Podcasts about idiosyncratic

Mike Batt in conversation with David Eastaugh https://www.mikebatt.com/ https://www.amazon.co.uk/Closest-Thing-Crazy-Musical-Adventures/dp/1785120840 Described variously as a 'polymath', a 'renaissance man' and 'one of the most colourful characters in the music business', Mike Batt has led an extraordinarily vibrant and challenging life that has been full of both glorious victories and bitter failures. For better or for worse, he is a man who has always lived life on his own terms. Idiosyncratic but mainstream, complicated but compassionate, steadfastly maverick in spirit but avowedly commercial in outlook. He is a man of great contradictions, but even greater talent. After starting out in the music business as a teenager, Batt shot to fame in the early 1970s for his part in the creation of the Wombles pop group. But this success proved to be just the beginning as he then went on to work with various artists as a songwriter, composer and producer, including Art Garfunkel, George Harrison, Cliff Richard, Andrew Lloyd-Webber and Katie Melua. Featuring cameos from some of the biggest stars in the business from Paul McCartney to Prince, The Closest Thing to Crazy takes us not only on the rocky (and classical) journey of Mike Batt's life but also on a tour around the inside of his mind.

Fabio Bassi joins us to discuss ECB outlook and duration views. Idiosyncratic macro dynamic came to the forefront of rates markets this week with a notable outperformance of EUR rates in a bull steepening move, driven by weak Euro area flash PMI for September and selective inflation data in France and Spain. Higher conviction in the broad disinflation process in the Euro area and downside risk on growth triggered a change in our ECB call, now expecting the ECB to deliver back-to-back 25bp cuts starting in October, reaching 2% policy rate in June 2025, Risks are biased for even lower terminal even in absence of a recession. Speakers: Thomas Salopek, Head of Cross Asset Strategy Fabio Bassi, Head of International Rates Strategy This podcast was recorded on 2 October 2024. This communication is provided for information purposes only. Institutional clients can view the related report at https://www.jpmm.com/research/content/GPS-4806192-0, https://www.jpmm.com/research/content/GPS-4802900-0 for more information; please visit www.jpmm.com/research/disclosures for important disclosures. © 2024 JPMorgan Chase & Co. All rights reserved. This material or any portion hereof may not be reprinted, sold or redistributed without the written consent of J.P. Morgan. It is strictly prohibited to use or share without prior written consent from J.P. Morgan any research material received from J.P. Morgan or an authorized third-party (“J.P. Morgan Data”) in any third-party artificial intelligence (“AI”) systems or models when such J.P. Morgan Data is accessible by a third-party. It is permissible to use J.P. Morgan Data for internal business purposes only in an AI system or model that protects the confidentiality of J.P. Morgan Data so as to prevent any and all access to or use of such J.P. Morgan Data by any third-party.

We are now firmly in the doldrums of Summer. It's absolutely disgusting outside. There are bugs. Humidity. People with horrific body odor. Instead, why not stay inside, enjoy the air conditioning, and pour yourself a refreshing glass of lemonade before settling in for a collection of tales about problematic pets, surprise boobies, and entirely too much honesty from a father-in-law. It's time for a brand-new Ask Us Anything episode of your favorite podcast of all time. Enjoy. Follow the podcast on Insta: @shttheydonttellyou Follow Nikki on Insta: @NikkiLimo Follow Steve on Insta: @SteveGreeneComedy To watch the podcast on YouTube: http://bit.ly/STDTYPodYouTube Don't forget to subscribe to the podcast for free wherever you're listening, or by using this link: http://bit.ly/ShtTheyDontTellYou If you want to support the show, and get all our episodes ad-free go to: https://stdty.supercast.tech/ If you like the show, telling a friend about it would be amazing! You can text, email, Tweet, or send this link to a friend: http://bit.ly/ShtTheyDontTellYou To submit your questions/feedback, email us at: podcast@nikki.limo To call in with questions/feedback, leave us a voicemail at: (765) 734-0840 To visit our Patreon: http://www.patreon.com/stikki  To watch more Nikki & Steve on YouTube: http://www.youtube.com/nikkilimo To watch more of Nikki talking about Poker: https://www.twitch.tv/trickniks To check out Nikki's Jewelry Line: https://kittensandcoffee.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

Carry has been the primary driver of EM risk premia in recent years, yet the landscape may be shifting as growth improves, inflation recedes and geopolitical uncertainty takes hold. In this month's EM Lens & Look-Through podcast, Managing Director of Emerging Markets at TCW Penny Foley joins Bloomberg Intelligence Chief EM Credit Strategist Damian Sassower to discuss demand for idiosyncratic carry as investors look to EM for uncorrelated streams of future income. Foley and Sassower touch on election risk, foreign positioning, growth dynamics and central-bank policy divergence.

Did you rate and review Behavioral Observations on Apple Podcasts? You rated and reviewed Behavioral Observations on Apple Podcasts, right? John Borrero told me that you rated and reviewed Behavioral Observations on Apple Podcasts. Is that true? Did you rate and review Behavioral Observations on Apple Podcasts? Again, did you rate and review Behavioral Observations on Apple Podcasts? If you've ever watched a police procedural show on television, you're probably noticed that there are different ways to phrase questions to people. I've just given you a few examples that will be salient to the forthcoming discussion. And, all kidding aside, if you haven't done so already, if you enjoy what we do here, head over to Apple Podcasts and kindly leave a rating and review of the show. In the 19th installment of Behavioral Observations' Inside JABA Series, Dr. John Borrero and I discuss a paper in the most recent issue called, Idiosyncratic effects of interviewer behavior on the accuracy of children's responses, with its authors: Milad Najafichaghabouri, Dr. Ray Joslyn, and Emma Preston. Here's some additional background on our guests: Dr. Ray Joslyn is currently an assistant professor in the psychology department at West Virginia University. He has research interests in group contingencies, behavior analysis in education, and crime and delinquency. Milad Najafichaghabouri is a doctoral student in the Disability Disciplines program at Utah State University specializing in ABA. His primary research interests include group contingency-based intervention in the classroom, and social validity practices in research Emma Preston is currently a graduate student in the Disabilities Disciplines program at Utah State University specializing in ABA. Her research and practice interests include the Good Behavior Game, manipulating parameters of reinforcement to improve intervention outcomes, and Tier 3 school-based interventions. I'll refrain from spoiling the discussion here, but there are a few things to note. First, this is the first time we've discussed a replication in the Inside JABA Series, and John dons his Editor in Chief hat for a few minutes at the end and discusses the importance of replication studies in general, and what makes for good replication more specifically. Second, this topic - describing the conditions in which children do and do not report incidents accurately - has huge implications. From schools, to child services, to law enforcement, understanding the potential influences of phrasing questions and acknowledging responses could be crucial contributions in these areas. Third, this study featured a clever assent procedure that again, I won't spoil here, but it's worth tuning into. And lastly, we get into all sorts of nitty-gritty details, including some of the participants' unexpected responses to the experimental procedure... and these are the things that generally do not make the printed page that you can only get in these types of conversations. This podcast, along with all of the Inside JABA Series ones, is eligible for continuing education. If you've never gotten CEUs from Behavioral Observations before, it's really easy. Just listen to the episode, go to behavioralobservations.com/get-ceus, make purchase... and fun fact: there are great discounts available if you need to snap up many CEUs, take a quiz, and you're good to go.

Abhinav Sathish, UVA Grad, Citadel bound, joins Atul to discuss Hedge Fund trading strategies, Levered Beta, Idiosyncratic insights, Momentum Stocks. Plus, the Dynamics of working in person and then a deep dive on FSD/Autonomous Driving. It's Tesla's tech vs. the world, who wins? If Finance and Tech are your thing, this podcast should be your thing too. Brown on brown crime as Johnny Walker Black returns as the WOTD. Part of the Prof P Series. 00:00 Intro 02:33 Citadel, Ken Griffin, Superstar Investor 11:15 24/7 Trading, Non-Competes, Hedge Funds 26:08 WOTD: Johnny Walker Black is Back.  Mad Dog 20/20. 30:00 Mobileye 37:10 Autonomous Driving: Deep Dive. LiDar vs. Dojo, L4, Mapping for Full Self Driving 56:20 WOTD: Review 57:30 SYSK- AI Go-To Sources Abhinav and I co-write the following article describing Elon Musk's desire to push the Dojo Camera technology as the go to standard for Autonomous Driving: https://tinyurl.com/ElonDojo

A few months ago, I was talking with my friend, Yasmina Ellins. Here's more or less how I recall our dialogue: B: “Yas, I'm looking to connect with beyond curious, deep connection driven entrepreneurs that are passionate about building community.” Yas: “Do you know David Zhou? If not, you HAVE to meet him.” Yas introduces us… We meet, and I soon realize that David is one of few humans I've ever met that is just as stupidly passionate as I am about (1) curiosity and (2) designing world-class human experiences. What does that even mean? Well, here are some examples of experiences David has designed: Brunch With Strangers: Hosting a cast of people from all walks of life for a Saturday brunch... Like founders, street artists, astrophysicists, concept artists, athletes, criminal investigators, filmmakers, college drop-outs, and much more. Improv Presentations. A TED talk-like night where people present someone else's creatively esoteric slide decks, with no context as to what's in the deck until they're on “stage”. People ended up having to present how to survive a cat-pocalypse to how to master the art of DM'ing using military tactics to how to be a good plant parent. Demo Day With Custom Magic The Gathering Cards: Creating an event where startup founders and investors got to know each other a la 100% customized Magic The Gathering cards with AI-Generated images of themselves and fun facts about their life experiences And as far as curiosity goes, David's LinkedIn headline simply reads: “Tenaciously and idiosyncratically curious.” We go ALL over in this conversation… discussing how to design world class experiences that connect people, how to reach out to strangers (David has sent a cold email to a stranger every week for the past 6+ years), and more. To learn more about David, visit https://gobeyondcurious.com/podcast/david-zhou/

Have you ever wondered what lurks behind the cryptic phrase "investment risk"? It might sound like a financial boogeyman, shrouded in mystery and ready to pounce on your hard-earned cash. But fear not, as today on The Finance Geeks, we're unmasking the mystery of investment risk. We will be putting on our metaphorical trench coats and magnifying glasses, delving into the different types of risk lurking in the investment world. We'll shed light on how these risks can impact your portfolio, but more importantly, we'll equip you with the knowledge to become a risk-savvy investor, not a risk-averse one. Join us as we unveil the true nature of investment risk, debunk the myths, and empower you to navigate the financial landscape with confidence. ===================== Chapters: 0:00 - Intro 5:25 - Hot off the press 13:16 - The focal point: Risk – What does risk mean to you? What are the main risks when investing? 45:04 - Two Pennies Worth 48:38 - Quotes & Anecdotes ===================== Podcast Reference Links:    UK Budget and rumours of NI Cut https://www.bbc.co.uk/news/business-68406450  Public Finances https://commonslibrary.parliament.uk/research-briefings/sn02812/ UK Govt Debt and deficit https://www.ons.gov.uk/economy/governmentpublicsectorandtaxes/publicspending/bulletins/ukgovernmentdebtanddeficitforeurostatmaast/september2023 UK National Debt  https://www.economicshelp.org/blog/334/uk-economy/uk-national-debt/ Bitcoin Price Climbs https://www.investing.com/news/cryptocurrency-news/bitcoin-rally-continues-price-climbs-above-60k-for-the-first-time-since-november-2021-432SI-3318744 SJP share price crash https://citywire.com/new-model-adviser/news/sjp-shares-crash-after-it-sets-aside-426m-for-advice-fee-refunds/a2437114  Inflation figures  https://www.economist.com/the-world-this-week/2024/02/15/business Berkshire Hathaway report  https://www.berkshirehathaway.com/  What is RISK?  https://en.wikipedia.org/wiki/Risk What is risk? Dictionary definition.  https://www.merriam-webster.com/dictionary/risk  Systemic vs Systematic risk  https://efinancemanagement.com/investment-decisions/systemic-vs-systematic-risk Unsystematic risk/ Idiosyncratic risk  https://www.investopedia.com/terms/u/unsystematicrisk.asp Risk vs Volatility  https://www.forbes.com/uk/advisor/investing/risk-vs-volatility-whats-the-difference/ 5 commons myths about investment risk  https://tandemfinancial.co.uk/tandem-thinking/investment-risk-5-common-myths-and-misconceptions/ Dashlane (App) https://www.dashlane.com/ HMRC App https://www.gov.uk/guidance/download-the-hmrc-app The Gentlemen (TV Series) https://www.netflix.com/gb/title/81437051 The Stranger https://www.netflix.com/gb/title/81001209  Dumb Money https://www.amazon.co.uk/Dumb-Money-Paul-Dano/dp/B0CLVTHKMM  Mark Zuckerberg quote on risk  https://twitter.com/HRquote/status/907109359133630465/photo/1 Warren Buffet quote on risk  https://www.azquotes.com/quotes/topics/risk-management.html Maharishi quote  https://thomknoles.com/podcast/knowledge-structured-consciousness/ Warren Buffett quotes  https://www.investopedia.com/financial-edge/0511/the-top-17-investing-quotes-of-all-time.aspx   

 @EWTNcatholictv  Jordan Peterson on his wife's incredible cancer recovery https://youtu.be/pGQnfIy0lx8?si=OCCTiI1VG9LapWm6  https://twitter.com/PaulVanderKlay/status/1757460255469187490  Food Truck Emily: How the Gospel of My Right Arm Has Failed Me https://youtu.be/vxq7_yhKVuQ?si=VaAXqfM-5r4AyXdW  @libertyuniversity  Jordan B. Peterson - Liberty University https://youtu.be/aDepoPl1oEM?si=-7nYLbycsV2pI--q    Paul Vander Klay clips channel https://www.youtube.com/channel/UCX0jIcadtoxELSwehCh5QTg Bridges of Meaning Discord https://discord.gg/rswVvEHG https://www.meetup.com/sacramento-estuary/ My Substack https://paulvanderklay.substack.com/ Estuary Hub Link https://www.estuaryhub.com/ If you want to schedule a one-on-one conversation check here. https://paulvanderklay.me/2019/08/06/converzations-with-pvk/ There is a video version of this podcast on YouTube at http://www.youtube.com/paulvanderklay To listen to this on ITunes https://itunes.apple.com/us/podcast/paul-vanderklays-podcast/id1394314333  If you need the RSS feed for your podcast player https://paulvanderklay.podbean.com/feed/  All Amazon links here are part of the Amazon Affiliate Program. Amazon pays me a small commission at no additional cost to you if you buy through one of the product links here. This is is one (free to you) way to support my videos.  https://paypal.me/paulvanderklay Blockchain backup on Lbry https://odysee.com/@paulvanderklay https://www.patreon.com/paulvanderklay Paul's Church Content at Living Stones Channel https://www.youtube.com/channel/UCh7bdktIALZ9Nq41oVCvW-A To support Paul's work by supporting his church give here. https://tithe.ly/give?c=2160640

Hour 2 of A&G features... The surprising reason why Shohei Ohtani turned-down the SF Giants... Media companies are concerned about A-I... More from Hunter Biden's appearance in DC... Katie Green delivers some very important breaking news!  Stupid Should Hurt: https://www.armstrongandgetty.com/See omnystudio.com/listener for privacy information.

Hour 2 of A&G features... The surprising reason why Shohei Ohtani turned-down the SF Giants... Media companies are concerned about A-I... More from Hunter Biden's appearance in DC... Katie Green delivers some very important breaking news!  See omnystudio.com/listener for privacy information.

Hour 2 of A&G features... The surprising reason why Shohei Ohtani turned-down the SF Giants... Media companies are concerned about A-I... More from Hunter Biden's appearance in DC... Katie Green delivers some very important breaking news!  See omnystudio.com/listener for privacy information.

Episode 170 of A History of Rock Music in Five Hundred Songs looks at "Astral Weeks", the early solo career of Van Morrison, and the death of Bert Berns.  Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-minute bonus episode available, on "Stoned Soul Picnic" by Laura Nyro. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata At one point I, ridiculously, misspeak the name of Charles Mingus' classic album. Black Saint and the Sinner Lady is not about dinner ladies. Also, I say Warren Smith Jr is on "Slim Slow Slider" when I meant to say Richard Davis (Smith is credited in some sources, but I only hear acoustic guitar, bass, and soprano sax on the finished track). Resources As usual, I've created Mixcloud playlists, with full versions of all the songs excerpted in this episode. As there are so many Van Morrison songs in this episode, the Mixcloud is split into three parts, one, two, and three. The information about Bert Berns comes from Here Comes the Night: The Dark Soul of Bert Berns and the Dirty Business of Rhythm and Blues by Joel Selvin. I've used several biographies of Van Morrison. Van Morrison: Into the Music by Ritchie Yorke is so sycophantic towards Morrison that the word “hagiography” would be, if anything, an understatement. Van Morrison: No Surrender by Johnny Rogan, on the other hand, is the kind of book that talks in the introduction about how the author has had to avoid discussing certain topics because of legal threats from the subject. Howard deWitt's Van Morrison: Astral Weeks to Stardom is over-thorough in the way some self-published books are, while Clinton Heylin's Can You Feel the Silence? is probably the best single volume on the artist. Information on Woodstock comes from Small Town Talk by Barney Hoskyns. Ryan Walsh's Astral Weeks: A Secret History of 1968 is about more than Astral Weeks, but does cover Morrison's period in and around Boston in more detail than anything else. The album Astral Weeks is worth hearing in its entirety. Not all of the music on The Authorized Bang Collection is as listenable, but it's the most complete collection available of everything Morrison recorded for Bang. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick warning -- this episode contains discussion of organised crime activity, and of sudden death. It also contains excerpts of songs which hint at attraction to underage girls and discuss terminal illness. If those subjects might upset you, you might want to read the transcript rather than listen to the episode. Anyway, on with the show. Van Morrison could have been the co-writer of "Piece of My Heart". Bert Berns was one of the great collaborators in the music business, and almost every hit he ever had was co-written, and he was always on the lookout for new collaborators, and in 1967 he was once again working with Van Morrison, who he'd worked with a couple of years earlier when Morrison was still the lead singer of Them. Towards the beginning of 1967 he had come up with a chorus, but no verse. He had the hook, "Take another little piece of my heart" -- Berns was writing a lot of songs with "heart" in the title at the time -- and wanted Morrison to come up with a verse to go with it. Van Morrison declined. He wasn't interested in writing pop songs, or in collaborating with other writers, and so Berns turned to one of his regular collaborators, Jerry Ragavoy, and it was Ragavoy who added the verses to one of the biggest successes of Berns' career: [Excerpt: Erma Franklin, "Piece of My Heart"] The story of how Van Morrison came to make the album that's often considered his masterpiece is intimately tied up with the story we've been telling in the background for several episodes now, the story of Atlantic Records' sale to Warners, and the story of Bert Berns' departure from Atlantic. For that reason, some parts of the story I'm about to tell will be familiar to those of you who've been paying close attention to the earlier episodes, but as always I'm going to take you from there to somewhere we've never been before. In 1962, Bert Berns was a moderately successful songwriter, who had written or co-written songs for many artists, especially for artists on Atlantic Records. He'd written songs for Atlantic artists like LaVern Baker, and when Atlantic's top pop producers Leiber and Stoller started to distance themselves from the label in the early sixties, he had moved into production as well, writing and producing Solomon Burke's big hit "Cry to Me": [Excerpt: Solomon Burke, "Cry to Me"] He was the producer and writer or co-writer of most of Burke's hits from that point forward, but at first he was still a freelance producer, and also produced records for Scepter Records, like the Isley Brothers' version of "Twist and Shout", another song he'd co-written, that one with Phil Medley. And as a jobbing songwriter, of course his songs were picked up by other producers, so Leiber and Stoller produced a version of his song "Tell Him" for the Exciters on United Artists: [Excerpt: The Exciters, "Tell Him"] Berns did freelance work for Leiber and Stoller as well as the other people he was working for. For example, when their former protege Phil Spector released his hit version of "Zip-a-Dee-Do-Dah", they got Berns to come up with a knockoff arrangement of "How Much is that Doggie in the Window?", released as by Baby Jane and the Rockabyes, with a production credit "Produced by Leiber and Stoller, directed by Bert Berns": [Excerpt: Baby Jane and the Rockabyes, "How Much is that Doggie in the Window?"] And when Leiber and Stoller stopped producing work for United Artists, Berns took over some of the artists they'd been producing for the label, like Marv Johnson, as well as producing his own new artists, like Garnet Mimms and the Enchanters, who had been discovered by Berns' friend Jerry Ragovoy, with whom he co-wrote their "Cry Baby": [Excerpt: Garnet Mimms and the Enchanters, "Cry Baby"] Berns was an inveterate collaborator. He was one of the few people to get co-writing credits with Leiber and Stoller, and he would collaborate seemingly with everyone who spoke to him for five minutes. He would also routinely reuse material, cutting the same songs time and again with different artists, knowing that a song must be a hit for *someone*. One of his closest collaborators was Jerry Wexler, who also became one of his best friends, even though one of their earliest interactions had been when Wexler had supervised Phil Spector's production of Berns' "Twist and Shout" for the Top Notes, a record that Berns had thought had butchered the song. Berns was, in his deepest bones, a record man. Listening to the records that Berns made, there's a strong continuity in everything he does. There's a love there of simplicity -- almost none of his records have more than three chords. He loved Latin sounds and rhythms -- a love he shared with other people working in Brill Building R&B at the time, like Leiber and Stoller and Spector -- and great voices in emotional distress. There's a reason that the records he produced for Solomon Burke were the first R&B records to be labelled "soul". Berns was one of those people for whom feel and commercial success are inextricable. He was an artist -- the records he made were powerfully expressive -- but he was an artist for whom the biggest validation was *getting a hit*. Only a small proportion of the records he made became hits, but enough did that in the early sixties he was a name that could be spoken of in the same breath as Leiber and Stoller, Spector, and Bacharach and David. And Atlantic needed a record man. The only people producing hits for the label at this point were Leiber and Stoller, and they were in the process of stopping doing freelance work and setting up their own label, Red Bird, as we talked about in the episode on the Shangri-Las. And anyway, they wanted more money than they were getting, and Jerry Wexler was never very keen on producers wanting money that could have gone to the record label. Wexler decided to sign Bert Berns up as a staff producer for Atlantic towards the end of 1963, and by May 1964 it was paying off. Atlantic hadn't been having hits, and now Berns had four tracks he wrote and produced for Atlantic on the Hot One Hundred, of which the highest charting was "My Girl Sloopy" by the Vibrations: [Excerpt: The Vibrations, "My Girl Sloopy"] Even higher on the charts though was the Beatles' version of "Twist and Shout". That record, indeed, had been successful enough in the UK that Berns had already made exploratory trips to the UK and produced records for Dick Rowe at Decca, a partnership we heard about in the episode on "Here Comes the Night". Berns had made partnerships there which would have vast repercussions for the music industry in both countries, and one of them was with the arranger Mike Leander, who was the uncredited arranger for the Drifters session for "Under the Boardwalk", a song written by Artie Resnick and Kenny Young and produced by Berns, recorded the day after the group's lead singer Rudy Lewis died of an overdose: [Excerpt: The Drifters, "Under the Boardwalk"] Berns was making hits on a regular basis by mid-1964, and the income from the label's new success allowed Jerry Wexler and the Ertegun brothers to buy out their other partners -- Ahmet Ertegun's old dentist, who had put up some of the initial money, and Miriam Bienstock, the ex-wife of their initial partner Herb Abramson, who'd got Abramson's share in the company after the divorce, and who was now married to Freddie Bienstock of Hill and Range publishing. Wexler and the Erteguns now owned the whole label. Berns also made regular trips to the UK to keep up his work with British musicians, and in one of those trips, as we heard in the episode on "Here Comes the Night", he produced several tracks for the group Them, including that track, written by Berns: [Excerpt: Them, "Here Comes the Night"] And a song written by the group's lead singer Van Morrison, "Gloria": [Excerpt: Them, "Gloria"] But Berns hadn't done much other work with them, because he had a new project. Part of the reason that Wexler and the Erteguns had gained total control of Atlantic was because, in a move pushed primarily by Wexler, they were looking at selling it. They'd already tried to merge with Leiber and Stoller's Red Bird Records, but lost the opportunity after a disastrous meeting, but they were in negotiations with several other labels, negotiations which would take another couple of years to bear fruit. But they weren't planning on getting out of the record business altogether. Whatever deal they made, they'd remain with Atlantic, but they were also planning on starting another label. Bert Berns had seen how successful Leiber and Stoller were with Red Bird, and wanted something similar. Wexler and the Erteguns didn't want to lose their one hit-maker, so they came up with an offer that would benefit all of them. Berns' publishing contract had just ended, so they would set up a new publishing company, WEB IV, named after the initials Wexler, Ertegun, and Berns, and the fact that there were four of them. Berns would own fifty percent of that, and the other three would own the other half. And they were going to start up a new label, with seventeen thousand dollars of the Atlantic partners' money. That label would be called Bang -- for Bert, Ahmet, Neshui, and Gerald -- and would be a separate company from Atlantic, so not affected by any sale. Berns would continue as a staff producer for Atlantic for now, but he'd have "his own" label, which he'd have a proper share in, and whether he was making hits for Atlantic or Bang, his partners would have a share of the profits. The first two records on Bang were "Shake and Jerk" by Billy Lamont, a track that they licensed from elsewhere and which didn't do much, and a more interesting track co-written by Berns. Bob Feldman, Richard Gottehrer, and Jerry Goldstein were Brill Building songwriters who had become known for writing "My Boyfriend's Back", a hit for the Angels, a couple of years earlier: [Excerpt: The Angels, "My Boyfriend's Back"] With the British invasion, the three of them had decided to create their own foreign beat group. As they couldn't do British accents, they pretended to be Australian, and as the Strangeloves -- named after the Stanley Kubrick film Dr  Strangelove -- they released one flop single. They cut another single, a version of "Bo Diddley", but the label they released their initial record through didn't want it. They then took the record to Atlantic, where Jerry Wexler said that they weren't interested in releasing some white men singing "Bo Diddley". But Ahmet Ertegun suggested they bring the track to Bert Berns to see what he thought. Berns pointed out that if they changed the lyrics and melody, but kept the same backing track, they could claim the copyright in the resulting song themselves. He worked with them on a new lyric, inspired by the novel Candy, a satirical pornographic novel co-written by Terry Southern, who had also co-written the screenplay to Dr Strangelove. Berns supervised some guitar overdubs, and the result went to number eleven: [Excerpt: The Strangeloves, "I Want Candy"] Berns had two other songs on the hot one hundred when that charted, too -- Them's version of "Here Comes the Night", and the version of Van McCoy's song "Baby I'm Yours" he'd produced for Barbara Lewis. Three records on the charts on three different labels. But despite the sheer number of charting records he'd had, he'd never had a number one, until the Strangeloves went on tour. Before the tour they'd cut a version of "My Girl Sloopy" for their album -- Berns always liked to reuse material -- and they started performing the song on the tour. The Dave Clark Five, who they were supporting, told them it sounded like a hit and they were going to do their own version when they got home. Feldman, Gottehrer, and Goldstein decided *they* might as well have the hit with it as anyone else. Rather than put it out as a Strangeloves record -- their own record was still rising up the charts, and there's no reason to be your own competition -- they decided to get a group of teenage musicians who supported them on the last date of the tour to sing new vocals to the backing track from the Strangeloves album. The group had been called Rick and the Raiders, but they argued so much that the Strangeloves nicknamed them the Hatfields and the McCoys, and when their version of "My Girl Sloopy", retitled "Hang on Sloopy", came out, it was under the band name The McCoys: [Excerpt: The McCoys, "Hang on Sloopy"] Berns was becoming a major success, and with major success in the New York music industry in the 1960s came Mafia involvement. We've talked a fair bit about Morris Levy's connection with the mob in many previous episodes, but mob influence was utterly pervasive throughout the New York part of the industry, and so for example Richard Gottehrer of the Strangeloves used to call Sonny Franzese of the Colombo crime family "Uncle John", they were so close. Franzese was big in the record business too, even after his conviction for bank robbery. Berns, unlike many of the other people in the industry, had no scruples at all about hanging out with Mafiosi. indeed his best friend in the mid sixties was Tommy Eboli, a member of the Genovese crime family who had been in the mob since the twenties, starting out working for "Lucky" Luciano. Berns was not himself a violent man, as far as anyone can tell, but he liked the glamour of hanging out with organised crime figures, and they liked hanging out with someone who was making so many hit records. And so while Leiber and Stoller, for example, ended up selling Red Bird Records to George Goldner for a single dollar in order to get away from the Mafiosi who were slowly muscling in on the label, Berns had no problems at all in keeping his own label going. Indeed, he would soon be doing so without the involvement of Atlantic Records. Berns' final work for Atlantic was in June 1966, when he cut a song he had co-written with Jeff Barry for the Drifters, inspired by the woman who would soon become Atlantic's biggest star: [Excerpt: The Drifters, "Aretha"] The way Berns told the story in public, there was no real bad blood between him, Wexler, and the Erteguns -- he'd just decided to go his own way, and he said “I will always be grateful to them for the help they've given me in getting Bang started,” The way Berns' wife would later tell the story, Jerry Wexler had suggested that rather than Berns owning fifty percent of Web IV, they should start to split everything four ways, and she had been horrified by this suggestion, kicked up a stink about it, and Wexler had then said that either Berns needed to buy the other three out, or quit and give them everything, and demanded Berns pay them three hundred thousand dollars. According to other people, Berns decided he wanted one hundred percent control of Web IV, and raised a breach of contract lawsuit against Atlantic, over the usual royalty non-payments that were endemic in the industry at that point. When Atlantic decided to fight the lawsuit rather than settle, Berns' mob friends got involved and threatened to break the legs of Wexler's fourteen-year-old daughter, and the mob ended up with full control of Bang records, while Berns had full control of his publishing company. Given later events, and in particular given the way Wexler talked about Berns until the day he died, with a vitriol that he never used about any of the other people he had business disputes with, it seems likely to me that the latter story is closer to the truth than the former. But most people involved weren't talking about the details of what went on, and so Berns still retained his relationships with many of the people in the business, not least of them Jeff Barry, so when Barry and Ellie Greenwich had a new potential star, it was Berns they thought to bring him to, even though the artist was white and Berns had recently given an interview saying that he wanted to work with more Black artists, because white artists simply didn't have soul. Barry and Greenwich's marriage was breaking up at the time, but they were still working together professionally, as we discussed in the episode on "River Deep, Mountain High", and they had been the main production team at Red Bird. But with Red Bird in terminal decline, they turned elsewhere when they found a potential major star after Greenwich was asked to sing backing vocals on one of his songwriting demos. They'd signed the new songwriter, Neil Diamond, to Leiber and Stoller's company Trio Music at first, but they soon started up their own company, Tallyrand Music, and signed Diamond to that, giving Diamond fifty percent of the company and keeping twenty-five percent each for themselves, and placed one of his songs with Jay and the Americans in 1965: [Excerpt: Jay and the Americans, "Sunday and Me"] That record made the top twenty, and had established Diamond as a songwriter, but he was still not a major performer -- he'd released one flop single on Columbia Records before meeting Barry and Greenwich. But they thought he had something, and Bert Berns agreed. Diamond was signed to Bang records, and Berns had a series of pre-production meetings with Barry and Greenwich before they took Diamond into the studio -- Barry and Greenwich were going to produce Diamond for Bang, as they had previously produced tracks for Red Bird, but they were going to shape the records according to Berns' aesthetic. The first single released from Diamond's first session, "Solitary Man", only made number fifty-five, but it was the first thing Diamond had recorded to make the Hot One Hundred at all: [Excerpt: Neil Diamond, "Solitary Man"] The second single, though, was much more Bert Berns' sort of thing -- a three-chord song that sounded like it could have been written by Berns himself, especially after Barry and Greenwich had added the Latin-style horns that Berns loved so much. Indeed according to some sources, Berns did make a songwriting suggestion -- Diamond's song had apparently been called "Money Money", and Berns had thought that was a ridiculous title, and suggested calling it "Cherry Cherry" instead: [Excerpt: Neil Diamond, "Cherry Cherry"] That became Diamond's first top ten hit. While Greenwich had been the one who had discovered Diamond, and Barry and Greenwich were the credited producers on all Diamond's records  as a result, Diamond soon found himself collaborating far more with Barry than with Greenwich, so for example the first number one he wrote, for the Monkees rather than himself, ended up having its production just credited to Barry. That record used a backing track recorded in New York by the same set of musicians used on most Bang records, like Al Gorgoni on lead guitar and Russ Savakus on bass: [Excerpt: The Monkees, "I'm a Believer"] Neil Diamond was becoming a solid hit-maker, but he started rubbing up badly against Berns. Berns wanted hits and only hits, and Diamond thought of himself as a serious artist. The crisis came when two songs were under contention for Diamond's next single in late 1967, after he'd had a whole run of hits for the label. The song Diamond wanted to release, "Shilo", was deeply personal to him: [Excerpt: Neil Diamond, "Shilo"] But Bert Berns had other ideas. "Shilo" didn't sound like a hit, and he knew a hit when he heard one. No, the clear next single, the only choice, was "Kentucky Woman": [Excerpt: Neil Diamond, "Kentucky Woman"] But Berns tried to compromise as best he could. Diamond's contract was up for renewal, and you don't want to lose someone who has had, as Diamond had at that point, five top twenty hits in a row, and who was also writing songs like "I'm a Believer" and "Red Red Wine". He told Diamond that he'd let "Shilo" come out as a single if Diamond signed an extension to his contract. Diamond said that not only was he not going to do that, he'd taken legal advice and discovered that there were problems with his contract which let him record for other labels -- the word "exclusive" had been missed out of the text, among other things. He wasn't going to be recording for Bang at all any more. The lawsuits over this would stretch out for a decade, and Diamond would eventually win, but the first few months were very, very difficult for Diamond. When he played the Bitter End, a club in New York, stink bombs were thrown into the audience. The Bitter End's manager was assaulted and severely beaten. Diamond moved his wife and child out of Manhattan, borrowed a gun, and after his last business meeting with Berns was heard talking about how he needed to contact the District Attorney and hire a bodyguard. Of the many threats that were issued against Diamond, though, the least disturbing was probably the threat Berns made to Diamond's career. Berns pointed out to Diamond in no uncertain terms that he didn't need Diamond anyway -- he already had someone he could replace Diamond with, another white male solo singer with a guitar who could churn out guaranteed hits. He had Van Morrison: [Excerpt: Van Morrison, "Brown-Eyed Girl"] When we left Van Morrison, Them had just split up due to the problems they had been having with their management team. Indeed, the problems Morrison was having with his managers seem curiously similar to the issues that Diamond was having with Bert Berns -- something that could possibly have been a warning sign to everyone involved, if any of them had known the full details of everyone else's situation. Sadly for all of them, none of them did. Them had had some early singles success, notably with the tracks Berns had produced for them, but Morrison's opinion of their second album, Them Again, was less than complimentary, and in general that album is mostly only remembered for the version of Bob Dylan's "It's All Over Now, Baby Blue", which is one of those cover versions that inspires subsequent covers more than the original ever did: [Excerpt: Them, "It's All Over Now, Baby Blue"] Them had toured the US around the time of the release of that album, but that tour had been a disaster. The group had gained a reputation for incredible live shows, including performances at the Whisky A-Go-Go with the Doors and Captain Beefheart as their support acts, but during the tour Van Morrison had decided that Phil Solomon, the group's manager, was getting too much money -- Morrison had agreed to do the tour on a salary, rather than a percentage, but the tour had been more successful than he'd expected, and Solomon was making a great deal of money off the tour, money that Morrison believed rightfully belonged to him. The group started collecting the money directly from promoters, and got into legal trouble with Solomon as a result. The tour ended with the group having ten thousand dollars that Solomon believed -- quite possibly correctly -- that he was owed. Various gangsters whose acquaintance the group had made offered to have the problem taken care of, but they decided instead to come to a legal agreement -- they would keep the money, and in return Solomon, whose production company the group were signed to, would get to keep all future royalties from the Them tracks. This probably seemed a good idea at the time, when the idea of records earning royalties for sixty or more years into the future seemed ridiculous, but Morrison in particular came to regret the decision bitterly. The group played one final gig when they got back to Belfast, but then split up, though a version of the group led by the bass player Alan Henderson continued performing for a few years to no success. Morrison put together a band that played a handful of gigs under the name Them Again, with little success, but he already had his eyes set on a return to the US. In Morrison's eyes, Bert Berns had been the only person in the music industry who had really understood him, and the two worked well together. He had also fallen in love with an American woman, Janet Planet, and wanted to find some way to be with her. As Morrison said later “I had a couple of other offers but I thought this was the best one, seeing as I wanted to come to America anyway. I can't remember the exact details of the deal. It wasn't really that spectacular, money-wise, I don't think. But it was pretty hard to refuse from the point of view that I really respected Bert as a producer. I'd rather have worked with Bert than some other guy with a bigger record company. From that angle, it was spectacular because Bert was somebody that I wanted to work with.” There's little evidence that Morrison did have other offers -- he was already getting a reputation as someone who it was difficult to work with -- but he and Berns had a mutual respect, and on January the ninth, 1967, he signed a contract with Bang records. That contract has come in for a lot of criticism over the years, but it was actually, *by the standards in operation in the music business in 1967*, a reasonably fair one. The contract provided that, for a $2,500 a year advance, Bang would record twelve sides in the first year, with an option for up to fifty more that year, and options for up to four more years on the same terms. Bang had the full ownership of the masters and the right to do what they wanted with them. According to at least one biographer, Morrison added clauses requiring Bang to actually record the twelve sides a year, and to put out at least three singles and one album per year while the contract was in operation. He also added one other clause which seems telling -- "Company agrees that Company will not make any reference to the name THEM on phonograph records, or in advertising copy in connection with the recording of Artist." Morrison was, at first, extremely happy with Berns. The problems started with their first session: [Excerpt: Van Morrison, "Brown-Eyed Girl (takes 1-6)"] When Morrison had played the songs he was working on for Berns, Berns had remarked that they sounded great with just Morrison and his guitar, so Morrison was surprised when he got into the studio to find the whole standard New York session crew there -- the same group of session players who were playing for everyone from the Monkees to Laura Nyro, from Neil Diamond to the Shangri-Las -- along with the Sweet Inspirations to provide backing vocals. As he described it later "This fellow Bert, he made it the way he wanted to, and I accepted that he was producing it... I'd write a song and bring it into the group and we'd sit there and bash it around and that's all it was -- they weren't playing the songs, they were just playing whatever it was. They'd say 'OK, we got drums so let's put drums on it,' and they weren't thinking about the song, all they were thinking about was putting drums on it... But it was my song, and I had to watch it go down." The first song they cut was "Brown-Eyed Girl", a song which Morrison has said was originally a calypso, and was originally titled "Brown-skinned Girl", though he's differed in interviews as to whether Berns changed the lyric or if he just decided to sing it differently without thinking about it in the session. Berns turned "Brown-Eyed Girl" into a hit single, because that was what he tended to do with songs, and the result sounds a lot like the kind of record that Bang were releasing for Neil Diamond: [Excerpt: Van Morrison, "Brown-Eyed Girl"] Morrison has, in later years, expressed his distaste for what was done to the song, and in particular he's said that the backing vocal part by the Sweet Inspirations was added by Berns and he disliked it: [Excerpt: Van Morrison, "Brown-Eyed Girl"] Morrison has been very dismissive of "Brown-Eyed Girl" over the years, but he seems not to have disliked it at the time, and the song itself is one that has stood the test of time, and is often pointed to by other songwriters as a great example of the writer's craft. I remember reading one interview with Randy Newman -- sadly, while I thought it was in Paul Zollo's "Songwriters on Songwriting" I just checked that and it's not, so I can't quote it precisely -- in which he says that he often points to the line "behind the stadium with you" as a perfect piece of writing, because it's such a strangely specific detail that it convinces you that it actually happened, and that means you implicitly believe the rest of the song. Though it should be made very clear here that Morrison has always said, over and over again, that nothing in his songs is based directly on his own experiences, and that they're all products of his imagination and composites of people he's known. This is very important to note before we go any further, because "Brown-Eyed Girl" is one of many songs from this period in Morrison's career which imply that their narrator has an attraction to underage girls -- in this case he remembers "making love in the green grass" in the distant past, while he also says "saw you just the other day, my how you have grown", and that particular combination is not perhaps one that should be dwelt on too closely. But there is of course a very big difference between a songwriter treating a subject as something that is worth thinking about in the course of a song and writing about their own lives, and that can be seen on one of the other songs that Morrison recorded in these sessions, "T.B. Sheets": [Excerpt: Van Morrison, "T.B. Sheets"] It seems very unlikely indeed that Van Morrison actually had a lover die of tuberculosis, as the lover in the song does, and while a lot of people seem convinced that it's autobiographical, simply because of the intensity of the performance (Morrison apparently broke down in tears after recording it), nobody has ever found anyone in Morrison's life who fits the story in the song, and he's always ridiculed such suggestions. What is true though is that "T.B. Sheets" is evidence against another claim that Morrison has made in the past - that on these initial sessions the eight songs recorded were meant to be the A and B sides of four singles and there was no plan of making an album. It is simply not plausible at all to suggest that "T.B. Sheets" -- a slow blues about terminal illness, that lasts nearly ten minutes -- was ever intended as a single. It wouldn't have even come close to fitting on one side of a forty-five. It was also presumably at this time that Berns brought up the topic of "Piece of My Heart". When Berns signed Erma Franklin, it was as a way of getting at Jerry Wexler, who had gone from being his closest friend to someone he wasn't on speaking terms with, by signing the sister of his new signing Aretha. Morrison, of course, didn't co-write it -- he'd already decided that he didn't play well with others -- but it's tempting to think about how the song might have been different had Morrison written it. The song in some ways seems a message to Wexler -- haven't you had enough from me already? -- but it's also notable how many songs Berns was writing with the word "heart" in the chorus, given that Berns knew he was on borrowed time from his own heart condition. As an example, around the same time he and Jerry Ragavoy co-wrote "Piece of My Heart", they also co-wrote another song, "Heart Be Still", a flagrant lift from "Peace Be Still" by Aretha Franklin's old mentor Rev. James Cleveland, which they cut with Lorraine Ellison: [Excerpt: Lorraine Ellison, "Heart Be Still"] Berns' heart condition had got much worse as a result of the stress from splitting with Atlantic, and he had started talking about maybe getting open-heart surgery, though that was still very new and experimental. One wonders how he must have felt listening to Morrison singing about watching someone slowly dying. Morrison has since had nothing but negative things to say about the sessions in March 1967, but at the time he seemed happy. He returned to Belfast almost straight away after the sessions, on the understanding that he'd be back in the US if "Brown-Eyed Girl" was a success. He wrote to Janet Planet in San Francisco telling her to listen to the radio -- she'd know if she heard "Brown-Eyed Girl" that he would be back on his way to see her. She soon did hear the song, and he was soon back in the US: [Excerpt: Van Morrison, "Brown-Eyed Girl"] By August, "Brown-Eyed Girl" had become a substantial hit, making the top ten, and Morrison was back in the States. He was starting to get less happy with Berns though. Bang had put out the eight tracks he'd recorded in March as an album, titled Blowin' Your Mind, and Morrison thought that the crass pseudo-psychedelia of the title, liner notes, and cover was very inappropriate -- Morrison has never been a heavy user of any drugs other than alcohol, and didn't particularly want to be associated with them. He also seems to have not realised that every track he recorded in those initial sessions would be on the album, which many people have called one of the great one-sided albums of all time -- side A, with "Brown-Eyed Girl", "He Ain't Give You None" and the extended "T.B. Sheets" tends to get far more love than side B, with five much lesser songs on it. Berns held a party for Morrison on a cruise around Manhattan, but it didn't go well -- when the performer Tiny Tim tried to get on board, Carmine "Wassel" DeNoia, a mobster friend of Berns' who was Berns' partner in a studio they'd managed to get from Atlantic as part of the settlement when Berns left, was so offended by Tim's long hair and effeminate voice and mannerisms that he threw him overboard into the harbour. DeNoia was meant to be Morrison's manager in the US, working with Berns, but he and Morrison didn't get on at all -- at one point DeNoia smashed Morrison's acoustic guitar over his head, and only later regretted the damage he'd done to a nice guitar. And Morrison and Berns weren't getting on either. Morrison went back into the studio to record four more songs for a follow-up to "Brown-Eyed Girl", but there was again a misunderstanding. Morrison thought he'd been promised that this time he could do his songs the way he wanted, but Berns was just frustrated that he wasn't coming up with another "Brown-Eyed Girl", but was instead coming up with slow songs about trans women. Berns overdubbed party noises and soul backing vocals onto "Madame George", possibly in an attempt to copy the Beach Boys' Party! album with its similar feel, but it was never going to be a "Barbara Ann": [Excerpt: Van Morrison, "Madame George (Bang version)"] In the end, Berns released one of the filler tracks from Blowin' Your Mind, "Ro Ro Rosey", as the next single, and it flopped. On December the twenty-ninth, Berns had a meeting with Neil Diamond, the meeting after which Diamond decided he needed to get a bodyguard. After that, he had a screaming row over the phone with Van Morrison, which made Berns ill with stress. The next day, he died of a heart attack. Berns' widow Ilene, who had only just given birth to a baby a couple of weeks earlier, would always blame Morrison for pushing her husband over the edge. Neither Van Morrison nor Jerry Wexler went to the funeral, but Neil Diamond did -- he went to try to persuade Ilene to let him out of his contract now Berns was dead. According to Janet Planet later, "We were at the hotel when we learned that Bert had died. We were just mortified, because things had been going really badly, and Van felt really bad, because I guess they'd parted having had some big fight or something... Even though he did love Bert, it was a strange relationship that lived and died in the studio... I remember we didn't go to the funeral, which probably was a mistake... I think [Van] had a really bad feeling about what was going to happen." But Morrison has later mostly talked about the more practical concerns that came up, which were largely the same as the ones Neil Diamond had, saying in 1997 "I'd signed a contract with Bert Berns for management, production, agency and record company,  publishing, the whole lot -- which was professional suicide as any lawyer will tell you now... Then the whole thing blew up. Bert Berns died and I was left broke." This was the same mistake, essentially, that he'd made with Phil Solomon, and in order to get out of it, it turned out he was going to have to do much the same for a third time.  But it was the experience with Berns specifically that traumatised Morrison enough that twenty-five years later he would still be writing songs about it, like "Big Time Operators": [Excerpt: Van Morrison, "Big Time Operators"] The option to renew Morrison's contracts with Berns' companies came on the ninth of January 1968, less than two weeks after Berns' death. After his death, Berns' share of ownership in his companies had passed to his widow, who was in a quandary. She had two young children, one of whom was only a few weeks old, and she needed an income after their father had died. She was also not well disposed at all towards Morrison, who she blamed for causing her husband's death. By all accounts the amazing thing is that Berns lived as long as he did given his heart condition and the state of medical science at the time, but it's easy to understand her thinking. She wanted nothing to do with Morrison, and wanted to punish him. On the other hand, her late husband's silent partners didn't want to let their cash cow go. And so Morrison came under a huge amount of pressure in very different directions. From one side, Carmine DiNoia was determined to make more money off Morrison, and Morrison has since talked about signing further contracts at this point with a gun literally to his head, and his hotel room being shot up. But on the other side, Ilene Berns wanted to destroy Morrison's career altogether. She found out that Bert Berns hadn't got Morrison the proper work permits and reported him to the immigration authorities. Morrison came very close to being deported, but in the end he managed to escape deportation by marrying Janet Planet. The newly-married couple moved to Cambridge, Massachusetts, to get away from New York and the mobsters, and to try to figure out the next steps in Morrison's career. Morrison started putting together a band, which he called The Van Morrison Controversy, and working on new songs. One of his earliest connections in Massachusetts was the lead singer of a band called the Hallucinations, who he met in a bar where he was trying to get a gig: [Excerpt: The Hallucinations, "Messin' With the Kid"] The Hallucinations' lead singer was called Peter Wolf, and would much later go on to become well-known as the singer with the J. Geils Band. He and Morrison became acquaintances, and later became closer friends when they realised they had another connection -- Wolf had a late-night radio show under the name Woofa Goofa, and he'd been receiving anonymous requests for obscure blues records from a fan of the show. Morrison had been the one sending in the requests, not realising his acquaintance was the DJ. Before he got his own band together, Morrison actually guested with the Hallucinations at one show they did in May 1968, supporting John Lee Hooker. The Hallucinations had been performing "Gloria" since Them's single had come out, and they invited Morrison to join them to perform it on stage. According to Wolf, Morrison was very drunk and ranted in cod-Japanese for thirty-five minutes, and tried to sing a different song while the band played "Gloria". The audience were apparently unimpressed, even though Wolf shouted at them “Don't you know who this man is? He wrote the song!” But in truth, Morrison was sick of "Gloria" and his earlier work, and was trying to push his music in a new direction. He would later talk about having had an epiphany after hearing one particular track on the radio: [Excerpt: The Band, "I Shall Be Released"] Like almost every musician in 1968, Morrison was hit like a lightning bolt by Music From Big Pink, and he decided that he needed to turn his music in the same direction. He started writing the song "Brand New Day", which would later appear on his album Moondance, inspired by the music on the album. The Van Morrison Controversy started out as a fairly straightforward rock band, with guitarist John Sheldon, bass player Tom Kielbania, and drummer Joey Bebo. Sheldon was a novice, though his first guitar teacher was the singer James Taylor, but the other two were students at Berklee, and very serious musicians. Morrison seems to have had various managers involved in rapid succession in 1968, including one who was himself a mobster, and another who was only known as Frank, but one of these managers advanced enough money that the musicians got paid every gig. These musicians were all interested in kinds of music other than just straight rock music, and as well as rehearsing up Morrison's hits and his new songs, they would also jam with him on songs from all sorts of other genres, particularly jazz and blues. The band worked up the song that would become "Domino" based on Sheldon jamming on a Bo Diddley riff, and another time the group were rehearsing a Grant Green jazz piece, "Lazy Afternoon": [Excerpt: Grant Green, "Lazy Afternoon"] Morrison started messing with the melody, and that became his classic song "Moondance": [Excerpt: Van Morrison, "Moondance"] No recordings of this electric lineup of the group are known to exist, though the backing musicians remember going to a recording studio called Ace recordings at one point and cutting some demos, which don't seem to circulate. Ace was a small studio which, according to all the published sources I've read, was best known for creating song poems, though it was a minor studio even in the song-poem world. For those who don't know, song poems were essentially a con aimed at wannabe songwriters who knew nothing about the business -- companies would advertise you too could become a successful, rich, songwriter if you sent in your "song poems", because anyone who knew the term "lyric" could be presumed to know too much about the music business to be useful. When people sent in their lyrics, they'd then be charged a fee to have them put out on their very own record -- with tracks made more or less on a conveyor belt with quick head arrangements, sung by session singers who were just handed a lyric sheet and told to get on with it. And thus were created such classics prized by collectors as "I Like Yellow Things", "Jimmy Carter Says 'Yes'", and "Listen Mister Hat". Obviously, for the most part these song poems did not lead to the customers becoming the next Ira Gershwin, but oddly even though Ace recordings is not one of the better-known song poem studios, it seems to have produced an actual hit song poem -- one that I don't think has ever before been identified as such until I made a connection, hence me going on this little tangent. Because in researching this episode I noticed something about its co-owner, Milton Yakus', main claim to fame. He co-wrote the song "Old Cape Cod", and to quote that song's Wikipedia page "The nucleus of the song was a poem written by Boston-area housewife Claire Rothrock, for whom Cape Cod was a favorite vacation spot. "Old Cape Cod" and its derivatives would be Rothrock's sole evident songwriting credit. She brought her poem to Ace Studios, a Boston recording studio owned by Milton Yakus, who adapted the poem into the song's lyrics." And while Yakus had written other songs, including songs for Patti Page who had the hit with "Old Cape Cod", apparently Page recorded that song after Rothrock brought her the demo after a gig, rather than getting it through any formal channels. It sounds to me like the massive hit and classic of the American songbook "Old Cape Cod" started life as a song-poem -- and if you're familiar with the form, it fits the genre perfectly: [Excerpt: Patti Page, "Old Cape Cod"] The studio was not the classiest of places, even if you discount the song-poems. Its main source of income was from cutting private records with mobsters' wives and mistresses singing (and dealing with the problems that came along when those records weren't successful) and it also had a sideline in bugging people's cars to see if their spouses were cheating, though Milton Yakus' son Shelly, who got his start at his dad's studio, later became one of the most respected recording engineers in the industry -- and indeed had already worked as assistant engineer on Music From Big Pink. And there was actually another distant connection to Morrison's new favourite band on these sessions. For some reason -- reports differ -- Bebo wasn't considered suitable for the session, and in his place was the one-handed drummer Victor "Moulty" Moulton, who had played with the Barbarians, who'd had a minor hit with "Are You a Boy or Are You a Girl?" a couple of years earlier: [Excerpt: The Barbarians, "Are You a Boy or Are You a Girl?"] A later Barbarians single, in early 1966, had featured Moulty telling his life story, punctuated by the kind of three-chord chorus that would have been at home on a Bert Berns single: [Excerpt: The Barbarians, "Moulty"] But while that record was credited to the Barbarians, Moulton was the only Barbarian on the track, with the instruments and backing vocals instead being provided by Levon and the Hawks. Shortly after the Ace sessions, the Van Morrison Controversy fell apart, though nobody seems to know why. Depending on which musician's story you listen to, either Morrison had a dream that he should get rid of all electric instruments and only use acoustic players, or there was talk of a record deal but the musicians weren't good enough, or the money from the mysterious manager (who may or may not have been the one who was a mobster) ran out. Bebo went back to university, and Sheldon left soon after, though Sheldon would remain in the music business in one form or another. His most prominent credit has been writing a couple of songs for his old friend James Taylor, including the song "Bittersweet" on Taylor's platinum-selling best-of, on which Sheldon also played guitar: [Excerpt: James Taylor, "Bittersweet"] Morrison and Kielbania continued for a while as a duo, with Morrison on acoustic guitar and Kielbania on double bass, but they were making very different music. Morrison's biggest influence at this point, other than The Band, was King Pleasure, a jazz singer who sang in the vocalese style we've talked about before -- the style where singers would sing lyrics to melodies that had previously been improvised by jazz musicians: [Excerpt: King Pleasure, "Moody's Mood for Love"] Morrison and Kielbania soon decided that to make the more improvisatory music they were interested in playing, they wanted another musician who could play solos. They ended up with John Payne, a jazz flute and saxophone player whose biggest inspiration was Charles Lloyd. This new lineup of the Van Morrison Controversy -- acoustic guitar, double bass, and jazz flute -- kept gigging around Boston, though the sound they were creating was hardly what the audiences coming to see the man who'd had that "Brown-Eyed Girl" hit the year before would have expected -- even when they did "Brown-Eyed Girl", as the one live recording of that line-up, made by Peter Wolf, shows: [Excerpt: The Van Morrison Controversy, "Brown-Eyed Girl (live in Boston 1968)"] That new style, with melodic bass underpinning freely extemporising jazz flute and soulful vocals, would become the basis of the album that to this day is usually considered Morrison's best. But before that could happen, there was the matter of the contracts to be sorted out. Warner-Reprise Records were definitely interested. Warners had spent the last few years buying up smaller companies like Atlantic, Autumn Records, and Reprise, and the label was building a reputation as the major label that would give artists the space and funding they needed to make the music they wanted to make. Idiosyncratic artists with difficult reputations (deserved or otherwise), like Neil Young, Randy Newman, Van Dyke Parks, the Grateful Dead, and Joni Mitchell, had all found homes on the label, which was soon also to start distributing Frank Zappa, the Beach Boys, and Captain Beefheart. A surly artist who wants to make mystical acoustic songs with jazz flute accompaniment was nothing unusual for them, and once Joe Smith, the man who had signed the Grateful Dead, was pointed in Morrison's direction by Andy Wickham, an A&R man working for the label, everyone knew that Morrison would be a perfect fit. But Morrison was still under contract to Bang records and Web IV, and those contracts said, among other things, that any other label that negotiated with Morrison would be held liable for breach of contract. Warners didn't want to show their interest in Morrison, because a major label wanting to sign him would cause Bang to raise the price of buying him out of his contract. Instead they got an independent production company to sign him, with a nod-and-wink understanding that they would then license the records to Warners. The company they chose was Inherit Productions, the production arm of Schwaid-Merenstein, a management company set up by Bob Schwaid, who had previously worked in Warners' publishing department, and record producer Lewis Merenstein. Merenstein came to another demo session at Ace Recordings, where he fell in love with the new music that Morrison was playing, and determined he would do everything in his power to make the record into the masterpiece it deserved to be. He and Morrison were, at least at this point, on exactly the same page, and bonded over their mutual love of King Pleasure. Morrison signed to Schwaid-Merenstein, just as he had with Bert Berns and before him Phil Solomon, for management, record production, and publishing. Schwaid-Merenstein were funded by Warners, and would license any recordings they made to Warners, once the contractual situation had been sorted out. The first thing to do was to negotiate the release from Web IV, the publishing company owned by Ilene Berns. Schwaid negotiated that, and Morrison got released on four conditions -- he had to make a substantial payment to Web IV, if he released a single within a year he had to give Web IV the publishing, any album he released in the next year had to contain at least two songs published by Web IV, and he had to give Web IV at least thirty-six new songs to publish within the next year. The first two conditions were no problem at all -- Warners had the money to buy the contract out, and Merenstein's plans for the first album didn't involve a single anyway. It wouldn't be too much of a hardship to include a couple of Web IV-published tracks on the album -- Morrison had written two songs, "Beside You" and "Madame George", that had already been published and that he was regularly including in his live sets. As for the thirty-six new songs... well, that all depended on what you called a song, didn't it? [Excerpt: Van Morrison, "Ring Worm"] Morrison went into a recording studio and recorded thirty-one ostensible songs, most of them lasting one minute to within a few seconds either way, in which he strummed one or two chords and spoke-sang whatever words came into his head -- for example one song, "Here Comes Dumb George", just consists of the words "Here Comes Dumb George" repeated over and over. Some of the 'songs', like "Twist and Shake" and "Hang on Groovy", are parodying Bert Berns' songwriting style; others, like "Waiting for My Royalty Check", "Blowin' Your Nose", and "Nose in Your Blow", are attacks on Bang's business practices. Several of the songs, like "Hold on George", "Here Comes Dumb George", "Dum Dum George", and "Goodbye George" are about a man called George who seems to have come to Boston to try and fail to make a record with Morrison. And “Want a Danish” is about wanting a Danish pastry. But in truth, this description is still making these "songs" sound more coherent than they are. The whole recording is of no musical merit whatsoever, and has absolutely nothing in it which could be considered to have any commercial potential at all. Which is of course the point -- just to show utter contempt to Ilene Berns and her company. The other problem that needed to be solved was Bang Records itself, which was now largely under the control of the mob. That was solved by Joe Smith. As Smith told the story "A friend of mine who knew some people said I could buy the contract for $20,000. I had to meet somebody in a warehouse on the third floor on Ninth Avenue in New York. I walked up there with twenty thousand-dollar bills -- and I was terrified. I was terrified I was going to give them the money, get a belt on the head and still not wind up with the contract. And there were two guys in the room. They looked out of central casting -- a big wide guy and  a tall, thin guy. They were wearing suits and hats and stuff. I said 'I'm here with the money. You got the contract?' I remember I took that contract and ran out the door and jumped from the third floor to the second floor, and almost broke my leg to get on the street, where I could get a cab and put the contract in a safe place back at Warner Brothers." But the problem was solved, and Lewis Merenstein could get to work translating the music he'd heard Morrison playing into a record. He decided that Kielbania and Payne were not suitable for the kind of recording he wanted -- though they were welcome to attend the sessions in case the musicians had any questions about the songs, and thus they would get session pay. Kielbania was, at first, upset by this, but he soon changed his mind when he realised who Merenstein was bringing in to replace him on bass for the session. Richard Davis, the bass player -- who sadly died two months ago as I write this -- would later go on to play on many classic rock records by people like Bruce Springsteen and Laura Nyro, largely as a result of his work for Morrison, but at the time he was known as one of the great jazz bass players, most notably having played on Eric Dolphy's Out to Lunch: [Excerpt: Eric Dolphy, "Hat and Beard"] Kielbania could see the wisdom of getting in one of the truly great players for the album, and he was happy to show Davis the parts he'd been playing on the songs live, which Davis could then embellish -- Davis later always denied this, but it's obvious when listening to the live recordings that Kielbania played on before these sessions that Davis is playing very similar lines. Warren Smith Jr, the vibraphone player, had played with great jazz musicians like Charles Mingus and Herbie Mann, as well as backing Lloyd Price, Aretha Franklin, and Janis Joplin. Connie Kay, the drummer, was the drummer for the Modern Jazz Quartet and had also played sessions with everyone from Ruth Brown to Miles Davis. And Jay Berliner, the guitarist, had played on records like Charles Mingus' classic The Black Saint and the Sinner Lady: [Excerpt: Charles Mingus: "Mode D - Trio and Group Dancers, Mode F - Single Solos & Group Dance"] There was also a flute player whose name nobody now remembers. Although all of these musicians were jobbing session musicians -- Berliner came to the first session for the album that became Astral Weeks straight from a session recording a jingle for Pringles potato chips -- they were all very capable of taking a simple song and using it as an opportunity for jazz improvisation. And that was what Merenstein asked them to do. The songs that Morrison was writing were lyrically oblique, but structurally they were very simple -- surprisingly so when one is used to listening to the finished album. Most of the songs were, harmonically, variants of the standard blues and R&B changes that Morrison was used to playing. "Cyprus Avenue" and "The Way Young Lovers Do", for example, are both basically twelve-bar blueses -- neither is *exactly* a standard twelve-bar blues, but both are close enough that they can be considered to fit the form. Other than what Kielbania and Payne showed the musicians, they received no guidance from Morrison, who came in, ran through the songs once for them, and then headed to the vocal booth. None of the musicians had much memory of Morrison at all -- Jay Berliner said “This little guy walks in, past everybody, disappears into the vocal booth, and almost never comes out, even on the playbacks, he stayed in there." While Richard Davis later said “Well, I was with three of my favorite fellas to play with, so that's what made it beautiful. We were not concerned with Van at all, he never spoke to us.” The sound of the basic tracks on Astral Weeks is not the sound of a single auteur, as one might expect given its reputation, it's the sound of extremely good jazz musicians improvising based on the instructions given by Lewis Merenstein, who was trying to capture the feeling he'd got from listening to Morrison's live performances and demos. And because these were extremely good musicians, the album was recorded extremely quickly. In the first session, they cut four songs. Two of those were songs that Morrison was contractually obliged to record because of his agreement with Web IV -- "Beside You" and "Madame George", two songs that Bert Berns had produced, now in radically different versions: [Excerpt: Van Morrison, "Madame George"] The third song, "Cyprus Avenue", is the song that has caused most controversy over the years, as it's another of the songs that Morrison wrote around this time that relate to a sexual or romantic interest in underage girls. In this case, the reasoning might have been as simple as that the song is a blues, and Morrison may have been thinking about a tradition of lyrics like this in blues songs like "Good Morning, Little Schoolgirl". Whatever the cause though, the lyrics have, to put it mildly, not aged well at all: [Excerpt: Van Morrison, "Cyprus Avenue"] That song would be his standard set-closer for live performances for much of the seventies. For the fourth and final song, though, they chose to record what would become the title track for the album, "Astral Weeks", a song that was a lot more elliptical, and which seems in part to be about Morrison's longing for Janet Planet from afar, but also about memories of childhood, and also one of the first songs to bring in Morrison's fascination with the occult and spirituality,  something that would be a recurring theme throughout his work, as the song was partly inspired by paintings by a friend of Morrison's which suggested to him the concept of astral travel: [Excerpt: Van Morrison, "Astral Weeks"] Morrison had a fascination with the idea of astral travel, as he had apparently had several out-of-body experiences as a child, and wanted to find some kind of explanation for them. Most of the songs on the album came, by Morrison's own account, as a kind of automatic writing, coming through him rather than being consciously written, and there's a fascination throughout with, to use the phrase from "Madame George", "childhood visions". The song is also one of the first songs in Morrison's repertoire to deliberately namecheck one of his idols, something else he would do often in future, when he talks about "talking to Huddie Leadbelly". "Astral Weeks" was a song that Morrison had been performing live for some time, and Payne had always enjoyed doing it. Unlike Kielbania he had no compunction about insisting that he was good enough to play on the record, and he eventually persuaded the session flute player to let him borrow his instrument, and Payne was allowed to play on the track: [Excerpt: Van Morrison, "Astral Weeks"] Or at least that's how the story is usually told -- Payne is usually credited for playing on "Madame George" too, even though everyone agrees that "Astral Weeks" was the last song of the night, but people's memories can fade over time. Either way, Payne's interplay with Jay Berliner on the guitar became such a strong point of the track that there was no question of bringing the unknown session player back -- Payne was going to be the woodwind player for the rest of the album: [Excerpt: Van Morrison, "Astral Weeks"] There was then a six-day break between sessions, during which time Payne and Kielbania went to get initiated into Scientology -- a religion with which Morrison himself would experiment a little over a decade later -- though they soon decided that it wasn't worth the cost of the courses they'd have to take, and gave up on the idea the same week. The next session didn't go so well. Jay Berliner was unavailable, and so Barry Kornfeld, a folkie who played with people like Dave Van Ronk, was brought in to replace him. Kornfeld was perfectly decent in the role, but they'd also brought in a string section, with the idea of recording some of the songs which needed string parts live. But the string players they brought in were incapable of improvising, coming from a classical rather than jazz tradition, and the only track that got used on the finished album was "The Way Young Lovers Do", by far the most conventional song on the album, a three-minute soul ballad structured as a waltz twelve-bar blues, where the strings are essentially playing the same parts that a horn section would play on a record by someone like Solomon Burke: [Excerpt: Van Morrison, "The Way Young Lovers Do"] It was decided that any string or horn parts on the rest of the album would just be done as overdubs. It was two weeks before the next and final session for the album, and that featured the return of Jay Berliner on guitar. The session started with "Sweet Thing" and "Ballerina", two songs that Morrison had been playing live for some time, and which were cut in relatively quick order.  They then made attempts at two more songs that didn't get very far, "Royalty", and "Going Around With Jesse James", before Morrison, stuck for something to record, pulled out a new lyric he'd never performed live, "Slim Slow Slider". The whole band ran through the song once, but then Merenstein decided to pare the arrangement down to just Morrison, Payne (on soprano sax rather than on flute), and Warren Smith Jr: [Excerpt: Van Morrison, "Slim Slow Slider"] That track was the only one where, after the recording, Merenstein didn't compliment the performance, remaining silent instead – Payne said “Maybe everyone was just tired, or maybe they were moved by it.” It seems likely it was the latter. The track eventually got chosen as the final track of the album, because Merenstein felt that it didn't fit conceptually with anything else -- and it's definitely a more negative track than the oth

Emerging market currency volatility is on the rise, as the dovish tilt in monetary policy causes real yield differentials to converge with the US and Europe. In this month's EM Lens & Look-Through episode, Shamaila Khan, Head of Emerging Markets & Asia-Pacific at UBS Asset Management Americas, joins Chief EM Fixed Income Strategist Damian Sassower to deliver her outlook on emerging market debt. From idiosyncratic risk in EM distressed debt to China's struggling property sector, we discuss the opportunities and risks facing EM creditors.

Steven Ricchiuto, Mizuho Securities US Chief Economist, says there's a lot of idiosyncratic risk out there. Liz Ann Sonders, Charles Schwab Chief Investment Strategist, says this is more likely a rally in a bear market. Thierry Wizman, Macquarie Global Interest Rates and Currencies Strategist, says Fed Chair Powell could "pat itself on the back" as the US sees lower inflation and a better economy but "I don't think it's time for him to do that." Greg Valliere, AGF Investments Chief US Policy Strategist, discusses the first GOP presidential debate tonight. Get the Bloomberg Surveillance newsletter, delivered every weekday. Sign up now: https://www.bloomberg.com/account/newsletters/surveillance See omnystudio.com/listener for privacy information.

Journey into the enchanting world of idiosyncrasies. Unravel the true essence of this expression through compelling narratives, celebrating the charm of uniqueness and how it adds color to our lives.Find the interactive transcript on https://englishpluspodcast.com/embracing-the-idiosyncratic-a-tribute-to-uniqueness-in-our-lives/Support our English Plus CreatorTake your English and knowledge to the next level on our websiteSupport the show

My guest today is Kevin Kelly. Kevin co-founded Wired magazine and has published a number of seminal books and essays on technology over the past three decades. I have devoured everything Kevin has put out into the world and many of his ideas shape the way I live today. Our conversation explores media, family, money, his concept of the Technium, AI, and more but the central theme of this episode is that we should be as generous and unique as possible. You will hear us refer to his latest book, Excellent Advice for Living, throughout and I highly recommend reading it if you haven't already. Please enjoy this great conversation with Kevin Kelly. Founders Podcast Founders Episode 136 - Estee Lauder Founders Episode 288 - Ralph Lauren For the full show notes, transcript, and links to mentioned content, check out the episode page here.  ----- This episode is brought to you by Tegus. Tegus is the modern research platform for leading investors, and provider of Canalyst. Tired of calculating fully-diluted shares outstanding? Access every publicly-reported datapoint and industry-specific KPI through their database of over 4,000 driveable global models handbuilt by a team of sector-focused analysts, 35+ industry comp sheets, and Excel add-ins that let you use their industry-leading data in your own spreadsheets. Tegus' models automatically update each quarter, including hard to calculate KPIs like stock-based compensation and organic growth rates, empowering investors to bypass the friction of sourcing, building and updating models. Make efficiency your competitive advantage and take back your time today. As a listener, you can trial Canalyst by Tegus for free by visitingtegus.co/patrick. ----- Invest Like the Best is a property of Colossus, LLC. For more episodes of Invest Like the Best, visit joincolossus.com/episodes.  Past guests include Tobi Lutke, Kevin Systrom, Mike Krieger, John Collison, Kat Cole, Marc Andreessen, Matthew Ball, Bill Gurley, Anu Hariharan, Ben Thompson, and many more. Follow us on Twitter: @patrick_oshag | @JoinColossus Show Notes (00:03:05) - (First question) - Excellent Advice for Living - a journey towards authenticity (00:05:05) - Uncovering the essence of oneself is a lifelong journey of self-reflection (00:06:47) - What he would have done differently at 30 had he internalized this concept earlier (00:08:51) - The highest form of self-expression is being authentically unique and redefining success (00:11:05) - Conforming to others' definition of success and societal biases hinders progress (00:13:07) - Surrender and collaboration are both essential in becoming your authentic self (00:14:38) - Prototype your life to embrace imperfections and make ideas tangible (00:17:34) - Mastering cultural photography in Asia and developing a keen ability to spot trends (00:19:59) - Energy signatures reveal depth, breadth, discovery, and momentum  in events (00:22:02) - The reward for good work is more work (00:23:42) - Money is a tool for doing things, but beware its imprisoning burden (00:28:35) - Imagination can be cultivated and improved, often by challenging expectations (00:31:38) - Imaginative individuals include lateral thinkers who challenge norms (00:34:41) - Rites of passage and rituals provide stability and identity for children (00:38:15) - Mealtime without screens, family traditions, and cultivating a family identity (00:41:44) - An overview of “The three gates” (00:43:02) - Humans are naturally kind (00:47:23) - The Technium: an evolving ecosystem of interdependent tech and their tendencies (00:52:01) - Thoughts on AI (00:55:55) - Overestimating the existential threat of AI (00:57:38) - Idiosyncratic expression of creators (00:59:48) - Lessons learned about media (01:01:34) - Be the only, not the best. (01:05:09) - The kindest thing anyone has ever done for him

Throughout your clinical career, physical assessments will be integral in crystallising a naturopathic diagnosis and directing care. Many assessments seem mundane (the expert clinician will often appraise their patients subconsciously), but done correctly and with cognisance they can reveal hidden pathology that is often missed by those who skip them . Take Blood Pressure (BP), for instance. It is one of the cardinal vital signs along with pulse, respirations and temperature, but how often do we repeat these measurement in our patients? But let's not stop at the usual medical assessments. What about patients' posture, symmetry, vitality, fingernails, eyes, hair, gait, thyroid palpation...and how much can we attend to all these assessments when consulting remotely? Today Katie Barron takes us through how critical these and other physical assessments can be in choosing the correct course of action and cementing your place as a responsible healthcare professional, not the least of which is referral to appropriate medical care when necessary. Katie is masterful at being present with her patients and she demands excellence in those she tutors.   REFERENCESKatie Barron- Free Stuff for PracsKatie Barron- Mini-TrainingsKatie Barron's Full course (Contact Katie for Discount) Aetiological Sieve Mnemonic: See("C") That Italian Vase Now Has Many New Dried Peas In It(Stands for the initials: C, T, I, V, N, H, M, N, D, P, I, I.)Possible causes: Congenital, Trauna, Inflammation (Infection or Autoimmune), Vascular, Neoplastic, Hormonal, Musculoskeletal, Nutritional, Drugs, Psychiatric, Idiopathic, Idiosyncratic. Rehman R, et al. Blood Pressure Measurement. In: StatPearls [Internet]. Treasure Island (FL): StatPearls Publishing; 2023 Jan-.  [Updated 2022 Dec 28] (Accessed 2023 Feb 22).  Sapra A, et al. Vital Sign Assessment. In: StatPearls [Internet]. Treasure Island (FL): StatPearls Publishing; 2023 Jan-. [Updated 2023 May 1] (Accessed 2023 Feb 22). Belleza M. Head-to-Toe Assessment: Complete Physical Assessment Guide. Fundamentals of Nursing. NurseLabs. [Updated 2023 Jul 2] (Accessed 2023 Mar 01).  The Stanford Medicine 25. Stanford Medicine. Stanford University. (Accessed 2023 Mar 01). NB: ALWAYS REMAIN WITHIN SCOPE OF PRACTICE! Natural Medicine Podcast and Natural Medicine Partners Pty Ltd shall be held harmless in all undertakings and accept no responsibility for your actions. Refer to Natural Medicine Partners Full Terms and Conditions.

Did you ever have one of those weird funtional analyses? You know, the one where all the problem behavior happens in the control condition or responding remains strangely variable during the escape condition even though the client's teacher swears he tantrums every single time she presents any work? This week we seek answers as to what to do when your FA results look like the world's most volatile stock prices by exploring idiosyncratic variables and how to find them. Plus, could the IISCA be the most idiosyncratic FA process of all? And one of Rob's favorite articles, discussed here becuase we didn't know where else to put it. This episode is available for 1.0 LEARNING CEU. Articles discussed this episode: Coffey, A.L., Shawler, L.A., Jessel, J., Nye, M.L., Bain, T.A., & Dorsey, M.F. (2020). Interview-informed synthesized contingency analysis (IISCA): Novel interpretations and future directions. Behavior Analysis in Practice, 13, 217-225. doi: 10.1007/s40617-019-00348-3 Querim, A.C., Iwata, B.A., Roscoe, E.M., Schlichenmeyer, K.J., Ortega, J.V., & Hurl, K.E. (2013). Functional analysis screening for problem behavior maintained by automatic reinforcement. Journal of Applied Behavior Analysis, 46, 47-60. doi: 10.1002/jaba.26 Schlichenmeyer, K.J., Roscoe, E.M., Rooker, G.W., Wheeler, E.E., & Dube, W.V. (2013). Idiosyncratic variables that affect functional analysis outcomes: A review (2001-2010). doi: 10.1002/jaba.12 Jesel, J., Hanley, G.P., & Ghaemmaghami, M. (2016). Interview-informed synthesized contingency analyses: Thirty replications and reanalysis. Journal of Applied Behavior Analysis, 49, 576-595. doi: 10.1002/jaba.316 If you're interested in ordering CEs for listening to this episode, click here to go to the store page. You'll need to enter your name, BCBA #, and the two episode secret code words to complete the purchase. Email us at abainsidetrack@gmail.com for further assistance.

No-one cared about strong NFP jobs numbers today.

Break out your old-timey woolen bathing suit because you'll need to cool off after a jumbo month of new episodes. We've got guests to fill out the whole month including Dr. Ivy Chong discussing the process of developing a means of measuring outcomes of health care for autism treatment, Dr. Haley Steinhauser and Alex Kishbaugh reviewing their article reviewing rethinking compliance to better promote individual assent, and self-advocacy skills, and Alan Haberman dropping the latest Book Club read to join our continued review of past research on conversion therapy and how behavior analysis can own up to old mistakes (and avoid more in the future!). Finally, this extra-long month comes to a close by reviewing what to do when your functional analysis fails. Did someone say “idiosyncratic variables”? No? Don't worry: We will. Articles for March 2023 Developing a Standard Set for Autism Outcome Measures w/ Dr. Ivy Chong Mainz, J. (2003). Defining and classifying clinical indicators for quality improvement. International Journal for Quality in Health Care, 15, 523-530. doi: 10.1093/intqhc/mzg081 International Consortium for Health Outcomes Measurement. (2022). Patient-centered outcome measures Autism spectrum disorder. ICHOM Connect. https://connect.ichom.org/patient-centered-outcome-measures/autism-spectrum-disorder/ Kaplan, B. (2018). Value-based health care [PowerPoint slides]. Harvard Law School. deSilva, D. (2014, March). Helping measure person-centred care. The Health Foundation. https://www.health.org.uk   Assent and Self-Determination w/ Dr. Haley Steinhauser + Alex Kishbaugh Kishbaugh, A., Steinhauser, H.M.K., & Bird, F.L. (2022, September 29). Rethinking non-compliance as a skill and promoting self-advocacy. Autism Spectrum News. Retrieved from Autism Spectrum News. Morris, C., Detrick, J.J., & Peterson, S.M. (2021). Participant assent in behavior analytic research: Considerations for participants with autism and developmental disabilities. Journal of Applied Behavior Analysis, 54, 1300-1316. doi: 10.1002/jaba.859 Rajaraman, A., Hanley, G.P., Gover, H.C., Staubitz, J.L., Staubitz, J.E., Simcoe, K.M., & Metras, R. (2022). Minimizing escalation by treating dangerous problem behavior within an enhanced choice model. Behavior Analysis in Practice, 15, 219-242. doi: 10:1007/s40617-020-00548-2   Idiosyncratic Functional Analyses Coffey, A.L., Shawler, L.A., Jessel, J., Nye, M.L., Bain, T.A., & Dorsey, M.F. (2020). Interview-informed synthesized contingency analysis (IISCA): Novel interpretations and future directions. Behavior Analysis in Practice, 13, 217-225. doi: 10.1007/s40617-019-00348-3 Querim, A.C., Iwata, B.A., Roscoe, E.M., Schlichenmeyer, K.J., Ortega, J.V., & Hurl, K.E. (2013). Functional analysis screening for problem behavior maintained by automatic reinforcement. Journal of Applied Behavior Analysis, 46, 47-60. doi: 10.1002/jaba.26 Schlichenmeyer, K.J., Roscoe, E.M., Rooker, G.W., Wheeler, E.E., & Dube, W.V. (2013). Idiosyncratic variables that affect functional analysis outcomes: A review (2001-2010). doi: 10.1002/jaba.12 Jesel, J., Hanley, G.P., & Ghaemmaghami, M. (2016). Interview-informed synthesized contingency analyses: Thirty replications and reanalysis. Journal of Applied Behavior Analysis, 49, 576-595. doi: 10.1002/jaba.316   (The Lack of) Ethics and Conversion Therapy and Practices w/ Alan Haberman (ETHICS) (LIVE) Barlow, D.H. & Agras, W.S. (1973). Fading to increase heterosexual responsiveness in homosexuals. Journal of Applied Behavior Analysis, 6, 355-366. doi: 10.1901/jaba.1973.6-355 Abel, G.G., Blanchard, E.B., Barlow, D.H., & Mavissakalian, M. (1975). Identifying specific erotic cues in sexual deviations by audiotaped descriptions. Journal of Applied Behavior Analysis, 8, 247-260. doi: 10.1901/jaba.1975.8-247 Nordyke, N.S., Baer, D.M., Etzel, B.C., & LeBlanc, J.M. (1977). Implications of the stereotyping and modiication of sex role. Journal of Applied Behavior Analysis, 10, 553-557. doi: 10.1901/jaba.1977.10-553 Rekers, G.A. (1977). Atypical gender development and psychosocial adjustment (1977). Journal of Applied Behavior Analysis, 10, 559-571. doi: 10.1901/jaba.1977.10-559 Winkler, R.C. (1977). What types of sex-role behavior should behavior modifiers promote? Journal of Applied Behavior Analysis, 10, 549-552. doi: 10.1901/jaba.1977.10-549 Association for Behavior Analysis International. (2022). Statement on conversion therapy and practices. Portage, MI: Author.

Morgan Stanley is out with a list of “idiosyncratic tailwinds” for Apple shares in 2023. TMO Managing Editor Jeff Butts joins Ken to talk them over. Plus – RR Auctions has a lot of really cool tech related stuff up for bids. Let's go bidding!

Neurobiologist Stuart Firestein, one of the world's leading experts on olfaction, joins Bernard Baars to discuss the similarities and surprising differences of smell and taste in relation to vision, hearing and somatosensory systems, like touch. The olfactory system presents us with alternative views of how sensory stimuli are parsed in the brain and how we integrate those into some sort of conscious worldview.   Dr. Stuart Firestein specializes in the olfactory system ⎯ why and how our brains and noses sense smell. Stuart is the former chair of Columbia University's Department of Biological Sciences and a neurobiology professor, where his laboratory studies the vertebrate olfactory system, possibly the best chemical detector on the face of the planet.   Stuart is devoted to the history, evolution, and future of science. Author of "Ignorance: How it Drives Science" and "Failure: Why Science is so Successful” (OUP), his books cast science as an unending quest to illuminate ignorance and failure as an essential component in that process.   Talking Points 0:00 - Intro 3:59 - The Ups and Downs of Consciousness in Science  12:30 - Stuart's Journey from Theater to Neuroscience 19:14 - Is Olfaction an Idiosyncratic or Unique Brain System? 25:30 - The Connection Between Smell, Memory & Emotion 34:37 - The Immune System Recognizes a Repertoire of Molecules Just Like the Olfactory System 42:51 - The Regenerative Capabilities of Olfactory Neurons 51:48 - Are Olfactory Receptors Like Other Chemoreceptors? 01:02:34 - The Integration of Olfactory Stimuli into a Chemical Panorama 01:10:24 - Is Olfaction a Low- or High-Dimensional Input System? 01:16:56 - How to Improve Science Learning 01:22:25 - The Value of Ignorance and Failure in Science   Producer: Natalie Geld   Links — Website and Social Media — Website: https://bernardbaars.com/ Twitter: https://twitter.com/BernardJBaars Facebook: https://www.facebook.com/BernardJBaars/ LinkedIn: https://www.linkedin.com/in/bernardjbaars/ YouTube: https://www.youtube.com/@BernardBaarsOnConsciousness Instagram: https://www.instagram.com/baarslab/?hl=en   — Stuart Firestein — Website: http://stuartfirestein.com/ Columbia University: https://www.biology.columbia.edu/people/firestein Ted Talk: https://www.youtube.com/watch?v=nq0_zGzSc8g Books: - Ignorance: How It Drives Science: Buy at Amazon - Failure: Why Science Is So Successful: Buy at Amazon

BIO: Larry Swedroe is head of financial and economic research at Buckingham Wealth Partners.STORY: Larry chose to invest in an individual bank stock in the mid-80s instead of following his gut to invest in a portfolio of stocks. The bank's President committed fraud, and the company went bankrupt. Larry lost about 80% of his investment.LEARNING: Avoid idiosyncratic risks by hyper-diversifying your portfolio. “Focus on managing risks and not trying to generate alpha or risk-adjusted outperformance.”Larry Swedroe Guest profileLarry Swedroe is head of financial and economic research at Buckingham Wealth Partners. Since joining the firm in 1996, Larry has spent his time, talent, and energy educating investors on the benefits of evidence-based investing with enthusiasm few can match.Larry was among the first authors to publish a book that explained the science of investing in layman's terms, “The Only Guide to a Winning Investment Strategy You'll Ever Need.” He has authored or co-authored 18 books.Larry's dedication to helping others has made him a sought-after national speaker. He has made appearances on national television on various outlets.Larry is a prolific writer, regularly contributing to multiple outlets, including AlphaArchitect, Advisor Perspectives, and Wealth Management.Worst investment everIn the mid-80s, while Larry was working at Citicorp as the regional treasurer on the West Coast, his colleague and friend convinced him to invest in a company called Jefferson National Bank. Larry happened to believe in two themes that were behind his friend's recommendation.One, this was a small regional bank, and Larry was confident that the US would allow consolidation to build national banks. So there was going to be a trend of purchasing well-run small banks at premiums to enable the big banks to become national.Two, the bank was located on the border between Canada and upstate New York. There was a military base with a good, sound community, making it suitable for businesses. Larry also believed NAFTA would pass, which would build up the trade in the area.Larry then called a bunch of friends in the banking business and asked them what they thought of this company. Most were impressed by how well the bank was run and the good earnings. Everything seemed suitable for an investor.The President of the bank committed fraud, and the company went bankrupt. Larry lost about 80% of his investment.Looking at hindsight, Larry could have made a much more intelligent bet by avoiding idiosyncratic risks. He could have found a collection of regional stocks with the same advantages as the bank he invested in but without the idiosyncratic risk.Lessons learnedLarry has, over time, developed three principles of investing:Principle one: If the markets are sufficiently efficient, invest in systematic, transparent, rapidly run funds that try to keep their trading costs down with patient...

Support Topic Lords on Patreon and get episodes a week early! (https://www.patreon.com/topiclords) Lords: * Erica * Jenni Topics: * Stronger with Stogner * https://www.youtube.com/watch?v=-o0MwD8dyko * What is & isn't ahegao, prescriptivistly * Wanna Feel Old? 10 Hilarious Examples Of Anti-Piracy Measures In Video Games * https://screenrant.com/anti-piracy-video-games-funny/ * The Lanyard by Billy Collins * https://www.poetryfoundation.org/poems/50975/the-lanyard * The "what the fuck" genre of narrative & why it frequently has an unsatisfying ending * Ed O'Brien on backing vocals * https://www.youtube.com/watch?v=DWuAn6C8Mfc * https://floodmagazine.com/44288/ed-from-radiohead-sing-his-own-name/ Microtopics: * Fighting for credit. * The discord: it's fun in there. * Forgetting an entire lord. * A lot of work to get twice as many views. * A convenient thing you can put old food in so it doesn't go bad as quickly. * Gaskets: there's a name for them. * The British vs. the American conception of a frown. * Frowning with your face gaskets. * Doing a cartwheel to feel happier. * Alan Snape. * Doing a racy political ad on top of a 40-foot pumpjack. * What the Texas Railroad Commission does. * Getting the idea for OPEC from Texas. * A political ad using the Sugar Hill Gang cover of Apache as a soundtrack. * The suburban Texan mom solving the climate crisis single-handedly. * Twerking at the sunrise. * Field-dressing a moose. * Fantasy-footballing a female running mate for Theodore Roosevelt even though they didn't have women back then. * Getting so annoyed at an ad that you have to log back into Twitter. * Scrolling social media and getting angry by yourself. * The crucial elements that comprise the ahegao face. * Electronic Girl. * The phylogeny of the e-girl. * Is it Soup? * Looking at Zelda's face and thinking "okay, that's soup." * Whether ahegao or Betty Boop are sexy. * A face that people make to indicate horniness. * The Betty Boop ahegao: it's bad, folks. * What is otaku's plan for us? * Project Lords. * A web site with JavaScript implementations of video game code wheels of various 90s video games. * Everybody playing the free version of chess for thousands of years when the paid version is a way better game. * Why there is no Casio Loopy emulator. * Finding a tiny blood reservoir for the smallest blood sacrifices. * Who wrote the Vagina Monologues? * Moving as if underwater from typewriter to piano. * What a lanyard is and what it's for. * How to repay your mom for all the things that she's given you. * God's Eyes. * Replacing your son's butt-gasket. * Being old enough to remember when it was normal for schoolchildren to make their parents an ashtray. * Making a gumball dispenser in wood shop and using it to convince your mom to buy you a big bag of gumballs. * 1899. * A sequence of mysterious things happening. * A mysterious TV show that ends when you overwater all of your boyfriend's plants. * The final episode of Lost, where the giant panda shows up and explains that "I'm god and you're in my dream!" * Comedy typing directly into the Topic Bucket. * What makes a good ending to a mystery-focused story. * Mystery as marketing hook. * How to end a mystery-focused story in a satisfying way without solving the mystery. * The most normal-looking guy in Radiohead. * The one guy in Radiohead who doesn't have any fans. * From the Basement in Rainbows. * A super chill guy keeping time with his leg. * Does Ed from Radiohead only sing his own name? * A Pokemon Named Ed. * Idiosyncratic ways to describe your favorite band member, that unlock your unique adoration. * The only member of the band who smiles. * Absorbing it all as the luckiest person alive playing with your pals in a huge venue. * The kind of Radiohead fan whose imagination is so powerful that you can't safely let them into Radiohead concerts because they might imagine a bomb. * The kind of Topic Lord who listens to the show. * Having some delightful chats in Texas. * Posing on the pumpjack where nobody will ever see you.

E10: What exactly is luck? Luck is commonly defined as, "success or failure brought on by chance rather than through one's own actions." In other words, luck is a matter of chance. It's the element of unpredictability in life. And it's something that we can't control. Or can we? Some people seem to be luckier than others. Is it possible to create your own luck? The answer is yes. And today, we're building your very own "luck playbook". ***TOPICS:4 Types of Luck (2:06)There are four types of luck: blind, serendipitous, expertise, and idiosyncratic.Blind Luck (2:15)Blind luck is how we typically define luck. It's winning the lottery. This is accidental luck. There's not much you can do to sway blind luck in your favor.Serendipitous Luck (2:32)We're adding movement into the equation. You generate a lot of energy. You start things. This increases the likelihood that you might get lucky. How so? Well, instead of relying on blind luck, you put yourself in a position that helps facilitate serendipitous interactions and force yourself to find luck.Expertise Luck (3:44)You may notice that something lucky might be happening where others may not notice them at all. You put in many years specializing and becoming an expert in a particular industry, and you're able to capitalize on that knowledge and eventually create your own luck because you can see trends emerging before anybody else.Idiosyncratic (4:51)This is the hardest kind of luck because you need to build a unique character, a unique brand, and a unique mindset. This is the most powerful type of luck because luck finds you not the other way around.Increasing Luck Surface Area (6:55)You can build your own "Luck Playbook" by finding a community, gaining trust within that community, and becoming an expert within that community.How I Created My Own Luck (13:05)In October, 2011, I flew across the country to California to break into the emerging startup scene in San Francisco. I eventually ended up working at a cryptocurrency company. Working here. I saw the exciting new opportunity in digital currencies and decided to invest in cryptocurrencies.JOIN: First Class Founders Premium MembershipDOWNLOAD: Hyper-Visuals For Our Episodes (Free)***FOLLOW / REVIEW:- Follow - Leave 5-star review***CONNECT W/ YONG-SOO:- X- Threads- LinkedIn- Newsletter***First Class Founders is a show for indie hackers, bootstrapped founders, CEOs, solopreneurs, content creators, startup entrepreneurs, and SaaS startups covering topics like build in public, audience growth, product marketing, scaling up, side hustles, holding company, etc. Past guests include Arvid Kahl, Tyler Denk, Noah Kagan, Clint Murphy, Jay Abraham, Andrew Gazdecki, Matt McGarry, Nick Huber, Khe Hy, and more. Episode you might like:Future of Newsletters with Tyler Denk, Founder & CEO at BeehiivFrom Zero to 100K Subscribers: How to Grow Your Newsletter like a Pro with Newsletter Growth Expert Matt McGarry...

Link to bioRxiv paper: http://biorxiv.org/cgi/content/short/2022.12.02.518897v1?rss=1 Authors: Frank, L. E., Zeithamova, D. Abstract: Resting-state functional MRI (fMRI) is widely used for measuring functional interactions between brain regions, significantly contributing to our understanding of large-scale brain networks and brain-behavior relationships. Furthermore, idiosyncratic patterns of resting-state connections can be leveraged to identify individuals and predict individual differences in clinical symptoms, cognitive abilities, and other individual factors. Idiosyncratic connectivity patters are thought to persist across task states, suggesting task-based fMRI can be similarly leveraged for individual differences analyses. Here, we tested the degree to which functional interactions occurring in the background of a task during slow event-related fMRI parallel or differ from those captured during resting-state fMRI. We compared two approaches for removing task-evoked activity from task-based fMRI: (1) applying a low-pass filter to remove task-related frequencies in the signal, or (2) extracting residuals from a general linear model (GLM) that accounts for task-evoked responses. We found that the organization of large-scale cortical networks and individual's idiosyncratic connectivity patterns are preserved during task-based fMRI. In contrast, individual differences in connection strength can vary more substantially between rest and task. Compared to low-pass filtering, background connectivity obtained from GLM residuals produced idiosyncratic connectivity patterns and individual differences in connection strength that more resembled rest. However, all background connectivity measures were highly similar when derived from the low-pass filtered signal or GLM residuals, indicating that both methods are suitable for measuring background connectivity. Together, our results highlight new avenues for the analysis of task-based fMRI datasets and the utility of each background connectivity method. Copy rights belong to original authors. Visit the link for more info Podcast created by Paper Player, LLC

In today's edition of Cut to the Chase, Daniel discusses how there could be long-term opportunities for European financials equities and subordinated bonds. Speaker:Daniel Lam,  Head of Equity Strategy, Standard Chartered BankFor more of our latest market insights, visit Market views on-the-go.

Good News: The Mayor of Paris has committed 1 Billion Euros to help clean up the Seine River in Paris and make it swimmable again! Link HERE. The Good Word: A great quote from PG Wodehouse! Good To Know: A delightful historic fact about Eleanor Roosevelt and Amelia Earhart! Good News: Australia has taken some […]

Enigmatic techno artist Dawn Razor features on ‘Of Paradise' for a four track record including a remix from Bristol based artist, Yush. Today we premiere ‘Scary Movies', a smoky broken techno roller, that calls on murky screeches and gleaming pads to great effect. Dawn Razor's ambiguous approach to dance music see's him blurring the line between techno, bass, electro and more. Idiosyncratic selection of sounds and complex drum programming make for a totally unique and distinguished palette of sounds. Having released on R & S, Holding Hands, A R T S, Anemone, FLASH, Subsist and more. Dawn Razor's knack for showcasing utterly unique techno is unparalleled in 2022. Performing both Live/Dj sets his music contains best from both straight and broken beat techno, electro, mutated bass, post-trance and everything in between. Dawn Razor's contribution to UK based imprint Of Paradise serves up 3 explosive cuts and one hot to the touch remix from flourishing Bristol-based artist, Yushh, ‘Scary Movies' is a deeply evocative EP that displays the versatile and accomplished skills of both producer and remixer alike. ‘Scary Movies', is a wickedly euphoric slice of driving techno that rushes the bassbins and dials up the serotonin levels to the max. A true mutant roller that's guaranteed to drain the smoke machine dry. Dawn Razor ---------------------- SC: https://soundcloud.com/awnazor FB: https://www.facebook.com/awnazor Four Four Magazine 
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Already deeply empathic from birth, Shawna Smith honed her intuition and energetic gifts as a massage therapist and as a mother.  Today, her idiosyncratic ideas about health - and the sources of disease - are perfectly timed to help us navigate the spiritual, emotional and physical traumas in this post-lockdown world. 06:43 - arguing & fighting as it relates to health09:00 - daily health practices20:27 - how to magnify your empathic gifts22:30 - understanding the inputs that affect metabolic health31:30 - the practice of self-diagnosis36:50 - where allopathic medicine went wrong38:13 - the unification of healthcare42:00 - what is today's "yellow fever treatment"?46:30 - Pattern recognition across various modes of healthcare47:12 - Everyone is sick of division, the healthy self leads to a healthy community52:00 - connection information Contact Information:website 1: ConnectWithShawna.comwebsite 2: https://health-and-harmony.passion.io/Facebook: Shawna Dickson SmithConnect with Dr. Ovadia:TwitteriFixHearts WebsiteStay Off My Operating Table WebsiteAmazon Theme Song : Rage AgainstWritten & Performed by Logan Gritton & Colin Gailey(c) 2016 Mercury Retro RecordingsProduced by 38atoms & Jack Heald

Synopsis: This is the audio version of the 1-page article I wrote entitled, An Example of My Idiosyncratic Brand of Spirituality, in which I recount a spiritual experience I had this past Shabbos and describe my personal form of spirituality (without defining it or explaining it).----------This week's Torah content has been sponsored by Naomi Mann in honor of Rabbi Moskowitz zt"l, whose shloshim is this week. ----------If you have questions, comments, or feedback, I would love to hear from you! Please feel free to contact me at rabbischneeweiss at gmail.----------If you've gained from what you've learned here, please consider contributing to my Patreon at www.patreon.com/rabbischneeweiss. Alternatively, if you would like to make a direct contribution to the "Rabbi Schneeweiss Torah Content Fund," my Venmo is @Matt-Schneeweiss, and my Zelle and PayPal are mattschneeweiss at gmail.com. Even a small contribution goes a long way to covering the costs of my podcasts, and will provide me with the financial freedom to produce even more Torah content for you.If you would like to sponsor a day's or a week's worth of content, or if you are interested in enlisting my services as a teacher or tutor, you can reach me at rabbischneeweiss at gmail.com. Thank you to my listeners for listening, thank you to my readers for reading, and thank you to my supporters for supporting my efforts to make Torah ideas available and accessible to everyone.----------Patreon: patreon.com/rabbischneeweissYouTube Channel: youtube.com/rabbischneeweissBlog: kolhaseridim.blogspot.com/"The Mishlei Podcast": mishlei.buzzsprout.com"The Stoic Jew" Podcast: thestoicjew.buzzsprout.com"Rambam Bekius" Podcast: rambambekius.buzzsprout.com"Machshavah Lab" Podcast: machshavahlab.buzzsprout.com"The Tefilah Podcast": tefilah.buzzsprout.comGuide to the Torah Content of Rabbi Matt Schneeweiss: kolhaseridim.blogspot.com/2021/04/links-to-torah-content-of-rabbi-matt.htmlAmazon Wishlist: amazon.com/hz/wishlist/ls/Y72CSP86S24W?ref_=wl_sharel

In today's episode we talk about how each child should be held to standards of what they are capable of not just “house rules” children are not there for us to live vicariously through them, find out what their needs are support them treat each one individually for who they are. --- 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/amanda-mccutchen9/message

Idiosyncratic auteur Robert Eggers ventures to the land of the Vikings for his action epic, and the guys explore that world. Joe revisits The Nice Guys. Jared seconds Joe's recent rec of Severance. Michael catches up with Better Call Saul.

In this episode of the Emoroid Digest Podcast, we discuss the American College of Gastroenterology Clinical Guidelines in the Diagnosis and Management of Idiosyncratic Drug-Induced Liver Injury. We sit down with one of the senior authors of the guideline, Dr. Naga Chalasani.    Dr. Chalasani has been key in aiding our understanding of the fields of Non-Alcoholic Fatty Liver Disease (NAFLD) and Drug-Induced Liver Injury (DILI).  He has been continuously funded by the National Institutes of Health since 1999. He is an elected member of the American Society of Clinical Investigation (ASCI) and the American Association of Physicians (AAP). He is also a former graduate of Emory University.   Link to the Article - https://pubmed.ncbi.nlm.nih.gov/24935270/   Dr. Naga Chalasani: https://medicine.iu.edu/faculty/4910/chalasani-naga Twitter page: https://twitter.com/nagachalasani    Host: Dr. Chuma Obineme (GI Fellow) –  https://twitter.com/TypicallySilent    Co-Host: Dr. Jason Brown - https://med.emory.edu/directory/profile/?u=JMBROW2    Idiosyncratic DILI Visual Abstract -  https://twitter.com/EmoryGastroHep/status/1444080620238483458?s=20&t=tEwHq0myvg3y8oQOYECz7w   Link to the Emoroid Digest Website - https://med.emory.edu/departments/medicine/divisions/digestive-diseases/education/emoroid-digest.html 

Je hebt 'nature' en je hebt 'nurture', maar onderzoek naar het leergedrag van identieke fruitvliegjes laat zien dat er ook nog een derde factor moet zijn: willekeur. Eerder was al opgevallen dat zelfs als fruitvliegjes genetische vrijwel identiek zijn en ze in dezelfde omstandigheden zijn opgegroeid, er toch verschillen in gedrag worden gezien. Denk aan: de voorkeur voor bepaalde geuren, of de keuze om naar het licht te vliegen of het donker bijvoorbeeld. Hier gaat het om spontaan, instinctief gedrag, maar in dit onderzoek wilden ze weten: zien we die verschillen ook in aangeleerd gedrag?  In deze audio hoor je Harvard-onderzoeker Benjamin de Bivort. Meer over zijn werk vind je hier: the de Bivort Lab. De paper vind je hier: Idiosyncratic learning performance in flies.  See omnystudio.com/listener for privacy information.

To celebrate and mark the 50th episode of the podcast, Alasdair, Barlow and Michael are accompanied virtually by a revolving panel of esteemed guests to discuss and analyse the latest European football news. The boys are joined by Jonathan Fadugba (Guardian Football Weekly), Owen Brown (Pure Fitbaw), Joe Donnohue (Scouted Football) and Alan Feehely (Football España) to look at the multifarious history of Lyon's organic Ligue 1 rivalry with Saint-Étienne, Rúben Amorim's managerial trajectory, the impassioned sociocultural context within which the most recent edition of El Gran Derbi took place, the rather unexplored blossoming of Servette's 21-year-old midfielder Kastriot Imeri and more. 4:22 - Why was Pedri so deserving of his lofty ranking in the Guardian's list of the top 100 best male footballers in the world in 2021? / 25:46 - How should we assess Matthias Jaissle's progress as coach of Red Bull Salzburg, and to which German Bundesliga clubs might his style of management be well-suited? / 51:36 - What is 20-year-old Nico González's most favourable position at Xavi's Barcelona? / 1:12:04 - How are Athletic Club's identity and approach to recruitment perceived globally?

Music from Free Music Archive and the FuMP. Theme song from Dan at DanOSongs.com. Ann Alee – Infant Holy, Infant Lowly Maya Solovey – Silent Night Dee Yan-Key – God Rest Ye Merry Gentlemen Victor Herbert Orchestra – Chinese Dance,…

Music from the Free Music Archive and the Fump. Theme song from Dan at DanOSongs.com. Crowander – Humbug Lobo Loco – Old River Boat Marcos H. Bolanos – Rain-Soaked Window Robert John – Topper Teddy and Marge – Dark Eyes…

Idiosyncratic short story writer Diane Williams discusses her new book, “How High? – That High.”

Music from Jamendo, Free Music Archive, and Magnatune. Theme song from Dan at DanOSongs.com. Spoons – Breaking In Robin Stine – Half My Heart Dr. Groove Gang – Le Bal Masque The Tumpeteers – Little Wooden Church The Vow –…

Music from Jamendo and the FuMP. Theme song from Dan at DanOSongs.com. Ben Lvcas – Love of My Life So Far As I Know – The Omega Point Tab – Portside(feat. A.U.R.C.) The Same Persons – You Got Me The…

Strategy for infrastructure businesses is the focus of this episode of the Build Big Ideas podcast. Specifically, we begin by summarizing Hamilton Helmer's concepts from the book "7 Powers: The Foundations of Business Strategy." We then apply the concepts to various infrastructure businesses. Good businesses have power that their competitors can't access; bad businesses don't. The 7 powers are: scale, counter-positioning, switching costs, branding, cornered resource, and process power. Note that operational excellence is necessary, but not sufficient, to benefit from a power. Full show notes are available at buildbigideas.com Definitions The quotes below are from "7 Powers" by Hamilton Helmer. "Strategy: The route to Power in significant markets." "Power: the potential to realize persistent differential return is the key to value creation. Power requires both a benefit and a barrier. (See 7 Powers below)" "Benefit: something that materially increases cash flow by allowing prices to be raised on customers or costs (of inputs or the processing thereof) reduced." "Barrier: conditions such that all the value to the firm of the Benefit is not arbitraged out by competitors." "The Value Axiom: [Business] Strategy has one and only one objective: maximizing potential fundamental business value." "Fundamental Equation of Strategy: Value = market size now x growth x market share x differential margins." "Surplus Leader Margin: the profit margin that a Power holder will achieve if pricing is such that a competing firm with no Power has zero profits." 7 Powers (See image attached below) *Operational Excellence is not a power. It is necessary, but not sufficient. Table stakes. Scale: "per-unit-cost declines as production volume increases." Network: "value to the customer increases as the installed base increases." Counter-Positioning: "A newcomer adopts a new, superior business model which the incumbent does not mimic due to anticipated damage to their existing business." Switching Costs: "Value loss expected by a customer to switch to a new supplier." Branding: "Durable attribution of higher value to an objectively identical offering that arises from historical information about the seller." (Trust) Cornered Resource: "Preferential access at attractive terms to a coveted asset that can independently enhance value." (Five tests: Idiosyncratic, non-arbitraged [bought at a discount], transferable, ongoing, sufficient) Process Power: "Embedded company organization and activity which enable lower costs and/or superior product, and which can be matched only by an extended commitment." Dynamics "Not only is invention the gateway to Power but also the possibility of Power (and the associated durable success) fuels invention." ---------- “When [a client] comes to you and says, ‘I want you to make this for us. We're going to own it. We'll pay you a 10% above cost spread but you have no ownership. No...' That's a [bad*] model. That's making widgets. Not a great wealth builder.” -John Malone *saltier language has been substituted Engineering consulting is worse than the above model, because the fee is capped. Also, the margin (spread) is usually less than 9%.

UmiThaGoat stopped by #BeforeTheFame right before her new project “The Life Of An Idiosyncratic” that drops this Sunday December 8th on her birthday. Umi talks about her future clothing line that is unisex in January, empowering women, why Umi love tattoos over piercings and more!! Social Media: @UmiTheGoat @itsPortiaTerrae @TheDJiceberg @DJicebergcom @LiveHipHopDaily

Recently a Lloyds auction for classic motorcars sold among other things a Ford Falcon GT HO for over a million dollars. Some may ask why but nonetheless that's the big news, but a critical element of that auction was a 1964 Honda S 600 convertible coupe roadster, it sold for $18,500. The description described it as "This slick convertible was the most fashionable car to be driving in with sizzling acceleration. Powered by a 606 S.C for carburettor engine". My colleague Paul Murrell actually owned one of these devices and he joins me on line now to give us some background and some understanding and some reality about just what the car was like.

Jo produces absolutely stunning work that just sings with colour and movement, capturing a fascinating process that combines intuitive gestures, digital editing, and labour-intensive weaving. In this episode we get stuck into her process and discuss: sources of inspiration generating and exploring ideas working with visual stimuli the importance of selection in order to keep moving forward We also have a frank conversation about why she isn't a business that I found refreshing and inspiring. There's loads of fascinating insight in this episode, so tune your ears! Visit the website at: thepracticalcreative.life

Idiosyncratic Fashionistas as per Jean and Valerie - Valerie and Jean on this perNYC episode! This amazing episode is actually a cumulation of running in the same circles of a couple perNYC creators. So many thanks to The Baroness of "The Baroness" episode and Julia Emily Knox of the "East Village Hats" episode for helping us come to this day where these lovely creators are here and in person at the perNYC studio. This time around on perNYC we talk with the two lovely ladies "of a certain age", the creators of Idiosyncratic Fashionistas, the ladies with verve, accessories, shoes, clothing, hats, fun, color, a friendship, a blog, an instagram account, and a quote like no other I've ever heard, and I quote, the ladies say “we are not dead and we are not invisible” perNYC is the “MUST LISTEN NOW" podcast exploring NYC creations as per their creators . Also now, you can help perNYC grow by listening to more episodes, leaving a review, spreading the word about us, messaging trusty host Jennifer, recommending a creator or creation, coming onto the show and engaging with our websites at www.perNYC.com or @perNYC or @perNYC or @perjennifer More Idiosyncratic Fashionistas? at @idiosyncraticfashionistas and idiosyncraticfashionistas.blogspot.com

005 – PD Groups – Critiques of Carl Rogers – Idiosyncratic Empathy – Counselling Placements In the fifth episode of the Counselling Tutor Podcast, Ken Kelly and Rory Lees-Oakes discuss personal-development (PD) groups. ‘Theory with Rory' looks at critiques of Carl Rogers, and ‘Skills with Ken' at idiosyncratic empathy. Finally, in ‘Ask Ken and Rory', […] The post 005 – PD Groups – Critiques of Carl Rogers – Idiosyncratic Empathy – Counselling Placements appeared first on Counselling Tutor.

It takes work to reach digital marketing paydirt. Do you have what it takes? Today we are discussing two topics that we believe you can apply to increase productivity and attract customers to your agency. One idea deals with making yourself stand out in a good and unique way that attracts customers. The other addresses the fact that it takes time and hard work to hit pay dirt. We talk about some ways to shorten your work through the overburden. A recent blog post by Seth Godin titled Idiosyncratic deals with the idea that perfection is sort of boring.