Podcasts about The In Crowd

**Karen's Roots & Toots Reggae Show Replay On www.traxfm.org. This Week Karen Features Reggae/Lovers/Roots & Contemporary Reggae Trax From Sampalue, Hector Roots Lewis x Busy Signal x The Movement x Johnny Cosmic, Sensamotion ft The Hip Abduction, G Ras x Tuff Steppas ft Micah Shemaiah, Kxng Izem x Derrick Sounds, J Boog x Collie Buddz, Beach Fly ft The Expendables, Twan Tee, The In Crowd, Flying Vipers, Dr Olugander ft Ombre Zion, John Brown's Body, Sailor Jane & More #originalpirates #reggae #reggaemusic #loversrockreggae #ContemporaryReggae #rootsreggae Karen's Roots & Toots Reggae Show Every Sunday From 9AM UK Time Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

Deborah Silver is a renowned vocalist in Jazz, Country, Americana. She's been praised by none other than Quincy Jones. She's had a string of hit duets with stars like Bill Medley of the Righteous Brothers, Jack Jones and Tony Orlando. Her newest album is “Basie Rocks!” recorded with the Count Basie Orchestra, featuring songs by The Beatles, Stones, Sting, Elton John and others. Guest artists include Peter Frampton, Arturo Sandoval and Trombone Shorty. Produced by Steve Jordan, drummer for the Rolling Stones.My featured song is my reimagined version of the Dobie Gray hit “The In Crowd” from the album PGS 7 by my band Project Grand Slam. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.—----------------------------------------Connect with Deborah:www.deborahsilvermusic.com—----------------------------------------ROBERT'S RECENT SINGLES:“MOON SHOT” is Robert's latest single, reflecting his Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Send us a textWhat makes a psychological thriller truly captivating? In this episode, we crack open the vault to examine "The In Crowd," a largely forgotten gem from 2000 that perfectly captures the post-Cruel Intentions era of teen psychological thrillers.From the moment Adrian steps out of a psychiatric institution and into the pristine world of an exclusive country club, we're drawn into a world of wealth, privilege, and deeply disturbing secrets. The film's queen bee, Brittany, takes a suspicious interest in Adrian that goes far beyond simple friendship. As we discover, Adrian bears an uncanny resemblance to Brittany's mysteriously absent sister – a coincidence that proves increasingly sinister as the story unfolds.We unpack the film's most memorable moments – from Adrian casually handling a venomous snake to the hilariously over-dramatic scooter accident that sends Kelly flying. While "The In Crowd" never reaches the erotic thriller heights of its contemporaries, it delivers surprising moments of genuine entertainment amid its predictable plot. The golf club murder scene, Simple Wayne's disturbingly decorated mannequin, and Brittany's masterful manipulation tactics provide fascinating glimpses into a thriller that could have been truly great with a few different creative choices.What fascinated us most was the film's missed opportunity to create genuine suspense by never making the audience question which character is truly unstable. Despite presenting Adrian as potentially unreliable due to her psychiatric history, the film immediately establishes Brittany as the true villain, removing any possible ambiguity that might have elevated the story.Whether you're revisiting this forgotten thriller or discovering it for the first time, join us for a deep dive into a movie that, despite its flaws, stands as a perfect time capsule of early 2000s psychological thrillers – complete with all the questionable fashion choices, flat lighting, and country club melodrama you could possibly want.Written lovingly by AIBe our friend!Dan: @shakybaconTony: @tonydczechAnd follow the podcast on IG: @hatewatchingDAT

It's a special Valentine's Day episode with 1993's The Crush! Alicia Silverstone sure is Crazy 4CaryElwes, but is this really a secret prequel to The In Crowd?!Find us on Instagram at @videodropboxpodcastJosh: @queerbaitmixtapeJoe: @something_of_borisTheme music by Jason Mitchell: @jasonlynnmitchell

In this episode I interview Dr. Urmila Roy who is both a dedicated doctor and a qualified barrister, uniquely blending her clinical expertise with legal acumen to address complex issues in healthcare. She is passionate about bridging the gap between medicine and law to enhance patient care and professional support.     In this episode we cover: - Why Urmila decided to venture into Law from a career as a GP - The mindset shifts she needed to take to change careers including the importance of self discovery as an essential part of the process - Exact steps she took to become a Family Barrister - Why she believes that doctors are actually smarter than barristers  - Why she continues to practice as a GP alongside being a full time Barrister   You may contact her through her email at urmila.roy@nsqb.co.uk   Like our content? Buy us a matcha latte.   Earn a side income whilst making valuable contributions to medical research through micro-surveys with InCrowd! Click here!   Earn over $15k with Sermo's paid survey opportunities. Click here!   Do You Need Further Support? Our Flagship Programs   Move to industry faster with the Doctors in Industry Fellowship  Develop a passive income, career flexibility and autonomy with the Travel Doctorpreneurs   Get FREE insider career change tips with over 90k doctors with our MF Community List   REACH OUT TO OUR TEAM! WE'D LOVE TO HEAR FROM YOU! team@medicfootprints.org    DON'T FORGET TO SUBSCRIBE AND LEAVE A REVIEW!   ABOUT THE HOST Dr Abeyna Bubbers-Jones is a practising medical doctor and Founder of Medic Footprints: the global platform connecting doctors with diverse career opportunities beyond conventional medicine. Her mission is to dramatically elevate health outcomes in the world by connecting 1 million doctors with diverse careers by 2030. Continually exploring her own path off the medical treadmill, she has developed a wealth of expertise in specialist recruitment connecting industry & health tech companies with talented doctors, whilst supporting & coaching doctors in their own career development and wellbeing. She is an award-winning entrepreneur, Consultant Occupational Health Physician, BBC Expert Voice, Public Speaker, Musician and not-so-good boulderer!

In this episode I interview Gilly Freedman who has over 25 years of experience as a coach, trainer and facilitator, Gilly specialises in supporting doctors to gain clarity and find fulfillment in their careers, whether clinical or non-clinical.   In this episode we cover: - Top reasons doctors seek coaching in the first place and how this differs from their expectations - Common narratives we tell ourselves when changing careers including the key self saboeturs that hold us back from taking action - Positive intelligence and what that means for your mindset in making the move - Why your next move doesn't have to be perfect   Find out more about her on our Life & Career Coaches for Doctors   Like our content? Buy us a matcha latte.   Earn a side income whilst making valuable contributions to medical research through micro-surveys with InCrowd! Click here!   Earn over $15k with Sermo's paid survey opportunities. Click here!   Do You Need Further Support? Our Flagship Programs   Move to industry faster with the Doctors in Industry Fellowship  Develop a passive income, career flexibility and autonomy with the Travel Doctorpreneurs   Get FREE insider career change tips with over 90k doctors with our MF Community List   REACH OUT TO OUR TEAM! WE'D LOVE TO HEAR FROM YOU! team@medicfootprints.org    DON'T FORGET TO SUBSCRIBE AND LEAVE A REVIEW!   ABOUT THE HOST Dr Abeyna Bubbers-Jones is a practising medical doctor and Founder of Medic Footprints: the global platform connecting doctors with diverse career opportunities beyond conventional medicine. Her mission is to dramatically elevate health outcomes in the world by connecting 1 million doctors with diverse careers by 2030. Continually exploring her own path off the medical treadmill, she has developed a wealth of expertise in specialist recruitment connecting industry & health tech companies with talented doctors, whilst supporting & coaching doctors in their own career development and wellbeing. She is an award-winning entrepreneur, Consultant Occupational Health Physician, BBC Expert Voice, Public Speaker, Musician and not-so-good boulderer!

Temporada 06 | Episodio 33 de Mi Lado V | Radio Fecha de emisión: 27-agosto-2024 Título: Crowdfarmers Protagonista: Martina Gancia & Victoria Pons Tema 'Vinventions': "The In Crowd" by Ramsey Lewis Trio Tema 'Saint Felicien': "Malbec" by Aleph #Wine #Jazz

A new MP3 sermon from Reedy River Presbyterian Church-BPC is now available on SermonAudio with the following details: Title: In With the In Crowd Subtitle: Studies in John's Gospel Speaker: Dr. Charles H Roberts Broadcaster: Reedy River Presbyterian Church-BPC Event: Sunday Service Date: 8/11/2024 Bible: John 18:15-27 Length: 22 min.

What a doozy of a movie to get back to our regularly scheduled programming here on the pod. For this episode we are talking the plot hole ridden and badly acted film from 2000, The In Crowd. Now, the late 90s and early 00s are riddled with films that you can't even believe were made or 'direct to video' movies and sequels before the dawn of streaming where they would have inevitably landed today, Me and Mikey are here to talk our complicated feelings on this film. We do a dream casting as we would have done it, the literal madness when it comes to this story, and the few moments of levity we were able to find. Off-topic rants: our other fav late 90s teen thrillers, why Katie Holmes and Kirsten Dunst would have saved this

Blind Raccoon And Nola Blue Collection Vol.5:CD1“I'd Do It for You” (Teresa James & The Rhythm Tramps)“Time Brings About A Change” (Floyd Dixon feat. Kid Ramos)“Jefferson Way” (Stacy Jones)“The In Crowd” (Steve Howell & The Mighty Men)“Come On People” (Gayle Harrod Band)“Elevate Yourself” (Professor Louie & The Crowmatix)“Repossession Blues” (Dave Thomas w/special guest Wallace Coleman)“Savin' up for Your Love” (Carole Sylvan feat. The Uptown Horns)“Maybe You Will Someday” (Robert Hill and S. JA)“Hey Nola” (The Maple Blues Band)“My Blue Guitar” (The Name Droppers)“Dissent” (Tiffany Pollack)“Tight Black Sweater” (Kenny Parker) Escuchar audio

Jesus had a close-knit group of people with whom he shared deeply. What would it be like to be in the inner circle of Jesus? And what does it mean for us today to belong to the In Crowd of the Kingdom of God? You can read the reflection and sign up to receive our weekly newsletter at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.GodSpaceCommunity.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Subscribe to the Providence Podcast wherever you get your podcasts! At God Space, you can come as you are. You belong here. God Space is a ministry of the Sisters of Divine Providence of Kentucky.  Do you want to learn more about the Sisters of Divine Providence? Check out our website here: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.CDPKentucky.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. by Sister Leslie Keener, CDP Sister Leslie Keener, CDP is a Sister of Divine Providence of Kentucky and the director of ⁠God Space⁠, a community-building spirituality ministry in Cincinnati and Northern Kentucky. She directs retreats, meets with people for spiritual direction, and serves as the vocation director for her community. --- Send in a voice message: https://podcasters.spotify.com/pod/show/leslie-keener-cdp/message

Jaramie Bentley spent his younger years in Kenosha not taking life too seriously and having a good time pursuing his passion – basketball. This led him to different places across the Midwest, through all these experiences, he grows and learns that authenticity is the way to live life. Jaramie grew into an artist with a growing interest in creating consciously positive hip hop with his first group The Freedom Finders and expanded his knowledge and love of making music, which led to creating music under the Jaramie the Great aka Great the Man. Check out his music here! After being inspired by what was happening while he lived in Omaha, he returned to Kenosha with a passion to bring some of the awesome stuff he saw in Nebraska back to his hometown. He continued his involvement in music, organizing hip hop shows around town, which led to the founding of The In Crowd, which he created with Ron Dean Brown, and the launch of the Keno Nite Market! The Keno Nite Market has moved to the beautiful beachside Pennoyer Park for the summer – Saturdays 4pm-10pm on June 22, July 27, August 24, and September 28. Follow them on Facebook here for all the latest updates! Email - theincrowdwisconsin@gmail.com for more info. Thanks to all our great sponsors! Union Park Tavern, 4520 Eighth Ave. Public Craft Brewing Company 628 58th St Casey Family Options Funerals & Cremations, 3016 75th St About Time Moving Systems Law Offices of Frank J. Parise, 7001 30th Ave Shannyn Franklin – ReMax Newport Elite Franks Diner, 508 58th St Aason Hunzinger of AHDidIt Wink Beauty Boutique, 10909 Sheridan Rd The Port of Kenosha Beverage House RockIt Optical Eyewear, 815 57th St, 2nd floor Vintage Underground, 5817 Sixth Ave Get your Ktown Connects merchandise at The Lettering Machine, 725 50th St. Drop us an email at ktownconnects@yahoo.com Find us on Facebook, Instagram, Tiktok, and Twitter – and at ktownconnects.com Theme song performed by Dropping Daisies, written by James “Red” McLeod. Your hosts are Donny Stancato and Jason Hedman Get additional episodes early and ad-free, along with bonus material with this week's guest and more great exclusive material by becoming a patreon supporter! Click here for more!  

Welcome back to Making Bank. In today's episode, we have a compilation of previous episodes with Erik Van Horn, Cody Sperber, Phil Jones, Michael Bernoff, Aaron Stokes, Phillip Stutts and Nir Eyal, and in this episode, you will hear tips and tricks from top entrepreneurs about the guide to success.   (3:09) Erik Van Horn Franchising gives you the Playbook but also the secret to it is getting in with the In Crowd the franchisees that are killing it and learning from them that's really how you shortcut the speed to profitability the speed to having you know significant net worth.   (8:56) Cody Sperber “Being empowered through my real estate income to be able to give back to him I retired my dad right around the time I was becoming a millionaire I was able to retire my parents.”   (16:45) Phil Jones Your role in your business is to be able to help guide your customers to get the best access out of the tools that you provide for them, letting them come out as a hero. People will enjoy spending money with you way more than before.   (24:20) Michael Bernoff Perceiving something as "looking down" on it signifies seeing it as having less control. Visualize bothersome individuals, and if you look up at them, it highlights perceived power dynamics. This awareness empowers you to reassess and manage reactions effectively.   (30:16) Aaron Stokes You fail not because you didn't know how to do business but it could be because you hired the wrong guy and everybody needs to beware every time you hire somebody not only can they make you money but they can cost you money.   (35:19) Phillip Stutts Many times entrepreneurs are the worst at school and the best at business right but many people don't realize that they can only do good with things they really care about. Find out what that is and then learn to make a living out of it. (40:12) Nir Eyal You have to do what it is you said you are going to do because most pernicious distractions are the ones that do not even feel like distractions. You may think opening an email is productive but if it's not something you planned to do with your time, it is still a distraction.   Tags: @erikvanhorn  @officialcodysperber  @philmjonesuk  @michael_bernoff  @aaronstokes  @neyal99

Welcome back to Making Bank. In today's episode, we have a compilation of previous episodes with Erik Van Horn, Cody Sperber, Phil Jones, Michael Bernoff, Aaron Stokes, Phillip Stutts and Nir Eyal, and in this episode, you will hear tips and tricks from top entrepreneurs about the guide to success.   (3:09) Erik Van Horn Franchising gives you the Playbook but also the secret to it is getting in with the In Crowd the franchisees that are killing it and learning from them that's really how you shortcut the speed to profitability the speed to having you know significant net worth.   (8:56) Cody Sperber “Being empowered through my real estate income to be able to give back to him I retired my dad right around the time I was becoming a millionaire I was able to retire my parents.”   (16:45) Phil Jones Your role in your business is to be able to help guide your customers to get the best access out of the tools that you provide for them, letting them come out as a hero. People will enjoy spending money with you way more than before.   (24:20) Michael Bernoff Perceiving something as "looking down" on it signifies seeing it as having less control. Visualize bothersome individuals, and if you look up at them, it highlights perceived power dynamics. This awareness empowers you to reassess and manage reactions effectively.   (30:16) Aaron Stokes You fail not because you didn't know how to do business but it could be because you hired the wrong guy and everybody needs to beware every time you hire somebody not only can they make you money but they can cost you money.   (35:19) Phillip Stutts Many times entrepreneurs are the worst at school and the best at business right but many people don't realize that they can only do good with things they really care about. Find out what that is and then learn to make a living out of it. (40:12) Nir Eyal You have to do what it is you said you are going to do because most pernicious distractions are the ones that do not even feel like distractions. You may think opening an email is productive but if it's not something you planned to do with your time, it is still a distraction.   Tags: @erikvanhorn  @officialcodysperber  @philmjonesuk  @michael_bernoff  @aaronstokes  @neyal99

Welcome back to Making Bank. In today's episode, we have a compilation of previous episodes with Erik Van Horn, Cody Sperber, Phil Jones, Michael Bernoff, Aaron Stokes, Phillip Stutts and Nir Eyal, and in this episode, you will hear tips and tricks from top entrepreneurs about the guide to success.   (3:09) Erik Van Horn Franchising gives you the Playbook but also the secret to it is getting in with the In Crowd the franchisees that are killing it and learning from them that's really how you shortcut the speed to profitability the speed to having you know significant net worth.   (8:56) Cody Sperber “Being empowered through my real estate income to be able to give back to him I retired my dad right around the time I was becoming a millionaire I was able to retire my parents.”   (16:45) Phil Jones Your role in your business is to be able to help guide your customers to get the best access out of the tools that you provide for them, letting them come out as a hero. People will enjoy spending money with you way more than before.   (24:20) Michael Bernoff Perceiving something as "looking down" on it signifies seeing it as having less control. Visualize bothersome individuals, and if you look up at them, it highlights perceived power dynamics. This awareness empowers you to reassess and manage reactions effectively.   (30:16) Aaron Stokes You fail not because you didn't know how to do business but it could be because you hired the wrong guy and everybody needs to beware every time you hire somebody not only can they make you money but they can cost you money.   (35:19) Phillip Stutts Many times entrepreneurs are the worst at school and the best at business right but many people don't realize that they can only do good with things they really care about. Find out what that is and then learn to make a living out of it. (40:12) Nir Eyal You have to do what it is you said you are going to do because most pernicious distractions are the ones that do not even feel like distractions. You may think opening an email is productive but if it's not something you planned to do with your time, it is still a distraction.   Tags: @erikvanhorn  @officialcodysperber  @philmjonesuk  @michael_bernoff  @aaronstokes  @neyal99

Welcome back to Making Bank. In today's episode, we have a compilation of previous episodes with Erik Van Horn, Cody Sperber, Phil Jones, Michael Bernoff, Aaron Stokes, Phillip Stutts and Nir Eyal, and in this episode, you will hear tips and tricks from top entrepreneurs about the guide to success.   (3:09) Erik Van Horn Franchising gives you the Playbook but also the secret to it is getting in with the In Crowd the franchisees that are killing it and learning from them that's really how you shortcut the speed to profitability the speed to having you know significant net worth.   (8:56) Cody Sperber “Being empowered through my real estate income to be able to give back to him I retired my dad right around the time I was becoming a millionaire I was able to retire my parents.”   (16:45) Phil Jones Your role in your business is to be able to help guide your customers to get the best access out of the tools that you provide for them, letting them come out as a hero. People will enjoy spending money with you way more than before.   (24:20) Michael Bernoff Perceiving something as "looking down" on it signifies seeing it as having less control. Visualize bothersome individuals, and if you look up at them, it highlights perceived power dynamics. This awareness empowers you to reassess and manage reactions effectively.   (30:16) Aaron Stokes You fail not because you didn't know how to do business but it could be because you hired the wrong guy and everybody needs to beware every time you hire somebody not only can they make you money but they can cost you money.   (35:19) Phillip Stutts Many times entrepreneurs are the worst at school and the best at business right but many people don't realize that they can only do good with things they really care about. Find out what that is and then learn to make a living out of it. (40:12) Nir Eyal You have to do what it is you said you are going to do because most pernicious distractions are the ones that do not even feel like distractions. You may think opening an email is productive but if it's not something you planned to do with your time, it is still a distraction.   Tags: @erikvanhorn  @officialcodysperber  @philmjonesuk  @michael_bernoff  @aaronstokes  @neyal99

Elizabethtown High School’s “IN Crowd” is working to bring acceptance to those with different capabilities. Another mission they are doing is having an event to…

Dynamic motivational speaker Giovanni Derice joins the In Crowd to talk Zach Wilson, Deion Sanders, and more! Plus, D and Z discuss the biggest injury from NFL Week 2, a player comparison to Micah Parsons, the best 0-2 team, and much more!

Following the tragic passing of actor Mark Margolis (Tio Salamanca), Vic & Manny discuss the 2 shows that might be most instrumental to the creation of Vibe Talkin: Better Call Saul & Breaking Bad. Will they share any secrets left previously unheard? You'll have to listen to this mini episode to find out!Follow Vibe TalkinIG: instagram.com/vibetalkinThreads: https://www.threads.net/@vibetalkinTwitter: twitter.com/vibetalkinTikTok: @goodvibecinemaYouTube: https://www.youtube.com/channel/UCJIrLJPap8jyywZShlvGa5AHosts: Vic Terry, Manny Velazquezcontact: vibetalkin@gmail.comMusic: "Better Call Saul Theme" by Little Barrie; "Smoking Jesse's Pot" by Dave Porter; "The Peanut Vendor" by Alvin 'Red' Tyler; "Mango Walk" by The In Crowd; "Zungguzungguzungguzeng (Instrumental)" by Yellowman; "Crystal Blue Persuasion" by Tommy James & The Shondells; "Breaking Bad - Main Credits Theme (Extended)" by Dave PorterPhotos: Michael D. Simpson2023 A Good Vibe Cinema Production

Tubby Hook Tavern's Danny Butler joins the In Crowd to preview the Giants' chances in the NFC East, vent on the Yankees' disappointing season, and much more!

This pharmacist turned educator paid off his investment property mortgage. He shares his fascinating story of moving through several different careers before settling into what he does now, teaching. He wrote a successful pharmacology book that made it possible for him to pay off his first of two rental property mortgages and he is on his way to paying off the others. After the interview Dr. Dahle talks about index funds for Finance 101. This episode is sponsor by InCrowd. Their 5-10 minute MicroSurveys use a mobile-first approach, giving physicians an easy way to participate in paid research on diverse healthcare topics. It's medical research designed for physician schedules. Join now to be matched with studies that fit your areas of specialization at https://www.whitecoatinvestor.com/incrowd The White Coat Investor has been helping doctors with their money since 2011. Our free financial planning resource covers a variety of topics from doctor mortgage loans and refinancing medical school loans to physician disability insurance and malpractice insurance. Learn about loan refinancing or consolidation, explore new investment strategies, and discover loan programs specifically aimed at helping doctors. If you're a high-income professional and ready to get a "fair shake" on Wall Street, The White Coat Investor channel is for you! Be a Guest on The Milestones to Millionaire Podcast: https://www.whitecoatinvestor.com/milestones  Main Website: https://www.whitecoatinvestor.com  Student Loan Advice: https://studentloanadvice.com  YouTube: https://www.whitecoatinvestor.com/youtube  Facebook: https://www.facebook.com/thewhitecoatinvestor  Twitter: https://twitter.com/WCInvestor  Instagram: https://www.instagram.com/thewhitecoatinvestor  Subreddit: https://www.reddit.com/r/whitecoatinvestor  Online Courses: https://whitecoatinvestor.teachable.com  Newsletter: https://www.whitecoatinvestor.com/free-monthly-newsletter 

With a career spanning six decades and over 80 albums to his credit, NEA Jazz Master and multiple GRAMMY® winner Ramsey Lewis is one of the most distinguished artists of our time. His crossover success as a mainstream artist made him a household name with hits like "The In Crowd" and "Sun Goddess." Yet it is through his last great offering to the world that we learn the depth of this tremendous figure. Published this month, Gentleman of Jazz: My Life In Music is Lewis' posthumously released autobiography which chronicles his incredible journey from the Cabrini-Green Homes of Chicago with a family devoted to music, to his rise to stardom with The Ramsey Lewis Trio and beyond. On the week of Lewis' 88th birthday, Gentleman of Jazz co-author Aaron Cohen and Lewis' wife and closest confidant Jan join Milestones to discuss everything from Lewis' activism and mentorship, to his exceptional work in media. From his connection to artists like Charles Stepney, Minnie Riperton, Maurice White and Stevie Wonder, to his unyielding love for the city of Chicago and the unprecedented breadth of music he produced that helped expand the landscape of jazz forever.  Milestones theme produced by Riley K. GlasperProduction Assistance: Corey Goldberg Millennium Park Summer Music Series Tribute to Ramsey Lewis: A Gentleman of Jazz on June 22 at 6:30PM: https://www.chicago.gov/city/en/depts/dca/supp_info/millennium_park9.html

In todays episode I take some questions from the IN crowd and offer new perspectives and offer a different way of looking at things to bring more empowerment and peace.   Today's questions all focus on relationship woes. The questions are specific to relationships in love, but many of the tools can be applied to relationships and situations of all types.   Listen in to hear how: Your brain may falsely be protecting you from pain You can choose how you want to show up You can separate facts from thoughts You have the ability to take your power back You can know wether you should stay or go How to have your back no matter what   See you inside

This doc paid off his student loans in only 30 months. He said the freedom of being out of debt is allowing him and his family create a better work life balance. His biggest piece of advice is to have a plan and stick to it. By sticking to his plan and working hard he was able to pay this debt off much faster than he had planned. Need help making a plan to pay off your student loans? Check out https://www.studentloanadvice.com  This episode is sponsor by InCrowd. Their 5-10 minute MicroSurveys use a mobile-first approach, giving physicians an easy way to participate in paid research on diverse healthcare topics. It's medical research designed for physician schedules.  Join now to be matched with studies that fit your areas of specialization at https://www.whitecoatinvestor.com/incrowd The White Coat Investor has been helping doctors with their money since 2011. Our free financial planning resource covers a variety of topics from doctor mortgage loans and refinancing medical school loans to physician disability insurance and malpractice insurance. Learn about loan refinancing or consolidation, explore new investment strategies, and discover loan programs specifically aimed at helping doctors. If you're a high-income professional and ready to get a "fair shake" on Wall Street, The White Coat Investor channel is for you! Be a Guest on The Milestones to Millionaire Podcast: https://www.whitecoatinvestor.com/milestones  Main Website: https://www.whitecoatinvestor.com  Student Loan Advice: https://studentloanadvice.com  YouTube: https://www.whitecoatinvestor.com/youtube  Facebook: https://www.facebook.com/thewhitecoatinvestor  Twitter: https://twitter.com/WCInvestor  Instagram: https://www.instagram.com/thewhitecoatinvestor  Subreddit: https://www.reddit.com/r/whitecoatinvestor  Online Courses: https://whitecoatinvestor.teachable.com  Newsletter: https://www.whitecoatinvestor.com/free-monthly-newsletter 

Zach Lyons from StackingTheInbox.com and the F-Words pod and Braden Gall of 440Sports.com talk Titans and SEC football. Welcome new sponsors: Sinkers and Bluegrass Beverages! Sign up for The In Crowd for special allocations, VIP tastings, brewery and distillery tours, private events and more! Houston has made up the most ground What is the Texans upside? Spending in free agency better than you think? Jacksonville's strategy: do nothing Can the Jags take another step? The Colts are going the wrong way How do the Titans compare? Who else will the Titans target in free agency? Why Nuke Hopkins makes NO SENSE (but also how it could work) SEC storylines you need to ignore! A Football Show is brought to you by: The Kingston Group

Charlotte d'Amboise has been gracing Broadway stages for decades. Since making her Broadway debut in Cats, Charlotte has been nominated for two Tony Awards for her performances in the Broadway revival of A Chorus Line (Cassie) and Jerome Robbins' Broadway (multiple roles). She has also won numerous Fred Astaire Awards for her roles in Pippin (Fastrada), Sweet Charity (Charity), and Damn Yankees (Lola). Most recently, she has been seen in the role of Roxie in Chicago, that has earned her the LA Ovation Award, the Los Angeles Drama Critics Circle Award and the San Francisco Bay Area Theatre Critics Circle Award. Charlotte has also appeared in the Broadway casts of Company, Contact, Carrie, and Song and Dance.  Throughout her career onstage, she has worked alongside several legendary directors including, Jerome Robbins, Michael Bennett, Peter Martins, Rob Marshall, Ann Reinking, Debbie Allen, Gillian Lynn, Rob Ashford, Diane Paulus, Walter Bobbie, Scott Ellis, and George Balanchine. Her film credits include The In Crowd (1988), American Blue Note (1989), Just Off the Coast (1992), and The Preacher's Wife (1996). She appears as herself in Every Little Step (2008), a documentary about the Broadway revival of A Chorus Line. In 2012, she co-starred in Frances Ha, directed by Noah Baumbach. On television she has appeared in Law & Order (2001), One Life to Live (2009), a videotaped performance of the Broadway musical Contact (2002) and the Kennedy Center Honors (1989, 1995, 2009). Of all her experiences on stage, one of the most special moments for Charlotte was her performance in the Kennedy Center Honors (2009) performing with her brother (Christopher d'Amboise) in an evening honoring her father, Jacques d'Amboise which also aired on television. Charlotte is the Co-Artistic director, with her husband Terrence Mann, of Triple Arts, a musical theater summer intensive for young artists. To see Charlotte in Chicago Click HERE Learn more about your ad choices. Visit megaphone.fm/adchoices

This dual physician couple tackled their student loans and built a net worth of $250,000 while still in residency! How did they do it? A commitment to saving, a strong aversion to debt, and living like a resident. He believes being an avid consumer of knowledge is critical for your financial journey. Want to jump start your journey to financial freedom? Check out our course, Fire Your Financial Advisor. This episode is sponsor by InCrowd. Their 5-10 minute MicroSurveys use a mobile-first approach, giving physicians an easy way to participate in paid research on diverse healthcare topics. It's medical research designed for physician schedules. Join now to be matched with studies that fit your areas of specialization at https://www.whitecoatinvestor.com/incrowd The White Coat Investor has been helping doctors with their money since 2011. Our free financial planning resource covers a variety of topics from doctor mortgage loans and refinancing medical school loans to physician disability insurance and malpractice insurance. Learn about loan refinancing or consolidation, explore new investment strategies, and discover loan programs specifically aimed at helping doctors. If you're a high-income professional and ready to get a "fair shake" on Wall Street, The White Coat Investor channel is for you! Be a Guest on The Milestones to Millionaire Podcast: https://www.whitecoatinvestor.com/milestones  Main Website: https://www.whitecoatinvestor.com  Student Loan Advice: https://studentloanadvice.com  YouTube: https://www.whitecoatinvestor.com/youtube  Facebook: https://www.facebook.com/thewhitecoatinvestor  Twitter: https://twitter.com/WCInvestor  Instagram: https://www.instagram.com/thewhitecoatinvestor  Subreddit: https://www.reddit.com/r/whitecoatinvestor  Online Courses: https://whitecoatinvestor.teachable.com  Newsletter: https://www.whitecoatinvestor.com/free-monthly-newsletter 

Today on the podcast we chat with a general dentist about his journey from the military to private practice. Not only has he purchased a practice but also hit millionaire status just over two years after buying his practice. He said being a business owner requires knowing your risk tolerance as well as having a commitment to paying off debt as quickly as possible. Want to learn more about buying into a medical or dental practice? Check out this post: https://www.whitecoatinvestor.com/evaluating-medical-practice-buy-ins/  This episode is sponsor by InCrowd. Their 5-10 minute MicroSurveys use a mobile-first approach, giving physicians an easy way to participate in paid research on diverse healthcare topics. It's medical research designed for physician schedules. Join now to be matched with studies that fit your areas of specialization at https://www.whitecoatinvestor.com/incrowd The White Coat Investor has been helping doctors with their money since 2011. Our free financial planning resource covers a variety of topics from doctor mortgage loans and refinancing medical school loans to physician disability insurance and malpractice insurance. Learn about loan refinancing or consolidation, explore new investment strategies, and discover loan programs specifically aimed at helping doctors. If you're a high-income professional and ready to get a "fair shake" on Wall Street, The White Coat Investor channel is for you! Be a Guest on The Milestones to Millionaire Podcast: https://www.whitecoatinvestor.com/milestones  Main Website: https://www.whitecoatinvestor.com  Student Loan Advice: https://studentloanadvice.com  YouTube: https://www.whitecoatinvestor.com/youtube  Facebook: https://www.facebook.com/thewhitecoatinvestor  Twitter: https://twitter.com/WCInvestor  Instagram: https://www.instagram.com/thewhitecoatinvestor  Subreddit: https://www.reddit.com/r/whitecoatinvestor  Online Courses: https://whitecoatinvestor.teachable.com  Newsletter: https://www.whitecoatinvestor.com/free-monthly-newsletter 

Show #976 Passed And Gone Blues 01. Christine Perfect - No Road Is The Right Road (2:50) (Christine Perfect, Blue Horizon, 1970) 02. Chicken Shack - When The Train Comes Back (3:31) (Forty Blue Fingers, Freshly Packed And Ready To Serve, Blue Horizon, 1968) 03. Chicken Shack - I Wanna See My Baby (3:52) (OK Ken, Blue Horizon, 1969) 04. Christine Perfect - I'd Rather Go Blind (3:11) (Christine Perfect, Blue Horizon, 1970) 05. Boyd Small - Can You Help (3:34) (This Time No Lies, Cool Buzz Records, 1998) 06. Boyd Small - Belair (4:05) (...So Easy, Cool Buzz Records, 2001) 07. Boyd Small - Here Come The Tears (2:51) (Four + One, Cool Buzz Records, 2002) 08. Ramsey Lewis Trio - The 'In' Crowd (3:22) (The In Crowd, Argo Records, 1965) 09. Jerry Lee Lewis - Lewis Boogie (2:03) (78 RPM Shellac, Sun Records, 1956) 10. Bobby Rydell - I Dig Girls (2:30) (45 RPM Single, Cameo Records, 1959) 11. Jerry Butler & the Impressions - For Your Precious Love (2:44) (45 RPM Single, Vee-Jay Records, 1958) 12. Mable John - Who Wouldn't Love A Man Like That (2:43) (45 RPM Single, Tamla Records, 1960) 13. Mable John - Your Good Thing (Is About to End) (3:02) (45 RPM Single, Stax Records, 1966) 14. Syl Johnson - Dresses Too Short (2:47) (Dresses Too Short, Twinight Records, 1968) 15. Marvin Gaye - Can I Get A Witness (2:52) (45 RPM Single, Tamla Records, 1963) 16. The Temptations - Ain't Too Proud To Beg (2:33) (45 RPM Single, Gordy Records, 1966) 17. Bob Dylan - Temporary Like Achilles (5:06) (Blonde On Blonde, Columbia Records, 1966) 18. Dr. Feelgood - Paradise (3:48) (Sneakin' Suspicion, United Artists Records, 1977) 19. Five Satins - In The Still Of The Nite (3:02) (45 RPM Single, Standord Records, 1956) 20. Buddy Holly & the Crickets - That'll Be the Day (2:17) (45 RPM Single, Brunswick Records, 1957) 21. Janis Joplin - Mercedes Benz (1:40) (Pearl, CBS Records, 1971) 22. Doobie Brothers - Cotton Mouth (3:39) (Toulouse Street, Warner Bros Records, 1972) 23. Seals & Crofts - Cotton Mouth (3:46) (Down Home, TA Records, 1970) 24. Procol Harum - Lime Street Blues (3:02) (45 RPM Single, Deram Records, 1967) 25. Ernie Andrews with Terrell Prude Trio - River's Invitation (Part I+II) (4:33) (45 RPM Single, Tangerine Records, 1965) 26. Barbara Morrison - Don't Touch Me (5:31) (I Know How To Do It, Blue Lady Records, 1996) 27. Lionel Hampton (ft. Janet Thurlow) - I Can't Believe That You're in Love With Me (3:12) (78 RPM Shellac, MGM Records, 1951) 28. Paul Butterfield Blues Band - I Got My Mojo Working (3:36) (The Paul Butterfield Blues Band, Elektra Records, 1965) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

"The In Crowd" written by Ash Phoenix / phoenixfliesThis is the last episode of this season!***Follow me @thescarecast on Instagram for updates. Contact me through email: mike@thescarecast.com for any story requests, concerns, or advertising inquiries.Get your SCAREPASS today by becoming a member on Patreon: listen to all episodes ad-free, get access to bonus content and never-before-released material, and also more extras. JOIN HERE or visit https://www.patreon.com/thescarecastSupport this podcast at — https://redcircle.com/the-scarecast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Ricky Cool joins me on episode 70.Ricky hails from the Birmingham area of the UK, and drew great inspiration asa teenager from the American folk festivals which brought some harmonica greats to the city. Under his alter ego Ricky Cool, he went on to lead several successful rhythm and blues band, with Jamaican music also brought into the set. He also played harmonica in a band with Led Zeppelin's Robert Plant! Ricky played harmonica and saxophone in most of these bands and this combination of instruments has led to his recent series of excellent YouTube videos called ‘Mississippi Saxophone'. In these videos he picks out some great horn lines and shows how to play them on harmonica.    Links:Ricky Cool and the In Crowd:https://www.rickycoolandtheincrowd.co.uk/Videos:Mississippi saxophone YouTube series of tutorial videos:https://www.youtube.com/playlist?list=PL-ssuQxsIvn_NJy1A12hVyiq4Xb09ZXPjRicky's YouTube Channel:https://www.youtube.com/user/rickycool100Ricky Cool and The Icebergs:https://www.youtube.com/watch?v=NX4akPiV0WoPlaying at NHL festival in 1988:https://www.youtube.com/watch?v=Q-Wf6X-erO4Podcast website:https://www.harmonicahappyhour.comDonations:If you want to make a voluntary donation to help support the running costs of the podcast then please use this link (or visit the podcast website link above):https://paypal.me/harmonicahappyhour?locale.x=en_GBSpotify Playlist: Also check out the Spotify Playlist, which contains most of the songs discussed in the podcast:https://open.spotify.com/playlist/5QC6RF2VTfs4iPuasJBqwT?si=M-j3IkiISeefhR7ybm9qIQ

Ramsey Lewis had a number of instrumental hits on the Billboard charts in the 60s and 70s including “The In Crowd,” “Wade in the Water” and “Hang on Sloopy.” Ramsey was a composer, pianist, and radio personality. He recorded more than 80 albums and collected five gold records and three Grammy Awards. His hit “The In Crowd” won the 1965 Grammy for Best Jazz Performance. Ramsey hosted a morning radio show in Chicago until 2009.

The British actor played the brooding Mr. Darcy in the 2005 film adaptation of Pride & Prejudice. Now he's won an Emmy for playing scheming Midwesterner Tom Wambsgans on Succession. Kevin Whitehead remembers jazz pianist Ramsey Lewis, who had the 1965 crossover hit "The In Crowd."Justin Chang reviews The Woman King starring Viola Davis.

Legendary Broadway Performer, Verdon Fosse Legacy Teacher and renowned Choreographer, Mary Ann Lamb shares her vastly rich performance background, her advice for how to keep a role fresh and exciting and her process for originated a new character role! Mary Ann has been in 11 Broadway shows including Fosse, Chicago, Jerome Robbins' Broadway and Starlight Express. She has also graced the silver screen dancing alongside Catherine Zeta-Jones in Chicago, as well as performing in Rock of Ages and The In Crowd. As a Musical Theatre veteran, Mary Ann shares her knowledge and passion with students through the art of teaching having taught at some of the most prestigious Universities in the US and furthermore, at the Jacques d'Amboise National Dance Institute. Mary Ann learned from and worked alongside the likes of Ann Reinking, Jerome Robbins and Gwen Verdon to name a few. She was the associate choreographer to Susan Misner and Andy Blankenbuehler for the hit TV show Fosse/Verdon coaching both Sam Rockwell and Michelle Williams and also worked on the preproduction of Nexflix's Halston. Discover from Mary Ann how YOU can keep the Verdon Fosse Legacy alive with specialized Teacher Training opportunities! Instagram: @_maryannlamb_ Mentioned Links The Verdon Fosse Legacy Show some love and be sure to rate, review and subscribe to the A Dancer's Guide Podcast on your favorite podcast app! Visit adancersguide.com for more information on topics discussed in this episode Follow A Dancer's Guide on social media Instagram: @adancersguideofficial Interested in Sponsoring this Podcast? Email adancersguide00@gmail.com & let's chat! What Dance related topics do you want to hear about the most? Tell us by completing the A Dancer's Guide SURVEY! Special thanks to all of our listeners!

My guest today is Daniel Fitzgerald, CEO and President of Apollo Intelligence. Founded in 2020, Apollo provides access to 2M healthcare stakeholders worldwide — including physicians, patients, caregivers, and allied healthcare professionals — serving the life science insights industry on its mission to accelerate health innovation to improve life.  They support 80 of the top global-100 life science firms, as well as global market research agencies and consultancies, across 14 different countries in the Americas, Europe, and Asia. Prior to joining Apollo, Dan has been part of the bedrock of the market research industry serving as CEO of InCrowd, Managing Partner of Reimagine, Chief Client and Marketing Officer of Lightspeed, and GM of Global Market Insite. Find Daniel Online: LinkedIn: https://www.linkedin.com/in/daniel-s-fitzgerald-024a2926/ Apollo Intelligence: https://apollointelligence.net/  Find Jamin Online: Email: jamin@happymr.com LinkedIn: www.linkedin.com/in/jaminbrazilTwitter: www.twitter.com/jaminbrazil  Find Us Online:  Twitter: www.twitter.com/happymrxp LinkedIn: www.linkedin.com/company/happymarketresearch Facebook: www.facebook.com/happymrxp Website: www.happymr.com  Music:  “Clap Along” by Auditionauti: https://audionautix.com  This Episode is Sponsored by: The Michigan State University's Master of Science in Marketing Research Program delivers the #1 ranked insights and analytics graduate degree in three formats:  Full-time on campus Full-time online Part-time online NEW FOR 2022:  If you can't commit to their full degree program, simply begin with one of their 3-course certificates: Insights Design or Insights Analysis.  In addition to the certification, all the courses you complete will build toward your graduation. If you are looking to achieve your full potential, check out MSMU's programs at: broad.msu.edu/marketing. HubUX is a research operation platform for private panel management, and qualitative automation including video audition questions, and surveys.  For a limited time, user seats are free. If you'd like to learn more or create your own account, visit hubux.com.  [00:00:00] Jamin Brazil: Hey everybody, you're listening to the Happy Market Research Podcast. This is take two. I'm with Dan Fitzgerald, CEO, and president of Apollo Intelligence. Founded in 2020, Apollo provides access to 2,000,000 healthcare stakeholders worldwide, including physicians, patients, caregivers, and allied healthcare professionals, serving the life science insights industry on its mission to accelerate health innovation to improve all of our lives. They support 80 of the top global 100 life science firms as well as global market research agencies and consultancies across 14 different countries in the Americas, Europe, and Asia. Prior to joining Apollo, Dan has been part of the bedrock of the market research industry, serving as CEO of InCrowd, managing partner at Reimagine, chief client and marketing officer at LIGHTSPEED, and general manager of GMI, Global Market Insight. One of my biggest customers at Decipher. Dan, it is an absolute privilege to have you on the show. Thank you for joining me. [00:01:10] Dan Fitzgerald: Hey, Jamin. And it's great to be with you as well. [00:01:15] Jamin Brazil: The Michigan State University's Master of Science in marketing and research program delivers the number one ranked insights and analytics degree in three formats. Full time on campus, full time online, and part-time online. New for 2022 if you can't commit to their full degree program, simply begin with one of their three course certifications. Insights design or insights analysis. In addition to the certification, all the courses you complete will build towards your graduation. If you're looking to achieve your full potential, check out MSM U's program at B-R-O-A-D dot MSU dot edu slash marketing. Again,

In this episode of The Brave Enough Show, Sasha recaps Season 7 of the Enneagram.  Episode Links:   Brave Enough CME Conference RHETI Enneagram Assessment Enneagram Course InCrowd MicroSurveys Follow Brave Enough:   WEBSITE | INSTAGRAM | FACEBOOK | TWITTER | LINKEDIN  Join The Table, Brave Enough's community. The ONLY professional membership group that meets both the professional and personal needs of high-achieving women. This season is sponsored by InCrowd, a brand within the Apollo Intelligence Family of companies.  Join today by clicking on the link we'll share after this episode and earn money sharing your medical expertise.

In this episode of The Brave Enough Show, Sasha chats with Dr. Deborah Braboy about what it's like to be an Enneagram Type 9.  About the guest:  Dr. Deborah Braboy is licensed in both Arkansas and Oklahoma as a Licensed Professional Counselor (and Supervisor). She received her PhD in 2013 at Regent University in Counseling Education and Supervision. Her doctoral dissertation study addressed adolescent grief. In her practice she works with children, teens, individuals, and couples. One of her passions is working with grieving individuals who have experienced the death of a loved one.  Episode Links:   Brave Enough CME Conference RHETI Enneagram Assessment Enneagram Course InCrowd MicroSurveys Follow Brave Enough:   WEBSITE | INSTAGRAM | FACEBOOK | TWITTER | LINKEDIN  Join The Table, Brave Enough's community. The ONLY professional membership group that meets both the professional and personal needs of high-achieving women. This season is sponsored by InCrowd, a brand within the Apollo Intelligence Family of companies.  Join today by clicking on the link we'll share after this episode and earn money sharing your medical expertise.

In this episode of The Brave Enough Show, Sasha chats with Missy Henry about what it's like to be an Enneagram Type 8.  About the guest:  Missy was born and raised in Omaha, NE. Her passion for health and exercise was cultivated through my years as an athlete and grieving the severe health issues of close family members. She graduated from University of Nebraska at Omaha with a BS in Exercise Science and a MS in health promotion/behavior change, really examining why people either stick with a program or quit health programs. Missy was also a full-time faculty member in the department of Health, Physical Education & Recreation (HPER) at the University of Nebraska Omaha (UNO), teaching undergraduate Exercise Science courses. She opened Edge Body Boot Camp, a strength and conditioning gym in Omaha, in December of 2014. She currently lives in Omaha, NE with her husband Rob and daughter Sawyer and continues to coach people online with their fitness, nutrition and mindset. Episode Links:   Brave Enough CME Conference RHETI Enneagram Assessment Enneagram Course InCrowd MicroSurveys Follow Brave Enough:   WEBSITE | INSTAGRAM | FACEBOOK | TWITTER | LINKEDIN  Join The Table, Brave Enough's community. The ONLY professional membership group that meets both the professional and personal needs of high-achieving women. This season is sponsored by InCrowd, a brand within the Apollo Intelligence Family of companies.  Join today by clicking on the link we'll share after this episode and earn money sharing your medical expertise.

In this episode of The Brave Enough Show, Sasha chats with Alli Worthington about what it's like to be an Enneagram Type 7.  About the guest:  Alli Worthington is the bestselling author of four books. She is the founder of The Coach School and is a speaker, podcaster, and business coach.  Her goal is to help women reach the next level. Alli coaches individuals, small business owners, and Fortune 500 companies to be more successful.  Alli's no-nonsense, guilt-free take on business, family, and balance led to appearances on The Today Show and Good Morning America as well as in Forbes.  Alli, her husband, Mark, and their five sons live outside of Nashville, TN with a very pampered golden retriever. You can connect with her at AlliWorthington.com and on Instagram at AlliWorthington.  Episode Links:   Brave Enough CME Conference RHETI Enneagram Assessment Enneagram Course InCrowd MicroSurveys Follow Brave Enough:   WEBSITE | INSTAGRAM | FACEBOOK | TWITTER | LINKEDIN  Join The Table, Brave Enough's community. The ONLY professional membership group that meets both the professional and personal needs of high-achieving women. This season is sponsored by InCrowd, a brand within the Apollo Intelligence Family of companies.  Join today by clicking on the link we'll share after this episode and earn money sharing your medical expertise.

Logan and Makenzie Driscoll are a married couple who met in PA school, and have been practicing as surgical specialty PAs for one year. They share how they are trying to pursue financial independence together as a team while balancing their double PA student loan debt with their double PA salaries. They have been trying to make mindful decisions of spending their hard-earned income on things that add value to their lives while trying to also prevent lifestyle creep. Take a listen for some double inspiration to become a PA on the way to financial independence! Reach out to Logan or Makenzie with questions! Logan: Driscoll.Logan@gmail.com Makenzie: MakenzieUrban@gmail.com This episode was sponsored by StudentLoanAdvice.com . Book a consult with Andrew Paulson to plan the best strategy to tackle your PA student loans for your unique situation! Medical survey companies that were mentioned: M3 - https://www.m3globalresearch.com/ InCrowd - https://incrowdnow.com/join-our-crowd/ Reckner Healthcare Surveys - https://healthcaresurveys.reckner.com/?ref=hchead&_ga=2.171236775.687944866.1655776370-380262206.1642021218 Interested in checking out the book PA Next Steps that was mentioned? Take a listen to PA the FI Way podcast episode 16 to learn more, or go to https://www.panextsteps.com Enjoy the show? You can now support the PA the FI Way podcast through Buy Me a Coffee! Thank you for all of your support! https://www.buymeacoffee.com/pathefiway Follow along on Instagram: @pathefiway https://www.instagram.com/pathefiway/ Join the private Facebook group created for current and future PAs on their journey to financial independence: https://www.facebook.com/groups/pathefiway Like the Facebook page to follow along for updates: https://www.facebook.com/pathefiway Website to read blog posts: pathefiway.com Prefer to pin the posts that you found informative? Follow along on Pinterest: https://www.pinterest.com/pathefiway Keywords: physician associate, physician assistant, physician assistant financial independence, physician associate financial independence, physician assistant finances, physician associate finances, physician assistant school, physician associate school, PA school, PA-S, PA-C, pre-PA, physician assistant student, physician associate student, orthopedics physician assistant, orthopedics physician associate, plastic surgery physician assistant, plastic surgery physician associate

Logan and Makenzie Driscoll are a married couple who met in PA school, and have been practicing as surgical specialty PAs for one year. They share how they are trying to pursue financial independence together as a team while balancing their double PA student loan debt with their double PA salaries. They have been trying to make mindful decisions of spending their hard-earned income on things that add value to their lives while trying to also prevent lifestyle creep. Take a listen for some double inspiration to become a PA on the way to financial independence!  Reach out to Logan or Makenzie with questions!  Logan: Driscoll.Logan@gmail.com Makenzie: MakenzieUrban@gmail.com   This episode was sponsored by StudentLoanAdvice.com . Book a consult with Andrew Paulson to plan the best strategy to tackle your PA student loans for your unique situation!    Medical survey companies that were mentioned:  M3 - https://www.m3globalresearch.com/ InCrowd - https://incrowdnow.com/join-our-crowd/ Reckner Healthcare Surveys - https://healthcaresurveys.reckner.com/?ref=hchead&_ga=2.171236775.687944866.1655776370-380262206.1642021218 Interested in checking out the book PA Next Steps that was mentioned? Take a listen to PA the FI Way podcast episode 16 to learn more, or go to https://www.panextsteps.com     Enjoy the show? You can now support the PA the FI Way podcast through Buy Me a Coffee! Thank you for all of your support! https://www.buymeacoffee.com/pathefiway    Follow along on Instagram: @pathefiway   https://www.instagram.com/pathefiway/   Join the private Facebook group created for current and future PAs on their journey to financial independence: https://www.facebook.com/groups/pathefiway    Like the Facebook page to follow along for updates: https://www.facebook.com/pathefiway   Website to read blog posts: pathefiway.com   Prefer to pin the posts that you found informative? Follow along on Pinterest: https://www.pinterest.com/pathefiway    Keywords: physician associate, physician assistant, physician assistant financial independence, physician associate financial independence, physician assistant finances, physician associate finances, physician assistant school, physician associate school, PA school, PA-S, PA-C, pre-PA, physician assistant student, physician associate student, orthopedics physician assistant, orthopedics physician associate, plastic surgery physician assistant, plastic surgery physician associate 

In this episode of The Brave Enough Show, Sasha chats with Dr. Ali Novitsky about what it's like to be an Enneagram Type 6.  About the guest:  Ali Novitsky, MD is the CEO and founder of Life Coaching for women physicians - www.lifecoachingforwomenphysicians.com. She is triple board certified in Obseity Medicine, Pediatrics, and Neonatology. She is a certified Life Coach, National Speaker, Blogger, and Host of The Podcast "Life Coaching for Women Physicians." Ali attended Temple University School of Medicine and completed her Pediatric residency and Neonatal Fellowship at Thomas Jefferson/AI duPont Hospital for Children. She completed her coach training at The Life Coach School. Ali helps women physicians achieve optimal health by optimizing their unique potential with simple strategies backed by science.  Ali offers two group coaching programs, GOALS Society and her CME program, Transform. Ali is married to her med school sweetheart, Mark, who is a child and adolescent psychiatrist. Together, they are raising two strong daughters and a labradoodle pup.  Instagram: @alinovitskymd Facebook: Ali Novitsky MD Web: www.lifecoachingforwomenphysicians.com Episode Links:   Brave Enough CME Conference RHETI Enneagram Assessment Enneagram Course InCrowd MicroSurveys Follow Brave Enough:   WEBSITE | INSTAGRAM | FACEBOOK | TWITTER | LINKEDIN  Join The Table, Brave Enough's community. The ONLY professional membership group that meets both the professional and personal needs of high-achieving women. This season is sponsored by InCrowd, a brand within the Apollo Intelligence Family of companies.  Join today by clicking on the link we'll share after this episode and earn money sharing your medical expertise

In this episode of The Brave Enough Show, Sasha chats with Dr. Joy Pedersen about what it's like to be an Enneagram Type 5.  About the guest:  Dr. Pedersen has experience working with individuals and teams to manage change, transition, growth, loss, work-life balance, and other challenges in order to achieve their full potential. She provides coaching and training on a variety of topics, including the Enneagram, through her consulting company - Clarity Collective.  Dr. Pedersen is a certified Enneagram instructor and Martha Beck Wayfinder Life Coach. She also has a B.A. in Psychology from Claremont McKenna, an M.A. in Counseling and Guidance from Cal Poly, San Luis Obispo and a Ph.D. in Educational Leadership from University of California, Santa Barbara. Episode Links:   Brave Enough CME Conference RHETI Enneagram Assessment Enneagram Course InCrowd MicroSurveys Follow Brave Enough:   WEBSITE | INSTAGRAM | FACEBOOK | TWITTER | LINKEDIN  Join The Table, Brave Enough's community. The ONLY professional membership group that meets both the professional and personal needs of high-achieving women. This season is sponsored by InCrowd, a brand within the Apollo Intelligence Family of companies.  Join today by clicking on the link we'll share after this episode and earn money sharing your medical expertise.

In this episode of The Brave Enough Show, Sasha chats with Hanna Brencher about what it's like to be an Enneagram Type 4.  About the guest: Hanna Brencher is a writer, TED Speaker, and mental health advocate with a heart for building leaders. She is the author of 3 best-selling books - Fighting Forward, Come Matter Here, and If You Find This Letter. She is the founder of More Love Letters - a global organization using the power behind social media to write and mail letters to strangers in need across the world. Named as one of the White House's "Women Working to Do Good," Hanna and her work have been featured in publications such as CNN World News, the Wall Street Journal, Oprah.com, and Glamour among dozens of others. Hanna lives in Atlanta, Georgie with her husband Lane and daughter Novalee. Episode Links:   Brave Enough CME Conference RHETI Enneagram Assessment Enneagram Course InCrowd MicroSurveys Follow Brave Enough:   WEBSITE | INSTAGRAM | FACEBOOK | TWITTER | LINKEDIN  Join The Table, Brave Enough's community. The ONLY professional membership group that meets both the professional and personal needs of high-achieving women. This season is sponsored by InCrowd, a brand within the Apollo Intelligence Family of companies.  Join today by clicking on the link we'll share after this episode and earn money sharing your medical expertise.

In this episode of The Brave Enough Show, Sasha chats with Jenni Catron about what it's like to be an Enneagram Type 3.  About the guest: Jenni Catron is a leadership coach, author and speaker. Her passion is to cultivate healthy leaders to lead thriving organizations. She speaks at conferences and events nationwide, seeking to help leaders develop the clarity and confidence to lead well. As Founder and CEO of The 4Sight Group, she consults organizations in corporate and non-profit organizations. Jenni has a passion for helping leaders "put feet to their vision."  Jenni is the author of several books including Clout: Discover and Unleash Your God-Given Influence and The 4 Dimensions of Extraordinary Leadership. She loves a fabulous cup of tea, great books, learning the game of tennis and hiking with her husband. Jenni can be found on social media at @jennicatron and at www.get4sight.com.  Episode Links:   Brave Enough CME Conference RHETI Enneagram Assessment Enneagram Course InCrowd MicroSurveys Follow Brave Enough:   WEBSITE | INSTAGRAM | FACEBOOK | TWITTER | LINKEDIN  Join The Table, Brave Enough's community. The ONLY professional membership group that meets both the professional and personal needs of high-achieving women. This season is sponsored by InCrowd, a brand within the Apollo Intelligence Family of companies.  Join today by clicking on the link we'll share after this episode and earn money sharing your medical expertise.

In this episode of The Brave Enough Show, Sasha chats with Ashton Whitmoyer-Ober about what it's like to be an Enneagram Type 2.  About the guest:  Ashton Whitmoyer-Ober is an author, public speaker, Community Psychologist, and certified Enneagram educator. With a desire to see relationships strengthened, she created Enneagram Ashton in early 2019. She is the author of Enneagram for Relationships, The Two of Us: A Couples Journal, and The Enneagram Made Simple. Find her on instagram @enneagramashton. Episode Links:   Brave Enough CME Conference RHETI Enneagram Assessment Enneagram Course InCrowd MicroSurveys Follow Brave Enough:   WEBSITE | INSTAGRAM | FACEBOOK | TWITTER | LINKEDIN  Join The Table, Brave Enough's community. The ONLY professional membership group that meets both the professional and personal needs of high-achieving women. This season is sponsored by InCrowd, a brand within the Apollo Intelligence Family of companies.  Join today by clicking on the link we'll share after this episode and earn money sharing your medical expertise.

In this episode of The Brave Enough Show, Lance and Sasha talk about:  The core motivations of an Enneagram Type 1 Overcoming your internal critic  How to push past perfectionism  How to live life with an Enneagram Type 1 About the guest:  Dad of 4, COO Brave Enough, Physical Therapist and PARTNER IN CRIME to Sasha. Episode Links:   Brave Enough CME Conference RHETI Enneagram Assessment Enneagram Course InCrowd MicroSurveys Follow Brave Enough:   WEBSITE | INSTAGRAM | FACEBOOK | TWITTER | LINKEDIN  Join The Table, Brave Enough's community. The ONLY professional membership group that meets both the professional and personal needs of high-achieving women. This season is sponsored by InCrowd, a brand within the Apollo Intelligence Family of companies.  Join today by clicking on the link we'll share after this episode and earn money sharing your medical expertise.

I know I know! It is everywhere: The Enneagram. But what is it, and why the heck should you care? Let Sasha, a certified Enneagram coach, show you! In this season of the Brave Enough Show, Sasha, is going to shed light on the Enneagram craze by explaining what it is and how it can transform your relationship with yourself and others. Sasha is going to interview captivating guests – one on each Enneagram type, so you can identify your type and learn so much about yourself. Is there anything more empowering than knowing who you are? We think not! Buckle up for this season, we know you are going to learn so much! Episode Links:   Brave Enough CME Conference RHETI Enneagram Assessment Enneagram Course InCrowd MicroSurveys Follow Brave Enough:   WEBSITE | INSTAGRAM | FACEBOOK | TWITTER | LINKEDIN  Join The Table, Brave Enough's community. The ONLY professional membership group that meets both the professional and personal needs of high-achieving women. This season is sponsored by InCrowd, a brand within the Apollo Intelligence Family of companies.  Join today by clicking on the link we'll share after this episode and earn money sharing your medical expertise.

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

On today's episode of Flashback Friday's, I'm highlighting a record that was released in 2014. It's the second full-length from We Are The In Crowd, and the album is called "Weird Kids". We Are the In Crowd is an American rock band from Poughkeepsie, New York, formed in 2009. The band consists of Taylor Jardine, Jordan Eckes, Mike Ferri, Rob Chianelli, and Cameron Hurley. They released their debut EP, Guaranteed To Disagree, on June 8, 2010, and followed it up with their first full-length album, Best Intentions in 2011. Their second full-length album, Weird Kids, was released on February 18, 2014. The band announced a hiatus in February 2016. They have since performed their first shows in 6 years at Slam Dunk Festival 2021. Weird Kids is the second studio album by American rock band We Are the In Crowd. Weird Kids was produced, mixing, and recorded by John Feldmann. Tommy English and Zakk Cervini did additional production and mixing; Joe Gastwirt mastered the album. LET'S CONNECT: Kyle's Instagram Kyle's Facebook Email: Kyledevlinfitness@gmail.com