier for people worldwide. Participation in sports significantly impacts women's lives and careers. Training methods in sports have evolved significantly over the years. Champion Women focuses on legal advocacy for girls and women in sports. Sexual abuse in sports is a critical issue that needs addressing. Transgender athletes should compete in categories that align with their biological sex. Fairness in competition is essential for the integrity of women's sports. Women's sports must remain spaces for females to ensure equal opportunities. Advocacy for women's rights in sports is crucial for future generations. The fight for equality in sports is ongoing and requires collective effort. Visit Champion Women for more information: https://championwomen.org/ You can also donate to Champion Women here: https://championwomen.networkforgood.... Our tagline, 'Random. Relevant. Real.,' is more than just words to us—it's a promise. We're here to surprise you with unexpected insights, tackle the most pressing issues of our time, and do it all with an authentic, down-to-earth and sometimes tongue-in-cheek vibe. No fluff, just genuine conversations that will make you think, laugh, and maybe even challenge your own perspectives. ** Feel free to LIKE, SHARE AND COMMENT and SUBSCRIBE. Follow The Contrast Project online: ** https://www.thecontrastproject.tv/ ** ⁠⁠https://www.facebook.com/TheContrastProjectJax ** ⁠⁠https://www.instagram.com/the_contrast_project/ ** https://www.instagram.com/contrast_podcast_backup/ ** https://www.threads.net/@contrast_podcast_backup ** ⁠⁠https://twitter.com/ContrastProjTV⁠⁠  ** https://www.youtube.com/@thecontrastproject7242 ** https://podcasters.spotify.com/pod/show/the-contrast-project ** The Contrast Project Lounge Podcast is proudly created in part using the Riverside.fm platform. By using this link you are helping to support this show. Thank you so much: ⁠⁠https://bit.ly/3BH3q2t ** You can help support The Contrast Project Lounge Podcast by visiting:  https://ko-fi.com/contrastprojectloungepodcast --- Support this podcast: https://podcasters.spotify.com/pod/show/the-contrast-project/support

Hey y'all! This week we take a trip around my favourite park in Orlando... Islands of Adventure. From Marvel to Jurassic Park to Harry Potter, this park has some of the best rides and attractions in any park, come with me as we walk around the park!Enjoy!

Broke n JP discuss the following: -game pass game updates every pod -New HMack freestyle -Hogshead cheese in Houma giving people listeria -forced stealth missions in Star Wars Outlaws -Turkey equivalent to Moon Pies -Game informer is going bye bye lads:( --- Support this podcast: https://podcasters.spotify.com/pod/show/brokeknocklife/support

Message us if you want, or don't. This week Nathan and Eugene get into the HOGSHEAD, Seattle Pipe Clubs latest tobacco.  Nathan busts out a fancy Kaywoodie and Eugene took no notes so that is all that I remember.  Enjoy.Support the Show. Questions or comments? Freel fee to submit them to our facebook group: https://www.facebook.com/groups/1247125679194697or on the Discord server at:https://discord.gg/PkMqe74dYnor simply email:greywoodieshow@gmail.com All your base are belong to us

The Taste Of Universal Episode 5 MENU Appetizer A look at a new option at the HogsHead, new details about the eateries and bars at Stella Nova & Terra Luna new offering at Central Park Crepes, some Cinnabon news and a limited time Butterbeer item. Entree We take a look at all the food and beverage options inside the Wizarding World of Harry Potter - Hogsmeade. Dessert How to get in touch and keep up with everything we have on offer.

In today's episode I'm excited to welcome Louise Taylor, a heart-centered marketing expert and a member of our Humane Marketing Circle. Louise brings a wealth of experience from her transformative journey in both corporate and creative realms. In this enlightening conversation, we explore how truly understanding yourself is key to standing out authentically in business. We discuss the profound impact of authenticity in resonating with your clients, and delve into how tools like the Fascinate assessment can illuminate your unique wiring. Join us for this insightful episode filled with practical tips for bringing your true self into your marketing and connecting deeply with those you serve. In this value-packed episode, Louise and I addressed: How Louise left her 20 year Corporate career and had to figure out how to market herself How taking the time to really figuring out who you are and how you're wired is the key to stand out authentically (and it's what we do so well in the MLWH program, which Louise participated in as well) How authenticity gives you deep inner peace and confidence to show up and stand out and resonate with your clients How Fascinate, an assessment created by Sally Hogshead truly helps you understand how the world sees you - and how you're fascinating How to bring this knowledge into your marketing (bring more of you to your marketing, as I always say) and much more... [00:00:00] Hello, Humane Marketers. Welcome back to the Humane Marketing Podcast, the place to be for the generation of marketers that cares. This is a show where we talk about running your business in a way that feels good to you, is aligned with your values, and also resonates with today's conscious customers because it's humane, ethical, and non pushy. I'm Sarah Zanacroce, your hippie turned business coach for quietly rebellious entrepreneurs and marketing impact pioneers. Mama bear of the humane marketing circle and renegade author of marketing like we're human and selling like we're human. If after listening to the show for a while, you're ready to move on to the next level and start implementing and would welcome a community of like minded. Quietly rebellious entrepreneurs who discuss with transparency what works and what doesn't work in business Then we'd love to welcome you in our humane marketing circle If you're picturing your [00:01:00] typical facebook group, let me paint a new picture for you. This is a closed community of like minded entrepreneurs from all over the world who come together once per month in a zoom circle workshop to hold each other accountable and build their business in a sustainable way. We share with transparency and vulnerability what works for us and what doesn't work so that you can figure out what works for you. Instead of keep throwing spaghetti on the wall and seeing what sticks. Find out more at humane. marketing circle And if you prefer one on one support from me, my Humane Business Coaching could be just what you need. Whether it's for your marketing, sales, general business building, or help with your big idea like writing a book, I'd love to share my brain and my heart with you, together with my almost 15 years. Business experience and help you grow a sustainable business that is joyful and sustainable. If you love this [00:02:00] podcast, wait until I show you my Mama Bear qualities as my one-on-one client, and find out more at Humane Marketing slash coaching. And finally, if you are a Marketing Impact pioneer and would like to bring Humane Marketing to your organization, have a look at my offers and workshops on my website at Humane. Hi there friends, thank you for being here. Today's conversation fits under the P of I'd say personal power and passion. So if you're a regular here, you know that I'm organizing the conversations around the seven Ps of the Humane Marketing Mandala. And if this is the first time you hear about this, you can download your one page marketing plan with the seven Ps of Humane Marketing at humane. marketing forward [00:03:00] slash one. Page. The number one and the word page. And this comes with seven email prompts to really help you reflect on these different P's for your business. So it's not a, a seven step list on how to do humane marketing, but it's a reflective so that you get to actually be in charge and be this responsible, uh, business owner and human being to, um, put the thoughts into that kind of. groundwork for humane marketing. All right. So today I sit down with Louise Taylor, a fellow marketer, HSP, and member of the humane marketing circle, and we're getting ready to co host another collab workshop, and this time the topic is standing out. Authentically. So Louise Taylor is a heart centered brand and marketing leader with 20 plus years of experience in corporate, [00:04:00] B2B, B2C financial services, and purpose driven businesses. Add to that a decade of expertise in creative services, including design and photography, as an entrepreneur and creative soul early in her career. A high sensory coach, fascinate. So, certified advisor, high sensitive person and mentor. She naturally focuses on creating sincere and meaningful connections with all she engages with. As the founder of Firefly Effect, she brings a discerning and analytical approach and leverages her breadth of experience to help purpose driven and mission led organizations achieve their business goals and create a positive impact on those they serve. So in this value packed episode with Louise, we addressed how she left her 20 year corporate career and had to figure out how to market herself, how taking the time during COVID to [00:05:00] really figuring out how Who she was and how she's wired and how that really is the key to stand out authentically. And it's what we do so well in the Marketing Like We're Human program, which Louise also participated in, in those COVID years. We also talked about how authenticity gives you deep inner peace and it gives you the confidence to show up. and stand out and resonate with your clients. We then talked about how fascinate, uh, which is this assessment created by Sally Hogshead, truly helps you understand how the world sees you and how you're fascinating. So it's one of these assessments dad, um, looks from the outside in where most of the other assessments, Myers Briggs, Enneagram, et cetera, uh, look from The inside out. So how you see the world, how to then bring this knowledge into your marketing, as I [00:06:00] say, always bring more of you to your marketing. Um, but we need to actually figure out what is more of me. And so that's what this assessment and, and the work with fascinate helps us understand, well, this is more of me. So now let me bring more of that into our marketing. Both Louise and I share our assessment results. And so that kind of gives you some information about how, uh, the world sees me and the world sees Louise and how we actually live that in our businesses and much, much more. So have a listen, and if you crave more and want to learn more about these seven fascinate languages and have heartfelt conversations in a safe haven, then join us on February 7th, uh, have a look at humane. marketing, uh, forward slash workshop. So let's dive in right now. Hi, Louise. [00:07:00] So good to hang out with you. Welcome to the Humane Marketing Podcast. Thank you. So great to be here. I'm so excited to be able to connect with you again. As always. It's always a great conversation. Yeah. And we, we did some prepping for this one because we're also collaborating on another collab workshop. And I'm really, really excited to have you on February 7th for the workshop that we do together around February 7th. You know, standing out authentically, but this is kind of like a teaser, uh, of this, uh, one on an hour and a half workshop. Um, but we're not just teasing. We're always giving great value as well. Right. For people who, who are, um, valued listeners, they, they know this about us and me. So I look forward to dig in. I was thinking maybe you can start with, um, you know, how you. Your story and how you moved [00:08:00] out of corporate, I was gonna say America, but corporate Canada. . How you moved corporate Canada, outta corporate Canada and then as, as a marketer, and then started your own business and, and then realized. Oh, okay. This is a different ball game. I have to now, you know, put myself out there and I have to sell myself and I still want to do it authentically. So, yeah, take us there. Tell us that story. How that evolved. Thank you. Yeah. So, you know, I spent. 20 years in corporate marketing and, you know, my last role as a, as a marketing leader, building marketing teams and functions and strategic, you know, making them a strategic function. And so it was very demanding. Um, I loved the work that I did. I loved, um, the learning that I got from all of those 20 years in, um, you know, developing myself as a marketer. And then in 2019, um, I [00:09:00] was, my, my role was eliminated and I was packaged and as part of a reorg, um, and then COVID hit and, you know, my initial thoughts were jump right back in and, you know, and, and get on that hamster wheel again. And when COVID hit, I had an opportunity to really sit back and kind of go, what do I really love? What would I love and instead of. Thinking that I need to do this. I mean, it was a single mom. I, you know, when my kids are older at the time, they're still, you know, what I call on my payroll because we're always supporting our kids. But, you know, I also had an opportunity at that time to stop and really reflect. And for me. Being authentic was something that I really struggled with. I'm an HSP, and in a fast moving corporate environment, there isn't always room, uh, for us. It's not always understood. Um, and so I, you know, I I tended to kind of push all of [00:10:00] that aside. Um, and when I had that opportunity to stop, I realized, you know, I really want to take everything I've learned over the last 20 years and bring back. I should mention before I spent 20 years in corporate. I had my own business. I was an entrepreneur for 15 years. Prior to jumping into corporate. And so there was a part of my heart that was like, I can help people, but I want to do it in a way that feels authentic to me. I need to honor that part of myself. And so I embarked on this journey to say, well, where do I go from here? I know a lot of things I've built brands. I've built, you know, marketing teams and, um, and I love so many different aspects of it, but how do I distill that down? To me, you know, going from a team of 15 people to one. And so there was a part of me that was like, how do I even talk about who I am and how I'm different because as a marketer, you know, you do a lot for other people and you're [00:11:00] building on this communication. But I didn't know how to talk about how I was different. And so that felt like, you know, the cobbler's got no shoes scenario where I, you know, I didn't know how to talk about how I was different. And so I embarked on this self, you know, this journey to try to self discovery. And then I stumbled upon, uh, fascinate. And for me, I'm, you know, I'm a junkie of all of the Myers Briggs and StrengthsFinders and Enneagram, like I've done them all and I love them because they've helped me understand who I am from the inside out. But what I loved about Fascinate when I took the test was that it's an outside in perspective. It's how the world sees me when I'm at my best. And when I took it, it I had an aha moment because it helps you understand the languages that you speak when you're in that flow state and you're excited and you're energized like you and I are doing right now. Um, I [00:12:00] am a passion person. So I speak the language of communication and connection. Um, but I'm also. A very, you know, 1 minute, I can be very in tune with somebody in the next minute. I can be a hermit. I can be this very quiet person who's always analyzing a situation. And I always felt that there was something wrong with me. Maybe there's something broken about me that I'm these opposite ends of the spectrum. And as it turns out, it's actually just who I am. And so when I learned that this is who I am, and it's actually my superpower. I was able to kind of start leaning into that a little bit more, not a little bit, a lot more. And I embraced it to the fact, to the point where, you know, the anthem that I created for myself is my guiding, is my guidepost. I, it helps me now distinguish myself and, and lean in and just embrace that I'm different and I'm okay with that now. You know, it was, it helped me understand and [00:13:00] embrace that, that difference. And so now I've incorporated that and it's part of what I do because I, I believe so strongly in, um, giving me the language, giving me the words that I could confidently feel like, yeah, this is really me. And here's how it's me. This is how it really is me. So it's going to be, I feel, yeah, I feel so obviously, you know, with marketing, like we're human and this is very aligned with, with what we're doing here. And And was it also in, in the COVID years that you, uh, came across the Marketing Like a Human program? I remember you reached out to me. I'm like, Oh, a fellow marketer. That is so great that other marketers are interested in, in that work. Was it during that time as well? 100 percent because as I was trying to discover, you know, there has to be a better way. I mean, I was in financial services and I still work in financial services in what I do now on my own, but I get to choose and I [00:14:00] work very purpose driven mission centered businesses. Um, that became really important to me and I didn't really know anybody else. Who felt that way about marketing. It's like, we do really good things and there's, there's a need for what we do. And there's a love of. Building strong brands that are authentic, but I was really searching for a community and a group that felt the same way that I did. And so my research led me to you, um, and you know, I bought your first book and I did your program and I was like, okay, I want to embrace and learn everything there is to know about what's been in my heart, but I haven't really, I've felt like this lone wolf in a sea of, you know, marketers who are all about the bottom line and let's. You know, what are the sales targets and everything? And to me, it didn't feel, that's not me. That doesn't feel like who I am. I care about, you know, doing good work. And I care [00:15:00] about making, you know, achieving results, but it's not what's driving me. What's driving me is how do we do good in the world? And how do we make it? A better place through what we know as marketers. Yeah. I feel like you're a really good poster child for marketing. Like we're human because I mean, really like, you know, 2019 we're now in 2024. That is a. A very short framework for launching a business. And so it just shows me that you gave yourself that deep reflection. And yes, probably the first or two first two years were a bit slow. Right. It's like, okay, who am I? How am I different? How can I be authentic and yet stand out? But. You gave yourself that time and invested in finding out who you are, and now you're bringing that to the table and look at you now, you have a thriving business. I mean, it really shows that [00:16:00] slow and deep really, really works. And I think that's what we want to talk about here a little bit. Like, what, what, you know, why would we even have. Pay attention to, uh, a workshop that's called, um, stand out authentically, right? Most people would just want to stand out, you know, bottom line. It's like, okay, I want to stand out, but we're talking here about standing out and being authentic and being different. So why does that matter to us? And I guess, and also to our clients, why does that matter so much? Yeah, that's a, it's such a great, it's such a great reflection, you know, because for, for most of my career, I did what I thought people wanted from me, you know, and I ignored and pushed down what I was actually thinking or feeling, um, because my value, I thought my value. Was in [00:17:00] what I do for others and the results that I give, but what I had the opportunity to reflect through covid was and do that deeper dive on myself is to understand that that that that was based and coming from a place of fear, not love. And when I've learned to love myself and take that time to sort of say, like, what matters to me, I feel there's this multiplication where I've lived this life that was divided between who I am and what I do. And when I was, when I embraced. Bringing all of that together and authentically being who I am in what I do and what I do. Um, I'm, I'm multiplying. I've gone from being divided to multiply where one plus one now equals three for me and the value that I feel like I add. And I'm attracting people who are more like me or who appreciate what I bring to the table. So [00:18:00] yes, we can all have the same skills. But the satisfaction and the, and the joy that I get from working with somebody who appreciates that authenticity that I bring to the table and sometimes a bit of woo, and sometimes it's a lot of logic and information, and my ability to see a light at the end of the tunnel and get us across the finish line, but I'm doing it with a deeper connection. And so there's just this, I don't know this inner calmness that I have of, of. Feeling like I, by bringing all of who I am to the table, I'm detracting those that don't care about that, which is great. You know, there is somebody out there who is in alignment with that person, but for the person who cares about. That authenticity and the purpose and the why we do what we do, I feel a greater amount of joy. And so my work doesn't feel like work. It's just [00:19:00] making an impact and doing it in a way that just is in alignment with who I am in my soul. Yeah. I think you just described the definition of a humane business that, that it really. That's what it is for me. It's like, yes, it's a business, but it's a business that is aligned with who you are. And so it doesn't feel like work. And at the same time, it feels very joyful to work with clients and, and, you know, do create change. And you, you mentioned that inner calm or inner peace. I think that is such a big part of it. Um, And it's, it's underestimated, like it's undervalued. I feel like, you know, we, we go out there and, and I, I know that a lot of people are like, well, what I need is tactics. What I need is, you know, learn how to be on LinkedIn and publish on LinkedIn. Yes, you need that. As well, what you need first is this, you know, [00:20:00] understand who you are, uh, your values, how you're wired so that you can then come to whatever place you choose to be with this inner, inner peace. And yeah, so let's go back to the, the, this, um, work with fascinate, right? Because that's what we're going to be talking about in the, in the workshop. Um, so tell us a little bit about. You mentioned it's kind of one of the assessments that, um, tells you how the world sees you rather than some of the other assessments like Myers Briggs Enneagram, um, where it comes from how you see the world. Right. So how is this one different and how maybe you can also, uh, share a little bit about Sally, uh, Hogshead who created this whole work and how did you go about finding all of this out? Like, I'm curious about that. Yeah, you know what? It's, it's, um, it's really quite brilliant. So as a marketer, you [00:21:00] know, finding the words and the nuances of how you communicate became a fascination with me, especially because as a child, you know, I was really Um, I was very introverted and, and, um, you know, as an HSP, I didn't, I learned to wall off how I felt and how I communicated, but it also became a fascination for me in my career, you know, going into marketing, um, was something for me that I needed to do for others, what I really struggled to do for myself and. The outside in perspective, when you're with Sally, what I learned, um, as I did my research, um, once I did the test and I was so fascinated by my, by my own results, I dug a little bit deeper and understood that, you know, so Sally was a marketer is a marketer and at heart, she was a very, very successful advertising writer. By the time she was 27, she had, you know, [00:22:00] she, she was one of the most decorated. Advertising writers working with some of the largest corporate brands, and she became really interested in understanding what makes brands so fascinating. It's not the amount of money that they spend. So she undertook to do this research, hired a research company, and they studied hundreds of thousands of brands globally to understand what makes them fascinating. What one brand more fascinating than another. And she Still that together through all this research, they distilled this down to seven languages. And I think it was in a conversation with her husband at the time who said, you know, what if we were able to do this for individuals? What if we were helped? We were able to help people understand leveraging what makes brands fascinating. What if we were able to make them understand what makes them fascinating? And when you fascinate somebody in a world that's filled with, you know, distractions, if you think about. How much time you have to capture someone's [00:23:00] attention. It used to be nine seconds. I think it might be down to three, you know, or two and a half. Yeah. And so if you're going, but when you fascinate somebody, you know, between. Competition. If you're in a business and you've got to get someone's attention, you're trying to get a prospect's attention in a world where commoditization, which is, you know, everything is the same. Think of toilet paper. You go for the cheap. It's a race to the bottom from a price perspective. It's not about value. And then you've got the distractions, how do you get someone's attention? Well, you get their attention by fascinating them. And when they're fascinated, if you think about the times when you're fascinated by something, everything else falls off the planet, you know, and you're totally zoned in and you're focused. And that's what the art of fascination is. But when you can't fake it, This is something you can't fake till you make it right it's, it's innate in you and everybody has one of these. [00:24:00] You know, we all speak these seven languages of the fascinate, um, system or the languages. We all speak them all, but there's two languages and one in particular that when you're speaking that language, you're like in this zone of, I could riff on this all day. I'm in my zone of genius for some people, that's the language of power. And confidence and they come in a room and they just command the room and they, they are the decision makers. And for someone else, it might be about trust and loyalty. They might speak the language of trust, which is that loyal person that, you know, you can always count on others. It's the language of listening and you're that quiet person in the room who's paying attention and people might not think that you're that Even there, like, you know, you're not paying attention and then you drop this bomb of, well, what about this? Because you're analyzing and paying attention to the whole room. And so whatever language you speak, when you're able to speak [00:25:00] that language, you will fascinate those who connect with you on that level. So it creates this deeper connection with people. And by virtue of understanding how you fascinate somebody, Bye. It allows you to be more of who you are, because, you know, you're not trying to be somebody else. You can have the same skills and have gone to the same school, um, and come out, you know, two writers who are equally skilled, but one is going to have a language that is. Is going to connect more deeply with somebody and don't we all want to have a world where we're connecting deeply with people that we get to engage with on a daily basis. So fascinating allows us to do that. Um, and I was so fascinated by it that I actually got certified. Um, because I said, this is part of my toolbox at the time. I was already working on brands and helping businesses build their, their [00:26:00] brands. And for me, being able to bring that to the individual that I work with in a, in a company, it's like, let's understand your language and the language of the people in your team, because. It also helps you create this balance on your team of, you know, you might have somebody who's a really, really good person, really skilled, but if they're in a role where they're not able to speak their language, they might feel like they're in quicksand. You know, alert is the language of details. And for some people that lights them up, the ability to. Cross T's and dot I's and think about the future and think about risk mitigation. For others, it makes them want to gouge their eyeballs out, right? And if you're someone who is in a role that you're passion driven and you need those connections and relationships, but your role requires you to be doing this work that is what we call your, your dormant advantage, your least Engaging and natural language, [00:27:00] you're going to feel like you're, you're in quicksand and you're going to, it's, it's a drains your energy. So why not understand and learn the language that you speak that resonates with other people at the same time. It's going to attract those people to you and you're going to just, you know, you're going to be living a life that feels like you're in a well spring rather than in quicksand. Yeah, totally. Well, as we were preparing for, for the workshop and the podcast, I went back to the, to my tests and I, uh, found out that I first took it in 2014 and back then I was the maverick and I think it was innovation and power. And so, so that was kind of like my first experience with Fascinate and I, and I remember being completely surprised and really realizing. How people see you differently sometimes than you see yourself, [00:28:00] um, because if you look at all the other, um, kind of assessments, the Enneagram and the Myers Briggs, um, so I'm very introverted and very calm and, you know, quiet and, and then I got this word that says power, the maverick. I'm like, what, what is this? Right? This is completely different. And. And yet when I was talking to people, they're like, yeah, that's, that's how we see you. We see you as someone who creates new things and leads a new way. And I'm like, I guess, yeah, I like doing that. Right. I just, I needed to kind of make peace with this idea of power and understanding it as something that I can do quietly. Right. Power doesn't need to be loud. It just needs to be kind of like to me, it's a quiet presence, but that somehow still has the ability to lead. [00:29:00] So I remember that for me, that was life changing and just really accepting that role and saying, okay, yeah, if that's what you want me to do, then I'll step into that role and, and kind of come out of the. The shadow, uh, maybe a little bit as well. So, um, it's funny that you mentioned power because I have almost the opposite. So power is my dormant advantage, but the story about how I named my company, when I started the company, I worked with this brilliant person, um, who I had worked with. For years in my corporate role to help me come up with a name for my business. Together we came up because I wanted my whole premise was I want to be able to empower my. clients to be better marketers and to do it their way, you know, to find a path that is right for you. You don't have to follow the trends. And so we came up with wheeled marketing, put the power [00:30:00] of marketing in your hands. It's not a bad name, but I didn't do anything. I sat on it for a year and this was all before I knew fascinated, didn't know anything about fascinating, but I sat on it for a year. It didn't design a logo. Didn't didn't build a website. Didn't do anything with the name because there was something in my heart that was like, it doesn't feel right. It doesn't feel right. And I did my fascinate. Test. And in my fascinate test, you know, my number one language is passion, which is the language of relationships and connection and intuitiveness and my, and I'll bet, you know, then you've got this waiting of all of seven languages will my dormant, which is my least powerful, um, or effective communication is power. And. I, and I really struggled with this because power, I was a leader in my, in my role for eight and a half years in my last role. I'm like, but I am a leader. [00:31:00] And then I realized power is about that natural ability to come in and dominate a room. And whether you do it quietly or loudly and, you know, making decisions quickly and, and I realized the reason I had been struggling with wield wield is a word that. Is all about power and it didn't sit well in my heart, but I didn't understand why until I did fascinate and as a result of that, I'm like, that's not the name of my company. Then that can't be the name of my business. And so I really did some soul searching and digging and wanted to really bring that that as an HSP and an introvert myself, I wanted to bring that light that shines inside of us and allow people to bring that out. And so I changed the name of my company to the firefly. Effect because the firefly is that is that beautiful little glow that sits inside everybody and the firefly effect because I wanted. To simulate the [00:32:00] butterfly effect where, you know, one little firefly can't maybe doesn't make a big difference, but imagine a whole field of fireflies and how beautiful is that? And so it's, it's about the culmination of bringing, bringing joy and bringing a voice. To everybody and doing it in their own authentic way. So that's where the firefly came from. And I have fascinated to some degree to thank for that. Yeah, but that's what it does for for 1, right? It really helps us with, uh, these words that we can then bring into our marketing. Because like I say in marketing, like we're human because we want to bring more of us to our marketing. So when people ask me, well, how do we learn to be authentic in marketing? Well, there's not like a seven step list, uh, where you can learn that it's, it's going into that deeper inner work. And probably part of it is, is, um, yeah, learning more about these seven languages and then bringing. More of that language [00:33:00] into your messaging. And, um, yeah, that's what we're going to talk about in this workshop on February 7th. So if you're listening to this and this resonates, we'd love for you to join us. Then you can go to the link humane. marketing forward slash workshop and sign up there. Um, I want to wrap up with a question that I feel like is really timely. Because we're talking about authenticity, right? In a time where AI has just developed like crazy over the last, let's say, 9 months. And we know as a fact, it's not going anywhere. Like, well, it's not leaving anytime soon. It's definitely going to develop. So how does something like, Oh, Knowing deeply who we are and, uh, having this language that helps us stand out. How does that help us in a time, um, where, you know, everyone else is using AI and chat GPT. [00:34:00] How can we tap into that system more to, um, yeah, feel like we're being authentic and standing up. That's such a great question. And, you know, building authentic brands is such a big part of what I do. And, um, and, and I'll be honest, I have leveraged AI. I've wanted to learn. I'm like, I need to understand. What everything, you know, all the hype, I need to understand, you know, so that we're not left behind, but I don't use AI to do my writing. I don't use AI to, um, put words in my mouth. What I use AI for, frankly, is to. Um, is to help me do what I don't do as well. So for instance, dice, you know, distilling when I have a great conversation with a client, I can record it on my otter, put it into AI. And help have AI help distill that [00:35:00] down to what are those key points so I can be more present and not feel like I have to take a million notes in a conversation because I'm capturing it and I'm going to leverage AI to help me create, you know, what are these talking points that I need to make sure that I'm including in our, you know, in the brand work or, or. Whatever work I'm I'm working on for that client. So I think there is a way to find out, you know, to leverage the tools that are at our disposal. And I is another tool. The challenges when you're looking at somebody. At somebody's work, it's going to become more evident. In time, and I, you know, that. It's a generate like that. It doesn't feel authentic. It's going to A. I is only pulling from what's already out in the Internet, right? It's not creating something that's from your heart. And so it comes down, I think, to trusting yourself and feeling confident that you're not. It's [00:36:00] not about FOMO. It's not about, um. Looking at, looking around the room and seeing, you know, what am I missing out on? I need to jump on this trend. I need to jump on this trend. I need to be on social media and posting six times a week or five times a week. I don't, I, that I've realized that that for me is, you know, is leveraging what I feel confident and know in my heart based on my languages that I speak, how I'm going to fascinate someone. And trusting that process, I'm still going to leverage and look at it as a tool in my toolbox for myself. And then you have to be discerning when you're looking at other people and trust that the right people are going to find you because authenticity. It's an untapped or an unnamed or a, you know, it's a language that we speak. And when you're being authentic, people [00:37:00] feel that they feel the vulnerability. They feel, they feel the connection. Um, and I think you just have to trust that, that, that that's going to. You know, leverage the tools where they make sense, be, be discerning. And, um, because AI, you're right. AI is not going anywhere. So yeah, I'm finding a way to make it, to bring it into what I need in a way that feels in alignment with my own values, right? I'm not going to use it to do all my writing because it doesn't feel authentic. And, and it would feel disingenuous for me to leverage AI and have it write everything I need to write for myself. Yeah, there's, there's. Something to be said about written text. That's what we use it for or what it's used for right now. But, um, what I feel like this work with Fascinate and knowing your languages also helps us become more [00:38:00] authentic, right? Because we then really tap into who we truly are and embrace that. Side of us where before we're just kind of pulled into every direction. Oh, I should, you know, kind of do whatever selling like they're doing it. And then I'm doing a little bit of this and and it's, it's helping us understand. Oh. No, there, you know, I can really truly be by, be myself, um, when you show up with clients and when you kind of step into that, uh, true version of yourself, I feel like the writing, okay, that's part of it, but it also just helps with the human and how you're going to show up with your clients, right? There are so many of my clients that at the beginning of. A workshop that I would have done with them and they get their assessment and they're like, well, it says that I'm, you know, I'm this, but I'm not this, you know, my one person's [00:39:00] passion was her dormant. And she's like, the name of my company is literally passion, you know, consulting or something. And I said, we went through the process and what I, what she understood was it doesn't mean you're not passionate. And it doesn't, you know, we have a preconceived notion of what these words mean, but when we unpack it, which we do, we unpack it all in, in the, in the workshops that we do, you learn that and you, and we dive into the stories of your life where you start to see that pattern. Of where this has been true. So it's not just words on a page. It actually are. We go back and we look and validate. And at the same time, it helps to provide this beacon for you. We create an anthem. Um, you know, that helps guide you and helps explain to people what you do in a really short like two words. My anthem. After going through this process is illuminating visions and it, and for me, [00:40:00] it's what it's in my e signature. It's everywhere, but it, it has become. When I looked at my past, what lights me up and what excites me are these moments when I've been able to bring somebody else. You know, we have an idea. We bring it to life. We launch a brand. We've, we launch a new product. We, so those are the things like that. Innovation is my why. The passion is, is the, is the, what I, you know, what I do and how I do that is by listening. It's my mystique. It's the listening. So when I understood that about myself, now it helps me to choose and to be selective about what I do going forward. I call it. A bit of a, it's a warm hug and a kick in the gut all at the same time, because it's like, yeah, this is who I am. And it becomes my guide to make sure that I stay on my path and I don't get distracted by these shiny objects along the way. So yeah. And the, and the moments in that I've seen people's, like the lights go on and kind of go.[00:41:00] Oh, you mean this is already who I am. And for some people saying those words feels very egotistical at first, because it's like, well, I can't say that about myself that. And then when we dive in deeper, it's like, but it's already how the world sees you. Yeah, that's exactly how I felt about the power. Right. It's like. Oh, but I'm very humble. You know, I grew up very in, in this humble environment. I'm like, ha, I can't say that . But, um, it's like, well, yeah. You know, it's like not me. It's to other people who are seeing it that way. So, yeah. Yeah. And, and that's why I feel like truly yes, ai, you know, is, is part of our path and the direction we're going. And I, I actually feel. There's a very positive side to AI and I'll be writing about that in the, in the business like we're human book, because I do feel like creates more spaciousness for actually [00:42:00] being human and that's part of this. Right? It's like, well, because we have AI for the mundane things, we can then focus on. Actually spending time on figuring out. Well, what is my fascinate language? How can I tap into that and be real? Because that's what we care about is having real conversations with real humans and taking the time to to be human. So I feel like there's a world possible with both being very authentic. And having AI, uh, as, as the, as a tool, like you said, I agree. I think when we have the confidence that, you know, who you are, the tools and all of these other distractions become just that it's a tool that you can add to your toolbox, learn how to use it in a way that feels. Authentic to you that helps you in your business that, um, you know, [00:43:00] saves time, saves energies, you know, and I'm, you know, I'm definitely in that camp where it is a tool and it's a tool that when we use it well, to your point, you end up with this freedom of time. Because something that might've taken me, you know, an hour and a half to distill and go through, I can get it done in 10 minutes now. Right. I can get to that point where I needed to get to in 10 minutes. And then I still apply who I am as an individual, my authentic self to bring that spin or the, you know, the, the, the necessary kind of finishing touches or whatever you want to call it so that it isn't just a cut and paste. You know, it's helping me think of it. I'm thinking of it as another virtual assistant. I actually think it will help a lot of small businesses, especially because, you know, you can do the roles of a number of different people. [00:44:00] So, yeah, I'm so excited. I, uh, um, I really am also excited about this workshop that we have coming up. And what I also feel like we always do well in these collab workshops is that there's part teaching, you know, you're going to share all of your wisdom about the fascinate system. And we also always create space for being human and having these. Exchanges in the breakout rooms. And I think that's really also a big part of the learning, right? It's like, well, actually apply this now and have a conversation about how you are different or how do you feel you're different. So really, really looking forward to that, um, February 7th. Embodiment of of it and that collaboration that that you foster in the humane marketing circle is, is really brilliant because it allows people to take their take your guard down.[00:45:00] This is a, you know, this is a real humane group of people who are all gathered because we have a very, um, similar approach. To life, you know, not just work, but life. And this is one aspect of it that, um, it's freeing. It's, um, you know, it is, it is really like giving yourself permission to be more of who you are. And Sally has this theme that runs throughout that I absolutely love, which is different is better than better, you know, when you think about it. You already, you know, be more of who you already are, because that's what's going to make you feel good. And it's what's going to attract the people who appreciate that beauty that you bring to the world and that uniqueness. Um, and, you know, it's like, give yourself permission to be that person. So. Can't wait. Thank you so much for sharing here on the podcast. And again, if you're listening to this before February 7th, [00:46:00] definitely sign up and we look forward to seeing you there and we'll look forward to it. Thank you for having me. I appreciate it. Thank you, Louise. Thank you so much for listening. I hope you got some great value from this episode. Make sure to find out more about Louise and her work at FireflyEffect. ca. And of course, for even more value, join us for the workshop on February 7th at humane. marketing forward slash workshop. The suggested price is 27. But you can also just make a donation and if you like the people and style of this gathering, then why not join us in the Humane Marketing Circle? That's how we roll. You can find out more at humane. marketing. com forward slash circle. You'll find the show notes of this episode at humane. marketing forward slash H M 1 8 1. On this beautiful page, you'll also find a series of free [00:47:00] offers, the Humane Business Manifesto and the free Gentle Confidence mini course, as well as my two books. Marketing like we're human and selling like we're human. Thank you so much for listening and being part of a generation of marketers who cares for yourself, your clients, and the planet. We are change makers before we are marketers. So go be the change you want to see in the world. Speak soon.[00:48:00] [00:49:00] [00:50:00] [00:51:00] [00:52:00] [00:53:00] [00:54:00] [00:55:00] [00:56:00] [00:57:00]

Last week, Westbound & Down Brewing announced that it had acquired two breweries, Aspen Brewing and Capitol Creek Brewery's brewpub, both in Colorado's Roaring Fork Valley.  The deal, says Jake Gardner the Director of Brewing Operations at Westbound & Down Brewing Company, is part of a plan the brewery has been eyeing for a while. There was a desire to expand in a meaningful way, while still staying true to the brewing ethos that has guided Westbound and Down since it opened in 2015.  We'll talk business and the growth projections, and how Aspen's 7,000 barrel capacity, and Capitol Creek Brewery's brewpub will blend with the existing infrastructure.  But we're also going to talk about IPA, barrel-aged beer, and how the brewery wants to be great at all that it does.  That goal squares with Gardner's background. He started professionally brewing at Breckenridge Brewery in 2011 before transitioning to Hogshead Brewery where he worked his way up to head brewer in 2013. While working at Hogshead he connected with three mug club members who ended up becoming partners in opening Westbound & Down Brewing. This Episode is Sponsored By:ShopifyShopify's already taken the cash register online, helping millions sell billions around the world. But did you know that Shopify can do the same thing at your retail store? Give your point-of-sale system a serious upgrade, with Shopify. Sign up for a one-dollar-per-month trial period at shopify.com/drinkbeer and take your retail business to the next level today.For more Drink Beer, Think Beer check out All About Beer. Host: John Holl Guest: Jake Gardner Sponsors: Shopify, All About Beer Tags: Colorado, Craft, Restaurant, Growth, IPA, Barrels

This book was a true goldmine. It is packed full of information and examples, way, way too many for us to deep dive into all of it. It's worth it to pick up a copy of most of the books we discuss in Book Club, but Fascinate in particular is so dense with info, (in a fun way!), that we couldn't possibly cover it all in an hour-long conversation. I love this book because of the permission it gives to explore and figure out your unique approach marketing, rather than pigeonholing yourself into pre-existing models. At the same time it offers an absolute bounty of guide rails and suggestions for a plethora of brand personalities. Fascinate does an amazing job of helping you figure out first and foremost what makes your brand stand out, then apply some of Hogshead's suggested pillars or strategies to your marketing. Special thanks to Charelle for recommending this one. She's actually using some of the tactics from Fascinate in her 2024 planning! Look out world!  Connect with us on Instagram:Charelle - @charellegriffithLauren - @laurentildenMAKING GOOD SHOWNOTES:https://makinggoodpodcast.com/207CONNECT WITH ME ON INSTAGRAM:https://instagram.com/laurentildenGET 100 MARKETING PROMPTS (free!):https://makinggoodpodcast.com/100promptsStuck on what to say in our marketing? Download this free resource of 100 marketing prompts: https://makinggoodpodcast.com/100prompts.

Badabim... Badaboom! Het is tijd voor de oudste whisky in the room! How you 'doing? Martijn "Dramblingman" van Opstal neemt een 32 jaar oude whisky mee om te vertellen over zijn bedrijf DRAM1. Met DRAM1 helpt hij de horeca om de whiskyplank wat op te pimpen... Dat lukt met super toffe whisky's zoals deze zeker! LINKJES: Ben jij onze nieuwe editor? Meld je dan snel op ⁠⁠www.elementsofwhisky.nl/editor⁠⁠ Wil je meer weten over het podcast abonnement? Kijk dan op ⁠⁠www.elementsofwhisky.nl/podcast⁠⁠ Volg Max op Instagram ⁠⁠⁠www.instagram.com/elementsofwhisky⁠⁠⁠ Volg Lucia op Instagram ⁠⁠⁠⁠www.instagram.com/elementsoflucia⁠⁠

Wat een GEWELDIGE whisky! Waarschijnlijk komt deze in de top 3 van "Max zijn favoriete nieuwe whisky's in 2023" lijstje. Een Peated Glenturret uit 2011... Gefinished op een Rebuilt first fill PX Sherry solera cask... met een alcoholpercentage van 57,1%. Gewoon geweldig! Maar misschien komt het wel, dat de gast aan tafel, Toon van Rooij, ook een bijzonder mooi en eerlijk verhaal verteld. Lekker zoals het is! Daar houden we van. Wat vind jij ervan? LINKJES: Ben jij onze nieuwe editor? Meld je dan snel op www.elementsofwhisky.nl/editor Wil je meer weten over het podcast abonnement? Kijk dan op www.elementsofwhisky.nl/podcast Volg Max op Instagram ⁠www.instagram.com/elementsofwhisky⁠ Volg Lucia op Instagram ⁠⁠www.instagram.com/elementsoflucia⁠ Timestamps: 0:00-Wordt jij onze nieuwe editor? 1:30-Intro 2:43-Over Toon 10:11-De start van een importeur 17:19-Het bouwen van een portfolio 31:20-Hogshead Indie 37:03-Over de whisky 41:36-Nosing en tasting 49:58-Max zijn conclusie 50:52-Toekomst van Hogshead 56:26-Hogshead helpt met vaten 1:01:38-Outro

Nancy Hogshead joins Ryan to discuss the case of Kim Russell, who was removed as Oberlin College lacrosse coach and reassigned as 'Employee Wellness Project Manager' for voicing her opposition to biological men participating in women's sports. Nancy is an Olympic champion swimmer, civil rights lawyer, and CEO of Champion Women - a nonprofit organization providing legal advocacy for girls and women in sports.

Hunter Biden faces new gun charges, but Ryan (in for Dan) feels like 'special counsel' David Weiss is just doing the bare mimimum, legally, to make the story go away. Nancy Hogshead joins Ryan to discuss the case of Kim Russell, who was removed as Oberlin College lacrosse coach and reassigned as 'Employee Wellness Project Manager' for voicing her opposition to biological men participating in women's sports. Nancy is an Olympic champion swimmer, civil rights lawyer, and CEO of Champion Women - a nonprofit organization providing legal advocacy for girls and women in sports. Also, Jen Psaki makes a ridiculous comparison between babies and broccoli and Dana Loesch skewers her for it.

It's a special edition this episode and while out in Denver CO., The Brit took an opportunity to visit with a unique brewery known for their outstanding real ales. Hogshead 54 Brewery has 7 engines and produces a range of British ales, second to none. Robert Bell is the brewer out there, and he sat down with us to talk about how he brews, what he brews, and who is drinking these beers. It's a fascinating insight into a side of craft beer that we are VERY fond of, so take a listen and then make it a destination brewery next time you visit Denver. Cheers to real ale!

Well we made it to February without forgetting to post an episode so here it is. In this episode we recap the Bruicladdich distillery on the isle of Islay, go down a rabbit hole for a while, talk about Hogshead casks and finally get to try a bottle of whisky I have been looking forward to for a while. Luke drops some caskwhisperer lore that stays in but some also remains for the bonus releases coming out soon. We review a private bottling of 16 year old Bruicladdich whisky that has been matured in a 250ltr Sherry Hogshead, bottled for the Weedram whisky shop in Bakewell. For those who enjoy our caffeine addled minds' creations I should also mention we have a second podcast which is fictional (or is it?) named GNSradio where an infinitely shadowy mega corporation with seemingly limitless amounts of money close to hand moves into a small town and slowly takes over. If you think it sounds fun or just want to shut me up check it out check out GNSradio now wherever you get your podcasts from or check out the teasers on here. For any questions email us at: caskheads@gmail.com And visit our website for more: caffeineaddledminds.co.uk

Back on track this year. We resolve to get these out on time. More or less. Maybe. Cortex and I talked on January 3rd about our usual nonsense for a tight 87 minutes. Thanks for listening.Helpful LinksPodcast FeedSubscribe with iTunesDirect mp3 downloadFanFare Letterkenny: Entire Season by fizzix Leverage Rdemption Projects Face To Face: Portraits of People of Color Before Photography by Horace Rumpole jamstats: data analytics for roller derby games by gurple lowercase t: A Very 8-Bit Christmas by ShawnStruck (MeFi Post) The Library Workers' Field Guide to Designing and Discovering Restorative Environments by 10ch Everybody Wins, the greatest board games ever made by Hogshead Psychedelic Drug Legislative Reform and Legalization in the US by jedicus MeFi "Epic put children and teens at risk" by jessamyn It's a book! It's a great wheel! It's a Book Charkha! by janell "We're all the same piece of little stardust energy..." by Ten Cold Hot Dogs They say of the Acropolis, where the Parthenon is... by Etrigan Ana de Armas Fans' Lawsuit Puts Studios at Risk Over Deceptive Trailers by Etrigan The inspiration and raw material to create something new by biogeo "Let me guess. Somebody stole your sweetroll." by Fizz Ah, yes, the [complex plane coordinates] genders by cortex "You don't want little children questioning their budding little bodies" by box "The common good stands as a menace to the status quo." by box Advent Incremental by juv3nal a funny comment by phooky a funny comment by house-goblin AskMe Favorite Internet Radio Stations? by COD Why is it called a "countersink"? by ignignokt (Fewer) papers please by happyfrog Keep me off the streets this winter by escape from the potato planet Looking for books and media with positive neurodivergent representation! by daikaisho Please recommend a book about writing non-fiction books by nezlamnyy Voracious reader of fanfic seeks help by sequel Please help me figure out which edition of a library book I read by Ceridwen MeTa Appreciate your MeFi Holiday Cards here! by HotToddy 6th Annual Mefi Valentine Mail Exchange by SunPower The Ongoing Modern Pen Pal Project by chiefthe Lèse-majesté by y2karl Music is from ccMixter and is Dolorem Ipsum by economix

Pat loves Scotch. Scotchy Scotch Scotch. We haven't done an episode on Handpicked Scotches in a while, so to recap the process: Brett, and sometimes Pat and Joe, travel to Scotland once or twice a year and visit as many distilleries as possible every day. If it's at an independent bottler, the entire day is spent crawling around in barrel warehouses picking casks they want to try.   Binny's has carefully cultivated relationships with independent bottles going back nearly twenty years. What they taste in Scotland gets narrowed down to around 30 candidates. They sample those 30 samples again back home and then choose which casks they want to buy. Because of these relationships, Binny's gets access to some special stuff. Drink along at home with the following Handpicked Scotches: Signatory Mannochmore 11 year old Dechar/Rechar Hogshead # 7611 Binny's Handpicked 2010  Signatory Mortlach 14 year old Hogshead # 709084 Binny's Handpicked 2007  Signatory Pulteney 13 year old First Fill Bourbon Bourbon Barrel # 800114 Binny's Handpicked 2008 Signatory Craigellachie 12 year old First Fill Bourbon # 306163 Barrel Binny's Handpicked 2009  Signatory Glenlivet 15 year old First Fill Sherry Butt # 900788 Binny's Handpicked 2006  Gordon & Macphail Tamdhu 25 year old Refill Hogshead # 6496 Binny's Handpicked 1996  Signatory Whitlaw 8 year old Refill Sherry Finishing Butt # 108 Binny's Handpicked 2013  Benromach 9 year old First Fill Sherry Hogshead # 719 Binny's Handpicked 2011  Benromach 11 year old First Fill Bourbon Barrel # 595 Binny's Handpicked 2010  Signatory Staoisha (Heavily Peated Bunnahabhain) 7 year old Dechar Rechar Hogshead # 10770 Binny's Handpicked 2014  If you have a question for the Barrel to Bottle Crew, email us at comments@binnys.com, or reach out to us on Facebook, Twitter or Instagram. If we answer your question during a podcast, you'll get a $20 Binny's Gift Card! If you like our podcast, subscribe wherever you download podcasts. Rate and review us on Apple Podcasts.

Hurricane Ian makes landfall into South Carolina, after ripping through Florida and leaving a trail of death and devastation. From NBC News: At least 12 people have died after Hurricane Ian tore across Florida with such ferocity that President Joe Biden said it could be the deadliest in the state's history. Speaking after a briefing with Federal Emergency Management Agency officials Thursday morning, Biden said that while the death toll remained unclear, early reports suggest the loss of life could be “substantial.”  “I spoke with the commissioners, and they are worried,” he said. As of Thursday evening, 12 people had been confirmed dead in the storm, with seven of them in Charlotte County, an area near the stretch of the southwest coast where Ian made landfall Wednesday afternoon. Meanwhile, North Carolina emergency response officials are facing criticism from state lawmakers over the slow pace of reconstruction in areas devastated by Hurricanes Matthew in 2016 and Florence in 2018. AP Dillon at North State Journal reports: On the four-year anniversary of Hurricane Florence landing on North Carolina's shore, a legislative subcommittee met to find out why many hurricane victims still have not been made whole.  The 15-member Hurricane Recovery panel is a subcommittee of the Joint Legislative Commission on Government Operations. The formation of the subcommittee and its members were announced in July.  Hurricane victims Willie Williams and his wife Geraldine, both disabled veterans with medical issues, both became emotional at times while relating their situation to lawmakers.   ... Hogshead's presentation showed 4,100 applications taken since federal funds were received, but only 789 projects have been completed.   According to her testimony, NCORR's current rate of construction is between five to six houses per month. Hogshead indicated the rate in 2020 was twenty-eight a month but following the pandemic in 2021 that rate dropped to fourteen a month.  She added that around 1,100 applicants are currently either waiting to find a contractor willing to do the work or for work to begin. Additionally, 294 applicants are still living in temporary housing situations such as hotels or rental properties.        Get exclusive content here!: https://thepetekalinershow.com/See omnystudio.com/listener for privacy information.

The post Troubled hurricane response warrants legislative action appeared first on NC Policy Watch.

In the ongoing nightmare of April and Terry's relationship, the event that catapults them into pure chaos starts on the night of December 6th, 1997. April has been staying away from Terry, but ends up going to his house to ask for the money he owes her. His place is wrecked and he doesn't look so good. What happens next launches Terry and April into an unbreakable cycle of violence that no one was able to stop--except April herself. ___________________ Resources: For pictures of exhibits introduced at trial of the scene of the rape, April's injuries, and more visit okappleseed.org/episode-3-show-notes  LA Times article about Don Carlton's bribery scandal: https://web.archive.org/web/20211117194929/https://www.latimes.com/archives/la-xpm-1994-03-16-fi-34784-story.html%C2%A0 TIME Magazine story on Honda scams: http://content.time.com/time/nation/article/0,8599,3976,00.html Instagram post containing the Affidavit of Federal Judge Claire Egan: https://www.instagram.com/p/CQWQJrUDy-m/ Detailed Timeline of Events in April's Case: https://aprilwilkensblog.wordpress.com/2022/02/12/timeline-of-events/ Sign the Change.org petition to support April's release: https://www.change.org/p/oklahoma-pardon-parole-board-commute-the-life-sentence-of-abuse-survivor-april-wilkens?signed=true Donate to keep our work going!: neappleseed.org/okappleseed Learn more about Oklahoma Appleseed: okappleseed.org If you or someone you know is experiencing domestic abuse, use a safe computer and contact the National Domestic Violence Hotline at www.thehotline.org or call 1-800-799-7233. You can also search for a local domestic violence shelter at www.domesticshelters.org/. If you have experienced sexual assault and need support, visit the Rape, Abuse & Incest National Network (RAINN) at www.rainn.org or call 1-800-656-HOPE. Have questions about consent? Take a look at this guide from RAINN at www.rainn.org/articles/what-is-consent. Learn more about criminalized survival at www.survivedandpunishedny.org/. Learn more about the Domestic Violence Survivors Justice Act at www.nysda.org/page/DVSJA. Follow the #freeaprilwilkens campaign on Instagram at @freeaprilwilkens, on Twitter and on their webpage at https://aprilwilkensblog.wordpress.com/. Colleen McCarty is one of the hosts, executive director of Oklahoma Appleseed, and producer.  Leslie Briggs is the other host who is a civil rights and immigration attorney, and producer. Rusty Rowe provides additional production support. We're recorded at Bison and Bean Studios in Tulsa. Additional support from Amanda Ross and Ashlyn Faulkner. Our theme music is Velvet Rope by Gyom.  Panic Button is created in partnership with Oklahoma Appleseed Center for Law and Justice and Leslie Briggs. Follow OK Appleseed on Twitter and Instagram at @ok_appleseed. If you want to continue the conversation with other listeners, please join our Panic Button podcast community on Bookclubz at bit.ly/3NRHO8C.   TRANSCRIPT:    Colleen McCarty 00:01 If you're just tuning in, I suggest you go back and start listening from chapter one. Before we start a content warning: this episode contains accounts of domestic and sexual violence. Today's episode is a little longer than usual, we hope you'll stick with us. It's better for the story. If we tell you this chunk all together, the amount of violence, abuse, and frankly astounding acts of coercive control detailed in this episode are overwhelming. So take breaks when you need to. In early December of 1997, April's childhood friend Carrie was struggling. She had an infant child, and she was about to lose her house if she couldn't make the mortgage. April and Carrie had known each other since the eighth grade. When Carrie called April that night near Christmas in 1997, she was in tears. She was going to lose the house; she could lose the baby. Carrie wanted to know if April could loan her some money, just this once, to help her get out of this financial crisis. April's business had been going through bankruptcy. She'd struggled to show up to work the past few months because of everything that had been happening in her personal life. She was in no position to loan her old high school friend any money. But there was one person that owed April money. If she could get the money from him, she could give it to Carrie. The person who owed April money was Terry Carlton. This is Panic Button, Chapter Three: Hostile State. I'm Colleen McCarty,   Leslie Briggs 01:45 and I'm Leslie Briggs. In this episode, we're detailing the months of December 1997 to the night of the murder on April 28, 1998. It's hard to comprehend the chaos that April's life had become by this point. So there may be some skipping around in this episode because there's just so much that's going on. April had been doing her best to stay away from Terry after what had happened with the guitar neck. She was avoiding his calls, refusing to see him. But ever since April had stopped talking to Terry, unsettling things began happening around her house. April was being stalked. She had a prowler. Prowler was visiting her house multiple nights out of the week. There was often evidence of someone inside the house. At night, April would catch the shadow of a man lurking outside her windows. She even heard someone on the roof a few times. Throughout the fall and early spring, she was reporting the Prowler to the Tulsa police constantly. Curiously, the police would arrive mere moments after the Prowler had run off. April was also having problems with her door locks. Of course April suspects the Prowler was Terry, but the police were never able to catch him. And even though the police never managed to catch the Prowler, April's neighbor, Glinda McCarley, testifies about seeing Terry constantly speeding away from April's home in the spring of 1998. Quote, "It was just uncanny. How, when the police were called, his timing was impeccable. He could be in his car and gone just as they rounded the corner and only on one occasion do I know that they got there before we left." But back to December 1997. April, in her desire to help Carrie, reaches out to Terry about money for her friend's family. Terry agrees to pay April some money he owed her and April would give the money to Carrie. So, Carrie, her husband Alan, and April all go over to Terry's house in early December 1997 to get the money. Once at Terry's house, April notices that he's not looking so good. It looked like he hadn't left the house in a while. He had not been taking care of himself. He had no groceries. He looked like a wreck. In any event, Terry writes April a check and tacts on an additional $2,000. Terry asks April to cash the check and bring him that extra $2,000 in cash. He also gave April his credit card and the keys to his car. He asked her to go to Walmart to get him some things - some groceries, bring him some supplies. Bring back the cash, the credit card, and the car. So April leaves with Carrie and Alan and the three of them cash the check. April gives the rest of the money to Carrie and Alan and keeps the $2,000 for Terry. Then they part ways. Then, as instructed, April goes to Walmart at at first and Louis in Tulsa. As April goes into the Walmart, she actually sees an old high school friend of hers, Shannon Broyles, and that's just classic Tulsa. I mean, everybody knows everybody here. It's a big little city.   Colleen McCarty 04:39 It's actually not clear from the testimony if Shannon saw April heading into the store, or when she was at the checkout. April buys all the items that Terry had requested and heads to the checkout stand. The credit card didn't match April's signature, so the clerk asked to call Terry to make sure April had permission to use the card. April gave the clerk his number and then Terry got on the phone. April testifies the conversation went something like this. Clerk, quote, "Are you allowing a miss April Wilkins to use your card today Mr. Carlton?" Terry, quote, "No." Terry told the clerk "No." Even after he had given April the check to cash, the card to buy groceries and his car to transport everything. Terry tells the clerk to hold April there until he can come get his belongings. Shannon remembered that April seemed scared. To quote Shannon's testimony at trial, quote, "It was in the early morning hours and she - she said she couldn't even talk to me after not seeing me a long time. She couldn't stop and talk to me. Because she had to get out of there. She was afraid. She said she needed to leave. Question. All right. Did she say what she was afraid of? Answer from Shannon. Yes, sir. Question from the attorney. Okay. And what was that please? Answer from Shannon. She was afraid that Terry Carlton, she said, her boyfriend, said his name was going to come up there because he was mad at her for I believe it was using a card and for being gone too long."   Leslie Briggs 06:13 So, Terry shows up at Walmart and who drives him there? The Tulsa police officers walk Terry inside and he stirs up a confrontation. He's belligerently saying she's not supposed to be doing this. Despite the fact that Terry is alleging that April has committed the crimes of credit card fraud and auto theft, he tells the officers he doesn't want to press charges and he just he's going to take her home. So the officers leave, and Terry takes April back to his car and drives her to his house. No one in this situation seems to have thought it was odd that the victim of credit card and auto theft by his crazy ex-girlfriend just takes the thief with him to his car, and the two of them leave together. The police simply take Terry at his word. There's no effort on their part to find out if that his report has been made in good faith or if it's utterly false, which if he had made a false report would be a crime on Terry's part. But no, his word is taken at face value by the police. Now on the car ride home, Terry's mood has shifted wildly. April, looking back now, believes he must have been running out of drugs. He had asked her to make a large cash withdrawal while she was cashing that check for Carrie. And she knew the cash would be used to replenish his stash. Here's April talking about what happened at Walmart.   April Wilkens 07:35 He shows up with the police. All I remember is him telling them you know, "I'll take her . I don't want to press charges. I'll take her in." He probably neglected to tell them hey, I wrote her this $2,000 check -or I mean I - it was more than that. I don't remember how much we got for Carrie off hand right now. And tells them, "You know, I'll take her in." I'm just still kind of stunned by it all. I'm like, "Here is your money. Here's your $2,000. It's right there. You know, you asked me to do this." I remember the $2,000, as I remembered and I and I knew he wanted it for drugs. I was drug money cash, right. So. So we got that. And I remember when I got back to his house, that's when I just took off running, you know? And that's when I locked myself in that upstairs room. And it has a - it's an old house and it has a - you can lock it from the inside or the outside. So he locked me in the room and I had the room locked from the inside. It kind of goes blank from there. And I remember - it's - I don't know how long it was in there and that he - might have to go - I may have testified to it. I don't remember how long I was in there. At some point he tries to get in and he can't because I've got it locked from the inside. And that's when he kicks it - kicks it in and comes in. And that's when he yeah raped me at his house.   Colleen McCarty 09:03 As a small aside April and Shannon's relationship seems to be rekindled after they saw each other in Walmart. April begins to reach out to Shannon and tell her about the terror she's been going through. At one point, Shannon drops by April's house to show it to her boyfriend, a former police officer. Shannon rings April's doorbell but there's no answer. Quote, "April didn't answer the door at that time," end quote, Shannon later testifies. She goes to the back of the house and April tells her to come in through the backyard. Shannon, who lived with April their senior year of high school, knew that April was a neat freak. She was shocked to see the state of April's house. The door to April's bedroom had been kicked in and there was broken glass everywhere. And remember in episode one, when we told you that April called someone from her neighbor's house the night of the murder to ask if she could borrow a guard dog? That was Shannon Shannon had a doberman....   Leslie Briggs 10:02 Let's go back to the aftermath from the Walmart incident. Terry is driving April to his house and April and has a hard time remembering all of the details. But she knows that as soon as she was able to she was running. And she was running up the stairs and into the guest bedroom of Terry's house because it has a lock both a key lock and a deadbolt. And the room could be locked from either the inside or the outside. April is utterly terrified. And she knows that Terry's going to hurt her. And for some time, he has her locked inside the guest room from the outside. As soon as he unlocks it to come in, she locks it from the inside. Here's April at trial, quote, "I remember being locked in the room for a very long time. And then I remember you know, I had locked - I had locked him out. And then he locked me in I guess, and then I was there for quite some time. At some point he beat the door and kicked it in and attacked me. He tried to unlock it to come in and when he saw that I had locked it too, he - so he attacked me." Again, just a quick warning that this portion of the episode details another rape. So if you want to skip ahead, now's the time... So Terry is furious and breaks down the door to his own guestroom. He comes in shoves a valium pill wrapped in bread down April's throat. At trial, April's attorney had introduced photos of the doorframe and the door that Terry had broken down and we'll probably drop those in the show notes if we can get them.   Colleen McCarty 11:41 Terry violently raped April and caused vaginal injuries as well as injuries to her lower back. Her neck was also injured. She was drugged, she blacked out. And the next thing she remembers is waking up in the guest bed completely unable to move. She was terrified thinking that she had been paralyzed. She cried and screamed for Terry to call 911. "Please call 911." Terry must have been alarmed because he actually did call. When they arrived, April tells police that she was raped. Terry told the female officer at the scene that April was just one big bruise. The officers handcuffed Terry. So here we are: a critical moment where things might have gone differently. Terry's in handcuffs for the first time after all of April's reporting to the police. He's going to be taken in and booked for raping April. Finally, the system is going to work for her. Finally, law enforcement have the bad guy. Finally, April is going to get some distance and time between her and Terry and maybe she's going to get away, get help, and get out. Except. That's not what happens. Over the radio comes Sergeant Rick Hellberg and order for this officers to quote Uncuff him and just make a report. Terry is released and the officers do make a report. Officers documented the scene taking pictures of the bedroom and of April's injuries to her chin and neck. They drove her to Hillcrest hospital where she got a SANE exam. SANE stands for Sexual Assault Nurse exam. The exam showed signs of rape and sexual abuse including bruising, redness and a laceration. A female officer from the scene followed after to be with April at Hillcrest and then drove her home. April realized that her purse was still at Terry's. April tells us that she asked the officer, quote, "Can you go get my purse and bring it to me?" end quote. She obviously didn't feel safe going to her rapist's house, understandably. According to April, the female officer refuses. She apparently tells April that she will not go back to Terry's house for her purse because, quote, "Terry creeps her out."   Leslie Briggs 14:06 Later that week, Terry showed up at April's house. April testified at trial quote, "He was very concerned about rape charges being filed and my cooperation. He was very interested that I not cooperate. So he was staying very close to me."   April Wilkens 14:21 And that's when Tim Harris makes a big deal out of "Well you were with him." He came and got me; he had this form on supposed to sign this form that it was not rape, that it was consensual sex and, you know, and like and "I'm not signing this." It wasn't consensual and so he was keeping me with him then till I was signing this form, right? Here we go.   Leslie Briggs 14:41 So Terry intimidates April with a form that he's had drawn up. He wants her to sign it saying that the rape was actually consensual. And until she signed the form, April would not be allowed to leave Terry's sight. Ultimately, April was able to convince Terry that she would not cooperate with authorities and that she would not let the rape case go forward. But she could not get away from Terry. He was coming by he was stealing her mail. We find out later that he was tapping her phones with a small bugging device that he bought at RadioShack.   Colleen McCarty 15:12 Also in the spring of 1998, April begins to spend time with a friend, Luke Draffin. I feel the need to mention that his middle name is Leonidas. Luke Leonidas Draffin. Refined. We heard about him a little bit in episode one, and we may do a bonus episode about him if we have time because he is truly a perplexing engyma in this story. When April is with Luke, Terry leaves her alone. It's been posited that Luke was a criminal informant or an undercover cop. He had connections to an UnderSheriff in Creek County, which is a neighboring county to Tulsa, and he was always packing both guns and drugs. Terry is unusually wary about Luke. When Luke is around, Terry backs off. One might wonder if Luke was supplying Terry with drugs. Despite claiming to be an undercover cop by the time of trial, Luke has been arrested and charged with several felonies. In the spring of 1999, at the same time, April is being tried for shooting Terry, Luke was facing four felony charges: unlawful possession of a controlled substance, possession of a firearm while committing a felony, unlawful possession of paraphernalia, and unlawful possession of marijuana. By the time he testifies at trial in 1999, he's in custody. When he comes to testify, he's been rented over from jail, and he appears in court in handcuffs.   Leslie Briggs 16:42 But back in the spring of 1998, as things progressed with Luke and April starts to feel like she has someone to rely on, Terry's obsession and desire to control April is reaching a fever pitch. April had a set of French doors that open to her backyard from the master bedroom. Terry had broken in through this set of doors numerous times. The doorframe is broken, the locks don't work. April put a bungee cord around the handles on the inside to keep them closed. Then, Terry busted them in so hard that the bungee cord broke and the door handles went flying. She had to stack furniture against the door and boxes of books in hopes that she could sleep without fear of Terry breaking in. Except when he couldn't get in the French doors, he just came bursting in through the front and then April would be trapped. When April's neighbor Glenda McCarley talked to the police, she told them that she would frequently hear Terry's car engine. And, as a reminder, Terry's father owned one of the few Acura car dealerships in Tulsa and so Terry had an Acura NSX that had a unique sound. In any event, Glenda McCarley would frequently hear Terry's car out front of April's house at least five nights a week in the middle of the night. When Terry found out that April was spending time with Luke, he became obsessive and jealous. In the early months of 1998, Terry begins offering Luke money to stay away from April. There's some dispute as we mentioned in episode one as to whether Terry also gave Luke his Harley Davidson motorcycle. April had heard that Luke was riding the motorcycle around town. Regardless, Terry manages to insert himself between Luke and April. The one person April can rely on to keep her physical person safe. We will come to find out that unfortunately, Luke and Terry are more alike than different. Even though Luke was not physically abusive to April he was supplying her with drugs. And, Luke eventually strikes a deal with Terry to stay away from April. Here's how Luke testifies at trial for the state: The district attorney Tim Harris asks, 'Defense counsel asked you why you didn't want to have anything to do with her when she was at the executive Inn on the night of the murder. Could you clarify that? What was it about a person you had seen the one - one time a week for five months that you didn't want to have anything to do with?' Luke answers, "Well, I you know, made the deal with Terry, you know, it was between me and him and it was late at night and I didn't feel like messing with it. You know, I was in bed. I was asleep." Tim Harris says, "the offer for Mr. Carlton to you to stay away. How much were you offered?" Luke testifies "About 5,000."   Colleen McCarty 19:24 It is around this time that April continues to tell Terry she wants to break up. She says she can never be with him because she has a son and Hunter will never be safe with Terry around. Once Terry realizes that it's Hunter standing in the way of them being together, he begins to threaten Hunter and frightened April about the security of her son. She's so afraid that she calls her ex-husband Eric and asks him to file for sole custody. Up until this time, April had been a devoted mother. She didn't even believe in spaking her child. Hunter had lived the majority of his life with April. For her to give up custody was a shock and should have signaled to everyone in her life that something was very wrong.   Hunter 20:10 So she's with Terry, and all of a sudden, I stopped going over to my mom's house for, I don't know, I - I think we skipped two weeks. I didn't say anything. And then the third week, I asked my dad, I was like, the hell are we doing, man? Like, why am I not going over to mom's house? Like, you're pissing me off. I don't want to be over here anymore. She's told me that she kept - she called my dad like, "No, I can't take him right now. Because Terry's is being fucking insane. And we can't have Hunter anywhere near because I think he might hurt him."   Colleen McCarty 20:47 We spoke with a law professor at Wake Forest, who's an expert in criminalized survivorship. Her name is Jane Aiken, and she said that many women will not protect themselves, but a switch flips when they realize their children could be hurt. April told us when we visited that this was true for her. Luke in April of 38 for protection. She remembers having a phone conversation with someone and telling them that even if Terry did break into her house, she would be too effing nice to use the gun on him. But if she did it, it would be justifiable homicide, due to Terry's numerous assaults on her and the fact that he would be entering in her house. Sidenote, April gave up swearing several years ago, so she refused to say the actual f-word when retelling us this conversation. The conversation about her not being able to shoot Terry was recorded on the tapping device that Terry had installed. However, according to Don Carlton's pre-sentencing letter to the court, due to some technical difficulty, Tim Harris was unable to introduce this recording at trial. As Don Carlton, Terry's dad, describes the recording it irrefutably establishes premeditative intent on April's part. Let's stop for a second and consider that proposition. Newly elected district attorney Tim Harris was unable to play evidence that would irrefutably establish an essential element of his case. That is pretty stunning. We've been unable to find that recording it yet but if we do, we'll play it here.   Leslie Briggs 22:28 In early February 1998, Terry comes to April's house, armed with a glock nine millimeter, a billy club, tear gas, and a stun gun. April was in the back of the house and Luke was there. Luke actually lets Terry in the front door. Terry went to the back of the house, into April's bedroom and wanted to talk. When he sat down on one of the chairs April heard a thump. She demanded to know what the thump was. At first Terry refused to tell her but she said the conversation would go no further until she knew what he had in his pocket. Terry pulled out the glock and slid it out the bedroom door before closing it again. At this point April starts calling out to Luke that Terry's in the back, he's got a gun, but there's no answer. April tells Terry he's not to be at her house. She doesn't want to see him. He immediately flies into a rage charging at her with the stun gun. Terry kept saying that April owed him a fuck, and he was going to take it. He rips off her clothes and he has her on the bed threatening her with the stun gun. She's calling out desperately for help. But apparently Luke had walked out when Terry arrived, abandoning April to whatever fate awaited her. April used the only defense that she had that sometimes worked against Terry: words. She said, "If you're going to take your fuck anyway, just back up a minute. Let me relax and get to where I can try to enjoy it." April manages to wiggle out from underneath him as she tries to talk him into stopping. She's able to reach the 38 pistol that Luke had given her, which She's hidden at the head of her bed. Terry is standing up beside the bed at this point and April points the gun at Terry's head. He's enraged and starts to grab the gun. April pulls the trigger but the gun doesn't fire. Terry actually tells April at this time, "I'm God and I am Satan." And April is frankly starting to believe it. Terry is furious, and he attacks April again, then abruptly stops when he hears Luke come back into the house. Terry runs off and flees from April's home. Later after breaking into April's home again Terry steals the gun that Luke has given her. Small reminder at this point. Most legal scholars agree that the law of self defense allows you to use deadly force to protect your life or to protect yourself from being raped. A potential rape victim can use deadly force if she reasonably believes her rapist will cause great bodily injury or death, you can check out 21 OS section 733 to fact check me.   Colleen McCarty 25:06 During this time period April notices that Terry has a police scanner and that anytime she calls police, he is easily able to evade them by listening to their responses on the scanner. On February 21, 1998, the abuse and stalking had culminated to an almost daily terror. Terry had stolen April's keys to her house, the remote to her gate and the garage door opener. Terry called April in the middle of the night, and she said she did not want to see him. "I'm coming over," he spits into the phone and hangs up. April immediately calls 911. Terry pulls into April's driveway and runs up to her side garage door. April can hear him beating on the door with something metal. She's terrified because the last time she saw Terry she'd pointed a gun at him and she knew she wouldn't get away with that. Officer Troy DeWitt of the Tulsa police department pulls in behind Terry's car as he is trying to get in to escape. For the first time since April began calling police after the trip to Rome in 1996, Terry Carlton is arrested and booked in the Tulsa County Jail in the early morning hours of February 21, 1998. Even though stalking was a misdemeanor crime at this point in Oklahoma history, Terry is only booked into the jail for the misdemeanor of transporting a loaded firearm. This is what officer DeWitt wrote in his police report the night he arrested Terry, quote,"On 2-21-98 at 0304 hours, I was radio assigned to 1341 East 35th Street in Tulsa in reference to a domestic with a gun call. Upon arrival, I could hear the suspect, Terry Carlton, yelling behind a large eight-foot fence. As officers approached the residence, I hear a car motor start and a black accurate quickly backed out into the street. Carlton was told to stop and complied. Officials observed a stun gun and part of a Glock pistol that was in a white bag. Officer Anison retrieved the nine millimeter Glock pistol from the passenger side floorboard. And it was chamber loaded and was fully loaded with ammunition. Carlton stated, quote, "I was bringing it" and there's a blank here because it's hard to tell what the officer wrote down on that word. So I'm sorry, but then he keeps going "for her the other day and I just forgot it was there." This residence has a history of domestic violence and threats. Although April Wilkens could not say whether he had threatened her tonight, Wilkens said he had in the past and she felt very threatened. Officers contacted judge Hogshead and an emergency protective order was issued. Carlton was arrested and booked, evidence was turned in on property receipt #A3-2. Before he left officer DeWitt reminded April that even a simple phone call from Terry was a violation of the emergency protective order.   Leslie Briggs 28:13 Officer DeWitt is the only police officer who ever really takes decisive action against Terry Carlton on behalf of April. I know we've been really critical to the police throughout this podcast and I think we have good reason to. But officer DeWitt really is a true hero in this story.   Colleen McCarty 28:29 The next morning, April began receiving phone calls from the Tulsa County Jail. It was Terry, brazenly violating the emergency protective order. April remembered what officer DeWitt said and she called the police again to report the EPO violation. At this time in Oklahoma, someone stalking another person while on a protective order was a felony that could serve up to five years in prison. You can find that at 21 OS 1173, the 1998 version. Still violation of a protective order at all was a felony.   Leslie Briggs 29:07 Officer Aaron Tallman responds to the call. "We just keep expecting to find you dead," he tells April. April shows him the caller ID which shows the Tulsa County Jail and tells officer Tolman about the emergency protective order. Officer Tallman tells April that she's annoying him. He claims that her emergency protective order doesn't say that Terry can't call her. This is of course the opposite of the information that officer DeWitt told her the night before. Nothing is done. And Terry is right back on April's doorstep after he bonds out of jail. April's neighbor, Glenda McCarley testifies about officer Thompson's behavior because she was there to witness it. She describes it as infuriating when he responded to April's 911 call. Here's Geldna McCarley's testimony at trial. Question: "All right, and if you will miss McCarley, tell us what occurred when the police arrived." Miss McCarthy's answer, "Usually, nothing." On the 25th of March 1998, Terry fails to appear in court on his misdemeanor loaded firearm charge. The judge issued a bench warrant for Terry's arrest. And kind of a funny quirk of constitutional law at the time, anytime officers came into contact with Terry, that misdemeanor warrant would have allowed them to arrest him. Except, weirdly, between the hours of 10pm and 6am.   Colleen McCarty 30:30 We have a sight on that it's 22 OS 189 in effect in Oklahoma since 1990. Things are really escalating in the spring of '98. The major episode in the saga starts on April 2, about nine days after Terry's warrant is issued by the court for failing to appear. Terry's just pulled up to April's house. April is running. She runs from 35th N Quincy, west toward Peoria. She crosses Peoria, she's in a church parking lot. She can look across Peoria and see her driveway and see her house and she can see Terry sitting on the road in the street in his car in front of her house. April has absolutely no one else to turn to at this point. Remember, this was before cell phones. And not to mention Terry told April during this time period that he had cut her phone lines. She realized the lines were dead during an altercation with Terry, during which she went to call the police and Terry tells her, "I cut the line. Call them again." Officers later confirmed that her phone lines were indeed cut.   Leslie Briggs 31:44 Also, it's worth noting that around the same time, Terry makes this allegation to April that "It's 500 bucks, baby. That's all it costs to buy a police officer."   Colleen McCarty 31:55 So she's standing there, desperate, in a church parking lot. And she's talking to God. She's asking God to protect her and to please keep her safe. God is her last resort. A small side note here. For those listening who aren't from Oklahoma, we are a reliably Christian state. Oklahoma's religious profile varies markedly from national norms. The state residents identify themselves as Southern Baptist almost seven times more often than other Americans, but Churches of Christ, Methodist, Pentecostal and holiness groups are also much more common in Oklahoma than elsewhere. We also have a high propensity of churches in Oklahoma that encouraged parishioners to pray aloud or even in tongues. Prayer is a powerful medium for change here, and local leaders often asked for prayers when making difficult decisions. I say this to note that talking aloud to God is a common occurrence here. In more religious areas, people often pray over each other aloud before meals, before meetings or before major family functions or difficult conversations.   Leslie Briggs 33:04 And of course, the Supreme Court agrees that this is normal and acceptable and appropriate behavior, even if you're a public school coach. So the religious context here is important because of what happens next. Officer Aaron Tallman Yes, the same Aaron Tallman from before, approaches April in the church parking lot and he witnesses her talking to God. Tallman uses April's behavior as a pretext to search her. In a wrist guard that she wears while rollerblading he finds a syringe. Later at trial when he's testifying. Officer Tollman states that he could have arrested April on a paraphernalia charge even though he could look across Peoria and see Terry parked outside her house waiting for her to return. And I think it's worth reminding everyone that Tallman knew about her history of domestic violence with Terry. He had responded to her house on several occasions, including in February, just two months prior when Terry had violated the emergency protective orde. When Tallman picks April up from the church parking lot. Instead of hitting her with a paraphernalia charge, Officer Tallman calls EOD, which is like a mental health crisis response team. They come out, they check April out, and essentially as I gather from reading the testimony, it's like a paddy wagon that takes April to Parkside Mental Health Institute. So Parkside is an acute mental health facility here in Tulsa. It's around 11th and Utica, about four miles from April's house. So officer Tallman from the Tulsa Police Department had called in what's called a 5150, claiming that April was a danger to herself or to others and he has her involuntarily civilly committed. April was held at Parkside for six days. And during that time, she refuses to let Terry visit her and will not let him attend the civil commitment hearing. On the sixth today, April is able to squirrel the keys to the unit away from the head psychiatric nurse while she's playing Uno. She escapes and heads home. The day she arrives home, she is surprised to find Terry coming in the front door with keys to her house. Terry was armed again with a 38 pistol that Luke had given her. The one that she'd aimed his head back in February. Terry is pissed again. He's upset that she wouldn't let him see her at Parkside and that he wasn't allowed to come to the commitment hearing. Terry's narrative now is that April is sick. And Terry is the only one standing by her to make sure that she's okay. He's telling her friends to call him to check on her. April finds this out later when she would occasionally answer the phone at his house, including on the morning of the shooting, to find her childhood friends on the other side of the line.   Colleen McCarty 35:49 Terry takes April to his house at gunpoint with a 38 he holds her hostage there. We don't have a lot of detail about what happened while Terry was keeping April as a prisoner during this time. We know she could not leave and that he was repeatedly attacking her. She remembers him attacking her on the kitchen floor and attempting to rape her again. Then Terry moves her to the basement and thrusts her onto the couch. Continuing to say he wants to take that buck that she owes him. There was something sharp on the couch - she refers to it as an icepick or a guitar piece. Something that had a sharp end. She landed on it and it stabbed her in the left buttock. April screamed and got up. In the tussle, the remote to the television must have gotten pressed because the TV turns on by itself. Terry is very freaked out by this. Small aside if your people you know use drugs this will sound a lot like the behavior of addicts. April describes Terry as deranged during this time, seeing things that weren't there, somewhat fading in and out of reality. April knows that he told her he was going to take his fuck and then slit her throat and kill himself. While Terry's distracted by the TV coming on, April runs upstairs and puts three of the guns in a black bag. She carries the bag outside and runs across the street to Terry's neighbor, Dr. Laughlin's house. She gets there. And Dr. Dr. Laughlin's wife is home but Dr. Laughlin is not. And she asks Dr. Dr. Laughlin's wife to please help her find the number for Domestic Violence Intervention Services here in Tulsa. She refuses to call the police because of how they had reacted in the past and she was scared that she would get taken back to Parkside. She called Domestic Violence Intervention Services and tells the operator that Terry is suicidal. She was worried he was going to hurt himself or someone else. Because a threat to someone's life is alleged the DV operator had to send the police. When they arrive, they don't just take Terry to Parkside for being suicidal. They take both Terry and April to Parkside and they civilly commit both of them for being dangerous to themselves and others. Terry was released a few hours later, but they hold April at Parkside until April 23.   Leslie Briggs 38:12 On April 23, April is transferred to Eastern State Hospital. This is where she meets a true hero in this story, nurse Betty Cantrell. Betty Cantrell seems to be the first person that April encounters in the mental health system, who doesn't believe she is a danger or psychotic but that she's afraid and suffering from PTSD. What happens at Eastern State is truly a trip. Terry has previously indicated to April that he's the one who had her committed at Parkside, and he's the one who had her committed at Eastern State. We're going to call it ESH for short. Her first call when she gets to ESH is to Terry. She's pleading with him to make them let her go. She truly believes at this point, he's pulling the strings and having hospital staff hold her there so he can teach her a lesson. April stays at ESH from April 23 until the 26th. And during those three days, Carrie tries to visit her three times. Venita is a 45 minute drive from Tulsa and that's where Eastern State is located. April rejects his visits the first two times. On the third time, she lets him come in, and he is absolutely insistent that he sees her. But first let's talk about how he shows up. He arrives in a brand new red Acura with balloons tied to it. He's saying it's her birthday present. He's offering this gift, but only if April will come clean with him about if she's fallen in love with someone else.   Colleen McCarty 39:44 Here's April testifying about this. Quote, "He had been pressuring me. I had, excuse me, I could not have visitors at Parkside. So there was relief there. But he did come see me at Eastern State. I was reluctant to see him but when I did, he began to pressure me into saying I was in love with someone else. And I had told him all along that my feelings for him were independent of my feelings for anyone else. And I didn't want to hurt his feelings. And I didn't want to aggravate him because I - And finally on Sunday, he was very insistent in front of a group of people and also several nurses, he had to have an answer. And I had not said anything to him. And finally, I said - I hadn't said this to him before, because I did not want to hurt his feelings. And I did not want to endanger anyone else. And because I did not want to endanger myself more. And that was I finally said, Okay, I'm in love with someone else, you know? If that's what you need to hear to understand that we're not going to be together." Question, "Was there really someone else?" Answer, "I cared about Luke. I don't know if I was in love with him. But I would never say like I said, Luke, or no, Luke. I was not going to be with Terry. I just wasn't."   Leslie Briggs 41:07 And here's the testimony of the ESH nurse Betty Cantrell, talking about the time that Terry visited April on Sunday afternoon, April 26, 1998, two days before the shooting. Question, "What if anything, did he say or do when he walked up?" Answer from Betty Cantrell, "He asked - told, more - basically told her to come out to the car. He wanted to talk to her. And she kind of nudged me and I said, I'm sorry. She can't go out to the car." Question, "Okay, when you say that he more or less told her to come out to the car. Describe for the court and jury what you observed." And here's nurse Cantrell again. "He was very I mean, he was, he was like a hostile state. He said, 'I want to talk to you privately. I want to talk to you now.' And I said, 'I'm sorry, she cannot go to the car.' And he kept on at her. And I said, 'You can sit right here on this bench with us and talk to her. But I'm sorry, she cannot leave here.'" Question, "What was April's reaction?" Answer, Nurse Cantrell testifies. "She didn't say anything against me telling her to sit down. She sat down. Never had no, she just said, Thank you. That was all she ever said." Question, "How long did this go on?" Answer, "I would say we probably sit there for a good 10 to 15 minutes, maybe?" Question, "All right. And what was Mr. Carlton doing during this period of time?" and nurse Cantrell testifies, "He had cursed at her several different times, telling her that he wanted to talk to her away from where he could talk to her personally. And privately. He did not want anybody present. And every time he would say it, he would kind of curse at her. I tell him no, I'm sorry. She can't." Question "When you say he cursed at her. Do you recall specifically what he said?" Here's nurse Cantrell. "He said at one point, he said, listen, goddamnit I said, I want to talk to you privately. I don't want out in front of everybody else. And I again cautioned him, you know, that she's not going." Question, "All right, what ultimately transpired?" "He started to walk away. And it's an area that from the back of the building where we were sitting, I would say it's farther from here to that wall. It's a little farther than that to the parking area where his car was parked. And at one point, she told me, when he started to walk off, she said, I'm sure glad you didn't let me go with him. And I said, 'Well, why why would you? You know,' I said, 'you can't take off, you know, you got to try to get things taken care of.' She said, 'I understand that. But she said he usually carries a gun with him all the time.' And I said, 'You're not going down to that car.'" So small. Sidenote here after this testimony, Tim Harris, the district attorney asks for a conference at the bench and accuses April's defense of violating the Allen Rule. Colleen, do you want to give us a quick synopsis of the Allen Rule?   Colleen McCarty 44:07 An Allen hearing happens when one side of a case doesn't disclose everything that they have in discovery and when district attorney Tim Harris accuses April's defense attorney, Chris Lyons, of an Allen violation, he's essentially saying that Chris Lyons knew he was going to introduce this fact about the gun, and he withheld it intentionally and that it's an Allen violation.   Leslie Briggs 44:32 Thank you. Harris is very upset about the comment about Terry carrying a gun. Apparently he was never notified by the defense that Betty Cantrell would testify about Terry carrying a gun. Harris is reportedly livid and would like the court to admonish the defense because he finds the fact that Terry carried a firearm to ESH, extremely prejudicial to his case.   Colleen McCarty 45:07 So to close out today's episode, ESH kept April for one more day until Monday, April 27, 1998. They determined she was primarily in need of substance use treatment and that she could seek that help in the community. They sent her to 12 & 12 in Tulsa in a van. As we know from episode one, she ran away from that program and hitchhiked home, which began the final hours of her life before everything changed. Next week on Panic Button, we'll talk about the arrest, the confession, the year April spends in jail. And we'll come through highlights of the lawyers selecting the jury, or as we say in Oklahoma, voir dire. Panic Button is a co-production with Oklahoma Appleseed Center for Law and Justice and Leslie Briggs. We're your hosts, Colleen McCarty and   Leslie Briggs 46:04 Leslie Briggs.   Colleen McCarty 46:05 Our theme music is Velvet Rope by Guillaume. The production team, Leslie Briggs and Rusty Rowe. We're recorded at Bison and Bean studio in Tulsa. Special thanks to Lynn Worely, Amanda Ross, and Ashlynn Faulkner for their work on this case. If you or someone you know is experiencing domestic abuse, use a safe computer and contact the National Domestic Violence Hotline at thehotline.org or call 1-800-799-7233. Help others find our show by leaving us a rating and writing a review. Follow us at OK_Appleseed across all social platforms. You can subscribe right now in the Apple podcasts app by clicking on our podcast logo and then clicking the subscribe button. If you want to continue the conversation with other listeners, please join our panic button podcast community on Book Clubs. Join for free at Bit.ly/3NRHO8C. Thank you so much for listening.

This week's episode looks at “All You Need is Love”, the Our World TV special, and the career of the Beatles from April 1966 through August 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on "Rain" by the Beatles. 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/ NB for the first few hours this was up, there was a slight editing glitch. If you downloaded the old version and don't want to redownload the whole thing, just look in the transcript for "Other than fixing John's two flubbed" for the text of the two missing paragraphs. Errata I say "Come Together" was a B-side, but the single was actually a double A-side. Also, I say the Lennon interview by Maureen Cleave appeared in Detroit magazine. That's what my source (Steve Turner's book) says, but someone on Twitter says that rather than Detroit magazine it was the Detroit Free Press. Also at one point I say "the videos for 'Paperback Writer' and 'Penny Lane'". I meant to say "Rain" rather than "Penny Lane" there. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. Particularly useful this time was Steve Turner's book Beatles '66. I also used Turner's The Beatles: The Stories Behind the Songs 1967-1970. Johnny Rogan's Starmakers and Svengalis had some information on Epstein I hadn't seen anywhere else. Some information about the "Bigger than Jesus" scandal comes from Ward, B. (2012). “The ‘C' is for Christ”: Arthur Unger, Datebook Magazine and the Beatles. Popular Music and Society, 35(4), 541-560. https://doi.org/10.1080/03007766.2011.608978 Information on Robert Stigwood comes from Mr Showbiz by Stephen Dando-Collins. And the quote at the end from Simon Napier-Bell is from You Don't Have to Say You Love Me, which is more entertaining than it is accurate, but is very entertaining. Sadly the only way to get the single mix of "All You Need is Love" is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Magical Mystery Tour. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I start the episode -- this episode deals, in part, with the deaths of three gay men -- one by murder, one by suicide, and one by an accidental overdose, all linked at least in part to societal homophobia. I will try to deal with this as tactfully as I can, but anyone who's upset by those things might want to read the transcript instead of listening to the episode. This is also a very, very, *very* long episode -- this is likely to be the longest episode I *ever* do of this podcast, so settle in. We're going to be here a while. I obviously don't know how long it's going to be while I'm still recording, but based on the word count of my script, probably in the region of three hours. You have been warned. In 1967 the actor Patrick McGoohan was tired. He had been working on the hit series Danger Man for many years -- Danger Man had originally run from 1960 through 1962, then had taken a break, and had come back, retooled, with longer episodes in 1964. That longer series was a big hit, both in the UK and in the US, where it was retitled Secret Agent and had a new theme tune written by PF Sloan and Steve Barri and recorded by Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But McGoohan was tired of playing John Drake, the agent, and announced he was going to quit the series. Instead, with the help of George Markstein, Danger Man's script editor, he created a totally new series, in which McGoohan would star, and which McGoohan would also write and direct key episodes of. This new series, The Prisoner, featured a spy who is only ever given the name Number Six, and who many fans -- though not McGoohan himself -- took to be the same character as John Drake. Number Six resigns from his job as a secret agent, and is kidnapped and taken to a place known only as The Village -- the series was filmed in Portmeirion, an unusual-looking town in Gwynnedd, in North Wales -- which is full of other ex-agents. There he is interrogated to try to find out why he has quit his job. It's never made clear whether the interrogators are his old employers or their enemies, and there's a certain suggestion that maybe there is no real distinction between the two sides, that they're both running the Village together. He spends the entire series trying to escape, but refuses to explain himself -- and there's some debate among viewers as to whether it's implied or not that part of the reason he doesn't explain himself is that he knows his interrogators wouldn't understand why he quit: [Excerpt: The Prisoner intro, from episode Once Upon a Time, ] Certainly that explanation would fit in with McGoohan's own personality. According to McGoohan, the final episode of The Prisoner was, at the time, the most watched TV show ever broadcast in the UK, as people tuned in to find out the identity of Number One, the person behind the Village, and to see if Number Six would break free. I don't think that's actually the case, but it's what McGoohan always claimed, and it was certainly a very popular series. I won't spoil the ending for those of you who haven't watched it -- it's a remarkable series -- but ultimately the series seems to decide that such questions don't matter and that even asking them is missing the point. It's a work that's open to multiple interpretations, and is left deliberately ambiguous, but one of the messages many people have taken away from it is that not only are we trapped by a society that oppresses us, we're also trapped by our own identities. You can run from the trap that society has placed you in, from other people's interpretations of your life, your work, and your motives, but you ultimately can't run from yourself, and any time you try to break out of a prison, you'll find yourself trapped in another prison of your own making. The most horrifying implication of the episode is that possibly even death itself won't be a release, and you will spend all eternity trying to escape from an identity you're trapped in. Viewers became so outraged, according to McGoohan, that he had to go into hiding for an extended period, and while his later claims that he never worked in Britain again are an exaggeration, it is true that for the remainder of his life he concentrated on doing work in the US instead, where he hadn't created such anger. That final episode of The Prisoner was also the only one to use a piece of contemporary pop music, in two crucial scenes: [Excerpt: The Prisoner, "Fall Out", "All You Need is Love"] Back in October 2020, we started what I thought would be a year-long look at the period from late 1962 through early 1967, but which has turned out for reasons beyond my control to take more like twenty months, with a song which was one of the last of the big pre-Beatles pop hits, though we looked at it after their first single, "Telstar" by the Tornadoes: [Excerpt: The Tornadoes, "Telstar"] There were many reasons for choosing that as one of the bookends for this fifty-episode chunk of the podcast -- you'll see many connections between that episode and this one if you listen to them back-to-back -- but among them was that it's a song inspired by the launch of the first ever communications satellite, and a sign of how the world was going to become smaller as the sixties went on. Of course, to start with communications satellites didn't do much in that regard -- they were expensive to use, and had limited bandwidth, and were only available during limited time windows, but symbolically they meant that for the first time ever, people could see and hear events thousands of miles away as they were happening. It's not a coincidence that Britain and France signed the agreement to develop Concorde, the first supersonic airliner, a month after the first Beatles single and four months after the Telstar satellite was launched. The world was becoming ever more interconnected -- people were travelling faster and further, getting news from other countries quicker, and there was more cultural conversation – and misunderstanding – between countries thousands of miles apart. The Canadian media theorist Marshall McLuhan, the man who also coined the phrase “the medium is the message”, thought that this ever-faster connection would fundamentally change basic modes of thought in the Western world. McLuhan thought that technology made possible whole new modes of thought, and that just as the printing press had, in his view, caused Western liberalism and individualism, so these new electronic media would cause the rise of a new collective mode of thought. In 1962, the year of Concorde, Telstar, and “Love Me Do”, McLuhan wrote a book called The Gutenberg Galaxy, in which he said: “Instead of tending towards a vast Alexandrian library the world has become a computer, an electronic brain, exactly as an infantile piece of science fiction. And as our senses have gone outside us, Big Brother goes inside. So, unless aware of this dynamic, we shall at once move into a phase of panic terrors, exactly befitting a small world of tribal drums, total interdependence, and superimposed co-existence.… Terror is the normal state of any oral society, for in it everything affects everything all the time.…” He coined the term “the Global Village” to describe this new collectivism. The story we've seen over the last fifty episodes is one of a sort of cultural ping-pong between the USA and the UK, with innovations in American music inspiring British musicians, who in turn inspired American ones, whether that being the Beatles covering the Isley Brothers or the Rolling Stones doing a Bobby Womack song, or Paul Simon and Bob Dylan coming over to the UK and learning folk songs and guitar techniques from Martin Carthy. And increasingly we're going to see those influences spread to other countries, and influences coming *from* other countries. We've already seen one Jamaican artist, and the influence of Indian music has become very apparent. While the focus of this series is going to remain principally in the British Isles and North America, rock music was and is a worldwide phenomenon, and that's going to become increasingly a part of the story. And so in this episode we're going to look at a live performance -- well, mostly live -- that was seen by hundreds of millions of people all over the world as it happened, thanks to the magic of satellites: [Excerpt: The Beatles, "All You Need is Love"] When we left the Beatles, they had just finished recording "Tomorrow Never Knows", the most experimental track they had recorded up to that date, and if not the most experimental thing they *ever* recorded certainly in the top handful. But "Tomorrow Never Knows" was only the first track they recorded in the sessions for what would become arguably their greatest album, and certainly the one that currently has the most respect from critics. It's interesting to note that that album could have been very, very, different. When we think of Revolver now, we think of the innovative production of George Martin, and of Geoff Emerick and Ken Townshend's inventive ideas for pushing the sound of the equipment in Abbey Road studios, but until very late in the day the album was going to be recorded in the Stax studios in Memphis, with Steve Cropper producing -- whether George Martin would have been involved or not is something we don't even know. In 1965, the Rolling Stones had, as we've seen, started making records in the US, recording in LA and at the Chess studios in Chicago, and the Yardbirds had also been doing the same thing. Mick Jagger had become a convert to the idea of using American studios and working with American musicians, and he had constantly been telling Paul McCartney that the Beatles should do the same. Indeed, they'd put some feelers out in 1965 about the possibility of the group making an album with Holland, Dozier, and Holland in Detroit. Quite how this would have worked is hard to figure out -- Holland, Dozier, and Holland's skills were as songwriters, and in their work with a particular set of musicians -- so it's unsurprising that came to nothing. But recording at Stax was a different matter.  While Steve Cropper was a great songwriter in his own right, he was also adept at getting great sounds on covers of other people's material -- like on Otis Blue, the album he produced for Otis Redding in late 1965, which doesn't include a single Cropper original: [Excerpt: Otis Redding, "Satisfaction"] And the Beatles were very influenced by the records Stax were putting out, often namechecking Wilson Pickett in particular, and during the Rubber Soul sessions they had recorded a "Green Onions" soundalike track, imaginatively titled "12-Bar Original": [Excerpt: The Beatles, "12-Bar Original"] The idea of the group recording at Stax got far enough that they were actually booked in for two weeks starting the ninth of April, and there was even an offer from Elvis to let them stay at Graceland while they recorded, but then a couple of weeks earlier, the news leaked to the press, and Brian Epstein cancelled the booking. According to Cropper, Epstein talked about recording at the Atlantic studios in New York with him instead, but nothing went any further. It's hard to imagine what a Stax-based Beatles album would have been like, but even though it might have been a great album, it certainly wouldn't have been the Revolver we've come to know. Revolver is an unusual album in many ways, and one of the ways it's most distinct from the earlier Beatles albums is the dominance of keyboards. Both Lennon and McCartney had often written at the piano as well as the guitar -- McCartney more so than Lennon, but both had done so regularly -- but up to this point it had been normal for them to arrange the songs for guitars rather than keyboards, no matter how they'd started out. There had been the odd track where one of them, usually Lennon, would play a simple keyboard part, songs like "I'm Down" or "We Can Work it Out", but even those had been guitar records first and foremost. But on Revolver, that changed dramatically. There seems to have been a complex web of cause and effect here. Paul was becoming increasingly interested in moving his basslines away from simple walking basslines and root notes and the other staples of rock and roll basslines up to this point. As the sixties progressed, rock basslines were becoming ever more complex, and Tyler Mahan Coe has made a good case that this is largely down to innovations in production pioneered by Owen Bradley, and McCartney was certainly aware of Bradley's work -- he was a fan of Brenda Lee, who Bradley produced, for example. But the two influences that McCartney has mentioned most often in this regard are the busy, jazz-influenced, basslines that James Jamerson was playing at Motown: [Excerpt: The Four Tops, "It's the Same Old Song"] And the basslines that Brian Wilson was writing for various Wrecking Crew bassists to play for the Beach Boys: [Excerpt: The Beach Boys, "Don't Talk (Put Your Head on My Shoulder)"] Just to be clear, McCartney didn't hear that particular track until partway through the recording of Revolver, when Bruce Johnston visited the UK and brought with him an advance copy of Pet Sounds, but Pet Sounds influenced the later part of Revolver's recording, and Wilson had already started his experiments in that direction with the group's 1965 work. It's much easier to write a song with this kind of bassline, one that's integral to the composition, on the piano than it is to write it on a guitar, as you can work out the bassline with your left hand while working out the chords and melody with your right, so the habit that McCartney had already developed of writing on the piano made this easier. But also, starting with the recording of "Paperback Writer", McCartney switched his style of working in the studio. Where up to this point it had been normal for him to play bass as part of the recording of the basic track, playing with the other Beatles, he now started to take advantage of multitracking to overdub his bass later, so he could spend extra time getting the bassline exactly right. McCartney lived closer to Abbey Road than the other three Beatles, and so could more easily get there early or stay late and tweak his parts. But if McCartney wasn't playing bass while the guitars and drums were being recorded, that meant he could play something else, and so increasingly he would play piano during the recording of the basic track. And that in turn would mean that there wouldn't always *be* a need for guitars on the track, because the harmonic support they would provide would be provided by the piano instead. This, as much as anything else, is the reason that Revolver sounds so radically different to any other Beatles album. Up to this point, with *very* rare exceptions like "Yesterday", every Beatles record, more or less, featured all four of the Beatles playing instruments. Now John and George weren't playing on "Good Day Sunshine" or "For No One", John wasn't playing on "Here, There, and Everywhere", "Eleanor Rigby" features no guitars or drums at all, and George's "Love You To" only features himself, plus a little tambourine from Ringo (Paul recorded a part for that one, but it doesn't seem to appear on the finished track). Of the three songwriting Beatles, the only one who at this point was consistently requiring the instrumental contributions of all the other band members was John, and even he did without Paul on "She Said, She Said", which by all accounts features either John or George on bass, after Paul had a rare bout of unprofessionalism and left the studio. Revolver is still an album made by a group -- and most of those tracks that don't feature John or George instrumentally still feature them vocally -- it's still a collaborative work in all the best ways. But it's no longer an album made by four people playing together in the same room at the same time. After starting work on "Tomorrow Never Knows", the next track they started work on was Paul's "Got to Get You Into My Life", but as it would turn out they would work on that song throughout most of the sessions for the album -- in a sign of how the group would increasingly work from this point on, Paul's song was subject to multiple re-recordings and tweakings in the studio, as he tinkered to try to make it perfect. The first recording to be completed for the album, though, was almost as much of a departure in its own way as "Tomorrow Never Knows" had been. George's song "Love You To" shows just how inspired he was by the music of Ravi Shankar, and how devoted he was to Indian music. While a few months earlier he had just about managed to pick out a simple melody on the sitar for "Norwegian Wood", by this point he was comfortable enough with Indian classical music that I've seen many, many sources claim that an outside session player is playing sitar on the track, though Anil Bhagwat, the tabla player on the track, always insisted that it was entirely Harrison's playing: [Excerpt: The Beatles, "Love You To"] There is a *lot* of debate as to whether it's George playing on the track, and I feel a little uncomfortable making a definitive statement in either direction. On the one hand I find it hard to believe that Harrison got that good that quickly on an unfamiliar instrument, when we know he wasn't a naturally facile musician. All the stories we have about his work in the studio suggest that he had to work very hard on his guitar solos, and that he would frequently fluff them. As a technical guitarist, Harrison was only mediocre -- his value lay in his inventiveness, not in technical ability -- and he had been playing guitar for over a decade, but sitar only a few months. There's also some session documentation suggesting that an unknown sitar player was hired. On the other hand there's the testimony of Anil Bhagwat that Harrison played the part himself, and he has been very firm on the subject, saying "If you go on the Internet there are a lot of questions asked about "Love You To". They say 'It's not George playing the sitar'. I can tell you here and now -- 100 percent it was George on sitar throughout. There were no other musicians involved. It was just me and him." And several people who are more knowledgeable than myself about the instrument have suggested that the sitar part on the track is played the way that a rock guitarist would play rather than the way someone with more knowledge of Indian classical music would play -- there's a blues feeling to some of the bends that apparently no genuine Indian classical musician would naturally do. I would suggest that the best explanation is that there's a professional sitar player trying to replicate a part that Harrison had previously demonstrated, while Harrison was in turn trying his best to replicate the sound of Ravi Shankar's work. Certainly the instrumental section sounds far more fluent, and far more stylistically correct, than one would expect: [Excerpt: The Beatles, "Love You To"] Where previous attempts at what got called "raga-rock" had taken a couple of surface features of Indian music -- some form of a drone, perhaps a modal scale -- and had generally used a guitar made to sound a little bit like a sitar, or had a sitar playing normal rock riffs, Harrison's song seems to be a genuine attempt to hybridise Indian ragas and rock music, combining the instrumentation, modes, and rhythmic complexity of someone like Ravi Shankar with lyrics that are seemingly inspired by Bob Dylan and a fairly conventional pop song structure (and a tiny bit of fuzz guitar). It's a record that could only be made by someone who properly understood both the Indian music he's emulating and the conventions of the Western pop song, and understood how those conventions could work together. Indeed, one thing I've rarely seen pointed out is how cleverly the album is sequenced, so that "Love You To" is followed by possibly the most conventional song on Revolver, "Here, There, and Everywhere", which was recorded towards the end of the sessions. Both songs share a distinctive feature not shared by the rest of the album, so the two songs can sound more of a pair than they otherwise would, retrospectively making "Love You To" seem more conventional than it is and "Here, There, and Everywhere" more unconventional -- both have as an introduction a separate piece of music that states some of the melodic themes of the rest of the song but isn't repeated later. In the case of "Love You To" it's the free-tempo bit at the beginning, characteristic of a lot of Indian music: [Excerpt: The Beatles, "Love You To"] While in the case of "Here, There, and Everywhere" it's the part that mimics an older style of songwriting, a separate intro of the type that would have been called a verse when written by the Gershwins or Cole Porter, but of course in the intervening decades "verse" had come to mean something else, so we now no longer have a specific term for this kind of intro -- but as you can hear, it's doing very much the same thing as that "Love You To" intro: [Excerpt: The Beatles, "Here, There, and Everywhere"] In the same day as the group completed "Love You To", overdubbing George's vocal and Ringo's tambourine, they also started work on a song that would show off a lot of the new techniques they had been working on in very different ways. Paul's "Paperback Writer" could indeed be seen as part of a loose trilogy with "Love You To" and "Tomorrow Never Knows", one song by each of the group's three songwriters exploring the idea of a song that's almost all on one chord. Both "Tomorrow Never Knows" and "Love You To" are based on a drone with occasional hints towards moving to one other chord. In the case of "Paperback Writer", the entire song stays on a single chord until the title -- it's on a G7 throughout until the first use of the word "writer", when it quickly goes to a C for two bars. I'm afraid I'm going to have to sing to show you how little the chords actually change, because the riff disguises this lack of movement somewhat, but the melody is also far more horizontal than most of McCartney's, so this shouldn't sound too painful, I hope: [demonstrates] This is essentially the exact same thing that both "Love You To" and "Tomorrow Never Knows" do, and all three have very similarly structured rising and falling modal melodies. There's also a bit of "Paperback Writer" that seems to tie directly into "Love You To", but also points to a possible very non-Indian inspiration for part of "Love You To". The Beach Boys' single "Sloop John B" was released in the UK a couple of days after the sessions for "Paperback Writer" and "Love You To", but it had been released in the US a month before, and the Beatles all got copies of every record in the American top thirty shipped to them. McCartney and Harrison have specifically pointed to it as an influence on "Paperback Writer". "Sloop John B" has a section where all the instruments drop out and we're left with just the group's vocal harmonies: [Excerpt: The Beach Boys, "Sloop John B"] And that seems to have been the inspiration behind the similar moment at a similar point in "Paperback Writer", which is used in place of a middle eight and also used for the song's intro: [Excerpt: The Beatles, "Paperback Writer"] Which is very close to what Harrison does at the end of each verse of "Love You To", where the instruments drop out for him to sing a long melismatic syllable before coming back in: [Excerpt: The Beatles, "Love You To"] Essentially, other than "Got to Get You Into My Life", which is an outlier and should not be counted, the first three songs attempted during the Revolver sessions are variations on a common theme, and it's a sign that no matter how different the results might  sound, the Beatles really were very much a group at this point, and were sharing ideas among themselves and developing those ideas in similar ways. "Paperback Writer" disguises what it's doing somewhat by having such a strong riff. Lennon referred to "Paperback Writer" as "son of 'Day Tripper'", and in terms of the Beatles' singles it's actually their third iteration of this riff idea, which they originally got from Bobby Parker's "Watch Your Step": [Excerpt: Bobby Parker, "Watch Your Step"] Which became the inspiration for "I Feel Fine": [Excerpt: The Beatles, "I Feel Fine"] Which they varied for "Day Tripper": [Excerpt: The Beatles, "Day Tripper"] And which then in turn got varied for "Paperback Writer": [Excerpt: The Beatles, "Paperback Writer"] As well as compositional ideas, there are sonic ideas shared between "Paperback Writer", "Tomorrow Never Knows", and "Love You To", and which would be shared by the rest of the tracks the Beatles recorded in the first half of 1966. Since Geoff Emerick had become the group's principal engineer, they'd started paying more attention to how to get a fuller sound, and so Emerick had miced the tabla on "Love You To" much more closely than anyone would normally mic an instrument from classical music, creating a deep, thudding sound, and similarly he had changed the way they recorded the drums on "Tomorrow Never Knows", again giving a much fuller sound. But the group also wanted the kind of big bass sounds they'd loved on records coming out of America -- sounds that no British studio was getting, largely because it was believed that if you cut too loud a bass sound into a record it would make the needle jump out of the groove. The new engineering team of Geoff Emerick and Ken Scott, though, thought that it was likely you could keep the needle in the groove if you had a smoother frequency response. You could do that if you used a microphone with a larger diaphragm to record the bass, but how could you do that? Inspiration finally struck -- loudspeakers are actually the same thing as microphones wired the other way round, so if you wired up a loudspeaker as if it were a microphone you could get a *really big* speaker, place it in front of the bass amp, and get a much stronger bass sound. The experiment wasn't a total success -- the sound they got had to be processed quite extensively to get rid of room noise, and then compressed in order to further prevent the needle-jumping issue, and so it's a muddier, less defined, tone than they would have liked, but one thing that can't be denied is that "Paperback Writer"'s bass sound is much, much, louder than on any previous Beatles record: [Excerpt: The Beatles, "Paperback Writer"] Almost every track the group recorded during the Revolver sessions involved all sorts of studio innovations, though rarely anything as truly revolutionary as the artificial double-tracking they'd used on "Tomorrow Never Knows", and which also appeared on "Paperback Writer" -- indeed, as "Paperback Writer" was released several months before Revolver, it became the first record released to use the technique. I could easily devote a good ten minutes to every track on Revolver, and to "Paperback Writer"s B-side, "Rain", but this is already shaping up to be an extraordinarily long episode and there's a lot of material to get through, so I'll break my usual pattern of devoting a Patreon bonus episode to something relatively obscure, and this week's bonus will be on "Rain" itself. "Paperback Writer", though, deserved the attention here even though it was not one of the group's more successful singles -- it did go to number one, but it didn't hit number one in the UK charts straight away, being kept off the top by "Strangers in the Night" by Frank Sinatra for the first week: [Excerpt: Frank Sinatra, "Strangers in the Night"] Coincidentally, "Strangers in the Night" was co-written by Bert Kaempfert, the German musician who had produced the group's very first recording sessions with Tony Sheridan back in 1961. On the group's German tour in 1966 they met up with Kaempfert again, and John greeted him by singing the first couple of lines of the Sinatra record. The single was the lowest-selling Beatles single in the UK since "Love Me Do". In the US it only made number one for two non-consecutive weeks, with "Strangers in the Night" knocking it off for a week in between. Now, by literally any other band's standards, that's still a massive hit, and it was the Beatles' tenth UK number one in a row (or ninth, depending on which chart you use for "Please Please Me"), but it's a sign that the group were moving out of the first phase of total unequivocal dominance of the charts. It was a turning point in a lot of other ways as well. Up to this point, while the group had been experimenting with different lyrical subjects on album tracks, every single had lyrics about romantic relationships -- with the possible exception of "Help!", which was about Lennon's emotional state but written in such a way that it could be heard as a plea to a lover. But in the case of "Paperback Writer", McCartney was inspired by his Aunt Mill asking him "Why do you write songs about love all the time? Can you ever write about a horse or the summit conference or something interesting?" His response was to think "All right, Aunt Mill, I'll show you", and to come up with a lyric that was very much in the style of the social satires that bands like the Kinks were releasing at the time. People often miss the humour in the lyric for "Paperback Writer", but there's a huge amount of comedy in lyrics about someone writing to a publisher saying they'd written a book based on someone else's book, and one can only imagine the feeling of weary recognition in slush-pile readers throughout the world as they heard the enthusiastic "It's a thousand pages, give or take a few, I'll be writing more in a week or two. I can make it longer..." From this point on, the group wouldn't release a single that was unambiguously about a romantic relationship until "The Ballad of John and Yoko",  the last single released while the band were still together. "Paperback Writer" also saw the Beatles for the first time making a promotional film -- what we would now call a rock video -- rather than make personal appearances on TV shows. The film was directed by Michael Lindsay-Hogg, who the group would work with again in 1969, and shows Paul with a chipped front tooth -- he'd been in an accident while riding mopeds with his friend Tara Browne a few months earlier, and hadn't yet got round to having the tooth capped. When he did, the change in his teeth was one of the many bits of evidence used by conspiracy theorists to prove that the real Paul McCartney was dead and replaced by a lookalike. It also marks a change in who the most prominent Beatle on the group's A-sides was. Up to this point, Paul had had one solo lead on an A-side -- "Can't Buy Me Love" -- and everything else had been either a song with multiple vocalists like "Day Tripper" or "Love Me Do", or a song with a clear John lead like "Ticket to Ride" or "I Feel Fine". In the rest of their career, counting "Paperback Writer", the group would release nine new singles that hadn't already been included on an album. Of those nine singles, one was a double A-side with one John song and one Paul song, two had John songs on the A-side, and the other six were Paul. Where up to this point John had been "lead Beatle", for the rest of the sixties, Paul would be the group's driving force. Oddly, Paul got rather defensive about the record when asked about it in interviews after it failed to go straight to the top, saying "It's not our best single by any means, but we're very satisfied with it". But especially in its original mono mix it actually packs a powerful punch: [Excerpt: The Beatles, "Paperback Writer"] When the "Paperback Writer" single was released, an unusual image was used in the advertising -- a photo of the Beatles dressed in butchers' smocks, covered in blood, with chunks of meat and the dismembered body parts of baby dolls lying around on them. The image was meant as part of a triptych parodying religious art -- the photo on the left was to be an image showing the four Beatles connected to a woman by an umbilical cord made of sausages, the middle panel was meant to be this image, but with halos added over the Beatles' heads, and the panel on the right was George hammering a nail into John's head, symbolising both crucifixion and that the group were real, physical, people, not just images to be worshipped -- these weren't imaginary nails, and they weren't imaginary people. The photographer Robert Whittaker later said: “I did a photograph of the Beatles covered in raw meat, dolls and false teeth. Putting meat, dolls and false teeth with The Beatles is essentially part of the same thing, the breakdown of what is regarded as normal. The actual conception for what I still call “Somnambulant Adventure” was Moses coming down from Mount Sinai with the Ten Commandments. He comes across people worshipping a golden calf. All over the world I'd watched people worshiping like idols, like gods, four Beatles. To me they were just stock standard normal people. But this emotion that fans poured on them made me wonder where Christianity was heading.” The image wasn't that controversial in the UK, when it was used to advertise "Paperback Writer", but in the US it was initially used for the cover of an album, Yesterday... And Today, which was made up of a few tracks that had been left off the US versions of the Rubber Soul and Help! albums, plus both sides of the "We Can Work It Out"/"Day Tripper" single, and three rough mixes of songs that had been recorded for Revolver -- "Doctor Robert", "And Your Bird Can Sing", and "I'm Only Sleeping", which was the song that sounded most different from the mixes that were finally released: [Excerpt: The Beatles, "I'm Only Sleeping (Yesterday... and Today mix)"] Those three songs were all Lennon songs, which had the unfortunate effect that when the US version of Revolver was brought out later in the year, only two of the songs on the album were by Lennon, with six by McCartney and three by Harrison. Some have suggested that this was the motivation for the use of the butcher image on the cover of Yesterday... And Today -- saying it was the Beatles' protest against Capitol "butchering" their albums -- but in truth it was just that Capitol's art director chose the cover because he liked the image. Alan Livingston, the president of Capitol was not so sure, and called Brian Epstein to ask if the group would be OK with them using a different image. Epstein checked with John Lennon, but Lennon liked the image and so Epstein told Livingston the group insisted on them using that cover. Even though for the album cover the bloodstains on the butchers' smocks were airbrushed out, after Capitol had pressed up a million copies of the mono version of the album and two hundred thousand copies of the stereo version, and they'd sent out sixty thousand promo copies, they discovered that no record shops would stock the album with that cover. It cost Capitol more than two hundred thousand dollars to recall the album and replace the cover with a new one -- though while many of the covers were destroyed, others had the new cover, with a more acceptable photo of the group, pasted over them, and people have later carefully steamed off the sticker to reveal the original. This would not be the last time in 1966 that something that was intended as a statement on religion and the way people viewed the Beatles would cause the group trouble in America. In the middle of the recording sessions for Revolver, the group also made what turned out to be their last ever UK live performance in front of a paying audience. The group had played the NME Poll-Winners' Party every year since 1963, and they were always shows that featured all the biggest acts in the country at the time -- the 1966 show featured, as well as the Beatles and a bunch of smaller acts, the Rolling Stones, the Who, the Yardbirds, Roy Orbison, Cliff Richard and the Shadows, the Seekers, the Small Faces, the Walker Brothers, and Dusty Springfield. Unfortunately, while these events were always filmed for TV broadcast, the Beatles' performance on the first of May wasn't filmed. There are various stories about what happened, but the crux appears to be a disagreement between Andrew Oldham and Brian Epstein, sparked by John Lennon. When the Beatles got to the show, they were upset to discover that they had to wait around before going on stage -- normally, the awards would all be presented at the end, after all the performances, but the Rolling Stones had asked that the Beatles not follow them directly, so after the Stones finished their set, there would be a break for the awards to be given out, and then the Beatles would play their set, in front of an audience that had been bored by twenty-five minutes of awards ceremony, rather than one that had been excited by all the bands that came before them. John Lennon was annoyed, and insisted that the Beatles were going to go on straight after the Rolling Stones -- he seems to have taken this as some sort of power play by the Stones and to have got his hackles up about it. He told Epstein to deal with the people from the NME. But the NME people said that they had a contract with Andrew Oldham, and they weren't going to break it. Oldham refused to change the terms of the contract. Lennon said that he wasn't going to go on stage if they didn't directly follow the Stones. Maurice Kinn, the publisher of the NME, told Epstein that he wasn't going to break the contract with Oldham, and that if the Beatles didn't appear on stage, he would get Jimmy Savile, who was compering the show, to go out on stage and tell the ten thousand fans in the audience that the Beatles were backstage refusing to appear. He would then sue NEMS for breach of contract *and* NEMS would be liable for any damage caused by the rioting that was sure to happen. Lennon screamed a lot of abuse at Kinn, and told him the group would never play one of their events again, but the group did go on stage -- but because they hadn't yet signed the agreement to allow their performance to be filmed, they refused to allow it to be recorded. Apparently Andrew Oldham took all this as a sign that Epstein was starting to lose control of the group. Also during May 1966 there were visits from musicians from other countries, continuing the cultural exchange that was increasingly influencing the Beatles' art. Bruce Johnston of the Beach Boys came over to promote the group's new LP, Pet Sounds, which had been largely the work of Brian Wilson, who had retired from touring to concentrate on working in the studio. Johnston played the record for John and Paul, who listened to it twice, all the way through, in silence, in Johnston's hotel room: [Excerpt: The Beach Boys, "God Only Knows"] According to Johnston, after they'd listened through the album twice, they went over to a piano and started whispering to each other, picking out chords. Certainly the influence of Pet Sounds is very noticeable on songs like "Here, There, and Everywhere", written and recorded a few weeks after this meeting: [Excerpt: The Beatles, "Here, There, and Everywhere"] That track, and the last track recorded for the album, "She Said She Said" were unusual in one very important respect -- they were recorded while the Beatles were no longer under contract to EMI Records. Their contract expired on the fifth of June, 1966, and they finished Revolver without it having been renewed -- it would be several months before their new contract was signed, and it's rather lucky for music lovers that Brian Epstein was the kind of manager who considered personal relationships and basic honour and decency more important than the legal niceties, unlike any other managers of the era, otherwise we would not have Revolver in the form we know it today. After the meeting with Johnston, but before the recording of those last couple of Revolver tracks, the Beatles also met up again with Bob Dylan, who was on a UK tour with a new, loud, band he was working with called The Hawks. While the Beatles and Dylan all admired each other, there was by this point a lot of wariness on both sides, especially between Lennon and Dylan, both of them very similar personality types and neither wanting to let their guard down around the other or appear unhip. There's a famous half-hour-long film sequence of Lennon and Dylan sharing a taxi, which is a fascinating, excruciating, example of two insecure but arrogant men both trying desperately to impress the other but also equally desperate not to let the other know that they want to impress them: [Excerpt: Dylan and Lennon taxi ride] The day that was filmed, Lennon and Harrison also went to see Dylan play at the Royal Albert Hall. This tour had been controversial, because Dylan's band were loud and raucous, and Dylan's fans in the UK still thought of him as a folk musician. At one gig, earlier on the tour, an audience member had famously yelled out "Judas!" -- (just on the tiny chance that any of my listeners don't know that, Judas was the disciple who betrayed Jesus to the authorities, leading to his crucifixion) -- and that show was for many years bootlegged as the "Royal Albert Hall" show, though in fact it was recorded at the Free Trade Hall in Manchester. One of the *actual* Royal Albert Hall shows was released a few years ago -- the one the night before Lennon and Harrison saw Dylan: [Excerpt: Bob Dylan, "Like a Rolling Stone", Royal Albert Hall 1966] The show Lennon and Harrison saw would be Dylan's last for many years. Shortly after returning to the US, Dylan was in a motorbike accident, the details of which are still mysterious, and which some fans claim was faked altogether. The accident caused him to cancel all the concert dates he had booked, and devote himself to working in the studio for several years just like Brian Wilson. And from even further afield than America, Ravi Shankar came over to Britain, to work with his friend the violinist Yehudi Menuhin, on a duet album, West Meets East, that was an example in the classical world of the same kind of international cross-fertilisation that was happening in the pop world: [Excerpt: Yehudi Menuhin and Ravi Shankar, "Prabhati (based on Raga Gunkali)"] While he was in the UK, Shankar also performed at the Royal Festival Hall, and George Harrison went to the show. He'd seen Shankar live the year before, but this time he met up with him afterwards, and later said "He was the first person that impressed me in a way that was beyond just being a famous celebrity. Ravi was my link to the Vedic world. Ravi plugged me into the whole of reality. Elvis impressed me when I was a kid, and impressed me when I met him, but you couldn't later on go round to him and say 'Elvis, what's happening with the universe?'" After completing recording and mixing the as-yet-unnamed album, which had been by far the longest recording process of their career, and which still nearly sixty years later regularly tops polls of the best album of all time, the Beatles took a well-earned break. For a whole two days, at which point they flew off to Germany to do a three-day tour, on their way to Japan, where they were booked to play five shows at the Budokan. Unfortunately for the group, while they had no idea of this when they were booked to do the shows, many in Japan saw the Budokan as sacred ground, and they were the first ever Western group to play there. This led to numerous death threats and loud protests from far-right activists offended at the Beatles defiling their religious and nationalistic sensibilities. As a result, the police were on high alert -- so high that there were three thousand police in the audience for the shows, in a venue which only held ten thousand audience members. That's according to Mark Lewisohn's Complete Beatles Chronicle, though I have to say that the rather blurry footage of the audience in the video of those shows doesn't seem to show anything like those numbers. But frankly I'll take Lewisohn's word over that footage, as he's not someone to put out incorrect information. The threats to the group also meant that they had to be kept in their hotel rooms at all times except when actually performing, though they did make attempts to get out. At the press conference for the Tokyo shows, the group were also asked publicly for the first time their views on the war in Vietnam, and John replied "Well, we think about it every day, and we don't agree with it and we think that it's wrong. That's how much interest we take. That's all we can do about it... and say that we don't like it". I say they were asked publicly for the first time, because George had been asked about it for a series of interviews Maureen Cleave had done with the group a couple of months earlier, as we'll see in a bit, but nobody was paying attention to those interviews. Brian Epstein was upset that the question had gone to John. He had hoped that the inevitable Vietnam question would go to Paul, who he thought might be a bit more tactful. The last thing he needed was John Lennon saying something that would upset the Americans before their tour there a few weeks later. Luckily, people in America seemed to have better things to do than pay attention to John Lennon's opinions. The support acts for the Japanese shows included  several of the biggest names in Japanese rock music -- or "group sounds" as the genre was called there, Japanese people having realised that trying to say the phrase "rock and roll" would open them up to ridicule given that it had both "r" and "l" sounds in the phrase. The man who had coined the term "group sounds", Jackey Yoshikawa, was there with his group the Blue Comets, as was Isao Bito, who did a rather good cover version of Cliff Richard's "Dynamite": [Excerpt: Isao Bito, "Dynamite"] Bito, the Blue Comets, and the other two support acts, Yuya Uchida and the Blue Jeans, all got together to perform a specially written song, "Welcome Beatles": [Excerpt: "Welcome Beatles" ] But while the Japanese audience were enthusiastic, they were much less vocal about their enthusiasm than the audiences the Beatles were used to playing for. The group were used, of course, to playing in front of hordes of screaming teenagers who could not hear a single note, but because of the fear that a far-right terrorist would assassinate one of the group members, the police had imposed very, very, strict rules on the audience. Nobody in the audience was allowed to get out of their seat for any reason, and the police would clamp down very firmly on anyone who was too demonstrative. Because of that, the group could actually hear themselves, and they sounded sloppy as hell, especially on the newer material. Not that there was much of that. The only song they did from the Revolver sessions was "Paperback Writer", the new single, and while they did do a couple of tracks from Rubber Soul, those were under-rehearsed. As John said at the start of this tour, "I can't play any of Rubber Soul, it's so unrehearsed. The only time I played any of the numbers on it was when I recorded it. I forget about songs. They're only valid for a certain time." That's certainly borne out by the sound of their performances of Rubber Soul material at the Budokan: [Excerpt: The Beatles, "If I Needed Someone (live at the Budokan)"] It was while they were in Japan as well that they finally came up with the title for their new album. They'd been thinking of all sorts of ideas, like Abracadabra and Magic Circle, and tossing names around with increasing desperation for several days -- at one point they seem to have just started riffing on other groups' albums, and seem to have apparently seriously thought about naming the record in parodic tribute to their favourite artists -- suggestions included The Beatles On Safari, after the Beach Boys' Surfin' Safari (and possibly with a nod to their recent Pet Sounds album cover with animals, too), The Freewheelin' Beatles, after Dylan's second album, and my favourite, Ringo's suggestion After Geography, for the Rolling Stones' Aftermath. But eventually Paul came up with Revolver -- like Rubber Soul, a pun, in this case because the record itself revolves when on a turntable. Then it was off to the Philippines, and if the group thought Japan had been stressful, they had no idea what was coming. The trouble started in the Philippines from the moment they stepped off the plane, when they were bundled into a car without Neil Aspinall or Brian Epstein, and without their luggage, which was sent to customs. This was a problem in itself -- the group had got used to essentially being treated like diplomats, and to having their baggage let through customs without being searched, and so they'd started freely carrying various illicit substances with them. This would obviously be a problem -- but as it turned out, this was just to get a "customs charge" paid by Brian Epstein. But during their initial press conference the group were worried, given the hostility they'd faced from officialdom, that they were going to be arrested during the conference itself. They were asked what they would tell the Rolling Stones, who were going to be visiting the Philippines shortly after, and Lennon just said "We'll warn them". They also asked "is there a war on in the Philippines? Why is everybody armed?" At this time, the Philippines had a new leader, Ferdinand Marcos -- who is not to be confused with his son, Ferdinand Marcos Jr, also known as Bongbong Marcos, who just became President-Elect there last month. Marcos Sr was a dictatorial kleptocrat, one of the worst leaders of the latter half of the twentieth century, but that wasn't evident yet. He'd been elected only a few months earlier, and had presented himself as a Kennedy-like figure -- a young man who was also a war hero. He'd recently switched parties from the Liberal party to the right-wing Nacionalista Party, but wasn't yet being thought of as the monstrous dictator he later became. The person organising the Philippines shows had been ordered to get the Beatles to visit Ferdinand and Imelda Marcos at 11AM on the day of the show, but for some reason had instead put on their itinerary just the *suggestion* that the group should meet the Marcoses, and had put the time down as 3PM, and the Beatles chose to ignore that suggestion -- they'd refused to do that kind of government-official meet-and-greet ever since an incident in 1964 at the British Embassy in Washington where someone had cut off a bit of Ringo's hair. A military escort turned up at the group's hotel in the morning, to take them for their meeting. The group were all still in their rooms, and Brian Epstein was still eating breakfast and refused to disturb them, saying "Go back and tell the generals we're not coming." The group gave their performances as scheduled, but meanwhile there was outrage at the way the Beatles had refused to meet the Marcos family, who had brought hundreds of children -- friends of their own children, and relatives of top officials -- to a party to meet the group. Brian Epstein went on TV and tried to smooth things over, but the broadcast was interrupted by static and his message didn't get through to anyone. The next day, the group's security was taken away, as were the cars to take them to the airport. When they got to the airport, the escalators were turned off and the group were beaten up at the arrangement of the airport manager, who said in 1984 "I beat up the Beatles. I really thumped them. First I socked Epstein and he went down... then I socked Lennon and Ringo in the face. I was kicking them. They were pleading like frightened chickens. That's what happens when you insult the First Lady." Even on the plane there were further problems -- Brian Epstein and the group's road manager Mal Evans were both made to get off the plane to sort out supposed financial discrepancies, which led to them worrying that they were going to be arrested or worse -- Evans told the group to tell his wife he loved her as he left the plane. But eventually, they were able to leave, and after a brief layover in India -- which Ringo later said was the first time he felt he'd been somewhere truly foreign, as opposed to places like Germany or the USA which felt basically like home -- they got back to England: [Excerpt: "Ordinary passenger!"] When asked what they were going to do next, George replied “We're going to have a couple of weeks to recuperate before we go and get beaten up by the Americans,” The story of the "we're bigger than Jesus" controversy is one of the most widely misreported events in the lives of the Beatles, which is saying a great deal. One book that I've encountered, and one book only, Steve Turner's Beatles '66, tells the story of what actually happened, and even that book seems to miss some emphases. I've pieced what follows together from Turner's book and from an academic journal article I found which has some more detail. As far as I can tell, every single other book on the Beatles released up to this point bases their account of the story on an inaccurate press statement put out by Brian Epstein, not on the truth. Here's the story as it's generally told. John Lennon gave an interview to his friend, Maureen Cleave of the Evening Standard, during which he made some comments about how it was depressing that Christianity was losing relevance in the eyes of the public, and that the Beatles are more popular than Jesus, speaking casually because he was talking to a friend. That story was run in the Evening Standard more-or-less unnoticed, but then an American teen magazine picked up on the line about the Beatles being bigger than Jesus, reprinted chunks of the interview out of context and without the Beatles' knowledge or permission, as a way to stir up controversy, and there was an outcry, with people burning Beatles records and death threats from the Ku Klux Klan. That's... not exactly what happened. The first thing that you need to understand to know what happened is that Datebook wasn't a typical teen magazine. It *looked* just like a typical teen magazine, certainly, and much of its content was the kind of thing that you would get in Tiger Beat or any of the other magazines aimed at teenage girls -- the September 1966 issue was full of articles like "Life with the Walker Brothers... by their Road Manager", and interviews with the Dave Clark Five -- but it also had a long history of publishing material that was intended to make its readers think about social issues of the time, particularly Civil Rights. Arthur Unger, the magazine's editor and publisher, was a gay man in an interracial relationship, and while the subject of homosexuality was too taboo in the late fifties and sixties for him to have his magazine cover that, he did regularly include articles decrying segregation and calling for the girls reading the magazine to do their part on a personal level to stamp out racism. Datebook had regularly contained articles like one from 1963 talking about how segregation wasn't just a problem in the South, saying "If we are so ‘integrated' why must men in my own city of Philadelphia, the city of Brotherly Love, picket city hall because they are discriminated against when it comes to getting a job? And how come I am still unable to take my dark- complexioned friends to the same roller skating rink or swimming pool that I attend?” One of the writers for the magazine later said “We were much more than an entertainment magazine . . . . We tried to get kids involved in social issues . . . . It was a well-received magazine, recommended by libraries and schools, but during the Civil Rights period we did get pulled off a lot of stands in the South because of our views on integration” Art Unger, the editor and publisher, wasn't the only one pushing this liberal, integrationist, agenda. The managing editor at the time, Danny Fields, was another gay man who wanted to push the magazine even further than Unger, and who would later go on to manage the Stooges and the Ramones, being credited by some as being the single most important figure in punk rock's development, and being immortalised by the Ramones in their song "Danny Says": [Excerpt: The Ramones, "Danny Says"] So this was not a normal teen magazine, and that's certainly shown by the cover of the September 1966 issue, which as well as talking about the interviews with John Lennon and Paul McCartney inside, also advertised articles on Timothy Leary advising people to turn on, tune in, and drop out; an editorial about how interracial dating must be the next step after desegregation of schools, and a piece on "the ten adults you dig/hate the most" -- apparently the adult most teens dug in 1966 was Jackie Kennedy, the most hated was Barry Goldwater, and President Johnson, Billy Graham, and Martin Luther King appeared in the top ten on both lists. Now, in the early part of the year Maureen Cleave had done a whole series of articles on the Beatles -- double-page spreads on each band member, plus Brian Epstein, visiting them in their own homes (apart from Paul, who she met at a restaurant) and discussing their daily lives, their thoughts, and portraying them as rounded individuals. These articles are actually fascinating, because of something that everyone who met the Beatles in this period pointed out. When interviewed separately, all of them came across as thoughtful individuals, with their own opinions about all sorts of subjects, and their own tastes and senses of humour. But when two or more of them were together -- especially when John and Paul were interviewed together, but even in social situations, they would immediately revert to flip in-jokes and riffing on each other's statements, never revealing anything about themselves as individuals, but just going into Beatle mode -- simultaneously preserving the band's image, closing off outsiders, *and* making sure they didn't do or say anything that would get them mocked by the others. Cleave, as someone who actually took them all seriously, managed to get some very revealing information about all of them. In the article on Ringo, which is the most superficial -- one gets the impression that Cleave found him rather difficult to talk to when compared to the other, more verbally facile, band members -- she talked about how he had a lot of Wild West and military memorabilia, how he was a devoted family man and also devoted to his friends -- he had moved to the suburbs to be close to John and George, who already lived there. The most revealing quote about Ringo's personality was him saying "Of course that's the great thing about being married -- you have a house to sit in and company all the time. And you can still go to clubs, a bonus for being married. I love being a family man." While she looked at the other Beatles' tastes in literature in detail, she'd noted that the only books Ringo owned that weren't just for show were a few science fiction paperbacks, but that as he said "I'm not thick, it's just that I'm not educated. People can use words and I won't know what they mean. I say 'me' instead of 'my'." Ringo also didn't have a drum kit at home, saying he only played when he was on stage or in the studio, and that you couldn't practice on your own, you needed to play with other people. In the article on George, she talked about how he was learning the sitar,  and how he was thinking that it might be a good idea to go to India to study the sitar with Ravi Shankar for six months. She also talks about how during the interview, he played the guitar pretty much constantly, playing everything from songs from "Hello Dolly" to pieces by Bach to "the Trumpet Voluntary", by which she presumably means Clarke's "Prince of Denmark's March": [Excerpt: Jeremiah Clarke, "Prince of Denmark's March"] George was also the most outspoken on the subjects of politics, religion, and society, linking the ongoing war in Vietnam with the UK's reverence for the Second World War, saying "I think about it every day and it's wrong. Anything to do with war is wrong. They're all wrapped up in their Nelsons and their Churchills and their Montys -- always talking about war heroes. Look at All Our Yesterdays [a show on ITV that showed twenty-five-year-old newsreels] -- how we killed a few more Huns here and there. Makes me sick. They're the sort who are leaning on their walking sticks and telling us a few years in the army would do us good." He also had very strong words to say about religion, saying "I think religion falls flat on its face. All this 'love thy neighbour' but none of them are doing it. How can anybody get into the position of being Pope and accept all the glory and the money and the Mercedes-Benz and that? I could never be Pope until I'd sold my rich gates and my posh hat. I couldn't sit there with all that money on me and believe I was religious. Why can't we bring all this out in the open? Why is there all this stuff about blasphemy? If Christianity's as good as they say it is, it should stand up to a bit of discussion." Harrison also comes across as a very private person, saying "People keep saying, ‘We made you what you are,' well, I made Mr. Hovis what he is and I don't go round crawling over his gates and smashing up the wall round his house." (Hovis is a British company that makes bread and wholegrain flour). But more than anything else he comes across as an instinctive anti-authoritarian, being angry at bullying teachers, Popes, and Prime Ministers. McCartney's profile has him as the most self-consciously arty -- he talks about the plays of Alfred Jarry and the music of Karlheinz Stockhausen and Luciano Berio: [Excerpt: Luciano Berio, "Momenti (for magnetic tape)"] Though he was very worried that he might be sounding a little too pretentious, saying “I don't want to sound like Jonathan Miller going on" --

On this email episode Aries and Andy talk about Gemma, more crickets, hoghead cheese, Game of Thrones, Snowfall, huge clits, what makes a good room?, Denzel vs. Lawrence, and the return of Leroy Furious Musical Guest: Elijah Jerome Social Media Instagram: @SpearsBergPod Twitter: @SpearsBergPod Facebook: SpearsBergPod Patreon: SpearsBergPod Youtube: SpearsBergPod  Learn more about your ad choices. Visit podcastchoices.com/adchoices

https://www.whisky.de/p.php?id=GSCOT15PX Nosing 03:20 Wir verkosten den Glen Scotia First Fill PX HH 'Whisky.de exklusiv'. Dieser Glen Scotia wurde exklusiv für Whisky.de abgefüllt. Seine Reifezeit verbrachte der nicht-rauchige Whisky in einem erstbefüllten Pedro Ximénez Hogshead. Die Brennerei Glen Scotia wurde 1832 in Campbeltown gegründet. Durch Verwendung traditioneller Kupferbrennblasen entstehen die für Glen Scotia typischen Frucht- und Würzaromen. Jetzt auch als Podcast: https://www.whisky.de/shop/newsletter/#podcast Geschmacksbeschreibungen und Informationen finden Sie in unserem Shop auf Whisky.de Abonnieren: http://www.youtube.com/user/thewhiskystore?sub_confirmation=1 Instagram: https://www.instagram.com/whisky.de/ Telegram: https://t.me/whisky_de Merch: https://whiskyde-fanartikel.creator-spring.com/

We can never get enough of Sam here on The Book Rewind!!! Nonstop Sam!! Going into episode 55 we get some amazing Harry moments when he goes at Zach Smith at the Hogshead. Chapter 17 has some amazing scenes that aren't in the movie that should have been!! There are a lot of interruptions from a certain boyfriend of mine throughout the beginning half of the podcast. Mike and Mike go to the Movies https://open.spotify.com/show/6GZazYth8mrFsYwhz5Bbln Want to support the podcast? https://www.patreon.com/thebookrewindpod Inquires thebookrewindpod@gmail.com Podcast Social Media https://www.instagram.com/thebookrewindpod/ https://www.tiktok.com/@thebookrewindpod https://www.facebook.com/thebookrewindpod https://twitter.com/Thebookrewind Host Social Media- Meghan Murphy https://www.instagram.com/norbertwhocosplay/ https://www.tiktok.com/@norbertwho Like our podcast theme? Want a podcast theme? Email kylepodcastthemes@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thebookrewind/message Support this podcast: https://anchor.fm/thebookrewind/support

Who knew that this sleepy little village would hold so much excitement?! What had began as a rest stop has devolved into a standoff between the unusual but inventive group of halfling adventurers and the Mayor of Hogshead. Who will Magwyn, Jeph and Wulfric side with? --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/sbhpodcast/message Support this podcast: https://anchor.fm/sbhpodcast/support

Some people study prefixes and suffixes.  Some choose plants or flowers or animals.  How about getting your head in the game, diving in feet first and putting your nose to the grindstone and study body parts?  Eye rolling puns, optional!   | HEADED  |  | HEADER  |  | HEADEND  |  | HEADFUL  |  | HEADIER  |  | HEADING  |  | HEADMAN  |  | HEADMEN  |  | HEADPIN  |  | HEADSET  |  | HEADWAY  |  | HEADACHE  |  | HEADACHY  |  | HEADBAND  |  | HEADFISH  |  | HEADGATE  |  | HEADGEAR  |  | HEATHUNT  |  | HEADIEST  |  | HEADLAND  |  | HEADLAMP  |  | HEADLESS  |  | HEADLINE  |  | HEADLOCK  |  | HEADLONG  |  | HEADMOST  |  | HEADRACE  |  | HEADNOTE  |  | HEADPOND  |  | HEADRAIL  |  | HEADREST  |  | HEADROOM  |  | HEADSAIL  |  | HEADSHIP  |  | HEADSHOT  |  | HEADSMAN  |  | HEADSMEN  |  | HEADSTAY  |  | HEADWARD  |  | HEADWIND  |  | HEADWORD  |  | HEADWORK  |  | BEHEAD  |  | COHEAD  |  | AIRHEAD  |  | BEDHEAD  |  | BIGHEAD  |  | BOWHEAD  |  | BUNHEAD  |  | CATHEAD  |  | EGGHEAD  |  | FATHEAD  |  | GODHEAD  |  | HOPHEAD  |  | HOTHEAD  |  | JARHEAD  |  | JUGHEAD  |  | MOPHEAD  |  | PINHEAD  | HEADPIN | PITHEAD  |  | POTHEAD  |  | RAGHEAD  |  | REDHEAD  | ADHERED | SAPHEAD  |  | SUBHEAD  |  | TOWHEAD  |  | WARHEAD  |  | ACIDHEAD  |  | BALDHEAD  |  | BAREHEAD  |  | BASEHEAD  |  | BILLHEAD  |  | BLUEHEAD  |  | BOLTHEAD  |  | BONEHEAD  |  | BULKHEAD  |  | BULLHEAD  |  | BUTTHEAD  |  | CLUBHEAD  |  | COKEHEAD  |  | DEADHEAD  |  | DICKHEAD  |  | DOPEHEAD  |  | DROPHEAD  |  | DUMBHEAD  |  | FLATHEAD  |  | FOREHEAD  |  | FUCKHEAD  |  | GEARHEAD  | HEADGEAR | GILTHEAD  | ALIGHTED | HARDHEAD  |  | HASHHEAD  |  | HOGSHEAD  |  | KNOTHEAD  |  | LAKEHEAD  |  | LONGHEAD  | HEADLONG | LUNKHEAD  |  | MASTHEAD  |  | MEATHEAD  |  | NAILHEAD  |  | OVERHEAD  |  | PLOWHEAD  |  | RAILHEAD  | HEADRAIL | SHITHEAD  |  | SKINHEAD  |  | SOFTHEAD  |  | SOREHEAD  |  | TOOLHEAD  |  | WELLHEAD  |  |   |  | HANDAX  |

For Jake Gardner, Head Brewer of Westbound & Down (https://westboundanddown.com) (Idaho Springs, Colorado), brewing means defining goals for a beer and mapping out the way to achieve those goals, naming the challenges and articulating solutions at each step of the process. Proceeding in a thoroughly planned and detailed manner brings clarity to the process, and the methodical approach has served Gardner well over his past decade in professional brewing. After chasing a medal in the hotly contested Imperial IPA category at GABF and World Beer Cup, Gardner’s patience and approach was rewarded in 2019 with a silver medal. But the Westbound & Down approach is anything but conventional—with English yeast strains and specific bittering hops that scrub off the palate quickly, the brewery has carved out a soft and fruity yet bright and tightly controlled niche in the broader world of West Coast IPA. They continue to expand that niche with creative explorations of contemporary hops, yeast experimentation, and focusing on the minutiae of brewing that make a big impact on the finished beer. In the barleywine category, Gardner has called upon his background in brewing English-style ales at Hogshead in Denver, and discusses the various design concerns for these barrel-aged beers designed to age. From managing free amino nitrogen to double mashing and dialing back oxidative malts, Gardner discusses the ways they’ve built their medal-winning Louie barleywine to taste great not only when fresh, but also with a few years under its belt as it ages and oxidizes gracefully. *This episode is brought to you by: * G&D Chillers (https://gdchillers.com): Nearly 2,000 breweries across the US, Canada & Mexico partner with G&D Chillers. Innovative, Modular Designs and no proprietary parts propel G&D ahead as the premier choice for your glycol chilling needs. Breweries you recognize—Russian River, Ninkasi, Jacks Abby, Samuel Adams, and more—trust G&D to chill the beer you love! Call G&D Chillers to discuss your project today or reach out directly at Gdchillers.com (http://www.Gdchillers.com) BSG (https://bsgcraftbrewing.com/): BSG is partnering with Leopold Bros. to bring a new line of small-batch, handmade malts to brewers and distillers. Leopold Bros. is a family owned floor malting operation and distillery and 2020 James Beard Award Finalist, located in Denver, Colorado. Since brothers Scott and Todd Leopold first opened their doors in 1999, they have created everything from classic unfiltered lagers to a number of spirits, including a wide array of whiskey styles. Learn more about the upcoming malt line by going online to BSGCraftbrewing.com (https://bsgcraftbrewing.com/), or contact BSG at 1.800.374.2739. Mountain Rose Herbs (https://mountainroseherbs.com): This episode is brought to you by Mountain Rose Herbs, purveyors of the highest quality, organic herbs, spices, and teas. Whether you want to add depth to your next golden tripel with classic notes of cinnamon, pepper and clove, or artfully layer exotic, zesty grains of paradise into a perfect ale, adding botanicals to your brewing is an easy way to customize a delicious flavor profile. Mountain Rose Herbs has been providing organic herbs and spices to chefs, herbalists, and dedicated brewers for more than three decades. Learn more at mountainroseherbs.com (https://mountainroseherbs.com) and get 10% off of your first order with the code “craftbeer10”. Yakima Valley Hops (https://www.yakimavalleyhops.com/Default.asp): Yakima Valley Hops is your hop source whether you are brewing 5 gallons or 5 barrels. Get all the hops you want, when you want them. We source the highest quality hops from the Yakima Valley and premium growing regions around the world so that you have access to the largest hop portfolio possible—even the hard to find varieties like Citra®, Nelson Sauvin, and Galaxy®. Homebrewers: YakimaValleyHops.com (https://www.yakimavalleyhops.com/Default.asp) // Wholesale: SpotHops.com (https://www.spothops.com/Default.asp) ABS Commercial (https://www.abs-commercial.com): ABS Commercial is excited to be a part of today’s Podcast! ABS is a full brewery outfitter offering brewhouses, tanks, keg washers and small parts. ABS wanted to do something fun for the craft beer industry, so they are giving away an ABS Keg Viking Keg Washer LIVE on December 5th, which happens to be national repeal day. To enter, go to www.abs-commercial.com (https://www.abs-commercial.com), click on “Keg Viking” page and fill out the contest form for your chance to win!

Hur köper man whisky via nätet? Är det ens lagligt? Du får heta tips om destilleriet Loch Lomond och vi struntar i både höger, vänster, populism och andra ismer när vi pratar om fatpolitik. Däremot åker du på ett fat av ister. Hur köper man whisky via nätet? Det finns enormt många butiker, så detta blir verkligen bara ett axplock. The whisky exchange i London: https://www.thewhiskyexchange.com/ La maison du whisky i Paris: https://www.whisky.fr/en/ Master of malt: https://www.masterofmalt.com/ Royal Mile whiskies: https://www.royalmilewhiskies.com/ Hard to find whisky: https://www.htfw.com/ Whiskybroker: https://www.whiskybroker.co.uk/ Whiskysite: https://www.whiskysite.nl/en/ Whizita: https://www.whizita.de/en/ Ett tips är att skaffa ett konto på Whiskybase (det är gratis att göra, bara gå till https://www.whiskybase.com/). Du kommer då att se fler så kallade shop links för varje flaska du hittar och kan jämföra priser mellan olika butiker. Märk dock att du alltså inte kan räkna med att alla fraktar till Sverige. Loch Lomond Destilleriets hemsida: https://www.lochlomondwhiskies.com/ För ett långt reportage från destilleriet producerat av seriösa whisky.com (Ben Luening), se ”Loch Lomond distillery visit”: https://www.youtube.com/watch?v=CQDi0Gvtr6w För en genomgång av de många destillaten Loch Lomond gör, se Henrik Aflodals ”Kameleonten Loch Lomond återuppfinner sig själv”, 17/5 2018, http://whiskyspot.com/kameleonten-loch-lomond/ Loch Lomond single grain som vi rekommenderar som en introduktion till destilleriet kostar 429 kronor på Systembolaget: https://www.systembolaget.se/dryck/sprit/loch-lomond-8580701 Här ligger Loch Lomond Distillery: Fatpolitik På engelska heter detta normalt inte cask policy utan wood policy eller wood management, kan vara värt att påpeka. Vi hittar inga vettiga länkar där själva termen reds ut, men här finns i alla fall lite matnyttiga saker om detta med fat och hur man kan tänka kring val av fat: https://www.gordonandmacphail.com/corporate/our-philosophy/ Här kan du ta del av Edringtons (framför allt Highland Parks) fatpolitik: https://www.youtube.com/watch?v=w6CtqWP2y8c Och i den här estetiskt taffliga presentationen finns en del intressanta saker om lagring generellt, och om fatpolitik för en del kända buteljeringar av skotsk whisky: https://www.yumpu.com/en/document/read/43853670/whisky-maturation-and-wood-policy Här når du oss: En trea whisky på Facebook (https://ww.facebook.com/entreawhisky) Maila till oss på hej@entreawhisky.se Davids blogg tjederswhisky.se (https://www.tjederswhisky.se) Error sound courtesy of user Korground CC BY 3.0 https://freesound.org/s/344687/

“When we opened, everyone said ‘You can’t open a brewery with three beers,’” says Hogshead founder Stephen Kirby. “And I think the answer to that is ‘You can if they’re good ones.’ I think the truth’s out—I only make three beers. You’ve got guys who want to make everything. I make bitter, I make porter, I make mild.” That approach of doing only a few things but with an obsessive focus is highly unusual in today's beer market, where everyone seems to want everything, all the time. But Kirby is straightforward about his motivations—he’s in it to brew the beer that he loves and wants to drink. True to his British roots, that beer is what he grew up with—traditional cask ales. Kirby doesn’t hold back, sharing his views on a wide range of subjects, including: Why brewers should have the “bollocks” to name beers what they are Selecting hop varieties for balance in flavor and aroma Underpitching English strains at slightly lower temperatures for proper yeast flavors Innovation versus tradition British versus American takes on IPA How carbonic acid impacts hops bitterness Building small beers with big body while avoiding the impression of sweetness How water chemistry affects English beer styles Mash regimens to benefit head retention Using controlled oxidation through the life of a beer to tell a story “I brew the beer that I love, and I invite you come come over and have a pint,” Kirby says. “As a business model, it sucks, but it’s good for the soul. If you’re not making the beer you love, why the fuck are you doing it?” This episode is brought to you by: G&D Chillers (https://gdchillers.com): Nearly 2,000 breweries across the US, Canada & Mexico partner with G&D Chillers. Innovative, Modular Designs and no proprietary parts propel G&D ahead as the premier choice for your glycol chilling needs. Breweries you recognize—Russian River, Ninkasi, Jack's Abby, Samuel Adams and more—trust G&D to chill the beer you love! Call G&D Chillers to discuss your project today or reach out directly at GDChillers.com. (https://gdchillers.com) BSG (https://bsgcraftbrewing.com/): Third in the new BSG Hops Solutions portfolio, HS-1228 takes you all the way to the heart of the West Coast. HS-1228 is bursting with pronounced tropical fruit like mango, pineapple, citrus, and pine characteristics that bring out a classic West Coast hop character. Designed for late kettle or dry hop for various hop-forward styles. Learn more about BSG Hop Solutions online (https://bsgcraftbrewing.com/hops), and look for more BSG Hop Solutions releases coming soon! Brewmation (https://www.brewmation.com/): With nearly 20 years of innovation and experience, Brewmation specializes in electric, steam, and direct fire brew houses, complete cellar solutions, and automated controls for the craft brewing industry. From ½ barrel to 30 barrel systems, Brewmation puts you in control to design a brewery that fits your needs and brewing style. Whether you’re starting a new brewery, upgrading your cellar, or just need some parts to keep you up and running, Brewmation has you covered. Visit them at Brewmation.com (https://www.brewmation.com) to get started. Spike Brewing (https://spikebrewing.com/craft): Born out of a basement in Milwaukee a decade ago, Spike has grown to become a leading manufacturer of premium-quality brewing equipment. So, if you’re looking for a reliable system for home or a commercial-grade Nano for your brewery, this is the time to buy! Spike is offering CB&B listeners a special 10% off all three-vessel system purchases, while supplies last. Visit spikebrewing.com/craft (https://spikebrewing.com/craft) and enter the code CBB at checkout. Spike Brewing—pursue what’s possible. ABE Beverage Equipment (https://ABEequipment.com): ABE Beverage Equipment provides complete brewing and packaging solutions worldwide. Whether you are just starting out or are looking to expand, ABE offers brewhouses, tanks, canning lines and more for small to medium sized brewers. ABE has equipped over one thousand breweries worldwide and has the best customer service in the industry. Call ABE Beverage Equipment at 402-475-BEER or visit ABEequipment.com to learn more. That’s ABEequipment.com (https://ABEequipment.com) for complete brewing and packaging solutions.

Era kära värdar förklarar poddens namn och diskuterar frågan: Går det egentligen att svara på om gammal whisky är bättre än yngre? David lägger ut texten om oberoende buteljerare. Vi får veta mer om destilleriet Kavalan och pratar om att Hogshead inte bara är huvudet på en gris. Några saker vi pratar om: Cameronbridge distillery Stort destilleri i Dieageos ägo. Gör whisky åt Johnnie Walker och Bell's whiskies, Smirnoff vodka, plus gin åt Tanqueray och Gordon's. Historia om destilleriet finns hos Scotchwhisky.com (https://scotchwhisky.com/whiskypedia/1997/cameronbridge/). Oberoende buteljerare Gordon & Macphail https://www.gordonandmacphail.com/ Så här stora är whiskyfaten https://www.whisky.com/information/knowledge/production/background-knowledge/types-of-whisky-casks.html#c1531 Kavalan Distillery http://www.kavalanwhisky.com/en/main.aspx Kalevala. Inte Kavalan alls faktiskt https://sv.wikipedia.org/wiki/Kalevala Här når du oss: En trea whisky på Facebook (https://ww.facebook.com/entreawhisky) Maila till oss på hej@entreawhisky.se Davids blogg tjederswhisky.se (https://www.tjederswhisky.se)

Maximizing Speaker Fee How To 10X Your Speaker Fee In 12 Months – with Sally Hogshead Want to know how to 10X your speaker fee in 12 months or less? In today's interview James Taylor talks with keynote speaker Sally Hogshead about The four types of speakers that get booked How to 10x your speaker fee in 12 months Ways to insanely overdeliver Resources: Sally's website: Sally Hogshead LinkedIn: https://www.linkedin.com/in/hogshead Please SUBSCRIBE ►http://bit.ly/JTme-ytsub ♥️ Your Support Appreciated! If you enjoyed the show, please rate it on YouTube, iTunes or Stitcher and write a brief review. That would really help get the word out and raise the visibility of the Creative Life show. SUBSCRIBE TO THE SHOW Apple: http://bit.ly/TSL-apple Libsyn: http://bit.ly/TSL-libsyn Spotify: http://bit.ly/TSL-spotify Android: http://bit.ly/TSL-android Stitcher: http://bit.ly/TSL-stitcher CTA link: https://speakersu.com/the-speakers-life/ FOLLOW ME: Website: https://speakersu.com LinkedIn: http://bit.ly/JTme-linkedin Instagram: http://bit.ly/JTme-ig Twitter: http://bit.ly/JTme-twitter Facebook Group: http://bit.ly/IS-fbgroup Read full transcript at https://speakersu.com/sl053-how-to-10x…h-sally-hogshead/ James Taylor Hi, it's James Taylor, founder of SpeakersU. Today's episode was first aired as part of International Speakers Summit the world's largest online event for professional speakers. And if you'd like to access the full video version, as well as in depth sessions with over 150 top speakers, then I've got a very special offer for you. Just go to InternationalSpeakersSummit.com, where you'll be able to register for a free pass for the summit. Yep, that's right 150 of the world's top speakers sharing their insights, strategies and tactics on how to launch grow and build a successful speaking business. So just go to InternationalSpeakersSummit.com but not before you listen to today's episode. Hey, there is James Taylor here business creativity keynote speaker and founder of international speakers summit. Today, I'm delighted to be joined by Sally hogshead. And she's talking to me about how to fascinate, persuade, and captivate. Enjoy the session. Hey there, it's James Taylor, and I'm delighted today to be joined by Sally Hogshead. Sally Hogshead is an internet keynote speaker two times New York Times bestselling author and member of the CPA speaker Hall of Fame, the speaking industry's highest award for professional excellence. She's the creator of the fascination advantage assessment the first communication assessment that measures your personal brand. Sally began her branding careers one of advertisings most highly awarded copywriters, and after researching 1 million participants, our algorithm can pinpoint your most valuable differentiating traits. Using his science based fascinated system, she teaches audiences how to instantly persuade and captivate. When you fascinate your listener, they're more likely to remember you respect you, admire you and take action. From the moment she steps on stage. Sally captivates her audience studies and stories outlines startling new perspectives on how our human brain are hardwired to be influenced. She reveals why we buy certain brands but not others. Why we follow specific types of leaders and even why we fall in love with certain people and it's my great pleasure. To welcome Sally today. So welcome, Sally. Sally Hogshead Thank you, James. I'm super excited to be able to be here with you. James Taylor And I'm sure of all the guests that we've got. Every time I tell people about like, I've got this different guests and say, Oh, you've got Sally. Awesome. I'm so excited. You go, Sally. So, so first of all, thanks so much for coming on. Sally Hogshead Thank you. Yeah, yeah, yeah, I'm, you know, I'm super psyched because I love speaking so much, but I don't get to speak about speaking. So this is really fun for me. James Taylor So share with me, what's your focus just now what projects you currently focused on? Sally Hogshead Well, I measure this measure what makes somebody fascinating and one of the things I've learned in my research with a million people is people think they're less fascinating than the average person. In other words, people aren't confident in their own ability to fascinate. And I couldn't understand why. And finally, what we learned from our studies is people aren't confident in their message. They don't feel like they have something significant to add to the conversation. And so they imagine if you're a speaker on stage, If you're asking for people's attention, it's crucial that not only do you have a message, but that you're responsible for making sure that message is heard, remembered that it makes a difference that people aren't just inspired. But that people know how to take action differently that they can connect differently. But if we don't think that we're fascinating, our message will fail. And so right now I'm working on a new book named you are fascinating. And it is about being able to identify your most fascinating traits so that you can build your message around that and make a bigger difference. James Taylor I'm a huge fan of I got this one early on, well, before we ever met, how the world sees you, and I think this is like required reading of speakers. Because it feels like in a world where there's so many, so many speakers out there that event planners and organizers can choose from, is that differentiation piece, that's really really, what a lot of speakers struggle with your show. Sally Hogshead Yes, yeah, we can get into that today. I mean, that was a that was a big part of what I studied that I had to, I had to not just do it for my clients in the past when I worked in advertising. But then the sudden realization, oh, I need to contain myself. James Taylor I mentioned earlier you You came from the world of copywriting from advertising. And then you obviously move into speaking you're one of the most successful speakers I'm going to speak a Hall of Fame. But in those early years of you kind of moving into being a professional speaking and speaking, is your main thing. Who those early mentors and people that can have inspired you. Sally Hogshead There are a lot of people within NSA that that they didn't just inspire me, but I found that I it by watching them, I could see what a true professional speaker does. A lot of times people think if you know how to write in other words, if you know the language that you can then become an author. They also think if you know how to speak and you can command a crowd that you can then be a speaker, but being a speaker, and mastering the speaking business, the business end of it are completely different. And so I started by looking at great speakers like Michael Port Rene Brown, You know, a lot of the people that are actually going to be part of our summit. But then I took a step back and I started looking at business models to understand people behind the scenes, like people like Michael Hyatt, Marie Forleo. How do they build a tribe because being able to surround yourself with people who are passionately devoted to your message is a key part of being a speaker, because the message is more important than the delivery. James Taylor And with you so you can start you can start getting out in the road going speaking, but I don't know Well, no, well, but like all of us, we all start somewhere in those in those early days, you know, you were up quickly though, you started to kind of build over speaking but they got a point where you hit a little bit of a plateau. On the on the on the fee side, you were kind of getting near you out. You were getting the calls and everything but it was like weird, and now you're in the stratosphere as a speaker. So what happened around that time? Sally Hogshead It was it was actually a really difficult A difficult transition for me because I had come from advertising where I felt complete confidence. And I felt like it was I was very much in the flow of that side of my career. And when I wanted to transition into becoming a speaker, it was very easy to get from, from zero to thousands really easy, from 1000 to two or 3000 is pretty easy. But then all of a sudden, my speaking fee plateaued at around 4000, which is not nothing. But the problem is, if I'm going to be traveling and leaving town, I need to be able to make it worthwhile so that when I'm away from my kids, that I can still have a growing, thriving business. And so I took a step back and I started looking at the speaking industry about what drives the engine of how is one speakers decided over another. And I started looking at this as though I was looking through the lens of branding. And what I saw was the traditional criteria to have a speaker succeed. It goes through a laborious process that takes decades. For example, it's you, you master your speaking skill, the actual delivery of the speaking skill, and then you you contact with a beer. Rose, and then you write a book and you write another book and you read another book, and then you schmooze clients and you build your social media following and it's like, God, it was like that, you know that they're just there's got to be a better way. There's got to be a shortcut. And so I started looking, analyzing it. The the research behind why one speaker is chosen, and another one isn't one speaker can raise their feet and another one can't. And I found that every time you are being considered for a speech, you're essentially being considered with four other types of speakers. The first type of speaker is one who's a the Absolute Owner of a certain specialized niche of information like, you know, the the health care providers Association spokesperson. The second type is one who's just flat out more famous than you, the Malcom Gladwell or Seth Godin. The third type is cheaper than you so they're just gonna undercut you on price. And the fourth one is what I call the pet. The pet is the one that's like, oh, everybody loves Bob. We've had him every year for 10 years or my brother in law's getting into speaking Why don't we hire him? So I began to take a step back and say, Well, what do I have? That's, that's different than those and I realized there's a moment when somebody who's considering you for a speech very first sees your materials. If they've never heard of you, something's going to happen in their brain they're either going to say no or maybe no or maybe and I realized that all I had to do was stay in the maybe pile and not get thrown into the no pile. And so the first few moments that people look at this is so important that the police cars or James Taylor what's happening here is the the speaker police are coming to get you But yeah, you're telling me the secrets you sharing the secrets you that's why they come to get you. Sally Hogshead So I said to myself, what I'm going to do is make I'm going to present myself introduce myself to these these bureaus, these meeting planners, event planners, clients, in a way that they may not like my speech, they may not like my style, but they will not forget me. And so I put together a package in which I reached out to the hundred clients that I most wanted to work with. And I wrote I wrote them a letter They didn't talk about me at all. It said, Here's why I think you're fascinating. And for each one of those hundred clients, I went on look at their social media profile, look at their Facebook page, I researched them, I looked at articles they've written or been featured in. And I put together what my perception was of their personal brand. And then at the bottom, I simply said, if you'd like to talk more about your brand, and how it might be able to support you, in your work, give me a call. Well, long story short, within, within just a couple of weeks, I had basically filled up the next six months of my speaking and it was it was a huge transformational leap. It showed me, you don't need to just fascinate the decision maker. You need to understand how the decision making process goes through the system. And one thing I learned was the person who's going to be making the final approval, which speaker they use there but it's totally on the line. So they have to have something that allows them to validate their decision, especially if you're new or you're very expensive that they need to be To go to their board of directors or to their the meeting planner need to be able to go to their client, or the speaking agent needs to be able to go to the meeting planner and explain exactly why they chose you instead of somebody else. And so it's your job as a speaker, to give them everything they need to arm them with all the tools so they can do in advertising what's called selling up. Promise too often, we simply talk about ourselves and we don't necessarily arm the person with, with understanding the tangible, lasting benefits. A good keynote speaker can hold an audience's attention. A great keynote speaker can inspire and motivate them, maybe give them a few actionable takeaways. But it's really extraordinary keynote speaker can build a relationship not just between themselves and the audience, but between the audience members and the person who's paying for the speech. So if people are still talking about your keynote years later, and they use it, almost like as a, that that lightning bolt moment, when they like, Hey, remember when so taught us such and such. That's when you've really done your job because you've embedded yourself into the way that Think James Taylor a little bit. I mean, you're because you come from that, obviously understanding branding at a deep level. So I think I think about the great brands I think about, you know, the Volvo, for example owns the owner word they own involves because they Sally Hogshead say that let's say the word on the kind of three because I bet we both know what it is. Okay. James Taylor & Sally Hogshead 123 James Taylor & Sally Hogshead safety. Yes. James Taylor Safety. Yeah, yeah, exactly. And, you know, we think about something like BMW, and they own that kind of engineering and almost own, you know, their own feelings almost. You own fascinate that word. I'm sure that when people leave that conference hall, when they're having those discussions in the offices around you, you own that. So was that a very conscious decision? An early stage was to go find that that word that you wanted to own you wanted to put your stake in the ground said, This is me the only remember one other thing they know. That's the fascinating person. Sally Hogshead Yeah, yes, of course. I love that question. Originally, I had been studying branding and then I was studying Why we pay attention to certain people and not others? And then finally I saw in a medical journal I saw a passage that said the one of the oldest words in written language in ancient Latin is the word fastener a fastener a means to be which or hold captive. So your listener is powerless to resist. I thought man that that is cool to be which are held captive so your listeners powerless to resist and the more I began looking at it, I saw there was this open space, this this unclaimed territory conceptually not just as a word, but as a rich history in a science and a context that I could that I could dig very, very deeply into. And I think that's one of the things that's so important is a speaker, you have to be able to have a topic not not just like a word, but you have to be able to speak about something that if you took your name off the speaking description, that nobody else could put their name in there because if you're talking about say, time management or customer experience, you've got to be able to deliver something else. Otherwise, you're just a commodity. Otherwise, you'll never be able to become truly perceived as the expert, because somebody else can come in and just deliver your content and do it. To speak more specifically about that, I want to make sure that I cover one of the things that we're talking about which is having a word. BMW is one of the first clients I ever had, in advertising the ultimate driving machine. Later, I worked on the United States launch of Mini Cooper mini Coopers owned by BMW but it's not at all about ultimate driving machine. It's about participation and, and the experience in the same way as BMW Mini Cooper differentiated that's part of what my research showed me is how do you identify exactly how somebody differentiates themselves and that's where I created the fascination advantage, the that assessment that we were talking about, that measures how other people see you, and so that I can give you those words the words that define how you can Make sure that you're not a commodity you can rise above the competition. And we'll be talking about that later, right? James Taylor Absolutely, I'm going to be we have a very cool thing for everyone here as well, we're going to tell them about, I heard an interview with you recently, and so much of what you do and you talk about on stage, it looks extremely effortless, and you're kind of shine you're fascinating, you're staging here, but there's, there's a, there's a science as a background, this there's things going on there. And the and I remember hearing you talk about, you looked into you read very deep into the science of, you know, neuroscience and all kinds of different different areas of science. And one of the things you talked about was us as humans, I think we like only one 1% difference in terms of our DNA from from chimpanzees, and you know, other things. So it's like so when I come to think about differentiation, I've got like a 1% differentiator, and then we think about us as human beings and what attracts me to my wife, for example, she has a differentiation in that that that one person You know, can go and going down as well pray. So when you kind of did that, with Where did that kind of lead you in terms of the way that you can study that in the science. And then where did that take you in terms of the kind of information you can share with your audiences. Now, Sally Hogshead it's crucial for you, especially if you are an aspiring speaker, or a less established speaker, it's really important for you to be able to say something that nobody has ever said before, in a way in which nobody has ever said it. Every time you communicate, you're doing one of two things, you're either adding value, or you're taking up space. The problem is too often speakers speak to speak, all they're trying to do is book an engagement, they, they don't actually have a transformation they're trying to create for the audience. As a result, it's very hard for many speakers to raise their feet. And that's the problem that I was having. I was saying in 2010 when I could, I couldn't even I couldn't seem to break through that barrier. And I had that plateau and I was so frustrated and I was traveling all the time trying to make ends meet and support my family. What I saw was, I was trying to mimic other speakers. I was trying to outdo other speakers at what other speakers were doing. And I was trying to be like, you know, the the most authoritative or the most polished? Well, you know what, that's not me. I can't out Michael Port Michael Port. Right. And, and so I took a step back and I began to see that if I can identify in what way is not just me, but the experience that I'm delivering completely different. Not only does it make it more fun and energizing and confident creating to be on stage, but it helps with bookings tremendously, because remember, if you think about it, giving a speech is easy compared to getting the speech. If you have a message that matters, though, it's not just about speaking for the sake of speaking, if you if you can't get in front of the audiences, if you can't get in front of audiences that can take action and spread your message and become evangelists for what you have to say, then you've done a disservice If you have a message that matters, you almost have a duty to make sure that people are fascinated by that. And it's not just audience members, it's the decision maker before the process even begins. And so so that's why I spent so much time looking into this How is that decision made? One of the things that I saw, I couldn't even believe this. I looked at on speaking websites on bureau websites, you know, how do they have that drop down menu, you know, what I'm talking about where you pick the category leadership, entrepreneurial ism psychology, etc. And I started comparing those topics to the fee that the speaker charge and I I started looking at what is the relationship why it how much more can a social media person charge than a marketing person? I found with creativity and innovation, innovation speakers, on average charge $5,000 more than creativity speakers. And the reason is because innovation has a perceived outcome. Innovation is seen as a bet as an ROI person who's writing the check. Whereas we all know it creativity, innovation, they're like, you know, siblings. But creativity seems like a process that's an end in itself. So that's why it's so crucial for you to understand what does your end decision maker need? That's going to be the change. And that's why every time I do a free speech briefing call, first question I always ask is, what is the biggest problem that's going on in your company right now? In other words, what is stressing out your employees or what's causing conflict on the team? And the answers will be something along the lines of people are totally overwhelmed, or our prices are falling, or our competitor has come out with technology that's better than ours. Or we were not getting enough new leaves with the transition to millennials, etc. And once I have that piece of information, I can plug my topic into solving the need. So if the need is commoditization, well, then the solution is you have to be fascinating and differentiated. If the problem is that there's bad community Then I can structure my entire piece of content is just slightly shifting my topic to say, in order to have better communication, you have to understand the hidden patterns within the person sitting across the table so that you can create resonance. And that's that, it's things like that, that helps speakers get booked more quickly. So by the time the, my goal is that by the time they finished the briefing call that I have just delivered, I have just delivered the experience of what it's like for me to be on stage. In other words, what the experience that an audience has, when I'm on stage for a huge keynote. I want my client to have just had that on the call that aha epiphany. And one of the reasons that is so great having you on this summit, especially at the start of the summit, something I was very conscious I was doing all these interviews, speak with these great speakers is I was quite conscious that if you just kind of came into you know, just James Taylor not having a sense of who you are and knowing know, knowing thyself, right, it'd be really easy to get confused. Because, you know, Michael Port will give you an example of that. This is what I suggest here, someone else might give another to someone else might give another suggestion. And one of the great things about you and we have with a fascination advantage, and we'd like to kind of just talk about that. And how that works just now is it kind of goes back to that sense of like, what are your strengths? What is that thing that fascinates you? Yeah. And I think once people want speakers know, that piece is actually so much easier, then to the side, it's like knowing your customer avatar, once you know your customer avatar who your ideal customer, a lot of the noise just goes away, you could just focus well, would sue read that would know would Bob read that? If not, it's not looking to focus on Right, right. And to the fascination advantage, and we're gonna we're going to talk again, we'll have some links. We're gonna discuss that in a second as well. And how does how does it work? What's it all was all about? We talked about, you know, we're the precursor to coming to it, but But what is the fascination advantage? Sally Hogshead fascination is an intense focus. So remember a moment ago, we learned that the It's one of the most ancient words and written language from the last infest era to be which are hold captive. So your listener is powerless to resist. When you're speaking to an audience, when that audience is fascinated, their brain is just focused on you. They're not thinking about their iPhone and thinking about their next meeting. Sometimes, from a body language perspective, their job becomes slack. And they put their hands they unfold their hands and put them on the armrests because they're, they're completely in the zone with you. And it's during these times when your audience is fascinated. They're more likely to listen to you and remember you. But more importantly, you become embedded in their conversation the way that they think. So when you fascinate somebody, what our studies show is that you can charge far more for your prices, you can, they're more likely to refer you to respect you. Let me give you a quick example. I did a study in which I gave women two pairs of sunglasses that were exactly the same. On one pair, I put a Chanel logo and I said to people How much would you be willing to pay for these two pairs of sunglasses? They were willing to pay 400% more for the pair with the Chanel logo, even though they were exactly the same glasses exactly the same. So I thought to myself, well, what they're saying they're buying is a pair of sunglasses, but what they're really paying for it is the logo, the difference but the the value of branding is that if here's a commodity, but people are willing to pay this much, this right here is the value of that brand. And the same is true for speakers. There are two he could have two speakers who have the same quality network, the same type of content or the same level of experience or credentials. But if one speaker can brand themselves as being very clearly associated with it with certain certain traits, certain ways that they add value, and most importantly, certain ways that they differentiate themselves from the pack. Those speakers can rise far more quickly within within the world and the key here is not just being able to charge more money. mean, you know, that's nice, but that's not really the point. The key is that you can get in front of the audiences that you most want to speak to, so that your message can resonate. So there's this ripple effect, so that you speak to the people who are most likely to become your advocates. And those people will spread your message further. And if you believe that your message matters, then, like I said before, it's your responsibility to fascinate the audience so that you can get the best engagements that you want with for some for me, I want big, big audiences to thousand or more high level decision makers who can go back and change their culture based on what they learned with me. Other people have different types of audiences they want, but the, the more that you you're differentiated, you become irreplaceable. And that, imagine it like this. If, if, if somebody really wants the concept of, of how to be fascinating how to avoid commoditization, and overcome through differentiation, there aren't a lot of other speakers that you can just be plugged in there, whereas, if my topic was basic psychology or basic branding, well, you know, we've got 10 different speakers we can look at. And that that, that takes away your power as a speaker and as a business owner, James Taylor and how much you think your your successes because also due to the fact that you have created intellectual property that is really you know, it's very powerful that the the assessments very powerful. There's all the other things around that as well. But this is something you had to really work and put together that you own Sally Hogshead and invest in, invest dramatically, right, even during the period of time. When I wasn't, I wasn't, it wasn't like I was I it wasn't like I was being able to command a high fee in speaking. So therefore I did research it said I did the research first. One of the things that I learned is especially for women speakers, of the audience of the pool of authors, only 10% of business authors are women and Only 10% of those women business authors are speakers. So that's why it's so easy to see why it's very rare to see a woman keynote speaker during the opening session or the closing session and why it's so important for me to empower women speakers, one of the one of the one of the worst mistakes that women make is they brand themselves as a woman rather than brand themselves as a as the content. So what ends up happening is imagine we're looking at it on the axis. If you have high quality content, low quality content, highly entertaining, dry, dusty academic, most women, either they don't have great content, honestly, most speakers most because either they don't have great content or they don't have great delivery. But if you can live in the upper quadrant, we have great content, meaning you have proprietary research you have you have great concepts that nobody's ever heard before that people can actively implementing get excited about and you have great delivery, then it makes it the audiences fall in love. Because you're irreplaceable and meeting planners seek you out. James Taylor And when you mentioned those, those 100 organizers that you contacted with that, that I have, I love that. Here's why I think you're fascinating. You can go into them in that way. It's just like, no, like no one else does that. So I think it's absolutely amazing that you did. Sally Hogshead Can I give you an example? Yeah, I get what I when I get really excited, I like I love this conversation, because all this is happening in the back end in my business, but I never actually get to talk about it. Anybody could do this. If you if, you know, pick a topic, any topic What if you don't make it about you? What if you start applying it to the person that you're talking to if somebody studies finances, if you could say not like, Hey, I study finance, but instead of it could be hey, here's the three trends that are going on in your industry right now that you should know about maybe a handwritten letter and just have your phone number on there or your website. If you're in real estate, say hey, I sent a private investigator to stalk you. I'm kidding. If you could say in I noticed you lived in New York, here's three things that are happening in real estate right now in New York, that that that would be helpful for you. Because remember, every time you communicate, adding value taking up space, if you take up space in front of a meeting planners mind, they're just gonna ignore you the next time you try to reach out but if you add value, then they personally become invested in you being their chosen speaker. James Taylor And how did you kind of slice and dice when you when you have those hundred? And obviously, there's so many conferences, so many events happening? How did you target in on you mentioned, like the two those two sides 2000 plus type events, but where did you go for any particular industry or any particular niche or? Yeah, absolutely. What How did that work Sally Hogshead there? It's very important to think of your content to think who has the biggest problem you can possibly find for which your content will solve that problem. For me, people who are sitting in the audience if they don't think they have a problem with disruption, if they don't think they have a problem with competition and distraction and commoditization, I'm really not the right speaker for them. So there's certain industries like I've learned, for example, agriculture. When I speak to agriculture audiences, there isn't a sense, among the ones I've spoken with, where they have an urgency that, wow, my industry is totally getting disrupted, and I want change. And I personally have a vested interest in listening to what Sally saying, because my butt is on the line. On the other hand, salespeople, creative professionals, real estate agents that those people understand, man, the world is changing, and I've got about a year because the way what has served me up until now is not going to continue to serve me. So they're really hungry for the message and they value it and they take it very seriously because they, they want to go back and apply it immediately. So that's why organizations where I have the decision maker sitting in the room, they're very creative. They are they're not change adverse. They're brand safe. They, they don't just want to be entertained, they don't just want to inspiration, they actually want to think or do something differently when they walk out of the room. And then they want to go share it with their teams. That's my ideal client. James Taylor And was interesting as from my perspective, having just having you on as a guest. And so we're talking about you could go showing the back office stuff and, you know, opening the kimono and type of thing and the level of detail both you and your team have put into this event that we're doing together just now. has been, you know, it's been exemplary. Sally Hogshead Thank you. I try to say my team totally rock. Kate Beth, rich. Emily, everybody. Great. Can I show you a geek? James Taylor Yeah, give me a geek get off. Oh, Sally Hogshead when I okay. So I am not a detail oriented person. And so this is what Beth and Kate put together. For me. This is my AV kit. And when you open it, here's everything that I need. But the so I have three clicker. Everything is marked. With my name. And so one thing is when I show up to do a speech and the AV guys, like, you know, this is called wireless love, I can I just silently unroll, you know where it has my mints It has everything that I could possibly want. It allows me to come in with complete credibility immediately. And that allows me to be confident. Another thing that I do, it's like that hyper detail oriented thing that my that we have learned is really helpful is before the keynote. But before the keynote, I take a screen grab of my slides, I send that screengrab to myself. So that before I walk on stage and that like awkward moment where you're kind of pacing and keeping your energy contained, I can be looking over my slides visually. I think those a certain degree of micromanagement really helps be walking on stage and being completely confident in that moment. And I thank my team for helping Do that. But James Taylor as an event organizer, it just gives you so much confidence that that that happens Sally Hogshead in this Speaker James Taylor year a competent speaker employ you for you on the stage. And, and especially in that last week, before something happens, like the when everyone's going, Oh, is this gonna is going to work? Are they gonna turn off? They're gonna catch your flight, you know all these things. And I know that I'm sure that when you do your live events, your team, if anything like this event, and this is obviously an online event, but if it's anything like that, then it's just that that that attention to detail makes a huge, huge difference. Sally Hogshead I haven't my AV writer is a full page long, and it's not like I want green m&ms. It's just anything that could potentially be a problem. I'm just letting them know. When example is. When I if there's iMac, I let them know, say here's my clicker. I like to have my computer on the stage. And I say to the person who's doing the iMac, you know whether it's image magnification where it's a huge billboard size thing either behind you around the room, if I'm holding the clicker Show the slide, Don't show me show the slide on the screen. When I put the clicker down, show me. So it'll be like, I'm going to give you three points. 123 showing them on the slide. And then I put the clicker down, I say, now I'm going to tell you a story about those three points. And it's, it's thinking through all the things that are going to help the audience connect with you and make the meeting planner feel confident, that make all the difference in the world. James Taylor And for those people that are just coming into the world of of speaking, and I guess we kind of think about that, that being being a disadvantage because you have all these great speakers and they get the stages. But someone like myself has come in relatively recently in this kind of is of the of the scrappy, like, Okay, well, that's interesting how the wave has been done, but like, I'd like to change things a little bit. I like like rock things off and make some not necessarily go from the typical A to Zed. What tips would you give for those people that that maybe there's things that they can do that actually They're an advantage because they are just getting started. Sally Hogshead Yes. Listen, less experienced speakers or speaker speakers who see isn't as high as it could be. I'm speaking of details, I made a little made a little list. There's certain things that speakers can do that I did that, that I really recommend because it comes straight from the textbook of branding. First one is, find one way that you can insanely over deliver for the decision maker, something that you don't have to be great at every aspect of speaking but you do need to be extraordinary in one area of content and one area of service. And as an example, we give huge level of service to the event planner, sometimes we even send if we are if we are not booked, but the agent has inquired, sometimes we'll send a thank you gift or a note saying thank you for considering us. So what happens is we build a relationship. We for clients who booked me in Orlando in my hometown, we give them a MacBook Air. Because we want to be booked more in Orlando MacBook Airs are a great incentive. And, and over deliver in your in terms of your content find one way that you can just blow the face off every other speaker for me, that's proprietary research, measuring a million people and being able to serve that, that content to my clients. So when I do the speech on, I can show them all the analytics of their organization in their group. High, highly paid speakers also have certain disadvantages that are important. As soon as you hit about 10,000. and above. What I noticed is speakers, they're less likely to experiment because they feel like oh, I've I've got it handled. And so what they, they, they, they're kind of doing it from memorization. And the problem with that is then when somebody sees your keynote, they don't see how they could continue to bring you back. Because it's like they don't want to hear the same stories again. They get in, they're less willing to customize, being able to customize what the client is not reinvention of your material. But it's it's crucial that the person sitting in the audience feels as though although you're not an expert at their content, that you know their language and you're not calling them, like say with salespeople, they either have customers or clients, it's really important for you to know, does the audience refer to them as customers? Or do they refer to them as clients, or maybe even consumers? Because if you say clients and their customers, then you lose credibility. One thing that I do is I always go online before a speech, I look at their mission statement. And I look at the About Us page and I deconstruct the tonality. Are they using words like, we create an empowering workplace in which we want our employees to rise to the highest level? Or is it more like we've been we've, like, say an at&t or a GE, we figured it out 100 years ago that excellence is the most important thing. Well, that they're going to interact differently in in the audience in the keynote situation then the empowered Wellspring on James Taylor And so you as you're kind of researching them, I'm guessing because you you know, so much with it, you know that you've done a million of these assessments. So that was great data brings great power. And I am wondering if could that Oh, would you be able to use that information? If you under if you know, like that event conference organized, you've done something in the past and that you kind of have you had the DNA, you have that code of Oh, almost at that person? would you use that and you definitely have the code for an organization in terms of Yes, there's more than this type of archetypal, this type of archetype. Sally Hogshead Yes, when when I speak to a specific industry, like let's say it's multi level marketing or insurance. We compare that group to our average population of of people that we've measured within that same industry, so I can I can say to a group, okay, the average within the insurance industry, according to our research is a pie chart or a graph that looks like this. You New York life look like this. And then that's really meaningful data because it's already telling them how their organization can differentiate themselves. Doing data like that, though doing, doing some kind of like heavy number crunching requires an algorithm a team, huge investment. But he doesn't have to take that it you can also get that information through briefing calls, online research, interviews, and knowledge. Not only is knowledge power, but knowledge is the ability to differentiate yourself by bringing something new to the conversation. And within the fascination advantage. You have these 49 different archetypes that you taught, you kind of cover James Taylor and I'm wondering when you go like, for example, the National Speakers Association, is there one type of archetype, that archetype that really dominates overall, but also is One, you're you're in that elite group of speaker Hall of Fame inductees. And I don't know how many, you know, Speaker Hall of Fame that still are just now out speaking by some very small number is to those people have a different archetype from from the the, the general generality of National Speakers Association members? Sally Hogshead I love that question. And just so people understand what I'm talking about, here's the book that we just looked at. And then this is what this is the matrix. So when, when people take the fascination advantage assessment, we what we're measuring are, what we're measuring is how other people perceive them. In other words, if you're a speaker, how does your audience perceive you? It's not like disc or Myers Briggs or Colby, which is how do you see the world based on psychology? This is turning it around based on branding. And when we go in and we measure groups like National Speakers organization, MCI, even speaking bureaus, what we find is they tend to score very high On the power advantage, which is about confidence and focus and goal orientation, they tend to score very high on prestige, which is excellence and improving results. They tend to score very low on alert, which is detail orientation, and they tend to score very low on Mystique. Mystique is standing back listening, thinking before speaking, asking questions rather than talking. Now there's nothing wrong with that every industry from people in technology score 30% higher than the average population and Mystique, whereas speakers we haven't measured, we haven't measured the percentages, they score way lower. And so what that means is, if you when you take the fascination advantage, if you score the same way, you're going to have to work harder to differentiate yourself. You don't want to model yourself after top speakers. You want to be identify how you're most likely to add value. You don't have to change who you are. You have to become more of who you are, and then do it on purpose. James Taylor But I'm also guessing that in those industries where maybe that's the power prestige isn't that high you will stand out in terms of going it let's say if you're targeting an industry that you want to go and speak out specifically and I'm so I'm trying to think of what the opposite of this would be detail accountancy conferences, I'm just bragging right there the thing. So, you would if you can have your strength that you have them build upon your strength, but also be understand understanding very well, that the needs the demands of that audience and what their 2am right problems all, then you can stand out, maybe more so than other speakers they might have. Yes, Sally Hogshead your goal is not to mirror your audience because first of all, that's going to be inauthentic. You're not going to feel confident you're going to be trying to you're not going to be able to come out and, and and communicate your message in the most authentic way. But it is so I'll give you an example. I speak to a lot of Financial Services groups who tend to not be the whoo lose, you know. And so at first I would, I would kind of dumb myself down, water myself down, it would be inhibited. And I would try to do it the right way. And then what I realized was, I'm not having fun, they're not getting the message. And so I score on the fascination advantage, I score very high on passion, very high on innovation. So before I go on stage, I need to say to myself, right now, I may feel less confident that I'm going to be able to bond with this audience over the course of the next 60 minutes. But it is my responsibility to make sure that I do not dumb down my passion and my innovation. So that means I'm going to come out I'm going to engage quickly. I have big body language, I love to be able to tell them stories that make them feel emotionally engaged with the content so that then when I give them data and research, they feel like there's an emotional context for it. I'm not just throwing up slides, and to be able to be creative. You know, I like to push it a little bit. I love to go into the audience and and talk to people about their result of the fascination advantage, which is a, that's a competitive advantage of mine ad libbing is actually easier for me than going off script. Whereas for a lot of people that's not the case if there's something that that you as a speaker if there's some area of speaking that you know that you can excel in that becomes almost like your secret weapon then by all means, put that in the speech give yourself license to totally break the mold of what a speaker traditionally does. James Taylor Yeah, my background being originally a jazz musician, the the improvisation thing is kind of hardwired hardwired in dance, I'm struggling to do the exactly the same speech every single time. So let's start to kind of finish up here I want to come because we're gonna have we're gonna have a link here just under this video where people can click on that and get good you know, go through that assessment and find out what their own archetype is before any other kind of parting words of wisdom for for speakers, anything they should be thinking of, to really you know, maybe that the speaking already and you're doing that the one k two k three k in that level. But they know that there's so much more this possible for them any advice there, Sally Hogshead I'll just give a give a couple of quick things. When when you have a conference call with a client, find their picture, learn as much as you can about them so that you immediately come to the call with a sense of connection. In the same way that it's hard to give a speech if you can't see the audience's faces. neurologically, when you look at another human face, you feel more connected to them that the next thing is make sure that you micromanage every detail before the speech that is most important to you. So for me, for example, it's really important that I don't have to make decisions within 24 hours of giving a major keynote, so my whole team knows decisions create Stress, Stress creates uncertainty. I don't want any uncertainty coming anywhere near me when I'm getting ready for a major presentation. So we just block off time to make all those decisions in advance. And then finally, you need to find the aspect of your content that makes You passionately care. The world isn't changed by people who sort of cares, or speakers who sort of care or clients who sort of care. So it's your job to make the audience passionately care no matter what your topic is, even if your your topic may seem dry and dusty, but not only should your delivery emphasize how crucial your topic is, but to also make them feel the urgency of applying it, and the epiphany of what it's like when they understand it. James Taylor I yeah, I mean, we're in that space now, aren't we, where the medium the middle just doesn't read. It just doesn't resonate. You have to be Sally Hogshead frankly, nothing below the top 5% resonates you know, it's like it's it becomes spam. And as a speaker, you don't want to be human spam. James Taylor But what I love about what you do is it's not about it's not about being inauthentic or being something else. It's just like, like supercharging what you already are, and just you know, getting the best of what you already own. So Sally Hogshead being more of who you are There's something really liberating about James Taylor that. Absolutely, absolutely. So let's, let's finish up here. And you showed us your lovely speaker bag, which is absolutely is a work of art. So congratulations. You're Sally Hogshead directed to Kate and Beth and Stephanie who puts it together every time we go out the door, we actually have two of them so that if I missing something, we just trade out to the other speaker. But James Taylor is there anything of a particular note in there that you absolutely really couldn't do without Sally Hogshead I travel with backups for me if I have any increment of stress, and if there's anything that throws me off kilter, in the moments while I'm doing the AV check it, it's like it infects my confidence. And if I don't feel confident, my keynote isn't going to be as good because I'm going to be mentally trying to think through the concepts of you know, kind of trying to say the right thing, kind of like I am right now, instead of it just flowing because I'm in the zone. So I always travel wearing the exact same type of uniform so there's no ambiguity I travel with three different outfits. So that if Whether changes or if the level of, of dressing this changes, I carry three of everything, VGA, HDMI, Thunderbolt, three clickers. After the speech, I always talk to the AV guys, I usually bring the AV guys a gift, like donuts in the morning. And then I give them a thumb drive. And I say, Can I download my presentation right now, because it's always really hard to get it afterwards. In our contract, it says that the client has to send it to us, I think it's within like 30 days. But it's really hard. You don't want after the after the event, you don't want to be going back to the client, like, Hey, remember me? Because then that becomes, you don't wanna leave that taste in their mouth. You want to keep the happy bubble. So manage all of those details in advance so that you can be in their happy bubble and you keep your client happy. James Taylor I think at that point, you mentioned the start there, where you're talking about having reducing decisions to so on that went on game day. You have that Sally Hogshead reduced decision. James Taylor Yeah, I met I had a good opportunity. Meet your When the former President Barack Obama there, I asked him a question about speaking. And then and then I know that he does exactly the same thing. He was the same suit. Every board has the same breakfast every single morning. He said, I've got enough decisions to make in my day, right? Yeah, I'd most Sally Hogshead I don't know if it's an urban myth, but I've heard that athletes like Tiger Woods will replicate their living room no matter where they travel. And so I think, you know, obviously, that's, that's a bit much but stress reduction is as important as confidence maximization James Taylor another any online resources or tools or apps you find particularly useful for yourself as a speaker. Sally Hogshead Well, I'm building a new version of SallyHogshead.com right now and I love being able to look at websites that are not speaking websites. I like looking at branding agencies, photographers, even New York Magazine, things that things that kind of break that mold. You don't want to look and sound and smell like a speaker. You want to look like a thought leader or somebody with a with a very clearly differentiated brand throughout your entire experience. So in going online I try to match in what way does that online brand match the experience of the product or service itself so that I can learn and apply that James Taylor and I think people that you mentioned the start like Marie Forleo that was poor guy, Paul Jarvis, who's a web designer, yours does Chris Carr as well. is great because it looks like no other website for other kind of people in that space. But it matches so perfectly with her audience in terms of the quality the style is you know, this is kind of cosmopolitan, you know, as a website so as I actually get I'm, you're singing to the choir on that one. What about if you to recommend just one book and it can't be your own book as amazing as amazing as this book is? If you recommend just one book about it could be about speaking it could be about branding or something you you think would be very useful for the all the speakers out there to be reading Sally Hogshead National Speakers Association has a line of books I think it's um get the I think the one that I like best is get paid to speak really great thought provoking articles on on launching a speaking career. Non speaking books I love Made to Stick In fact I love anything by Chip and Dan Heath because it's all about how do you take concepts and make them make them sticky make them meaningful, but term coined by Malcolm Gladwell, but using that in terms of not just your your content during the speech, but the marketing ahead of the speech, James Taylor and final question for you, and then we're going to just have that link here for everyone so they can get go through that assessment, find out their their archetype find out what makes them fascinating to others. Let's imagine tomorrow morning, you woke up and you have to restart. You have to start again. You have all the skills, all the tools of your trade, all the knowledge you have acquired over the years, but no one knows who Sally Hogshead is. You don't know one you have to restart. What would you do? How would you restart? I would Sally Hogshead pick one way when one form of media, one message, one key benefit that I deliver that is that is extremely valuable to the person to whom I'm trying to reach. And then I would be extraordinary in that way. Look, clients don't hire you because you're balanced, they hire you because you're extraordinary. You don't have to be perfect. You're not perfect, you'll never be perfect, but you do have to be perfectly excellent in one particular way. So you don't need to be associated with everything, you know, the smartest, the, the the cheapest, you know, you don't you don't want to be associated with a bunch of things. You want to be associated with specific traits. Because if clients can't remember you, they can't refer you. They have to be able to describe you so that people can talk about they can they can explain why other people should hire you. Can I give you an example? Yes, James Taylor absolutely. Okay. Sally Hogshead This is an example of one I speak this is what my business card looks like. And you can see what Yeah, there you go. So you can see at the top it says, How do you fascinate? And then we have the seven different ways that people fascinate. So when I go to a speech, and I meet somebody, I say after I after speaking with them, I'm not talking about me, I'm talking about them. So I'll say, Oh, I think you I think you think creatively. There, I think you think creatively. And I think you connect, I think you connect with emotion. So when I give this to them, sorry, I'm, our webcam is like backwards. So I think you think creatively, and connect with emotion. And then I peel it off, and I give it to them. Then they have this amazing souvenir of the speech, but then they want to go and be like, wow, here are the two ways that I can differentiate myself. Well, on the back, it's my business card. So then it tells them how to how to be able to get it to be able to get in touch with me. So by giving them something that they don't want to shove in their pocket, or worse shove in the trash. My business card doesn't get caught up and all of those like so networking business cards, I think it's really great to be able to give your audience something something of value that is so intrinsically branded with with you and who you are in your message that they never want to get rid of it in fact they want to put it on their desk and display it because that's the best talk value there is James Taylor absolutely today's episode was sponsored by speakers you the online community for speakers. And if you're serious about your speaking career, then you can join us because you membership program. Our speakers, you members receive private one on one coaching with me hundreds of hours of training, content, and access to a global community. They help them launch and build a profitable business around their speaking message and expertise. So just head over to SpeakersU.com to learn more. #speakersU #speakersLife

Some of your favorite Potter actors are back to voice The Tales of Beedle The Bard audiobook MuggleCasTBT recalls a time when we discussed J.K. Rowling potentially writing (https://twitter.com/MuggleCast/status/1233208321706020865) under a pseudonym. Muggle Mail covers becoming inspired to teach, the Hog's Head and the Room of Requirement. Chapter-by-Chapter (http://www.mugglecast.com/harry-potter-chapter-chapter-analysis-archive/) continues with Order of the Phoenix – Chapter 19: The Lion & The Serpent. 7-Word Summary: The Quidditch match features Draco falling out. Dumbledore's Army is going swimmingly. Harry really IS a teacher! Is Luna the best representation of inter-house cooperation at Hogwarts? We discuss whether "Weasley Is Our King" is bullying or just typical sportsmanship. It's insane how the staff reacted to Harry and George’s attack versus the taunting on the field, which no one tried to stop. WHERE is Dumbledore? And where was Hermione to set another fire in the stands? Isn’t there a charm for earplugs? Ron doesn’t need to hear to be a good Keeper. Honestly, is Draco any good at Quidditch? McGonagall vs. Umbridge McGonagall: the star Quidditch player - it runs in her family! On Fred: Can you lifetime ban someone for something you thought they were “about to” do? And why is this described as a lifetime ban? Is this an opportunity where Harry, if he had known Umbridge’s backstory, could have used it to his advantage. Everything is terrible this chapter, but Hagrid is back! The Umbridge Suck Count climbs to 40! The Debate returns as Andrew & Micah and Laura & Eric team up to debate Umbridge's punishments! Connecting The Threads, MVP of the Week and Rename The Chapter! Quizzitch: Where did Hagrid have a disagreement with a vampire? Join our community at Patreon.com/MuggleCast (http://www.patreon.com/MuggleCast) and receive magical benefits, including Bonus MuggleCast!

MuggleCast has launched a listener survey so we can hear what you think of the show. Please take a couple minutes to fill it out (https://forms.gle/EyfFrFvovQhHisiE8) This week's episode is sponsored by ThirdLove, makers of the perfect fitting bra. Visit ThirdLove.com/MuggleCast (http://www.thirdlove.com/MuggleCast) for 15% off! J.K. Rowling announces the next Cormoran Strike novel is finished! Kobe Bryant: how Harry Potter inspired his Wizenard Series Muggle Mail covers some clever questions from a 10-year-old listener! Chapter-by-Chapter continues with Order of the Phoenix - Chapter 16: In The Hog's Head 7-Word Summary: Shady happenings occur within Aberforth's dingy bar What in the world is up with the chapter art (https://www.hp-lexicon.org/?attachment_id=22956) ? Harry's internal struggle: to teach or not to teach Defense Against Dark Arts? A mummy, two Yorkshire dementors and a shifty-looking witch walk into a bar... Undercover thief! Is it pure coincidence or on Dumbledore's orders that Mundungus is in the Hog's Head? Aberforth looks familiar to Harry. Oh, really? Is the Hog's Head really that dirty and grimy or is a bit of magic at play? The bar smells of goats... what?!? What do goats even smell like? How does the Hog's Head stay in business? We break down Aberforth's relationship with his goat Gryffindor, Ravenclaw, Hufflepuff... The Formation of Dumbledore's Army! Would any of members of Slytherin House worked well? Does Hermione not fully consider the consequences of putting Harry in an awkward position? From Quirrellmort to the Riddle Graveyard, the hosts rate Harry's accomplishments with O.W.L. grades! Zacharias Smith, Luna Lovegood, Ernie MacMillan and more! Fudge and Heliopaths? No way! But Luna's observations about Hermione are spot on! Would we have signed our names to the Dumbledore's Army parchment? Quizzitch: Who visits Harry during History of Magic? Join our community at Patreon.com/MuggleCast (http://www.patreon.com/MuggleCast) and receive magical benefits, including Bonus MuggleCast!

In this episode of the Spirits Blind Tasting podcast I'm doing a blind tasting of the Tormore 24 year Signatory Vintage Cask Strength Collection & Hazelburn 10 Single Malt Whisky Springbank Society. If you'd like to support this podcast and get access to the behind the scenes video recordings from this episode, please join me on Patreon: https://www.patreon.com/spiritspeopleFeel free to follow along with a dram of any of these or any other spirit you enjoy as I try to uncover the aromas and flavors of these 2 spirits. My tasting notes from this episode can be found below:Spirit A - Tormore 24 year Signatory Vintage Cask Strength Collection (45.2% ABV) (Distilled 1992, Bottled 2017, Matured in Hogshead casks 5687 and 5696)AppearanceClarity: ClearIntensity: MediumColor: GoldSuggested texture: Medium > highNoseCondition: CleanIntensity: Medium > pronouncedAroma characteristics: Toffee apples, pineapple, ginger ale, ripe bananas, vanilla pod, sultanas, fresh lemon peel, toasted oakOther notes: Quite sweet and floral on the nose. Feels like a first fill bourbon cask single malt in the 10 year rangeABV: 45%-50%PalateSweetness: DryTexture: Silky, warming, medium viscosityIntensity: MediumFlavor characteristics: Lemon sorbet, lemon peel, vanilla, underripe bananas, black pepper corn, toasted or dried oakOther notes: A little bit of tannins coming through. A bit “quick” but everything I’d expect from the nose came through but nothing else. Predictable & reliable.Finish: Short > medium with some complexity (Lemon peel and oak)ABV: 45%-50%ConclusionQuality level: Very goodBlind guess: First fill bourbon cask, Single malt, ~8 yearsSpirit B - Hazelburn 10 Single Malt Whisky Springbank Society (55.9% ABV) (Distilled 2007, Bottled 2018, Matured in refill sauternes hogsheads)AppearanceClarity: ClearIntensity: PaleColor: AmberSuggested texture: Medium > highNoseCondition: Clean Intensity: Medium > pronouncedAroma characteristics: Raisins, dates, cherries, sea salt, stone fruits, baked pears, light caramel, vanilla, dried orange peel, charred oak? Other notes: Darker and more dense nose than Spirit A with a whiff of smoke? Feels similar age-wise to Spirit A, but perhaps in a first fill PX cask which gives those dark sweet notes.ABV: ~50%PalateSweetness: DryTexture: Mouth filling, warming, medium viscosityIntensity: PronouncedFlavor characteristics: Fresh pears, raisins, cherries, stone fruits, baked pears, dried orange peel, dark chocolate, roasted coffee beans, charred oakOther notes: Feels like an evolution from the nose, lots of carry-though but also new elementsFinish: Long and very complex (cherries, fortified wine, oak, pear)ABV: 50%-55%ConclusionQuality level: OutstandingBlind guess: Single malt, first fill sherry cask, 8-10 yearsIf you have any questions or comments, please feel free to reach out to me at any time on Instagram @spiritspeople

For years anybody who owned land or a restaurant or a bar in Raleigh wanted to get their hands on the space atop . were not in Raleigh and did not seek this potential pot of gold that sat atop the . However, because they did not seek it, much like the , they were awarded it. Chris and Sara acquired the sleepy "also-ran" known as the in August of 2018. On this episode we hear how Chris and Sara brought in the likes of the one and only to help transform this majestic location high atop Raleigh into a brewery and kitchen that is befitting of it's location. This episode, has restaurant creation, entrepreneurial business wisdom and some delicious cooking and brewing tips.         **Support Bestow Baked Goods, currently located in Fuquay-Varina but soon to open in Holly Springs! Follow them on Instagram @bestowbakedgoods **Need wine & beer? Of course you do, get it at  Use promo code 'NCFB' at checkout!  Hospitality industry veterans, and , get behind the scenes of North Carolina's burgeoning food and beverage culture. Hear from local chefs, sommelier's, distillers, farmers, brewers and the whole lot of them in the NC F&B podcast. Max is a front-of-house vet/sommelier that moved from Los Angeles to North Carolina in 2013. Since moving to North Carolina, he's run restaurants, designed wine programs and builds craft cocktail menus and now produces multiple podcasts.  Matthew is a certified sommelier from New York. His experience ranges from restaurant/bar to importing some of the finest wines in the world. He moved his family to North Carolina three years ago and works as a wine distributor. For questions, comments and booking, contact us at or Eat & Drink Merrily!

In the Hog's Head.Hermione does not bother Harry about the idea of teaching for two whole weeks before she broaches the subject again. In this episode of Owl Post: A Harry Potter Podcast hosts Andrea Coffman and Matthew Rushing talk about the sixteenth chapter of Harry Potter and the Order of the Phoenix. We discuss two weeks passing, encouraging Harry, worried for Sirius, a little thing, the Hog's Head, why everyone showed up, Harry's accomplishments, Ginny's boyfriend and ending on a high note. HostsAndrea Coffman and Matthew RushingSend us your feedback!Twitter: @JoinNerdPartyFacebook: https://www.facebook.com/thenerdpartyEmail: http://www.thenerdparty.com/contactSubscribe in Apple Podcasts

In the Hog's Head. Hermione does not bother Harry about the idea of teaching for two whole weeks before she broaches the subject again. In this episode of Owl Post: A Harry Potter Podcast hosts Andrea Coffman and Matthew Rushing talk about the sixteenth chapter of Harry Potter and the Order of the Phoenix. We discuss two weeks passing, encouraging Harry, worried for Sirius, a little thing, the Hog's Head, why everyone showed up, Harry's accomplishments, Ginny's boyfriend and ending on a high note. Hosts Andrea Coffman and Matthew Rushing Send us your feedback! Twitter: @JoinNerdParty Facebook: https://www.facebook.com/thenerdparty Email: http://www.thenerdparty.com/contact Subscribe in Apple Podcasts

The gang barely manages to see the Guest Ledger at the Rusty Dragon, confirming the story of the two mustachioed men they met in the Hog's Head, and then followed back here last night.  They then seek assistance in solving the smeared note "puzzle" they found in Cedrin's room, before realizing something important...   Join the StabbyQuest Discord! https://discord.gg/g5zpcY8 If you enjoy our show, consider joining our Patreon! https://www.patreon.com/stabbyquest

Dumbledores Army is fully formed in this week's episode in all its glorious rebellion, Harry gets banned from playing Quidditch for life, and we have a lengthy discussion about how Giants are portrayed in the series.  Be aware! This is a re-read for us and we delve into spoilers and wider theories surrounding the series. If you'd like to reach out, head on over to our Twitter page @BindingsB. Timestamps: Ch 16 In the Hog's Head (5:50) | Ch 17 Educational Degree Number Twenty-Four (17:00) | Ch 18 Dumbledores Army (29:30) | Ch 19 The Lion and the Serpent (41:50) | Ch 20 Hagrid's Tale (53:50). The Path of the Goblin King Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

Vanessa and Casper explore the theme of Respite in chapter sixteen of Harry Potter and the Order of the Phoenix. They discuss Aberforth living in Dumbledore's shadow, Ron wanting to step out of his prefect roll, and Harry needing a break from his trauma. Throughout the episode they consider the question: Can respite be healing?Thanks to Maloy Moore for this week's voicemail. We're taking two weeks off for the holidays, but we'll be back on January 10th with Chapter 17, Educational Decree Number Twenty-four, through the theme of supremacy. See acast.com/privacy for privacy and opt-out information.

Vanessa and Casper explore the theme of Healing in chapter fifteen of "Harry Potter and the Order of the Phoenix". This week, Vanessa and Casper are joined by Artie Wu, the founder of Preside Meditation and a dear friend of Casper's. We discuss Umbridge's use of silence, Harry's perception of his own survival, and the importance of a diagnosis. Our question this week is: what is the relationship between individual and collective healing?Thanks this week to Charlyn for our voicemail. Next week we're reading chapter sixteen, In the Hog's Head, through the theme of respite. See acast.com/privacy for privacy and opt-out information.

In many past shows, Karen and Cadie have talked about how much they are alike, but yet so different. This week they decided to put it to the test and thanks to our producer Johnny Gwin (who led us to the How To Fascinate Personality Test), and they took the test. Learn about their results and their specific Fascinate archetypes. Lastly, the pros and cons of personality tests and how can we and our businesses can benefit from using these type of tools for hiring, HR, internal communication and improved productivity. Key Takeaways 1. Personality tests can help managers and team members better understand each other. 2. Productivity can increase when employees understand how their co-workers and managers prefer to communicate. 3. Personality tests force you and your employees to see the differences between what the test says about you and them and what they think about themselves. Resources How To Fascinate - Personality Test Email johnny@johnygwin.com to get a FREE CODE to take the test.   Sponsor: Domke Market Domke Market - Facebook Page Learn more about Karen Simmons & Cadie Gaut Karen C. Simmons, P.C. Payroll Vault - Mobile & Baldwin Counties About Cheers To Business Cheers To Business is a seriously casual business and entrepreneur podcast that discusses starting, running, refining and growing your company, or excelling at your current job with two or your soon-to-be friends - over a glass of wine. Please subscribe, review and rate Cheers To Business on iTunes, SoundCloud & Overcast. You can contact and stay connected with us by LIKING our Cheers To Business Facebook page. Thanks for listening and as always, CHEERS to you!    

Ryan continues his GABF beercation dropping another episode to recap a nice day in Denver. He hit Fresh Craft, Seedstock Brewing, and had another session at Hogshead. Keep a look out for the blog post he mentioned going up today at beercounselor.net. He will post another Short Pour tomorrow with a recap of the GABF medal ceremony. Until then, slainte! --- Support this podcast: https://anchor.fm/between-the-pints/support

Welp, it seems like the gang is about to face the music. They correctly deduced that the cryptic message they received in the lobby of the Rusty Dragon was instructing them to go to the back room at the Hog's Head, where Belor Hemlock was awaiting their arrival. While the group tries to explain their actions (and unwittingly incriminate themselves), they *do* get a few answers to some outstanding questions, but they also get a warning. One thing's for certain - there's a change in the wind.

The gang has just learned the two "mustachioed" men dining in the Hog's Head who were eyeing them *bolted* after the guys got "drunk" Sarowyn out of the bar. They give chase, and end up in a very familiar place...

* Slug Club member Karen joins the show * Listeners share their Order of the Phoenix release party memories * Cursed Child cleans up at the Tony Awards * Universal Orlando adds Harry Potter to their nighttime water show * Main Discussion: Major Events of the Phoenix * Grimmauld Place: Was this truly the safest place for the Order to be headquartered? * Do Sirius and the Order underestimate the threats within the Black Family home? * Ministry Interference at Hogwarts: What are Umbridge's credentials for becoming DADA professor? * Was it always Fudge's intention for Umbridge to become Headmistress? * Do the Educational Decrees expose weaknesses in Dumbledore's leadership? * The Formation of Dumbledore's Army: we discuss the Hog's Head, the Room of Requirement and the importance of unifying (almost) all of the Houses * Welcome to St. Mungo's: why was it cut from the film? * Augusta Longbottom, Neville's parents, Lockhart and Harry's connection to Nagini * We reminisce on those gum wrapper theories! * Patrons share their top 5 moments from Order of the Phoenix * Don't worry, we'll spend Episode 374 inside the Department of Mysteries and discussing The Prophecy * Quizzitch: Who was the last member of the Dumbledore's Army to sign up in the Hog's Head? * Bonus MuggleCast ([available on Patreon](http://www.patreon.com/mugglecast)) includes memorable lines from the fifth book and Crimes of Grindelwald trailer speculation

Hermione gathers approximately 25 of her best friends for an informational meeting at the Hog's Head, even though the Three Broomsticks probably would have been a safer bet (she's got a LOT to learn). Fred and George order everyone butterbeers, and then weasel out of paying for them. And Harry finally has the opportunity to execute some of the lessons he's been dreaming about. If you're having trouble listening to this episode, we have a long, lethal-looking metal object that we can clean out your ears with! Please consider supporting us on Patreon! www.patreon.com/realweirdsisters.Spoiler warning! Please be aware that our show contains spoilers for events which take place later in the series.Book club episodes are released every Monday and special topics shows are released periodically. Subscribe to our show to make sure you never miss an episode!

In the last episode, the gang made it back to the Pixie's Kitten in the nick of time. We rejoin them in the closet as they plan their course across town back to the Hog's Head. Will they escape unscathed? Will they be caught by the dockworkers or harassed by the militia?

In this episode of SPEW, Seth and Justin are joined by their good friends Johanna and Jimmy to discuss what Harry Potter can teach us about how to practice self-care and sustain activism throughout exhausting times.

As the militia cleans up the scene of the attack and the gang returns to the Hog's Head, we focus on the conversation they have with Charlie over beers in the back room. The gang hasn't had time to catch up with Charlie since they got back from Aluin's Manor, so there's a lot of catching up in this episode - and a couple of important clues are dropped. Will the gang notice? Will they discover anything new? Will Charlie have any leads on the weird crap that's happened far? FIND OUT, in this episode of... StabbyQuest!

Hogshead KC Across from O'Dowd's on the Plaza Phone 816.321.2929 Types American Burgers Description Hogshead Kansas City is a chef-driven, creative-American restaurant focused on local ingredients from local small businesses with a beverage program specializing in craft beer. Locally owned, Hogshead provides fine-dining quality food and drinks in a casual environment with a fully open kitchen and chef's counter. Reservations are NOT needed, as guests are served on a first come, first serve basis. Keep KC Local. Monday 11:11a - 1:01a Tuesday 11:11a - 1:01a Wednesday 11:11a - 1:01a Thursday 11:11a - 1:01a Friday 11:11a - 1:01a Saturday 10:10a - 1:01a Sunday 10:10a - 11:11p Website [http://hogsheadkc.com/](http://hogsheadkc.com/) @HogsheadKC #EATLOCAL #KCEats #SlackerMorningShow101theFox #TMobile

Local restaurateurs plan to open Hogshead Kansas City at Country Club Plaza in November. Shawn McClenny, owner of One Block South entertainment district in Overland Park, and Clark Grant, former executive chef at the Capital Grille in Chicago and on the Plaza, have leased a 5,500-square-foot space at 4743 Pennsylvania Ave. It is being remodeled and will have “rustic contemporary” decor and a casual atmosphere. Hogshead Kansas City will have a “creative American,” chef-driven menu using locally sourced products, craft beers and in-house barrel-aged cocktails. The restaurant will staff about 50 employees. Hogshead is an old world term for a large cask used for the shipment of wine and spirits, McClenny said. The partners met when they helped with a benefit for a server who had worked for them both. They also connected over their love of Chicago's culinary offerings. The spot where Hogshead will open has a culinary history spanning 45 years. Joe Gilbert and Paul Robinson opened their first Houlihan's Old Place in the spot in 1972, naming it after clothier Thomas Houlihan, the location's former tenant. Houlihan's operated in the space for 30 years, and McClenny's wife had once been a server there. But then landlord Highwoods decided not to renew its lease. California Pizza Kitchen opened in the space in mid-2003 and closed in mid-2014. Corner Bakery Cafe had been in negotiations for the space before the Plaza changed ownership in 2016. “Hogshead Kansas City will be a terrific addition to the Plaza.,” said Meredith Keeler, general manager of the Plaza. “We are proud to add another local business to our lineup and are confident the restaurant, with its locally sourced ingredients and extensive menu, will generate a large and loyal following.” The local owners of Leawood's Rye Restaurant also recently announced plans to open a Plaza Rye at 4646 J.C. Nichols Parkway on the Plaza. @HogsheadKC @CPCKC_Org #hogsheadKC #EatLocal #SlackerMorningShow101theFox #TMobile

As entrepreneurs we talk about doubling down on ours strengths and hiring our weaknesses. Sally Hogshead, the award-winning advertising copywriter and marketing genius, has entrepioneered an algorithmic system that helps us capitalize on how the world sees us. She shares with WINGS host Melinda Wittstock The Fascination Advantage and how we as women can get past the omnipresent media message that we have to “fix” ourselves.

Local restaurateurs plan to open Hogshead Kansas City at Country Club Plaza in November. Shawn McClenny, owner of One Block South entertainment district in Overland Park, and Clark Grant, former executive chef at the Capital Grille in Chicago and on the Plaza, have leased a 5,500-square-foot space at 4743 Pennsylvania Ave. It is being remodeled and will have “rustic contemporary” decor and a casual atmosphere. Hogshead Kansas City will have a “creative American,” chef-driven menu using locally sourced products, craft beers and in-house barrel-aged cocktails. The restaurant will staff about 50 employees. Hogshead is an old world term for a large cask used for the shipment of wine and spirits, McClenny said. The partners met when they helped with a benefit for a server who had worked for them both. They also connected over their love of Chicago's culinary offerings. The spot where Hogshead will open has a culinary history spanning 45 years. Joe Gilbert and Paul Robinson opened their first Houlihan's Old Place in the spot in 1972, naming it after clothier Thomas Houlihan, the location's former tenant. Houlihan's operated in the space for 30 years, and McClenny's wife had once been a server there. But then landlord Highwoods decided not to renew its lease. California Pizza Kitchen opened in the space in mid-2003 and closed in mid-2014. Corner Bakery Cafe had been in negotiations for the space before the Plaza changed ownership in 2016. “Hogshead Kansas City will be a terrific addition to the Plaza.,” said Meredith Keeler, general manager of the Plaza. “We are proud to add another local business to our lineup and are confident the restaurant, with its locally sourced ingredients and extensive menu, will generate a large and loyal following.” The local owners of Leawood's Rye Restaurant also recently announced plans to open a Plaza Rye at 4646 J.C. Nichols Parkway on the Plaza. @HogsheadKC @CPCKC_Org #hogsheadKC #EatLocal #SlackerMorningShow101theFox #TMobile

On this episode of #WizardTeam, Robyn and Bayana discuss chapter 16 of Harry Potter and the Order of the Phoenix, "In The Hog's Head." Join us and let us know your Real MVP and benched for the chapter. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/wizardteam/message Support this podcast: https://anchor.fm/wizardteam/support

Today is another mega eclectic episode featuring Douglas Emlen, Toby Crabel, Robert Aumann, Ryan Holiday, Sally Hogshead and Michael Mauboussin. Douglas Emlen is a professor at the University of Montana. He is the recipient of the Presidential Early Career Award in Science and Engineering from the Office of Science and Technology Policy at the White House. He has also earned multiple research awards from the National Science Foundation, including their five-year CAREER award. Toby Crabel is founder of Crabel Capital Management. His approach is very different from Covel’s, but there are some commonalities: price action driven, systems, models, risk management. Crabel works on a whole different timeframe than the typical trend follower, typically turning his portfolio over in less than a day. Crabel, a former pro tennis player, has a philosophical nature and discusses how he executes these philosophies in the trading world. Robert Aumann is an Israeli-American mathematician and a member of the United States National Academy of Sciences. He is a professor at the Center for the Study of Rationality in the Hebrew University of Jerusalem in Israel. Aumann is the 4th Nobel Prize Laureate in economics to be a guest on the podcast. Ryan Holiday is an American author, writer, and marketer. He is the media strategist behind authors Tucker Max and Robert Greene, the former Director of Marketing for American Apparel and an editor-at-large for the New York Observer. Sally Hogshead is an American speaker, author, former advertising executive, as well as the Chief Executive Officer of Fascinate, Inc. Hogshead’s newest book is “How The World Sees You: Discover Your Highest Value Through The Science of Fascination.” Michael Mauboussin is an author, investment strategist in the financial services industry, professor at the Columbia Graduate School of Business, and serves on the board of trustees at the Sante Fe Institute (an independent, nonprofit theoretical research institute). He is managing director and head of Global Financial Strategies at Credit Suisse, where he advises clients on valuation and portfolio positioning, capital markets theory, competitive strategy analysis, and decision making. In this episode of Trend Following Radio: Humans and animals International hacking Game theory Economics World champions of peace The book writing process Flow state Personal branding Multi-disciplinary thinking Luck vs. Skill Outcome bias

One of the most common questions I hear from listeners is how do you express your personal brand. In this interview, Robyn Sayles  shares incredible insights that you can implement right away.  If you get stuck knowing what to say when people ask-“so tell me what you do” or how  to attract attendees to come into your exhibit or are unsure what you need to do at a networking event, then this episode is  for you! Robyn is a personal branding expert and Fascinate certified trainer.  She shares key strategies we can all use to attract, connect and engage with people and why it is important to be authentically you at all the time.    5 Key Insights You Will Learn: Why it is important to know how you communicate-hint you should take the free fascination assessment test How to differentiate from your colleagues with these 3 tips to be more effective on the trade show floor. 3 Ways to engage with attendees to have better conversations. How to express your personal brand in 9 seconds or less. 4 Result driven strategies to help you make the best connections. Robyn was inspired by Sally Hogshead who developed a scientific method called the Fascination Advantage to communicate personal branding in her book How the world sees you.   Robyn shares how Hogshead discovered why we become irrationally obsessed with certain brands and an algorithm was developed to accurately determine how each person communicates. Robyn shares a personal story about how a friend took the fascination test and thought it was incorrect.  She describes how we have preconceived notions of what words represent like Power-and why it might be a barrier if we don’t understand the true meaning.    Once you understand your communication style, you can translate it to be more effective on the trade show floor.  Here are some ways you can draw people to want to talk with you. How to Engage Attendees on the Trade Show Floor: Differentiate your approach: Don’t try to communicate the same way a colleague is doing it. Everyone needs to be distinctive and unique.  For example if you are the creative one-you should take a creative approach when people come to your booth. We all sell-people are coming to the show to learn about new products at the show. Replace the word sell with the world help-communicate how you are helpful. People walking the show floor want to learn something-don’t be afraid to ask an engaging question In a world where communication is lightning fast you really only have less than 9 seconds to tell someone what you do and so once you have someone to talk with you, your message has to be concise. Your Personal Brand: Answer These 3 Things to Tell People What You Do Who are you? Describe what it is you do-for example Robyn says “I help people be fascinating”. Describe how you add value: What makes the way you approach a situation, challenge and solution unique. Demonstrate how you are different: Stay true to your personality if you are not wild and wacky, don’t try to portray yourself as that personality. Being authentic is one way you can really stand out. Power Tip: Practice your personal brand statement in your car or in front of a mirror.  The words need to flow effortlessly. Remember that in order to be short and concise you need to keep it simple, focused and explain your advantage.  Look at examples of people who tell a story in a really short amount of time.  Movie trailers    and Twitter are good places to get inspired to know what you want to say. Now that you know what to say, you need to know how to use it effectively.  Sometimes it isn’t always easy to know where to where to start.  Here are 4 tactics you can implement at your next event. 4 Result Driven Networking Strategies to Use at Your Next Event: Set a goal:  For example “I need to meet these type of people.”  Make the goal quantifiable: “I need to meet 5 people in this field today.” Determine your Ideal Customer Avatar: Who do you want to engage with at the event? Ask for help: There are people at networking events who like to make connections.  This is what I do and I would love to talk with other people in the field. Power Tip: Look for registration desk-ask them for help introducing you to people you want to meet. Remember, that regardless of where you are-your personal brand should be consistent in all areas of your life.  The more your personal brand is the same everywhere you are-the more successful you will be.  If you are authentic, it will translate into making people want to hear what you have to say. Feeling like you need some help?  Robyn shares her favorite book: What to do when it’s your turn-it’s always your turn by Seth Godin.  This book helps you get in touch with your why and take action. If you want to find like-minded people join our LinkedIn Group.  And if you liked what you heard, please share this episode with a friend or colleague.  

Part 3 of the Episode 18 is here! Not as many interviews but we took our time with some awesome Dragonmeet 2016 attendants coming by the #PodcastZone gathering The Rolistes Podcast, The Rusty Quill, The Formal Gamer, Dark Cleo Productions and The Wizard On The Wynd. First the very friendly James Wallis, author of "The Extraordinary Adventures of Baron Munchausen", founder of Hogshead... Continue reading Dragonmeet, Right Into The Podcast Zone (Part Three)

Sally Hogshead is an American author, professional speaker, chief executive officer of Fascinate, Inc and a former advertising executive. She is the author of Fascinate and How the World Sees You. Over the past decade, Hogshead has studied the science of fascination and what persuades and captivates people. In this interview, we discuss how individuals and leaders benefit from knowing what is so fascinating about them and how to put it to work.

Welcome to episode #534 of Six Pixels Of Separation - The Mirum Podcast. Is there a formula to creating a winning brand? I used to think this was a silly notion. Similar to when a client wants to create something that goes viral. Then, back in 2010, I read an amazing book by Sally Hogshead called, Fascinate. To this day, it is one of the most thoughtful and actionable books on how to captivate an audience through the power of persuasion. After this book, Hogshead published another best-selling gem called, How The World Sees You. This book really inspired a new direction in how I create content, because of how it focused so deeply not on what I was trying to accomplish, but rather my perception as others define it. Throughout the years, Sally has become a dear friend. She is so much more than a best-selling business book author and world renowned speaker. In her second year of advertising, Sally won more awards than any other copywriter in the U.S., and was described as "the most successful junior copywriter of all time." After working at Wieden + Kennedy and Fallon McElligott, by age 27 she'd opened her first ad agency, with clients such as Target and Remy Martin. Three years later, she opened the West Coast office of Crispin Porter + Bogusky as Creative Director/Managing Director. Most recently, she did something few authors dare to do. She went back and updated Fascinate. Not just by adding in a new chapter or foreword, but by doing a ton of new research and re-writing over half of the book. I thought the first version was next to perfect. This one? Well, let's just say that Sally nailed it. The new Fascinate is perfect. Enjoy the conversation... Here it is: Six Pixels Of Separation - The Mirum Podcast - Episode #534 - Host: Mitch Joel. Running time: 58:13. Hello from beautiful Montreal. Subscribe over at iTunes. Please visit and leave comments on the blog - Six Pixels of Separation. Feel free to connect to me directly on Facebook here: Mitch Joel on Facebook. or you can connect on LinkedIn. ...or on twitter. Six Pixels of Separation the book is now available. CTRL ALT Delete is now available too! Here is my conversation with Sally Hogshead. Fascinate. How The World Sees You. Follow Sally on Twitter. This week's music: David Usher 'St. Lawrence River'. Get David's song for free here: Artists For Amnesty. Download the Podcast here: Six Pixels Of Separation - The Mirum Podcast - Episode #534 - Host: Mitch Joel. Tags: ad agency advertising agency advertising podcast audio blog blogging brand branding business blog business book business podcast content content marketing copywriter creative director crispin porter bogusky david usher digital marketing digital marketing agency digital marketing blog facebook fallon fascinate google how the world sees you itunes j walter thompson jwt leadership podcast management podcast marketing marketing blog marketing podcast mirum mirum agency mirum agency blog mirum blog persuasion remy martin sally hogshead social media target twitter wieden kennedy wpp

Join me, Gary Bembridge from TipsForTravellers.com, as I take you to Universal Orlando Resort and the Wizarding World of Harry Potter USA and share my ten top Tips For Travellers. In the podcast I share observations, need-to-know about Universal Orlando including its history, overall advice and then tips on must-see and must-do to get the most of it. In the show I cover the following top tips: Two-Park Pass. Fast Pass. Start at Universal Studios and Wizarding World of Harry Potter Diagonal Alley. Check out the Night Bus and then go to Kings Cross to Catch the Hogwarts express to Hogsmede. Have something to eat at the Hogs Head / Three Broomsticks (make sure you try the Butter Beer which tastes like ice cream and is very yummy). Do the rides there, including the Harry Potter and the Forbidden Journey. Spend the rest of the afternoon in Islands of Adventure focused on working your way around the park in a circle ending back at Hogshead and do some of the following: Jurrasic Park River Adventure, Pteranodon Flyers, Dudley Do-rights’s Ripsaw Falls, King Kong and Spiderman 4-D ride. Head back to Universal on Hogswart express and go to Transformers 3-D, Simpsons Ride, Rock It Rollercoaster, Despicable me and Shrek 4-D. Download there App. City Walk. Resources:- Universal Orlando Tips For Travellers Video: https://youtu.be/KeM79WZnMcU UniversalOralando.com After listening to the podcast: Please leave a comment on Tipsfortravellers.com/podcast, email me or leave a review on iTunes. Subscribe (and leave a review) to the podcast on iTunes, Google Play, Stitcher or TuneIn Radio. Consider becoming a Podcast Patron and visit tipsfortravellers.com/patron. Save

Sally Hogshead (@SallyHogshead) is an author, speaker, and entrepreneur. Following a career in advertising, she evolved her career and reoriented toward building significance for other professionals and creatives. In this conversation, Sally discusses the phases of her career (so far), shares some of what she learned on the ground with advertising heroes, and remarks on the challenges of writing long-form books as a person who naturally bends toward the quick win. Check out Sally's latest book Fascinate and catch up with her on BrandFascination.com, for a start. GET THE EPISODE Download The Busy Creator Podcast, episode 86 (MP3, 38:43, 18.7 MB) Download The Busy Creator Podcast, episode 86 (OGG, 38:43, 21.6 MB) SUBSCRIBE TO GET NEW EPISODES   Subscribe to The Busy Creator Podcast on iTunes or on Android or on Google Play Music Show Notes & Links Sally and Prescott have worked together on a varied of projects since 2011 Prescott discovered Radical Careering during his first job, which wasn't a very good job. When Sally found advertising, it was "love at first sight" Portfolio Center and their Copywriting course Sally's first career phase was not being awarded or recognised as a student, but discovering that's hardly the entire game "The most interesting creative ideas aren't going to be acknowledged at first, because they're not populist." —Sally Hogshead Tweet This Fallon McElligott Rice, now just Fallon Her Second phase was working with smart people on rapid-fire projects "You want to be the dumbest person on the team." —Sally Hogshead Tweet This Her Third phase was disillusionment when inheriting a management role "It takes a completely different mindset to be with people than from being with my ideas." —Sally Hogshead Tweet This The Fourth phase was expansion to create ideas beyond an ad into the wider world [as an author, speaker, etc.]. Sally was the Creative & Managing Director for Crispin Porter + Bogusky for their Los Angeles office CP+B's LA Office opened its doors on Sept. 10, 2001 "It's easy to be creative when the world has a big budget and optimism and a love for what hasn't been discovered." —Sally Hogshead Tweet This "In order to be a creative leader, you have to be able to lead people through the darkest times." —Sally Hogshead Tweet This "It's impossible to have creative ideas in an oppressive environment." —Sally Hogshead Tweet This     48 Laws of Power by Robert Green & Joost Elffers on Amazon and on Audible     Kerning pairs (such as FA) [caption id="attachment_3445" align="alignnone" width="478"]Kerning Pairs[/caption] There used to be a natural (ten day) cycle with print advertising. There was time to work on stuff. "I'm still a geek with words." —Sally Hogshead Tweet This Paste-ups Bill Westbrook Jean Robere "One for the reel, one for the meal." —advertising adage Tweet This "Don't be a worrier, be a warrior." —Tony Robbins (and Prescott, ironically) Tweet This Clients would cut their marketing budget during the recession. Remember this? or this? Tibor Kalman (1949-1999) Design, like Jazz, is a generational artform John Coltrane played with Miles Davis who played with Charlie Parker Armin Vit worked with Michael Bierut who worked with Massimo Vignelli A lot of NYC agencies did annual reports, but didn't show it in the portfolio Medieval Stonemasons "Signifance doesn't live in one piece. It lives in a movement or a body of work." —Sally Hogshead Tweet This The Martin Agency The One Show, advertising awards show Varnish, in print TBWA/Chiat/Day Wieden+Kennedy Goodby Silverstein & Partners Bob Barrie, Art Director binomial nomenclature Print finishes by thickness: Varnish → UV → Aqueous Print finishes by lustre: Dull → Satin → Hi-Gloss Nightclub Flyers Fascinate achieved New York Times Bestseller status Sally admits to not being great with long content (100,000 word books) How The World Sees You by Sally Hogshead on Amazon and on Audible "Revisions suck my soul. Creation enlivens me." —Sally Hogshead Tweet This "writing-tired", when Prescott feels uninspired to write blog posts, etc. "I can't write anything great for the first hour. I have to get into a trance." —Sally Hogshead Tweet This Antiproton The 9 Habits of Highly Creative People, a free guide from The Busy Creator "The hardest part about writing isn't writing, it's finishing the dishes." —writers' adage Tweet This Prescott and Sally got connected on social media Starship Design on Facebook  Sally Hogshead on Twitter  Sally Hogshead on Facebook  Sally Hogshead on Instagram  Sally Hogshead on YouTube  SallyHogshead.com  HowToFascinate.com/blog  BrandFascination.com Tools MacBook Noise-cancelling headphones Techniques Don't let the Creative Director and Managing Director be the same person; there needs to be a healthy tension between the two. Remark not only on awards won and praise given, but hard times which shape your character Examine any project via its priorities "Quality of Work", "Quality of Life", or "Quality of Compensation." Pursue the areas of work that feel like a "wellspring" of creativity; avoid "creative agony" Create an Idea Wall, and hang up your projects as you think of them Block time (at least 3 hours) to sink into writing Listen to music that reflects the sort of writing you're aiming for Designate externally- and internally-focused work (email vs. writing content) Habits Write down the words you use when mentoring, and which you need to hear Appreciate craft, even if it takes slightly longer Periodically examine your work and your agency to align with influence: Creative, Financial, or Cultural Shape expectations around you; follow the type of work that suits you best Take advantage of "swiftness"; don't analyse or think about ideas and instead just act (especially on side projects and writing ideas). Go to bed early; write in the morning. TRY AUDIBLE.COM FREE FOR 30-DAYS Visit BusyCreatorBook.com for your free trial Get Fascinate by Sally Hogshead as a free audiobook

New York Times Best Selling Author Sally Hogshead joins the podcast to discuss her book Fascinate: How to Make Your Brand Impossible to Resist. Listen in as Sally shares her groundbreaking research in which she measured almost a million people to find what makes a brand, or idea, or a message fascinating. 

Sally Hogshead helps us to understand the value of being fascinating by telling us about her new book, How the World Sees You.

Today on the podcast, Michael Covel speaks with Sally Hogshead. She’s an American speaker, author, former advertising executive, as well as the Chief Executive Officer of Fascinate, Inc. Hogshead’s newest book is "How The World Sees You: Discover Your Highest Value Through The Science of Fascination". Covel and Hogshead discuss fascination and paying attention; the seven different categories of things that fascinate us; what those who fascinate have in common; developing a personality assessment that shows how the world sees you; understanding your own personal branding; analyzing Michael Covel’s own fascination survey; not being a commodity; why if you’re not generating a negative reaction from someone, you’re probably not fascinating anyone; why you don’t want to be vanilla ice cream. To take the Fascination Advantage test for free, go to howtheworldseesyou.com/you and enter the code “trendfollowing”. Want a free trend following DVD? Go to trendfollowing.com/win.

If everybody wants to use Facebook, every other service should change their offerings to be just like Facebook. Right?  Wrong.  Jay Baer examines Twitter's design and functionality changes that are making it look more and more like Facebook and why that's not a great strategy for long-term success. Today's Sprout Social shout out goes to a good friend, Sally Hogshead. Her new book, How the World Sees You takes an almost scary look at you personality, strengths, weakness, and how you can use all of them to your advantage. We encourage you to check it out today, you'll be glad you did. Jay Today is sponsored and produced by Candidio, a simple and affordable video production company, and Sprout Social, a social media management and analytics tool that Jay uses for much of his social media every day. See you tomorrow!

For those of you who are familiar with my work, you know that I believe understanding your value is the foundation of authentic and effective self promotion. It’s important to take the time to figure out how you contribute to the success of the business and let people know. My guest today,Sally Hogshead, believes the greatest value you can add is to become more of yourself. And she has discovered a new way to measure how people perceive your communication; what makes you intensely valuable to others, so the world will see you at your best. Sally rose to the top of the advertising profession in her early 20s, writing ads that fascinated millions of consumers. Over the course of her ad career, she won hundreds of awards for creativity, copywriting and branding, and was one of the most awarded advertising copywriters right from start of career, including almost every major international advertising awards. Sally is the creator of The Fascination Advantage™: the world’s first personality test that measures what makes someone most engaging to others. The science of fascination is based on Hogshead’s decade of research with 250,000 initial participants, including dozens of Fortune 500 teams, hundreds of small businesses, and over a thousand C-level executives. Her newest book, How the World Sees You: Discover Your Highest Value Through the Science of Fascination, applies the principles of fascination triggers to understanding personal brands. In this book, you will find out which personality traits are most valuable to others, so that the world will see them at their best and they will know exactly how to describe their highest value.

For those of you who are familiar with my work, you know that I believe understanding your value is the foundation of authentic and effective self promotion. It’s important to take the time to figure out how you contribute to the success of the business and let people know.My guest today,Sally Hogshead, believes the greatest value you can add is to become more of yourself.And she has discovered a new way to measure how people perceive your communication; what makes you intensely valuable to others, so the world will see you at your best.Sally rose to the top of the advertising profession in her early 20s, writing ads that fascinated millions of consumers. Over the course of her ad career, she won hundreds of awards for creativity, copywriting and branding, and was one of the most awarded advertising copywriters right from start of career, including almost every major international advertising awards.Sally is the creator of The Fascination Advantage™: the world’s first personality test that measures what makes someone most engaging to others. The science of fascination is based on Hogshead’s decade of research with 250,000 initial participants, including dozens of Fortune 500 teams, hundreds of small businesses, and over a thousand C-level executives.Her newest book, How the World Sees You: Discover Your Highest Value Through the Science of Fascination, applies the principles of fascination triggers to understanding personal brands. In this book, you will find out which personality traits are most valuable to others, so that the world will see them at their best and they will know exactly how to describe their highest value.

Sally Hogshead is the author of Fascinate: Your 7 Triggers to Persuasion and Captivation & the brand new follow up book How the World Sees You: Discover Your Highest Value Through the Science of Fascination. In this interview Sally shares the 7 fascination triggers and also how we can discover which of those 7 triggers is strongest in ourselves so that we can use it to our advantage when marketing and communicating. You can find out how you are most fascinating by taking this personality assessment... http://howtofascinate.com/you and use the code JBushnell. The test is usually$37 but you can take this test for free by using this code until the 25th of July.

Sally Hogshead believes the greatest value you can add is to become more of yourself. World-class branding expert Hogshead has discovered a new way to measure how people perceive your communication. Find out what makes you intensely valuable to others, so the world will see you at your best. Hogshead rose to the top of the advertising profession in her early 20s, writing ads that fascinated millions of consumers. Over the course of her ad career, Hogshead won hundreds of awards for creativity, copywriting and branding, and was one of the most awarded advertising copywriters right from start of career, including almost every major international advertising awards. Hogshead is the creator of The Fascination Advantage™: the world’s first personality test that measures what makes someone most engaging to others. Unlike Myers-Briggs or StrengthsFinder, this test is not about how you see the world – but how the world sees you. The science of fascination is based on Hogshead’s decade of research with 250,000 initial participants, including dozens of Fortune 500 teams, hundreds of small businesses, and over a thousand C-level executives.The Fascination Advantage™ has helped over 250,000 participants discover their natural advantages of persuasion. Her newest book, How the World Sees You: Discover Your Highest Value Through the Science of Fascination, applies the principles of fascination triggers to understanding personal brands. Readers will find out which personality traits are most valuable to others, so that the world will see them at their best and they will know exactly how to describe their highest value. 

Hi, welcome to the online marketing show, this is Joey Bushnell and in this episode I want to point you in the direction of an incredible free resource. It's Sally Hogsheads Fascination advantage assessment and it can be found and at http://howtofascinate.com/you Sally is coming on the show in just a few days time to discuss her new book How The World Sees You. And part of the book is figuring out your personality, the ways that you are most fascinating and when armed with this knowledge you can use it to your advantage when marketing, story telling, in your branding, in your one on one conversions, your face to face interactions, everywhere. It will show your strengths, the attributes that make you fascinating, whether it's power, passion, mystique, prestige, alert, innovation or trust. Then it will decode that information and tell you how to use it to your advantage and become even more fascinating to your market and everyone around you. The test usually costs $37 to take, this is something other people have paid good money for but as part of Sally's book launch you can get it free for a limited time and only for the first 500 people. If you go to http://howtofascinate.com/you and use the code JBushnell you'll be able to take the assessment free of charge.

In which Ernie is pompous and kittens are Vanished. iTunes (subscribe, rate, and review)             RSS feed (if you’re some kind of fancypants)

Sally Hogshead is a Hall of Fame speaker, international author, and the world’s leading expert on fascination. She's the author of Fascinate: Your 7 Triggers to Persuasion and Captivation. She helps world-class businesses develop messages that influence and persuade consumers, partners, and employees. Starting out as one of the most award-winning advertising writers in the country, she is today a world-renowned brand consultant and speaker, leading keynotes for companies such as Starbucks and Microsoft as well as innovation workshops. As a creative director, she develops fascinating ideas for both Fortune 500 companies and start-ups. Hogshead and her work have been featured in the New York Times and on the Today show, CBS, ABC, and MSNBC.    Sally measured over 160,000 people to identify a scientific approach to personal branding. Over the past decade, her team has uncovered surprising trends about why certain people and companies succeed. Today, Sally teaches how to communicate and captivate in a world with a 9-second attention span. When you fascinate a customer or employee, you immediately engage their interest. They’re more likely to remember you, trust you, respect you, and buy from you. But if you fail to fascinate, they’ll move on to the next option. To break through and stand out in any competitive environment, you must understand how to fascinate.

Dan is joined by Ansa Copeland, Producer Haddie Cooke, and take calls. Links for this episode:? The Objectification of Haddie Cooke — Jesus & VenusAnsa CopelandAnsa (yaansa) on TwitterSponsored by Squarespace (use code STOOGE3 for 10% off).