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Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald, interviews Sahra Halpern. She is president and chief executive officer of the Business Consortium Fund and Triad Investments. She has created innovative and responsive lending programs throughout her career in community development finance. She drives BCF toward a more significant impact in our communities by expanding capital reach to business owners of color. Since 1987, BCF has originated 228 million dollars in loans and financed 950 minority business enterprises or MBEs. #STRAW #BEST See omnystudio.com/listener for privacy information.
Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald, interviews Sahra Halpern. She is president and chief executive officer of the Business Consortium Fund and Triad Investments. She has created innovative and responsive lending programs throughout her career in community development finance. She drives BCF toward a more significant impact in our communities by expanding capital reach to business owners of color. Since 1987, BCF has originated 228 million dollars in loans and financed 950 minority business enterprises or MBEs. #STRAW #BEST See omnystudio.com/listener for privacy information.
Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Karla Trotman. She is president and CEO of Electro Soft, Incorporated (ESI), an electronics manufacturing and engineering firm in the United States. She holds a B.S. in Business Logistics from Penn State and an MBA from Drexel University. The breadth of her experience in business extends to supply chain logistics, purchasing, global scheduling and e-commerce, where she served in key roles in companies to include Honeywell, Gap and IKEA. She is the author of Dark, Dirty, Dangerous: The Vibrant Future of Manufacturing. Trotman welcomed her two sons during her time at IKEA, giving her firsthand experience with the difficulties prenatal and postnatal mothers face in their professional and personal lives. While on maternity leave, she founded the Belly Button Boutique, an online shop for pre- and postnatal women. Over the span of eight years, her business expanded to celebrity and international clientele, earning her features in PEOPLE and on NBC 10, CBS News, HuffPost Live and more. The success of Belly Button Boutique inspired Trotman to propel ESI, founded by her parents in 1986, even further forward. Over the past 15 years, she served in the roles at ESI as special projects and marketing manager, executive vice president, COO and currently CEO and president. Under her guidance, ESI implemented both online marketing and acquisition strategies, dramatically increasing revenue. Through her leadership at ESI, Trotman was named an Enterprising Woman of the Year, Transformational Woman in Family Business, Top 25 Leader Transforming Manufacturing, and most recently Entrepreneur of The Year® 2024 Greater Philadelphia Award winner. Trotman recognizes the plights and potential of minority business enterprises (MBEs) and how their power can be used to help close the ever-widening minority wealth gap. Leveraging her connections to funding, access, and networks, she advocates for minority business owners and educates on how investment in minority businesses uplifts minority families and communities. Trotman is a board member for the Free Library of Philadelphia Foundation, Museum of the American Revolution, African Women’s Entrepreneurship Collective (AWEC) and Forum of Executive Women Foundation. She is co-chair of the Southeastern Pennsylvania Manufacturing Alliance (SEPMA) and a member of both the Drexel University Board of Governors and President’s Council. #STRAW #BEST #SHMSSupport the show: https://www.steveharveyfm.com/See omnystudio.com/listener for privacy information.
Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Karla Trotman. She is president and CEO of Electro Soft, Incorporated (ESI), an electronics manufacturing and engineering firm in the United States. She holds a B.S. in Business Logistics from Penn State and an MBA from Drexel University. The breadth of her experience in business extends to supply chain logistics, purchasing, global scheduling and e-commerce, where she served in key roles in companies to include Honeywell, Gap and IKEA. She is the author of Dark, Dirty, Dangerous: The Vibrant Future of Manufacturing. Trotman welcomed her two sons during her time at IKEA, giving her firsthand experience with the difficulties prenatal and postnatal mothers face in their professional and personal lives. While on maternity leave, she founded the Belly Button Boutique, an online shop for pre- and postnatal women. Over the span of eight years, her business expanded to celebrity and international clientele, earning her features in PEOPLE and on NBC 10, CBS News, HuffPost Live and more. The success of Belly Button Boutique inspired Trotman to propel ESI, founded by her parents in 1986, even further forward. Over the past 15 years, she served in the roles at ESI as special projects and marketing manager, executive vice president, COO and currently CEO and president. Under her guidance, ESI implemented both online marketing and acquisition strategies, dramatically increasing revenue. Through her leadership at ESI, Trotman was named an Enterprising Woman of the Year, Transformational Woman in Family Business, Top 25 Leader Transforming Manufacturing, and most recently Entrepreneur of The Year® 2024 Greater Philadelphia Award winner. Trotman recognizes the plights and potential of minority business enterprises (MBEs) and how their power can be used to help close the ever-widening minority wealth gap. Leveraging her connections to funding, access, and networks, she advocates for minority business owners and educates on how investment in minority businesses uplifts minority families and communities. Trotman is a board member for the Free Library of Philadelphia Foundation, Museum of the American Revolution, African Women’s Entrepreneurship Collective (AWEC) and Forum of Executive Women Foundation. She is co-chair of the Southeastern Pennsylvania Manufacturing Alliance (SEPMA) and a member of both the Drexel University Board of Governors and President’s Council. #STRAW #BEST #SHMSSee omnystudio.com/listener for privacy information.
Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Karla Trotman. She is president and CEO of Electro Soft, Incorporated (ESI), an electronics manufacturing and engineering firm in the United States. She holds a B.S. in Business Logistics from Penn State and an MBA from Drexel University. The breadth of her experience in business extends to supply chain logistics, purchasing, global scheduling and e-commerce, where she served in key roles in companies to include Honeywell, Gap and IKEA. She is the author of Dark, Dirty, Dangerous: The Vibrant Future of Manufacturing. Trotman welcomed her two sons during her time at IKEA, giving her firsthand experience with the difficulties prenatal and postnatal mothers face in their professional and personal lives. While on maternity leave, she founded the Belly Button Boutique, an online shop for pre- and postnatal women. Over the span of eight years, her business expanded to celebrity and international clientele, earning her features in PEOPLE and on NBC 10, CBS News, HuffPost Live and more. The success of Belly Button Boutique inspired Trotman to propel ESI, founded by her parents in 1986, even further forward. Over the past 15 years, she served in the roles at ESI as special projects and marketing manager, executive vice president, COO and currently CEO and president. Under her guidance, ESI implemented both online marketing and acquisition strategies, dramatically increasing revenue. Through her leadership at ESI, Trotman was named an Enterprising Woman of the Year, Transformational Woman in Family Business, Top 25 Leader Transforming Manufacturing, and most recently Entrepreneur of The Year® 2024 Greater Philadelphia Award winner. Trotman recognizes the plights and potential of minority business enterprises (MBEs) and how their power can be used to help close the ever-widening minority wealth gap. Leveraging her connections to funding, access, and networks, she advocates for minority business owners and educates on how investment in minority businesses uplifts minority families and communities. Trotman is a board member for the Free Library of Philadelphia Foundation, Museum of the American Revolution, African Women’s Entrepreneurship Collective (AWEC) and Forum of Executive Women Foundation. She is co-chair of the Southeastern Pennsylvania Manufacturing Alliance (SEPMA) and a member of both the Drexel University Board of Governors and President’s Council. #STRAW #BEST #SHMSSee omnystudio.com/listener for privacy information.
In this episode, we discuss certifications and programs that can be valuable for minority-owned businesses. Kevin joins us as shares how he was able to win a contract with Wells Fargo by leveraging his NMSDC certification. National Minority Supplier Development Council (NMSDC) certifies minority-owned businesses, while Minority Business Enterprise (MBE) is a certification issued by a different organization. If you want to learn more about MBEs, NMSDC certification and their functions this episode is perfect for you.
Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Karla Trotman. She is the president and CEO of Electro Soft, Incorporated (ESI), an electronics manufacturing and engineering firm in the United States. She is on the show to discuss many topics, including breaking down barriers for women and minority business owners in manufacturing. Talking Points/Questions * 1. Building generational wealth through family businesses 2. Addressing the racial wealth gap in America 3. Breaking down barriers for women and minority business owners in manufacturing 4. Exploring non-traditional career paths in the industry 5. How policies can support domestic manufacturing pipelines She holds a B.S. in Business Logistics from Penn State and an MBA from Drexel University. Her business experience extends to supply chain logistics, purchasing, global scheduling, and e-commerce, where she served in key roles in companies such as Honeywell, Gap, and IKEA. Trotman welcomed her two sons during her time at IKEA, giving her firsthand experience with the difficulties prenatal and postnatal mothers face in their professional and personal lives. While on maternity leave, she founded the Belly Button Boutique, an online shop for pre- and postnatal women. Over the span of eight years, her business expanded to celebrity and international clientele, earning her features in PEOPLE and on NBC 10, CBS News, HuffPost Live and more. The success of Belly Button Boutique inspired Trotman to propel ESI, founded by her parents in 1986, even further forward. Over the past 15 years, she served in the roles at ESI as special projects and marketing manager, executive vice president, COO and currently CEO and president. Under her guidance, ESI implemented both online marketing and acquisition strategies, dramatically increasing revenue. Through her leadership at ESI, Trotman was named an Enterprising Woman of the Year, Transformational Woman in Family Business, Top 25 Leader Transforming Manufacturing, and most recently Entrepreneur of The Year® 2024 Greater Philadelphia Award winner. Trotman recognizes the plights and potential of minority business enterprises (MBEs) and how their power can be used to help close the ever-widening minority wealth gap. Leveraging her connections to funding, access, and networks, she advocates for minority business owners and educates on how investment in minority businesses uplifts minority families and communities. Trotman is a board member for the Free Library of Philadelphia Foundation, Museum of the American Revolution, African Women's Entrepreneurship Collective (AWEC) and Forum of Executive Women Foundation. She is co-chair of the Southeastern Pennsylvania Manufacturing Alliance (SEPMA) and a member of both the Drexel University Board of Governors and President's Council. She is the author of the soon- to-be-released book, Dark, Dirty, Dangerous: The Vibrant Future of Manufacturing. #STRAW #BEST #SHMSSupport the show: https://www.steveharveyfm.com/See omnystudio.com/listener for privacy information.
Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Karla Trotman. She is the president and CEO of Electro Soft, Incorporated (ESI), an electronics manufacturing and engineering firm in the United States. She is on the show to discuss many topics, including breaking down barriers for women and minority business owners in manufacturing. Talking Points/Questions * 1. Building generational wealth through family businesses 2. Addressing the racial wealth gap in America 3. Breaking down barriers for women and minority business owners in manufacturing 4. Exploring non-traditional career paths in the industry 5. How policies can support domestic manufacturing pipelines She holds a B.S. in Business Logistics from Penn State and an MBA from Drexel University. Her business experience extends to supply chain logistics, purchasing, global scheduling, and e-commerce, where she served in key roles in companies such as Honeywell, Gap, and IKEA. Trotman welcomed her two sons during her time at IKEA, giving her firsthand experience with the difficulties prenatal and postnatal mothers face in their professional and personal lives. While on maternity leave, she founded the Belly Button Boutique, an online shop for pre- and postnatal women. Over the span of eight years, her business expanded to celebrity and international clientele, earning her features in PEOPLE and on NBC 10, CBS News, HuffPost Live and more. The success of Belly Button Boutique inspired Trotman to propel ESI, founded by her parents in 1986, even further forward. Over the past 15 years, she served in the roles at ESI as special projects and marketing manager, executive vice president, COO and currently CEO and president. Under her guidance, ESI implemented both online marketing and acquisition strategies, dramatically increasing revenue. Through her leadership at ESI, Trotman was named an Enterprising Woman of the Year, Transformational Woman in Family Business, Top 25 Leader Transforming Manufacturing, and most recently Entrepreneur of The Year® 2024 Greater Philadelphia Award winner. Trotman recognizes the plights and potential of minority business enterprises (MBEs) and how their power can be used to help close the ever-widening minority wealth gap. Leveraging her connections to funding, access, and networks, she advocates for minority business owners and educates on how investment in minority businesses uplifts minority families and communities. Trotman is a board member for the Free Library of Philadelphia Foundation, Museum of the American Revolution, African Women's Entrepreneurship Collective (AWEC) and Forum of Executive Women Foundation. She is co-chair of the Southeastern Pennsylvania Manufacturing Alliance (SEPMA) and a member of both the Drexel University Board of Governors and President's Council. She is the author of the soon- to-be-released book, Dark, Dirty, Dangerous: The Vibrant Future of Manufacturing. #STRAW #BEST #SHMSSee omnystudio.com/listener for privacy information.
Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Karla Trotman. She is the president and CEO of Electro Soft, Incorporated (ESI), an electronics manufacturing and engineering firm in the United States. She is on the show to discuss many topics, including breaking down barriers for women and minority business owners in manufacturing. Talking Points/Questions * 1. Building generational wealth through family businesses 2. Addressing the racial wealth gap in America 3. Breaking down barriers for women and minority business owners in manufacturing 4. Exploring non-traditional career paths in the industry 5. How policies can support domestic manufacturing pipelines She holds a B.S. in Business Logistics from Penn State and an MBA from Drexel University. Her business experience extends to supply chain logistics, purchasing, global scheduling, and e-commerce, where she served in key roles in companies such as Honeywell, Gap, and IKEA. Trotman welcomed her two sons during her time at IKEA, giving her firsthand experience with the difficulties prenatal and postnatal mothers face in their professional and personal lives. While on maternity leave, she founded the Belly Button Boutique, an online shop for pre- and postnatal women. Over the span of eight years, her business expanded to celebrity and international clientele, earning her features in PEOPLE and on NBC 10, CBS News, HuffPost Live and more. The success of Belly Button Boutique inspired Trotman to propel ESI, founded by her parents in 1986, even further forward. Over the past 15 years, she served in the roles at ESI as special projects and marketing manager, executive vice president, COO and currently CEO and president. Under her guidance, ESI implemented both online marketing and acquisition strategies, dramatically increasing revenue. Through her leadership at ESI, Trotman was named an Enterprising Woman of the Year, Transformational Woman in Family Business, Top 25 Leader Transforming Manufacturing, and most recently Entrepreneur of The Year® 2024 Greater Philadelphia Award winner. Trotman recognizes the plights and potential of minority business enterprises (MBEs) and how their power can be used to help close the ever-widening minority wealth gap. Leveraging her connections to funding, access, and networks, she advocates for minority business owners and educates on how investment in minority businesses uplifts minority families and communities. Trotman is a board member for the Free Library of Philadelphia Foundation, Museum of the American Revolution, African Women's Entrepreneurship Collective (AWEC) and Forum of Executive Women Foundation. She is co-chair of the Southeastern Pennsylvania Manufacturing Alliance (SEPMA) and a member of both the Drexel University Board of Governors and President's Council. She is the author of the soon- to-be-released book, Dark, Dirty, Dangerous: The Vibrant Future of Manufacturing. #STRAW #BEST #SHMSSee omnystudio.com/listener for privacy information.
I chat with Susanne Mariga, Author of Profit First : Minority Business Enterprises (MBE). We discuss the Profit First system for managing money in a business. As well as some of the mental health concerns being a Minority Business Owner. So check it out and share. Links: For the Profit Map Chart Profitmap.co https://susannemariga.com https://www.youtube.com/@profitfirstwithsusannemariga https://www.linkedin.com/in/susannemariga/ https://www.facebook.com/susanneymariga https://www.instagram.com/susanne.mariga/
WELCOME BACK TO THE MAKE IT PLAIN PODCAST - Thanks for coming back! If you slept on S1 you can return to our earlier episodes (S1 was funded by the Evens Foundation in Europe, themed on Black Studies, featuring Patricia Hill Collins, Kimberlee Crenshaw, David Harewood + more). This is S2, and we're taking a slightly different tact than S1. We'll still be interviewing official guests in academia, politics, and elsewhere. What's new is that we'll also be talking to interesting people on the ground from organizations on the Black United Front (BUF, a directory of Black orgs across the globe that Make it Plain has begun developing). - In this week's Black World News, Kehinde Andrews makes plain the House Negro nonsense of the coconut trial of Mariah Hassan, a person who was charged with carrying a placard that pictured Rishi Sunak and Suella Braverman as coconuts. This isn't up for debate, this is not a criminal offense it's a defense of the Black radical intellectual tradition. Kehinde also makes plain the general election, the ways you can and can't represent as a Black MP, and the myth and propaganda of the Black Vote. Not discounting our influence in marginal seats, the myth of the Black vote is a really bad way of understanding Black political power. Kehinde makes plain a better (local, national, and global) way of understanding politics through a Black mass membership international organization. - In this week's official guest interview, Kehinde Andrews talks with George the Poet (featuring his son in the background hehe) about his new book Track Record. George shares a section of the book that never made it to his book, "The Anti-Afrikan." They also discuss, turning down an MBE (Member of the Most Excellent Order of the British Empire) honor, despite it "opening doors" and networking opportunities (but the question is, "which doors?" and"whose doors?"). - George the Poet AKA George Mpanga is a multi-dimensional man with lived experience and a London-born spoken word performer of Ugandan heritage. His innovative brand of musical poetry has won him critical acclaim both as a recording artist and a social commentator. George is also a husband, father, and Cambridge graduate. - BLACK WORLD NEWS LINKS It's not a crime to call a "Coconut" a "Coconut." Professor Kehinde Andrews explains why the terms Coconut, House Negro, Coon, and Uncle Tom are vital expressions of Black political thought that should be celebrated and not policed. Drawing on work in his book 'The Psychosis of Whiteness' this is a handy guide through the use of the words complete with many examples. https://www.youtube.com/watch?v=rZkD-e-b6Iw - GUEST LINKS George the Poet https://www.georgethepoet.com/ George's book: Track Record Delving into the music scene and iconic films from his childhood, as well as crucial political and economic moments in history, this book provides the backstory of where we are today. Honest, thought-provoking, and passionate, Track Record is a ground-breaking memoir by one of the UK's most unique voices.https://afroribooks.co.uk/products/track-record-me-music-and-the-war-on-blackness-by-george-the-poet-published-25th-april-2024 Have You Heard George's Podcast? The award-winning and critically acclaimed podcast from George the Poet delivers a fresh take on inner-city life through a mix of storytelling, music, and fiction. https://www.bbc.co.uk/sounds/brand/p07915kd Downstream: The West is Poor, Africa is Rich w/ George The Poet https://www.tapesearch.com/episode/downstream-the-west-is-poor-africa-is-rich-w-george-the-poet/7SpXBeDiuocHoYSALAQ4NP - MIP LINKS CAP25 - Convention of Afrikan People - Gambia - May 17-19, 2025 On Malcolm X's 100th birthday, the Harambee Organisation of Black Unity is bringing together those in Afrika and the Diaspora who want to fulfill Malcolm's legacy and build a global organization for Black people. This is an open invitation to anyone. https://make-it-plain.org/convention-of-afrikan-people/ BUF - Black United Front Global directory of Black organizations. This will be hosted completely free of charge so if you run a Black organization please email the name, address, website, and contact info to mip@blackunity.org.uk to be listed. Policing terms like House Negro insults Black political thought "Terms like Coconut, House Negro, and Uncle Tom are not, and never were racial slurs. To view them as such is to fall down the rabbit hole of 'reverse racism'."https://make-it-plain.org/2021/02/19/policing-terms-like-house-negro-insults-black-political-thought/ From the growling wolf to the smiling fox "Malcolm already warned us of the dangers of running from the clutches of the wolf into the arms of the smiling fox." https://make-it-plain.org/2020/11/07/from-the-growling-wolf-to-the-smiling-fox/ - Guest: (IG) (T) Host: @kehindeandrews (IG) @kehinde_andrews (T) Podcast team: @makeitplainorg @weylandmck @inhisownterms @farafinmuso Platform: www.make-it-plain.org (Blog) | www.youtube.com/@MakeItPlain1964 (YT) - If you need any help with your audio visit: https://weylandmck.com/
A tour of Brian Epstein's flat; a Beatles Whaddon House timeline; a very speculative consideration of what might have happened when the Beatles visited before collecting their MBEs. I recommending looking at the pics on my Insta @BrutalBeatles to help understand the layout of the flat
Welcome to Episode 18 of our transformative podcast series, where we celebrate the journeys of those who have triumphed over the bar exam. Today, we feature Crystal Post, who not only passed the bar in two states but also overcame multiple challenges along the way. From her philosophical studies to the practical struggles of bar preparation, Crystal's story is a testament to persistence and dedication. Listen as we also discuss unique aspects of the bar exam, like score transferring between states, and delve into effective strategies for tackling MBEs and essays with the Bar Exam Drills methodology. This episode is filled with practical advice, heartfelt stories, and strategies to inspire anyone on the path to law licensure. For more insights and resources, contact us at BSMP@barexamdrills.com. Tune in for a dose of inspiration and expert guidance on navigating the bar exam landscape.
Prince William is having a good week, getting lots of good reviews.On Wednesday the future King distributed honors at an investiture ceremony at Windsor Castle. This came just a day after he made a powerful appeal for peace in the Middle East.Notable figures such as "Game of Thrones" actress Emilia Clarke, Wetherspoons founder Sir Tim Martin, and former chancellor Sir Sajid Javid were among those recognized by the Prince of Wales. Emilia, acclaimed for her role in "Game Of Thrones," and her mother, Jenny, recieved MBEs for their contributions through SameYou, a charity dedicated to aiding brain injury recovery. The charity holds personal significance for Clarke, who has survived two brain haemorrhages.Post-ceremony, Clarke shared her awe and gratitude, noting the unexpectedly enchanting experience of the event. She praised the Prince of Wales for his warmth and approachability, stating, "His Royal Highness William was just delightful and made us feel so comfortable."Jenny Clarke laudedWilliam's thorough understanding of SameYou and its mission, hinting at a playful moment where she almost invited the Prince to join the charity's board. Emilia humorously remarked, "I thought she was going to ask him to be on the board of trustees, but she didn't," to which her mother playfully responded, "I nearly did."William's solo appearance at the BAFTAs on Sunday night has drawn praise, with royal expert Angela Levin highlighting his potential as a future king. She told GB News, "The contrast between him and his own brother couldn't be more stark. Well, he's so dignified, he was appearing as if nothing was wrong. He didn't want to spoil it for other people.""He didn't want to look harassed or miserable or concerned, he wanted to be in that job. He's been principal since 2010, and he wanted to do what is expected of him, his shoes shone brilliantly.""He looked very smart. He was smiling and he was very respectable. And you think if he's an heir to the throne, that's absolutely brilliant. Particularly given the fact that his wife is still recuperating at home from a major operation and that his father has been diagnosed with cancer," Meanwhile:During Meghan's recent visit to Canada, the Duchess of Sussex displayed a stunning array of fashion, with her outfits totaling over £44,000 in value.In just the initial 12 hours of their trip, Meghan dazzled onlookers by donning outfits valued at £8,000.
For this episode, David is joined by Helen Pollock. She helps people share their stories via books. Helen works with both men and women, but Her Next Chapter venture focuses on helping successful women overcome their lack of confidence and the bias they face to share their stories. Helen and David discuss how the way society treats women holds them back. She also talks about living with an abusive partner. Explaining why it took her a long time to realise she was an abuse victim and how she finally ended that relationship. KEY TAKEAWAYS Helen noticed that a lot of her female clients lacked confidence even those that have MBEs. Society still reacts negatively to successful women. A lot of negative behaviour is done unconsciously. Domestic abuse does not have to involve hitting. If you are in a relationship where you are walking on eggshells all of the time, that is no way to live. It is highly likely to be an abusive relationship. Abuse is a pattern of behaviour, not one-offs that are apologised for and never repeated. We all occasionally behave badly. Some domestic abusers are also pillars of the community. Self-care makes you stronger emotionally and mentally as well as physically. Before writing your book identify who it is you want to reach. Be real, but only share what you are comfortable with. Trust your gut. BEST MOMENTS ‘Fundamentally, I help people to write great business and nonfiction books.' ‘Diversity equals business success, in financial terms as well.' ‘If you are living in an abusive relationship where you can´t do anything right, of course you are going to be anxious.' ‘Feminism has women´s and men´s best interests at heart.' GUEST BIO Helen Pollock is an Amazon-bestselling non-fiction book coach, ghostwriter and personal brand specialist, Helen's been writing professionally for over two decades during a career in Marketing and – mostly - PR. Having previously worked for organisations as diverse as Aston Martin, The Royal Shakespeare Company and Blitz Games Studios, now Helen's passion is for helping people to tell their stories in order to share their genius and inspire others. Helen is currently preparing to launch the Her Brilliant Book Collective, a supportive community which helps women entrepreneurs and senior executives to power up their authority and transform their personal brand by writing, publishing and selling brilliant books. EPISODE RESOURCES https://www.linkedin.com/in/helenpollock/ helen@hernextchapter.co.uk ABOUT THE SHOW People with purpose make a difference. Imagine a world where more people can just get their purpose out of them, into a plan and then actually make it happen. What a world that would be - People everywhere finding meaning and harnessing that to bring inspiration and energy to each and every day, changing lives for the better. But no one ever achieved anything on their own - we all have something unique to bring and that means we all have to play our part - if we want to go far, we have to go together and lead or serve towards a vision of the world we want to see. Everyone has a story to tell, and this show is where these stories come to life. ABOUT THE HOST David Roberts is a highly regarded CEO, mentor, and investor with 30 years of experience across multiple sectors. As an intrapreneur and entrepreneur, David has bought, grown, started and sold several businesses, working with values-driven start-ups, award-winning SMEs, and multinational corporations on strategies for service excellence, leadership, and profitable growth. David's passion is for purpose and creating an environment where everyone can succeed, through building teams that get things done, execute on their mission with passion, deliver exceptional service and really make a difference. ARTWORK CREDIT Penny Roberts - https://www.instagram.com/penpennypencils CONTACT METHODS LinkedIn - https://www.linkedin.com/in/david-roberts-nu-heat/ Facebook - https://www.facebook.com/DavidRobertsPeopleWithPurpose Instagram - https://www.instagram.com/davidcroberts_/ Clubhouse - https://www.clubhouse.com/@davidcroberts?utm_medium=ch_profile&utm_campaign=MBv1ubya1-oOBXc_uQKFHw-46334
Rushion McDonald interviews Sahra Halpern. She is president and chief executive officer of the Business Consortium Fund and Triad Investments. She has created innovative and responsive lending programs throughout her career in community development finance. She drives BCF toward a more significant impact in our communities by expanding capital reach to business owners of color. Since 1987, BCF has originated 228 million dollars in loans and financed 950 minority business enterprises or MBEs. Support the show: https://www.steveharveyfm.com/See omnystudio.com/listener for privacy information.
Rushion McDonald interviews Sahra Halpern. She is president and chief executive officer of the Business Consortium Fund and Triad Investments. She has created innovative and responsive lending programs throughout her career in community development finance. She drives BCF toward a more significant impact in our communities by expanding capital reach to business owners of color. Since 1987, BCF has originated 228 million dollars in loans and financed 950 minority business enterprises or MBEs. See omnystudio.com/listener for privacy information.
We're celebrating Black History Month with a special collaboration with the one and only George the Poet! De-Graft and George join forces for a bit of black history, a competitive quiz and some unapologetic realness. From rapping to poetry, rejecting MBEs and the tokenism of Black History Month… we get into all of this and more. You won't want to miss this one! Presenters: De-Graft Mensah and George the Poet Producer: Kamilah Mclnnis Sound: Kamilah McInnis and Dave O'Neill Senior News Editor: Sam Bonham
Rushion interviews Sahra Halpern. She is president and chief executive officer of the Business Consortium Fund and Triad Investments. She has created innovative and responsive lending programs throughout her career in community development finance. She is responsible for driving BCF toward a more significant impact in our communities by expanding capital reach to business owners of color. Since 1987 BCF has originated $228 million in loans and financed 950 minority business enterprises or MBEs.Support the show: https://www.steveharveyfm.com/See omnystudio.com/listener for privacy information.
Rushion interviews Sahra Halpern. She is president and chief executive officer of the Business Consortium Fund and Triad Investments. She has created innovative and responsive lending programs throughout her career in community development finance. She is responsible for driving BCF toward a more significant impact in our communities by expanding capital reach to business owners of color. Since 1987 BCF has originated $228 million in loans and financed 950 minority business enterprises or MBEs.See omnystudio.com/listener for privacy information.
In this episode, David Ponraj talks with Dr. Sabrina Robins, COO of AbaCor (an Abaxent Co.) and Member Board of Directors of African Heritage Inc. Dr. Robins speaks on the connection of underrepresented business owners and workers to more opportunities. Dr. Robins focuses on a population of society that is marginalized and overlooked in different ways, and she works with companies that have a need for a talented workforce. This helps to increase an employee's sense of belonging and inclusion and addresses negative turnover.Dr. Robins is on the board of African Heritage Inc., with a mission to advance the wellbeing of African Americans in NE Wisconsin. Through African Heritage Inc., Dr. Robins has been part of the digital literacy program funded by local workforce development boards. The lack of significant digital literacy skills results in an increased employee turnover rate. Dr. Robins desires to replicate this program, to address the employee turnover concern, based on its successes. From several studies, it has been found that Black and Hispanic individuals were hit the hardest as far as job opportunities, while being faced with a lower earning potential. Dr. Robins is determined to empower these minority workers, to allow them to gain more skillsets and enhance their employability.Throughout the discussion, Dr. Robins emphasizes her need to keep a strong sense of character and grit. This includes having compassion and being the voice of reason and speaking up for those who are underrepresented and underserved.Community development and economic development are strongly intertwined, Dr. Robins highlights this in her everyday life while developing her relationships with her local community. She actively serves on committees and boards, and loves being involved in conversations on corporate responsibility and sustainability. She believes in the power to navigate in multiple networks in order to support, share and build the region. In her role, there is a responsibility to contribute to the community, and she carries this into everything she does.Dr. Sabrina Robins loves to partner with those who share the same mission and values as she, especially those who share the readiness to help others. To connect with Dr. Robins, visit her LinkedIn here, and don't hesitate to give her a follow!
There are 2 weeks until the Feb 2023 bar exam, and our panel of experts weighs in with suggestions on how to make the best use of the remaining study time. We discuss practicing MBEs, successful essay techniques, setting a study plan, mindset, and much more. Video Episode 427 Featured in this Episode: LIVE Bar Prep Bootcamp! Details BarMaps® From Celebration Bar Review Calming The Chaos™ Mindset Coaching Order PhotoReading For The Bar Exam™ New Multistate Nutshell Videos™ Do Something Different! FREE Webinar Free Consultation with Jackson Want to know what's keeping you from success on the bar exam? Take this FREE 60-second [QUIZ] What's Your #1 Bar Exam Mistake? [QUIZ] What's Your #1 Bar Exam Mistake?
BUDPOD LIVE! 14th March!Tickets:https://lsttickets.leicestersquaretheatre.com/ticketbooth/shows/873632982Pierre's Soho Show: https://sohotheatre.com/shows/pierre-novellie-why-cant-i-just-enjoy-things/Phil's tour: www.philwang.co.ukThe boys discuss naan and garlic, body hair, wrestling training, goose bumps, wrestling, MBEsSketch is alan crumb professor of relaxing meditationCorrespondence from: Rish the Big Pilot Get bonus BudPod on Patreon! Hosted on Acast. See acast.com/privacy for more information.
“It's shocking how many small businesses lose out because they don't follow through with that proposal.” – Reena Bhatia Reena Bhatia is an advisor and the founder and Chief Proposal Architect of ProposalHelper, one of the first companies to offer fixed-price proposal support services. Reena founded ProposalHelper with the intent of helping small businesses—especially minority-owned businesses—have their proposals be on the same playing field as bigger competitors. Charles James is ProposalHelper's Business Solution Manager and his role is to help clients win more opportunities and maintain a competitive edge. Before working with ProposalHelper, Charles was the Assistant Vice President of the finance group, SouthStar Capital. Reena and Charles join us today to describe how ProposalHelper assists small businesses. They explain the challenges of being a small fish in a big pond, especially when everyone is vying for the same resources. They discuss why they have a much higher win ratio than their competitors. Reena and Charles also share how small businesses can all work together to ensure each one gets their fair share of large contracts. Topics discussed in this episode of Breaking Barriers, Building Hire Ground: What ProposalHelper is and how it came to be How Charles connected with ProposalHelper ProposalHelper's projects and how they plan to dominate the industry The struggles of expanding as a small business Untangling the government bureaucracy for small businesses Why their win rate is higher than their competitors The last thing a small business needs The best time to hire ProposalHelper for your business Certifications and how they boost your proposals How small businesses can improve the ecosystem altogether Connect with Reena Bhatia: ProposalHelper Reena Bhatia on LinkedIn Connect with Charles James: Charles James on LinkedIn BidExecs Email: charles@proposalhelper.com Listen to the full episode now! Don't miss a single episode – visit Breaking Barriers, Building Hire Ground to subscribe. This podcast is brought to you by Hire Ground. Hire Ground is a technology company whose mission is to bridge the wealth gap through access to procurement opportunities. Hire Ground is making the enterprise ecosystem more viable, profitable, and competitive by clearing the path for minority-led, women-led, LGBT-led, and veteran-led small businesses to contribute to the global economy as suppliers to enterprise organizations. For more information on getting started please visit us @ hireground.io today! If you enjoyed this episode, please subscribe and leave a review wherever you get your podcasts.Please take a moment to complete our demographics survey. Apple Podcasts | TuneIn | GooglePlay | Stitcher | Spotify Be sure to share your favorite episodes on social media and join us on Facebook, Twitter, and LinkedIn.
Reena Bhatia is an advisor, founder, and Chief Proposal Architect of ProposalHelper, one of the first companies to offer fixed-price proposal support services. Reena founded ProposalHelper with the intent of helping small businesses—especially minority-owned businesses—have their proposals be on the same playing field as bigger competitors. Charles James is ProposalHelper's Business Solution Manager, and his role is to help clients win more opportunities and maintain a competitive edge. Before working with ProposalHelper, Charles was the Assistant Vice President of the finance group, SouthStar Capital. Reena and Charles join us today to describe how ProposalHelper assists small businesses. They explain the challenges of being a small fish in a big pond, especially when everyone is vying for the same resources. They discuss why they have a much higher win ratio than their competitors. Reena and Charles also share how small businesses can all work together to ensure each one gets their fair share of large contracts. “It's shocking how many small businesses lose out because they don't follow through with that proposal.” - Reena Bhatia This week on Breaking Barriers: ● What ProposalHelper is and how it came to be● How Charles connected with ProposalHelper● ProposalHelper's projects and how they plan to dominate the industry● The struggles of expanding as a small business● Untangling the government bureaucracy for small businesses● Why their win rate is higher than their competitors● The last thing a small business needs● The best time to hire ProposalHelper for your business● Certifications and how they boost your proposals● How small businesses can improve the ecosystem altogether Connect with Reena Bhatia: ● ProposalHelper● Reena Bhatia on LinkedIn Connect with Charles James: ● Charles James on LinkedIn● BidExecs● Email: charles@proposalhelper.com This podcast is brought to you by Hire Ground Hire Ground is a technology company whose mission is to bridge the wealth gap through access to procurement opportunities. Hire Ground is making the enterprise ecosystem more viable, profitable, and competitive by clearing the path for minority-led, women-led, LGBT-led, and veteran-led small businesses to contribute to the global economy as suppliers to enterprise organizations. For more information on getting started please visit us @ hireground.io today! If you enjoyed this episode, please subscribe and leave a review wherever you get your podcasts. Apple Podcasts | TuneIn | GooglePlay | Stitcher | Spotify Be sure to share your favorite episodes on social media and join us on Facebook, Twitter, and LinkedIn.
“It's shocking how many small businesses lose out because they don't follow through with that proposal.” – Reena Bhatia Reena Bhatia is an advisor and the founder and Chief Proposal Architect of ProposalHelper, one of the first companies to offer fixed-price proposal support services. Reena founded ProposalHelper with the intent of helping small businesses—especially minority-owned businesses—have their proposals be on the same playing field as bigger competitors. Charles James is ProposalHelper's Business Solution Manager and his role is to help clients win more opportunities and maintain a competitive edge. Before working with ProposalHelper, Charles was the Assistant Vice President of the finance group, SouthStar Capital. Reena and Charles join us today to describe how ProposalHelper assists small businesses. They explain the challenges of being a small fish in a big pond, especially when everyone is vying for the same resources. They discuss why they have a much higher win ratio than their competitors. Reena and Charles also share how small businesses can all work together to ensure each one gets their fair share of large contracts. Topics discussed in this episode of Breaking Barriers, Building Hire Ground: What ProposalHelper is and how it came to be How Charles connected with ProposalHelper ProposalHelper's projects and how they plan to dominate the industry The struggles of expanding as a small business Untangling the government bureaucracy for small businesses Why their win rate is higher than their competitors The last thing a small business needs The best time to hire ProposalHelper for your business Certifications and how they boost your proposals How small businesses can improve the ecosystem altogether Connect with Reena Bhatia: ProposalHelper Reena Bhatia on LinkedIn Connect with Charles James: Charles James on LinkedIn BidExecs Email: charles@proposalhelper.com Listen to the full episode now! Don't miss a single episode – visit Breaking Barriers, Building Hire Ground to subscribe. This podcast is brought to you by Hire Ground. Hire Ground is a technology company whose mission is to bridge the wealth gap through access to procurement opportunities. Hire Ground is making the enterprise ecosystem more viable, profitable, and competitive by clearing the path for minority-led, women-led, LGBT-led, and veteran-led small businesses to contribute to the global economy as suppliers to enterprise organizations. For more information on getting started please visit us @ hireground.io today! If you enjoyed this episode, please subscribe and leave a review wherever you get your podcasts.Please take a moment to complete our demographics survey. Apple Podcasts | TuneIn | GooglePlay | Stitcher | Spotify Be sure to share your favorite episodes on social media and join us on Facebook, Twitter, and LinkedIn.
Tomàs Àvila, Director Asociado de la División de Equidad, Diversidad e Inclusión en el Departamento de Administración del estado de Rhode Island nos informa sobre oportunidades disponibles para la población hispana.Mas información sobre esta oficina en el siguiente link:https://dedi.ri.gov/about-officeAbout The OfficeThe Office of Diversity, Equity and Opportunity (ODEO) (now DEDI) is a division within the Department of Administration that was created in the summer of 2014 as a result of the State's implementation of Executive Order 13-05, entitled: Promotion of Diversity, Equal Opportunity and Minority Business Enterprises in Rhode Island. This executive order required the Director of the Department of Administration (Department) to review all divisions and offices within the Department charged with facilitating equal opportunity employment and MBEs, including, but not limited to, the Division of Human Resources, the State Equal Opportunity Office, the Human Resources Outreach and Diversity Office, the Division of Purchases, and the MBE Program, and make recommendations to the Governor to improve collaboration between these offices and all executive departments to ensure these programs are more effective. As a result of a collaborative effort amongst these divisions, as well as other divisions within the Department of Administration, several recommendations were submitted to the Governor, one of which was the creation of the ODEO.The ODEO oversees operations within the State Equal Opportunity Office, the Human Resources Outreach & Diversity Office, the Minority Business Enterprise Compliance Office, and the newly created Supplier Diversity Office.We are committed to being the team that shifts the culture toward greater diversity, equity and inclusion in Rhode Island State government employment and procurement.VisionTo create and support a diverse and inclusive state government culture that values and reflects the changing demographics of Rhode Island by advancing equitable and fair opportunities for all Rhode Island Citizens to be employed by and/or do business with the State of Rhode Island.Major GoalsTo ensure that the state government workforce reflects the demographics of our state's labor force, with an emphasis on increasing the representation of people of color in the higher level management positions.To improve the culture within state government to be more equitable, inclusive, and engaging for all employees, as well as to improve the quality of service to our customers and clients.To increase opportunities for minority and women-owned business enterprises, disadvantaged business enterprises, veteran business enterprises, as well as disability business enterprises, to participate in our state's procurement activities.
"If you can see the poverty in Greater Manchester or anywhere and not act, I'm worried.” - Vikas Shah MBE Ahead of the Queen's Platinum Jubilee on Friday 3rd June, we are taking a look back at those, of our guests, who have been recognised for their acts of service to others, to their communities and to causes they hold close to their hearts. Join us for a special episode in which we will hear the inspirational stories of the Mancs who have been awarded MBEs, OBEs, Deputy Lieutenant and High Sheriff and the reasons for which they have chosen to devote their lives to service. ------ Your host, Lisa Morton, started PR company Roland Dransfield in 1996, one month after the fateful IRA bomb that tore apart the city centre. From that point, the business, and its team members, have been involved in helping to support the creation of Modern Manchester – across regeneration, business, charity, leisure and hospitality, sport and culture. To celebrate the 25 years that Roland Dransfield has spent creating these bonds, Lisa is gathering together some of her Greater Mancunian ‘family' and will be exploring how they have created their own purposeful relationships with the best place in the world. Connect with Lisa and Roland Dransfield: Via our website On Instagram On Twitter On Spotify
Chaque jour, en moins de 10 minutes, un résumé de l'actualité du jour. Rapide, facile, accessible. DES LIENS POUR EN SAVOIR PLUS : GUERRE DE L'IMAGE UKRAINE : BFM TV, Keliane Martenon, France InfoPOINT UKRAINE : 20 minutes, Le Monde, France Info COVID : Le Figaro, BFM TVYVAN COLONNA : 20 minutes, Le MondePRESIDENTIELLE : France Inter, Sud OuestÉcriture : Anais Lochon - Manon de Cabarrus - Paul Bonnaud - Hugo Travers Montage : Léo Henry Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.
Când o mamă zâmbește, un copil râde - despre misiunea unei mame - #20 Mirela Retegan - antrenorul părinților
This week's episode looks at “Tomorrow Never Knows”, the making of Revolver by the Beatles, and the influence of Timothy Leary on the burgeoning psychedelic movement. 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 "Keep on Running" by the Spencer Davis Group. 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 A few things -- I say "Fairfield" at one point when I mean "Fairchild". While Timothy Leary was imprisoned in 1970 he wasn't actually placed in the cell next to Charles Manson until 1973. Sources differ on when Geoff Emerick started at EMI, and he *may* not have worked on "Sun Arise", though I've seen enough reliable sources saying he did that I think it's likely. And I've been told that Maureen Cleave denied having an affair with Lennon -- though note that I said it was "strongly rumoured" rather than something definite. Resources As usual, a mix of all the songs excerpted in this episode is available at Mixcloud.com. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. For information on Timothy Leary I used a variety of sources including The Most Dangerous Man in America by Bill Minutaglio and Steven L. Davis; Timothy Leary: Outside Looking In by Robert Forte; The Starseed Signals by Robert Anton Wilson; and especially The Harvard Psychedelic Club by Don Lattin. I also referred to both The Tibetan Book of the Dead and to The Psychedelic Experience. Leary's much-abridged audiobook version of The Psychedelic Experience can be purchased from Folkways Records. Sadly the first mono mix of "Tomorrow Never Knows" has been out of print since it was first issued. The only way to get the second mono mix is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Revolver. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start this episode, I'd like to note that it deals with a number of subjects some listeners might find upsetting, most notably psychedelic drug use, mental illness, and suicide. I think I've dealt with those subjects fairly respectfully, but you still may want to check the transcript if you have worries about these subjects. Also, we're now entering a period of music history with the start of the psychedelic era where many of the songs we're looking at are influenced by non-mainstream religious traditions, mysticism, and also increasingly by political ideas which may seem strange with nearly sixty years' hindsight. I'd just like to emphasise that when I talk about these ideas, I'm trying as best I can to present the thinking of the people I'm talking about, in an accurate and unbiased way, rather than talking about my own beliefs. We're going to head into some strange places in some of these episodes, and my intention is neither to mock the people I'm talking about nor to endorse their ideas, but to present those ideas to you the listener so you can understand the music, the history, and the mindset of the people involved, Is that clear? Then lets' turn on, tune in, and drop out back to 1955... [Opening excerpt from The Psychedelic Experience] There is a phenomenon in many mystical traditions, which goes by many names, including the dark night of the soul and the abyss. It's an experience that happens to mystics of many types, in which they go through unimaginable pain near the beginning of their journey towards greater spiritual knowledge. That pain usually involves a mixture of internal and external events -- some terrible tragedy happens to them, giving them a new awareness of the world's pain, at the same time they're going through an intellectual crisis about their understanding of the world, and it can last several years. It's very similar to the more common experience of the mid-life crisis, except that rather than buying a sports car and leaving their spouse, mystics going through this are more likely to found a new religion. At least, those who survive the crushing despair intact. Those who come out of the experience the other end often find themselves on a totally new path, almost like they're a different person. In 1955, when Dr. Timothy Leary's dark night of the soul started, he was a respected academic psychologist, a serious scientist who had already made several substantial contributions to his field, and was considered a rising star. By 1970, he would be a confirmed mystic, sentenced to twenty years in prison, in a cell next to Charles Manson, and claiming to different people that he was the reincarnation of Gurdjieff, Aleister Crowley, and Jesus Christ. In the fifties, Leary and his wife had an open relationship, in which they were both allowed to sleep with other people, but weren't allowed to form emotional attachments to them. Unfortunately, Leary *had* formed an emotional attachment to another woman, and had started spending so much time with her that his wife was convinced he was going to leave her. On top of that, Leary was an alcoholic, and was prone to get into drunken rows with his wife. He woke up on the morning of his thirty-fifth birthday, hung over after one of those rows, to find that she had died by suicide while he slept, leaving a note saying that she knew he was going to leave her and that her life would be meaningless without him. This was only months after Leary had realised that the field he was working in, to which he had devoted his academic career, was seriously broken. Along with a colleague, Frank Barron, he published a paper on the results of clinical psychotherapy, "Changes in psychoneurotic patients with and without psychotherapy" which analysed the mental health of a group of people who had been through psychotherapy, and found that a third of them improved, a third stayed the same, and a third got worse. The problem was that there was a control group, of people with the same conditions who were put on a waiting list and told to wait the length of time that the therapy patients were being treated. A third of them improved, a third stayed the same, and a third got worse. In other words, psychotherapy as it was currently practised had no measurable effect at all on patients' health. This devastated Leary, as you might imagine. But more through inertia than anything else, he continued working in the field, and in 1957 he published what was regarded as a masterwork -- his book Interpersonal Diagnosis of Personality: A Functional Theory and Methodology for Personality Evaluation. Leary's book was a challenge to the then-dominant idea in psychology, behaviourism, which claimed that it made no sense to talk about anyone's internal thoughts or feelings -- all that mattered was what could be measured, stimuli and responses, and that in a very real sense the unmeasurable thoughts people had didn't exist at all. Behaviourism looked at every human being as a mechanical black box, like a series of levers. Leary, by contrast, analysed human interactions as games, in which people took on usual roles, but were able, if they realised this, to change the role or even the game itself. It was very similar to the work that Eric Berne was doing at the same time, and which would later be popularised in Berne's book Games People Play. Berne's work was so popular that it led to the late-sixties hit record "Games People Play" by Joe South: [Excerpt: Joe South: "Games People Play"] But in 1957, between Leary and Berne, Leary was considered the more important thinker among his peers -- though some thought of him as more of a showman, enthralled by his own ideas about how he was going to change psychology, than a scientist, and some thought that he was unfairly taking credit for the work of lesser-known but better researchers. But by 1958, the effects of the traumas Leary had gone through a couple of years earlier were at their worst. He was starting to become seriously ill -- from the descriptions, probably from something stress-related and psychosomatic -- and he took his kids off to Europe, where he was going to write the great American novel. But he rapidly ran through his money, and hadn't got very far with the novel. He was broke, and ill, and depressed, and desperate, but then in 1959 his old colleague Frank Barron, who was on holiday in the area, showed up, and the two had a conversation that changed Leary's life forever in multiple ways. The first of the conversational topics would have the more profound effect, though that wouldn't be apparent at first. Barron talked to Leary about his previous holiday, when he'd visited Mexico and taken psilocybin mushrooms. These had been used by Mexicans for centuries, but the first publication about them in English had only been in 1955 -- the same year when Leary had had other things on his mind -- and they were hardly known at all outside Mexico. Barron talked about the experience as being the most profound, revelatory, experience of his life. Leary thought his friend sounded like a madman, but he humoured him for the moment. But Barron also mentioned that another colleague was on holiday in the same area. David McClelland, head of the Harvard Center for Personality Research, had mentioned to Barron that he had just read Diagnosis of Personality and thought it a work of genius. McClelland hired Leary to work for him at Harvard, and that was where Leary met Ram Dass. [Excerpt from "The Psychedelic Experience"] Ram Dass was not the name that Dass was going by at the time -- he was going by his birth name, and only changed his name a few years later, after the events we're talking about -- but as always, on this podcast we don't use people's deadnames, though his is particularly easy to find as it's still the name on the cover of his most famous book, which we'll be talking about shortly. Dass was another psychologist at the Centre for Personality Research, and he would be Leary's closest collaborator for the next several years. The two men would become so close that at several points Leary would go travelling and leave his children in Dass' care for extended periods of time. The two were determined to revolutionise academic psychology. The start of that revolution didn't come until summer 1960. While Leary was on holiday in Cuernavaca in Mexico, a linguist and anthropologist he knew, Lothar Knauth, mentioned that one of the old women in the area collected those magic mushrooms that Barron had been talking about. Leary decided that that might be a fun thing to do on his holiday, and took a few psilocybin mushrooms. The effect was extraordinary. Leary called this, which had been intended only as a bit of fun, "the deepest religious experience of my life". [Excerpt from "The Psychedelic Experience"] He returned to Harvard after his summer holiday and started what became the Harvard Psilocybin Project. Leary and various other experimenters took controlled doses of psilocybin and wrote down their experiences, and Leary believed this would end up revolutionising psychology, giving them insights unattainable by other methods. The experimenters included lecturers, grad students, and people like authors Allen Ginsberg and William Burroughs, jazz trumpeter Maynard Ferguson, and Alan Watts, who popularised Zen Buddhism in the West. Dass didn't join the project until early 1961 -- he'd actually been on the holiday with Leary, but had arrived a few days after the mushroom experiment, and nobody had been able to get hold of the old woman who knew where to find the mushrooms, so he'd just had to deal with Leary telling him about how great it was rather than try it himself. He then spent a semester as a visiting scholar at Berkeley, so he didn't get to try his first trip until February 1961. Dass, on his first trip, first had a revelation about the nature of his own true soul, then decided at three in the morning that he needed to go and see his parents, who lived nearby, and tell them the good news. But there was several feet of snow, and so he decided he must save his parents from the snow, and shovel the path to their house. At three in the morning. Then he saw them looking out the window at him, he waved, and then started dancing around the shovel. He later said “Until that moment I was always trying to be the good boy, looking at myself through other people's eyes. What did the mothers, fathers, teachers, colleagues want me to be? That night, for the first time, I felt good inside. It was OK to be me.” The Harvard Psilocybin Project soon became the Harvard Psychedelic Project. The term "psychedelic", meaning "soul revealing", was coined by the British psychiatrist Humphrey Osmond, who had been experimenting with hallucinogens for years, and had guided Aldous Huxley on the mescaline trip described in The Doors of Perception. Osmond and Huxley had agreed that the term "psychotomimetic", in use at the time, which meant "mimicking psychosis", wasn't right -- it was too negative. They started writing letters to each other, suggesting alternative terms. Huxley came up with "phanerothyme", the Greek for "soul revealing", and wrote a little couplet to Osmond: To make this trivial world sublime Take half a gramme of phanerothyme. Osmond countered with the Latin equivalent: To fathom hell or soar angelic Just take a pinch of psychedelic Osmond also inspired Leary's most important experimental work of the early sixties. Osmond had got to know Bill W., the founder of Alcoholics Anonymous, and had introduced W. to LSD. W. had become sober after experiencing a profound spiritual awakening and a vision of white light while being treated for his alcoholism using the so-called "belladonna cure" -- a mixture of various hallucinogenic and toxic substances that was meant to cure alcoholism. When W. tried LSD, he found it replicated his previous spiritual experience and became very evangelistic about its use by alcoholics, thinking it could give them the same kind of awakening he'd had. Leary became convinced that if LSD could work on alcoholics, it could also be used to help reshape the personalities of habitual criminals and lead them away from reoffending. His idea for how to treat people was based, in part, on the ideas of transactional analysis. There is always a hierarchical relationship between a therapist and their patient, and that hierarchical relationship itself, in Leary's opinion, forced people into particular game roles and made it impossible for them to relate as equals, and thus impossible for the therapist to truly help the patient. So his idea was that there needed to be a shared bonding experience between patient and doctor. So in his prison experiments, he and the other people involved, including Ralph Metzner, one of his grad students, would take psilocybin *with* the patients. In short-term follow-ups the patients who went through this treatment process were less depressed, felt better, and were only half as likely to reoffend as normal prisoners. But critics pointed out that the prisoners had been getting a lot of individual attention and support, and there was no control group getting that support without the psychedelics. [Excerpt: The Psychedelic Experience] As the experiments progressed, though, things were becoming tense within Harvard. There was concern that some of the students who were being given psilocybin were psychologically vulnerable and were being put at real risk. There was also worry about the way that Leary and Dass were emphasising experience over analysis, which was felt to be against the whole of academia. Increasingly it looked like there was a clique forming as well, with those who had taken part in their experiments on the inside and looking down on those outside, and it looked to many people like this was turning into an actual cult. This was simply not what the Harvard psychology department was meant to be doing. And one Harvard student was out to shut them down for good, and his name was Andrew Weil. Weil is now best known as one of the leading lights in alternative health, and has made appearances on Oprah and Larry King Live, but for many years his research interest was in mind-altering chemicals -- his undergraduate thesis was on the use of nutmeg to induce different states of consciousness. At this point Weil was an undergraduate, and he and his friend Ronnie Winston had both tried to get involved in the Harvard Psilocybin Project, but had been turned down -- while they were enthusiastic about it, they were also undergraduates, and Leary and Dass had agreed with the university that they wouldn't be using undergraduates in their project, and that only graduate students, faculty, and outsiders would be involved. So Weil and Winston had started their own series of experiments, using mescaline after they'd been unable to get any psilocybin -- they'd contacted Aldous Huxley, the author of The Doors of Perception and an influence on Leary and Dass' experiments, and asked him where they could get mescaline, and he'd pointed them in the right direction. But then Winston and Dass had become friends, and Dass had given Winston some psilocybin -- not as part of his experiments, so Dass didn't think he was crossing a line, but just socially. Weil saw this as a betrayal by Winston, who stopped hanging round with him once he became close to Dass, and also as a rejection of him by Dass and Leary. If they'd give Winston psilocybin, why wouldn't they give it to him? Weil was a writer for the Harvard Crimson, Harvard's newspaper, and he wrote a series of exposes on Leary and Dass for the Crimson. He went to his former friend Winston's father and told him "Your son is getting drugs from a faculty member. If your son will admit to that charge, we'll cut out your son's name. We won't use it in the article." Winston did admit to the charge, under pressure from his father, and was brought to tell the Dean, saying to the Dean “Yes, sir, I did, and it was the most educational experience I've had at Harvard.” Weil wrote about this for the Crimson, and the story was picked up by the national media. Weil eventually wrote about Leary and Dass for Look magazine, where he wrote “There were stories of students and others using hallucinogens for seductions, both heterosexual and homosexual.” And this seems actually to have been a big part of Weil's motivation. While Dass and Winston always said that their relationship was purely platonic, Dass was bisexual, and Weil seems to have assumed his friend had been led astray by an evil seducer. This was at a time when homophobia and biphobia were even more prevalent in society than they are now, and part of the reason Leary and Dass fell out in the late sixties is that Leary started to see Dass' sexuality as evil and perverted and something they should be trying to use LSD to cure. The experiments became a national scandal, and one of the reasons that LSD was criminalised a few years later. Dass was sacked for giving drugs to undergraduates; Leary had gone off to Mexico to get away from the stress, leaving his kids with Dass. He would be sacked for going off without permission and leaving his classes untaught. As Leary and Dass were out of Harvard, they had to look for other sources of funding. Luckily, Dass turned William Mellon Hitchcock, the heir to the Mellon oil fortune, on to acid, and he and his brother Tommy and sister Peggy gave them the run of a sixty-four room mansion, named Millbrook. When they started there, they were still trying to be academics, but over the five years they were at Millbrook it became steadily less about research and more of a hippie commune, with regular visitors and long-term residents including Alan Ginsberg, William Burroughs, and the jazz musician Maynard Ferguson, who would later get a small amount of fame with jazz-rock records like his version of "MacArthur Park": [Excerpt: Maynard Ferguson, "MacArthur Park"] It was at Millbrook that Leary, Dass, and Metzner would write the book that became The Psychedelic Experience. This book was inspired by the Bardo Thödol, a book allegedly written by Padmasambhava, the man who introduced Buddhism to Tibet in the eighth century, though no copies of it are known to have existed before the fourteenth century, when it was supposedly discovered by Karma Lingpa. Its title translates as Liberation Through Hearing During the Intermediate State, but it was translated into English under the name The Tibetan Book of the Dead, as Walter Evans-Wentz, who compiled and edited the first English translation was, like many Westerners who studied Buddhism in the early part of the twentieth century, doing so because he was an occultist and a member of the Theosophical Society, which believes the secret occult masters of the world live in Tibet, but which also considered the Egyptian Book of the Dead -- a book which bears little relationship to the Bardo Thödol, and which was written thousands of years earlier on a different continent -- to be a major religious document. So it was through that lens that Evans-Wentz was viewing the Bardo Thödol, and he renamed the book to emphasise what he perceived as its similarities. Part of the Bardo Thödol is a description of what happens to someone between death and rebirth -- the process by which the dead person becomes aware of true reality, and then either transcends it or is dragged back into it by their lesser impulses -- and a series of meditations that can be used to help with that transcendence. In the version published as The Tibetan Book of the Dead, this is accompanied by commentary from Evans-Wentz, who while he was interested in Buddhism didn't actually know that much about Tibetan Buddhism, and was looking at the text through a Theosophical lens, and mostly interpreting it using Hindu concepts. Later editions of Evans-Wentz's version added further commentary by Carl Jung, which looked at Evans-Wentz's version of the book through Jung's own lens, seeing it as a book about psychological states, not about anything more supernatural (although Jung's version of psychology was always a supernaturalist one, of course). His Westernised, psychologised, version of the book's message became part of the third edition. Metzner later said "At the suggestion of Aldous Huxley and Gerald Heard we began using the Bardo Thödol ( Tibetan Book of the Dead) as a guide to psychedelic sessions. The Tibetan Buddhists talked about the three phases of experience on the “intermediate planes” ( bardos) between death and rebirth. We translated this to refer to the death and the rebirth of the ego, or ordinary personality. Stripped of the elaborate Tibetan symbolism and transposed into Western concepts, the text provided a remarkable parallel to our findings." Leary, Dass, and Metzner rewrote the book into a form that could be used to guide a reader through a psychedelic trip, through the death of their ego and its rebirth. Later, Leary would record an abridged audiobook version, and it's this that we've been hearing excerpts of during this podcast so far: [Excerpt: The Psychedelic Experience "Turn off your mind, relax, float downstream" about 04:15] When we left the Beatles, they were at the absolute height of their fame, though in retrospect the cracks had already begun to show. Their second film had been released, and the soundtrack had contained some of their best work, but the title track, "Help!", had been a worrying insight into John Lennon's current mental state. Immediately after making the film and album, of course, they went back out touring, first a European tour, then an American one, which probably counts as the first true stadium tour. There had been other stadium shows before the Beatles 1965 tour -- we talked way back in the first episodes of the series about how Sister Rosetta Tharpe had a *wedding* that was a stadium gig. But of course there are stadiums and stadiums, and the Beatles' 1965 tour had them playing the kind of venues that no other musician, and certainly no other rock band, had ever played. Most famously, of course, there was the opening concert of the tour at Shea Stadium, where they played to an audience of fifty-five thousand people -- the largest audience a rock band had ever played for, and one which would remain a record for many years. Most of those people, of course, couldn't actually hear much of anything -- the band weren't playing through a public address system designed for music, just playing through the loudspeakers that were designed for commentating on baseball games. But even if they had been playing through the kind of modern sound systems used today, it's unlikely that the audience would have heard much due to the overwhelming noise coming from the crowd. Similarly, there were no live video feeds of the show or any of the other things that nowadays make it at least possible for the audience to have some idea what is going on on stage. The difference between this and anything that anyone had experienced before was so great that the group became overwhelmed. There's video footage of the show -- a heavily-edited version, with quite a few overdubs and rerecordings of some tracks was broadcast on TV, and it's also been shown in cinemas more recently as part of promotion for an underwhelming documentary about the Beatles' tours -- and you can see Lennon in particular becoming actually hysterical during the performance of "I'm Down", where he's playing the organ with his elbows. Sadly the audio nature of this podcast doesn't allow me to show Lennon's facial expression, but you can hear something of the exuberance in the performance. This is from what is labelled as a copy of the raw audio of the show -- the version broadcast on TV had a fair bit of additional sweetening work done on it: [Excerpt: The Beatles, "I'm Down (Live at Shea Stadium)"] After their American tour they had almost six weeks off work to write new material before going back into the studio to record their second album of the year, and one which would be a major turning point for the group. The first day of the recording sessions for this new album, Rubber Soul, started with two songs of Lennon's. The first of these was "Run For Your Life", a song Lennon never later had much good to say about, and which is widely regarded as the worst song on the album. That song was written off a line from Elvis Presley's version of "Baby Let's Play House", and while Lennon never stated this, it's likely that it was brought to mind by the Beatles having met with Elvis during their US tour. But the second song was more interesting. Starting with "Help!", Lennon had been trying to write more interesting lyrics. This had been inspired by two conversations with British journalists -- Kenneth Allsop had told Lennon that while he liked Lennon's poetry, the lyrics to his songs were banal in comparison and he found them unlistenable as a result, while Maureen Cleave, a journalist who was a close friend with Lennon, had told him that she hadn't noticed a single word in any of his lyrics with more than two syllables, so he made more of an effort with "Help!", putting in words like "independence" and "insecure". As he said in one of his last interviews, "I was insecure then, and things like that happened more than once. I never considered it before. So after that I put a few words with three syllables in, but she didn't think much of them when I played it for her, anyway.” Cleave may have been an inspiration for "Norwegian Wood (This Bird Has Flown)". There are very strong rumours that Lennon had an affair with Cleave in the mid-sixties, and if that's true it would definitely fit into a pattern. Lennon had many, many, affairs during his first marriage, both brief one-night stands and deeper emotional attachments, and those emotional attachments were generally with women who were slightly older, intellectual, somewhat exotic looking by the standards of 1960s Britain, and in the arts. Lennon later claimed to have had an affair with Eleanor Bron, the Beatles' co-star in Help!, though she always denied this, and it's fairly widely established that he did have an affair with Alma Cogan, a singer who he'd mocked during her peak of popularity in the fifties, but who would later become one of his closest friends: [Excerpt: Alma Cogan, "Why Do Fools Fall in Love?"] And "Norwegian Wood", the second song recorded for Rubber Soul, started out as a confession to one of these affairs, a way of Lennon admitting it to his wife without really admitting it. The figure in the song is a slightly aloof, distant woman, and the title refers to the taste among Bohemian British people at the time for minimalist decor made of Scandinavian pine -- something that would have been a very obvious class signifier at the time. [Excerpt: The Beatles, "Norwegian Wood (This Bird Has Flown)"] Lennon and McCartney had different stories about who wrote what in the song, and Lennon's own story seems to have changed at various times. What seems to have happened is that Lennon wrote the first couple of verses while on holiday with George Martin, and finished it off later with McCartney's help. McCartney seems to have come up with the middle eight melody -- which is in Dorian mode rather than the Mixolydian mode of the verses -- and to have come up with the twist ending, where the woman refuses to sleep with the protagonist and laughs at him, he goes to sleep in the bath rather than her bed, wakes up alone, and sets fire to the house in revenge. This in some ways makes "Norwegian Wood" the thematic centrepiece of the album that was to result, combining several of the themes its two songwriters came back to throughout the album and the single recorded alongside it. Like Lennon's "Run For Your Life" it has a misogynistic edge to it, and deals with taking revenge against a woman, but like his song "Girl", it deals with a distant, unattainable, woman, who the singer sees as above him but who has a slightly cruel edge -- the kind of girl who puts you down when friends are there, you feel a fool, is very similar to the woman who tells you to sit down but has no chairs in her minimalist flat. A big teaser who takes you half the way there is likely to laugh at you as you crawl off to sleep in the bath while she goes off to bed alone. Meanwhile, McCartney's two most popular contributions to the album, "Michelle" and "Drive My Car", also feature unattainable women, but are essentially comedy songs -- "Michelle" is a pastiche French song which McCartney used to play as a teenager while pretending to be foreign to impress girls, dug up and finished for the album, while "Drive My Car" is a comedy song with a twist in the punchline, just like "Norwegian Wood", though "Norwegian Wood"s twist is darker. But "Norwegian Wood" is even more famous for its music than for its lyric. The basis of the song is Lennon imitating Dylan's style -- something that Dylan saw, and countered with "Fourth Time Around", a song which people have interpreted multiple ways, but one of those interpretations has always been that it's a fairly vicious parody of "Norwegian Wood": [Excerpt: Bob Dylan, "Fourth Time Around"] Certainly Lennon thought that at first, saying a few years later "I was very paranoid about that. I remember he played it to me when he was in London. He said, what do you think? I said, I don't like it. I didn't like it. I was very paranoid. I just didn't like what I felt I was feeling – I thought it was an out and out skit, you know, but it wasn't. It was great. I mean he wasn't playing any tricks on me. I was just going through the bit." But the aspect of "Norwegian Wood" that has had more comment over the years has been the sitar part, played by George Harrison: [Excerpt: The Beatles, "Norwegian Wood"] This has often been called the first sitar to be used on a rock record, and that may be the case, but it's difficult to say for sure. Indian music was very much in the air among British groups in September 1965, when the Beatles recorded the track. That spring, two records had almost simultaneously introduced Indian-influenced music into the pop charts. The first had been the Yardbirds' "Heart Full of Soul", released in June and recorded in April. In fact, the Yardbirds had actually used a sitar on their first attempt at recording the song, which if it had been released would have been an earlier example than the Beatles: [Excerpt: The Yardbirds, "Heart Full of Soul (first version)"] But in the finished recording they had replaced that with Jeff Beck playing a guitar in a way that made it sound vaguely like a sitar, rather than using a real one: [Excerpt: The Yardbirds, "Heart Full of Soul (single)"] Meanwhile, after the Yardbirds had recorded that but before they'd released it, and apparently without any discussion between the two groups, the Kinks had done something similar on their "See My Friends", which came out a few weeks after the Yardbirds record: [Excerpt: The Kinks, "See My Friends"] (Incidentally, that track is sometimes titled "See My Friend" rather than "See My Friends", but that's apparently down to a misprint on initial pressings rather than that being the intended title). As part of this general flowering of interest in Indian music, George Harrison had become fascinated with the sound of the sitar while recording scenes in Help! which featured some Indian musicians. He'd then, as we discussed in the episode on "Eight Miles High" been introduced by David Crosby on the Beatles' summer US tour to the music of Ravi Shankar. "Norwegian Wood" likely reminded Harrison of Shankar's work for a couple of reasons. The first is that the melody is very modal -- as I said before, the verses are in Mixolydian mode, while the middle eights are in Dorian -- and as we saw in the "Eight Miles High" episode Indian music is very modal. The second is that for the most part, the verse is all on one chord -- a D chord as Lennon originally played it, though in the final take it's capoed on the second fret so it sounds in E. The only time the chord changes at all is on the words "once had" in the phrase “she once had me” where for one beat each Lennon plays a C9 and a G (sounding as a D9 and A). Both these chords, in the fingering Lennon is using, feel to a guitarist more like "playing a D chord and lifting some fingers up or putting some down" rather than playing new chords, and this is a fairly common way of thinking about stuff particularly when talking about folk and folk-rock music -- you'll tend to get people talking about the "Needles and Pins" riff as being "an A chord where you twiddle your finger about on the D string" rather than changing between A, Asus2, and Asus4. So while there are chord changes, they're minimal and of a kind that can be thought of as "not really" chord changes, and so that may well have reminded Harrison of the drone that's so fundamental to Indian classical music. Either way, he brought in his sitar, and they used it on the track, both the version they cut on the first day of recording and the remake a week later which became the album track: [Excerpt: The Beatles, "Norwegian Wood (This Bird Has Flown)"] At the same time as the group were recording Rubber Soul, they were also working on two tracks that would become their next single -- released as a double A-side because the group couldn't agree which of the two to promote. Both of these songs were actual Lennon/McCartney collaborations, something that was increasingly rare at this point. One, "We Can Work it Out" was initiated by McCartney, and like many of his songs of this period was inspired by tensions in his relationship with his girlfriend Jane Asher -- two of his other songs for Rubber Soul were "I'm Looking Through You" and "You Won't See Me". The other, "Day Tripper", was initiated by Lennon, and had other inspirations: [Excerpt: The Beatles, "Day Tripper"] John Lennon and George Harrison's first acid trip had been in spring of 1965, around the time they were recording Help! The fullest version of how they came to try it I've read was in an interview George Harrison gave to Creem magazine in 1987, which I'll quote a bit of: "I had a dentist who invited me and John and our ex-wives to dinner, and he had this acid he'd got off the guy who ran Playboy in London. And the Playboy guy had gotten it off, you know, the people who had it in America. What's his name, Tim Leary. And this guy had never had it himself, didn't know anything about it, but he thought it was an aphrodisiac and he had this girlfriend with huge breasts. He invited us down there with our blonde wives and I think he thought he was gonna have a scene. And he put it in our coffee without telling us—he didn't take any himself. We didn't know we had it, and we'd made an arrangement earlier—after we had dinner we were gonna go to this nightclub to see some friends of ours who were playing in a band. And I was saying, "OK, let's go, we've got to go," and this guy kept saying, "No, don't go, finish your coffee. Then, 20 minutes later or something, I'm saying, "C'mon John, we'd better go now. We're gonna miss the show." And he says we shouldn't go 'cause we've had LSD." They did leave anyway, and they had an experience they later remembered as being both profound and terrifying -- nobody involved had any idea what the effects of LSD actually were, and they didn't realise it was any different from cannabis or amphetamines. Harrison later described feelings of universal love, but also utter terror -- believing himself to be in hell, and that world war III was starting. As he said later "We'd heard of it, but we never knew what it was about and it was put in our coffee maliciously. So it really wasn't us turning each other or the world or anything—we were the victims of silly people." But both men decided it was an experience they needed to have again, and one they wanted to share with their friends. Their next acid trip was the one that we talked about in the episode on "Eight Miles High", with Roger McGuinn, David Crosby, and Peter Fonda. That time Neil Aspinall and Ringo took part as well, but at this point Paul was still unsure about taking it -- he would later say that he was being told by everyone that it changed your worldview so radically you'd never be the same again, and he was understandably cautious about this. Certainly it had a profound effect on Lennon and Harrison -- Starr has never really talked in detail about his own experiences. Harrison would later talk about how prior to taking acid he had been an atheist, but his experiences on the drug gave him an unshakeable conviction in the existence of God -- something he would spend the rest of his life exploring. Lennon didn't change his opinions that drastically, but he did become very evangelistic about the effects of LSD. And "Day Tripper" started out as a dig at what he later described as weekend hippies, who took acid but didn't change the rest of their lives -- which shows a certain level of ego in a man who had at that point only taken acid twice himself -- though in collaboration with McCartney it turned into another of the rather angry songs about unavailable women they were writing at this point. The line "she's a big teaser, she took me half the way there" apparently started as "she's a prick teaser": [Excerpt: The Beatles, "Day Tripper"] In the middle of the recording of Rubber Soul, the group took a break to receive their MBEs from the Queen. Officially the group were awarded these because they had contributed so much to British exports. In actual fact, they received them because the Prime Minister, Harold Wilson, had a government with a majority of only four MPs and was thinking about calling an election to boost his majority. He represented a Liverpool constituency, and wanted to associate his Government and the Labour Party with the most popular entertainers in the UK. "Day Tripper" and "We Can Work it Out" got their TV premiere on a show recorded for Granada TV, The Music of Lennon and McCartney, and fans of British TV trivia will be pleased to note that the harmonium Lennon plays while the group mimed "We Can Work it Out" in that show is the same one that was played in Coronation Street by Ena Sharples -- the character we heard last episode being Davy Jones' grandmother. As well as the Beatles themselves, that show included other Brian Epstein artists like Cilla Black and Billy J Kramer singing songs that Lennon and McCartney had given to them, plus Peter Sellers, the Beatles' comedy idol, performing "A Hard Day's Night" in the style of Laurence Olivier as Richard III: [Excerpt: Peter Sellers, "A Hard Day's Night"] Another performance on the show was by Peter and Gordon, performing a hit that Paul had given to them, one of his earliest songs: [Excerpt: Peter and Gordon, "A World Without Love"] Peter Asher, of Peter and Gordon, was the brother of Paul McCartney's girlfriend, the actor Jane Asher. And while the other three Beatles were living married lives in mansions in suburbia, McCartney at this point was living with the Asher family in London, and being introduced by them to a far more Bohemian, artistic, hip crowd of people than he had ever before experienced. They were introducing him to types of art and culture of which he had previously been ignorant, and while McCartney was the only Beatle so far who hadn't taken LSD, this kind of mind expansion was far more appealing to him. He was being introduced to art film, to electronic composers like Stockhausen, and to ideas about philosophy and art that he had never considered. Peter Asher was a friend of John Dunbar, who at the time was Marianne Faithfull's husband, though Faithfull had left him and taken up with Mick Jagger, and of Barry Miles, a writer, and in September 1965 the three men had formed a company, Miles, Asher and Dunbar Limited, or MAD for short, which had opened up a bookshop and art gallery, the Indica Gallery, which was one of the first places in London to sell alternative or hippie books and paraphernalia, and which also hosted art events by people like members of the Fluxus art movement. McCartney was a frequent customer, as you might imagine, and he also encouraged the other Beatles to go along, and the Indica Gallery would play an immense role in the group's history, which we'll look at in a future episode. But the first impact it had on the group was when John and Paul went to the shop in late 1965, just after the recording and release of Rubber Soul and the "Day Tripper"/"We Can Work It Out" single, and John bought a copy of The Psychedelic Experience by Leary, Dass, and Metzner. He read the book on a plane journey while going on holiday -- reportedly while taking his third acid trip -- and was inspired. When he returned, he wrote a song which became the first track to be recorded for the group's next album, Revolver: [Excerpt: The Beatles, "Tomorrow Never Knows"] The lyrics were inspired by the parts of The Psychedelic Experience which were in turn inspired by the Tibetan Book of the Dead. Now, it's important to put it this way because most people who talk about this record have apparently never read the book which inspired it. I've read many, many, books on the Beatles which claim that The Psychedelic Experience simply *is* the Tibetan Book of the Dead, slightly paraphrased. In fact, while the authors use the Tibetan Book of the Dead as a structure on which to base their book, much of the book is detailed descriptions of Leary, Dass, and Metzner's hypotheses about what is actually happening during a psychedelic trip, and their notes on the book -- in particular they provide commentaries to the commentaries, giving their view of what Carl Jung meant when he talked about it, and of Evans-Wentz's opinions, and especially of a commentary by Anagarika Govinda, a Westerner who had taken up Tibetan Buddhism seriously and become a monk and one of its most well-known exponents in the West. By the time it's been filtered through so many different viewpoints and perspectives, each rewriting and reinterpreting it to suit their own preconceived ideas, they could have started with a book on the habitat of the Canada goose and ended with much the same result. Much of this is the kind of mixture between religious syncretism and pseudoscience that will be very familiar to anyone who has encountered New Age culture in any way, statements like "The Vedic sages knew the secret; the Eleusinian Initiates knew it; the Tantrics knew it. In all their esoteric writings they whisper the message: It is possible to cut beyond ego-consciousness, to tune in on neurological processes which flash by at the speed of light, and to become aware of the enormous treasury of ancient racial knowledge welded into the nucleus of every cell in your body". This kind of viewpoint is one that has been around in one form or another since the nineteenth century religious revivals in America that led to Mormonism, Christian Science, and the New Thought. It's found today in books and documentaries like The Secret and the writings of people like Deepak Chopra, and the idea is always the same one -- people thousands of years ago had a lost wisdom that has only now been rediscovered through the miracle of modern science. This always involves a complete misrepresentation of both the lost wisdom and of the modern science. In particular, Leary, Dass, and Metzner's book freely mixes between phrases that sound vaguely scientific, like "There are no longer things and persons but only the direct flow of particles", things that are elements of Tibetan Buddhism, and references to ego games and "game-existence" which come from Leary's particular ideas of psychology as game interactions. All of this is intermingled, and so the claims that some have made that Lennon based the lyrics on the Tibetan Book of the Dead itself are very wrong. Rather the song, which he initially called "The Void", is very much based on Timothy Leary. The song itself was very influenced by Indian music. The melody line consists of only four notes -- E, G, C, and B flat, over a space of an octave: [Demonstrates] This sparse use of notes is very similar to the pentatonic scales in a lot of folk music, but that B-flat makes it the Mixolydian mode, rather than the E minor pentatonic scale our ears at first make it feel like. The B-flat also implies a harmony change -- Lennon originally sang the whole song over one chord, a C, which has the notes C, E, and G in it, but a B-flat note implies instead a chord of C7 -- this is another one of those occasions where you just put one finger down to change the chord while playing, and I suspect that's what Lennon did: [Demonstrates] Lennon's song was inspired by Indian music, but what he wanted was to replicate the psychedelic experience, and this is where McCartney came in. McCartney was, as I said earlier, listening to a lot of electronic composers as part of his general drive to broaden his mind, and in particular he had been listening to quite a bit of Karlheinz Stockhausen. Stockhausen was a composer who had studied with Olivier Messiaen in the 1940s, and had then become attached to the Groupe de Recherche de Musique Concrète along with Messiaen, Pierre Boulez, Edgard Varese and others, notably Pierre Schaeffer and Pierre Henry. These composers were interested in a specific style of music called musique concrète, a style that had been pioneered by Schaeffer. Musique concrète is music that is created from, or at least using, prerecorded sounds that have been electronically altered, rather than with live instruments. Often this would involve found sound -- music made not by instruments at all, but by combining recorded sounds of objects, like with the first major work of musique concrète, Pierre Schaeffer's Cinq études de bruits: [Excerpt: Pierre Schaeffer, "Etude aux Chemins de faire" (from Cinq études de bruits)] Early on, musique concrète composers worked in much the same way that people use turntables to create dance music today -- they would have multiple record players, playing shellac discs, and a mixing desk, and they would drop the needle on the record players to various points, play the records backwards, and so forth. One technique that Schaeffer had come up with was to create records with a closed groove, so that when the record finished, the groove would go back to the start -- the record would just keep playing the same thing over and over and over. Later, when magnetic tape had come into use, Schaeffer had discovered you could get the same effect much more easily by making an actual loop of tape, and had started making loops of tape whose beginnings were stuck to their ending -- again creating something that could keep going over and over. Stockhausen had taken up the practice of using tape loops, most notably in a piece that McCartney was a big admirer of, Gesang der Jeunglinge: [Excerpt: Karlheinz Stockhausen, "Gesang der Jeunglinge"] McCartney suggested using tape loops on Lennon's new song, and everyone was in agreement. And this is the point where George Martin really starts coming into his own as a producer for the group. Martin had always been a good producer, but his being a good producer had up to this point mostly consisted of doing little bits of tidying up and being rather hands-off. He'd scored the strings on "Yesterday", played piano parts, and made suggestions like speeding up "Please Please Me" or putting the hook of "Can't Buy Me Love" at the beginning. Important contributions, contributions that turned good songs into great records, but nothing that Tony Hatch or Norrie Paramor or whoever couldn't have done. Indeed, his biggest contribution had largely been *not* being a Hatch or Paramor, and not imposing his own songs on the group, letting their own artistic voices flourish. But at this point Martin's unique skillset came into play. Martin had specialised in comedy records before his work with the Beatles, and he had worked with Peter Sellers and Spike Milligan of the Goons, making records that required a far odder range of sounds than the normal pop record: [Excerpt: The Goons, "Unchained Melody"] The Goons' radio show had used a lot of sound effects created by the BBC Radiophonic Workshop, a department of the BBC that specialised in creating musique concrète, and Martin had also had some interactions with the Radiophonic Workshop. In particular, he had worked with Maddalena Fagandini of the Workshop on an experimental single combining looped sounds and live instruments, under the pseudonym "Ray Cathode": [Excerpt: Ray Cathode, "Time Beat"] He had also worked on a record that is if anything even more relevant to "Tomorrow Never Knows". Unfortunately, that record is by someone who has been convicted of very serious sex offences. In this case, Rolf Harris, the man in question, was so well-known in Britain before his arrest, so beloved, and so much a part of many people's childhoods, that it may actually be traumatic for people to hear his voice knowing about his crimes. So while I know that showing the slightest consideration for my listeners' feelings will lead to a barrage of comments from angry old men calling me a "woke snowflake" for daring to not want to retraumatise vulnerable listeners, I'll give a little warning before I play the first of two segments of his recordings in a minute. When I do, if you skip forward approximately ninety seconds, you'll miss that section out. Harris was an Australian all-round entertainer, known in Britain for his novelty records, like the unfortunately racist "Tie Me Kangaroo Down Sport" -- which the Beatles later recorded with him in a non-racist version for a BBC session. But he had also, in 1960, recorded and released in Australia a song he'd written based on his understanding of Aboriginal Australian religious beliefs, and backed by Aboriginal musicians on didgeridoo. And we're going to hear that clip now: [Excerpt. Rolf Harris, "Sun Arise" original] EMI, his British label, had not wanted to release that as it was, so he'd got together with George Martin and they'd put together a new version, for British release. That had included a new middle-eight, giving the song a tiny bit of harmonic movement, and Martin had replaced the didgeridoos with eight cellos, playing a drone: [Excerpt: Rolf Harris, "Sun Arise", 1962 version ] OK, we'll just wait a few seconds for anyone who skipped that to catch up... Now, there are some interesting things about that track. That is a track based on a non-Western religious belief, based around a single drone -- the version that Martin produced had a chord change for the middle eight, but the verses were still on the drone -- using the recording studio to make the singer's voice sound different, with a deep, pulsating, drum sound, and using a melody with only a handful of notes, which doesn't start on the tonic but descends to it. Sound familiar? Oh, and a young assistant engineer had worked with George Martin on that session in 1962, in what several sources say was their first session together, and all sources say was one of their first. That young assistant engineer was Geoff Emerick, who had now been promoted to the main engineer role, and was working his first Beatles session in that role on “Tomorrow Never Knows”. Emerick was young and eager to experiment, and he would become a major part of the Beatles' team for the next few years, acting as engineer on all their recordings in 1966 and 67, and returning in 1969 for their last album. To start with, the group recorded a loop of guitar and drums, heavily treated: [Excerpt: "Tomorrow Never Knows", loop] That loop was slowed down to half its speed, and played throughout: [Excerpt: "Tomorrow Never Knows", loop] Onto that the group overdubbed a second set of live drums and Lennon's vocal. Lennon wanted his voice to sound like the Dalai Lama singing from a mountaintop, or like thousands of Tibetan monks. Obviously the group weren't going to fly to Tibet and persuade monks to sing for them, so they wanted some unusual vocal effect. This was quite normal for Lennon, actually. One of the odd things about Lennon is that while he's often regarded as one of the greatest rock vocalists of all time, he always hated his own voice and wanted to change it in the studio. After the Beatles' first album there's barely a dry Lennon solo vocal anywhere on any record he ever made. Either he would be harmonising with someone else, or he'd double-track his vocal, or he'd have it drenched in reverb, or some other effect -- anything to stop it sounding quite so much like him. And Geoff Emerick had the perfect idea. There's a type of speaker called a Leslie speaker, which was originally used to give Hammond organs their swirling sound, but which can be used with other instruments as well. It has two rotating speakers inside it, a bass one and a treble one, and it's the rotation that gives the swirling sound. Ken Townsend, the electrical engineer working on the record, hooked up the speaker from Abbey Road's Hammond organ to Lennon's mic, and Lennon was ecstatic with the sound: [Excerpt: The Beatles, "Tomorrow Never Knows", take one] At least, he was ecstatic with the sound of his vocal, though he did wonder if it might be more interesting to get the same swirling effect by tying himself to a rope and being swung round the microphone The rest of the track wasn't quite working, though, and they decided to have a second attempt. But Lennon had been impressed enough by Emerick that he decided to have a chat with him about music -- his way of showing that Emerick had been accepted. He asked if Emerick had heard the new Tiny Tim record -- which shows how much attention Lennon was actually paying to music at this point. This was two years before Tim's breakthrough with "Tiptoe Through the Tulips", and his first single (unless you count a release from 1963 that was only released as a 78, in the sixties equivalent of a hipster cassette-only release), a version of "April Showers" backed with "Little Girl" -- the old folk song also known as "In the Pines" or "Where Did You Sleep Last Night?": [Excerpt: Tiny Tim, "Little Girl"] Unfortunately for Emerick, he hadn't heard the record, and rather than just say so he tried bluffing, saying "Yes, they're great". Lennon laughed at his attempt to sound like he knew what he was talking about, before explaining that Tiny Tim was a solo artist, though he did say "Nobody's really sure if it's actually a guy or some drag queen". For the second attempt, they decided to cut the whole backing track live rather than play to a loop. Lennon had had trouble staying in sync with the loop, but they had liked the thunderous sound that had been got from slowing the tape down. As Paul talked with Ringo about his drum part, suggesting a new pattern for him to play, Emerick went down into the studio from the control room and made some adjustments. He first deadened the sound of the bass drum by sticking a sweater in it -- it was actually a promotional sweater with eight arms, made when the film Help! had been provisionally titled Eight Arms to Hold You, which Mal Evans had been using as packing material. He then moved the mics much, much closer to the drums that EMI studio rules allowed -- mics can be damaged by loud noises, and EMI had very strict rules about distance, not allowing them within two feet of the drum kit. Emerick decided to risk his job by moving the mics mere inches from the drums, reasoning that he would probably have Lennon's support if he did this. He then put the drum signal through an overloaded Fairfield limiter, giving it a punchier sound than anything that had been recorded in a British studio up to that point: [Excerpt: The Beatles, "Tomorrow Never Knows", isolated drums] That wasn't the only thing they did to make the record sound different though. As well as Emerick's idea for the Leslie speaker, Ken Townsend had his own idea of how to make Lennon's voice sound different. Lennon had often complained about the difficulty of double-tracking his voice, and so Townsend had had an idea -- if you took a normal recording, fed it to another tape machine a few milliseconds out of sync with the first, and then fed it back into the first, you could create a double-tracked effect without having to actually double-track the vocal. Townsend suggested this, and it was used for the first time on the first half of "Tomorrow Never Knows", before the Leslie speaker takes over. The technique is now known as "artificial double-tracking" or ADT, but the session actually gave rise to another term, commonly used for a similar but slightly different tape-manipulation effect that had already been used by Les Paul among others. Lennon asked how they'd got the effect and George Martin started to explain, but then realised Lennon wasn't really interested in the technical details, and said "we take the original image and we split it through a double-bifurcated sploshing flange". From that point on, Lennon referred to ADT as "flanging", and the term spread, though being applied to the other technique. (Just as a quick aside, some people have claimed other origins for the term "flanging", and they may be right, but I think this is the correct story). Over the backing track they added tambourine and organ overdubs -- with the organ changing to a B flat chord when the vocal hits the B-flat note, even though the rest of the band stays on C -- and then a series of tape loops, mostly recorded by McCartney. There's a recording that circulates which has each of these loops isolated, played first forwards and then backwards at the speed they were recorded, and then going through at the speed they were used on the record, so let's go through these. There's what people call the "seagull" sound, which is apparently McCartney laughing, very distorted: [Excerpt: Tomorrow Never Knows loop] Then there's an orchestral chord: [Excerpt: Tomorrow Never Knows loop] A mellotron on its flute setting: [Excerpt: Tomorrow Never Knows loop] And on its string setting: [Excerpt: Tomorrow Never Knows loop] And a much longer loop of sitar music supplied by George: [Excerpt: Tomorrow Never Knows loop] Each of these loops were played on a different tape machine in a different part of Abbey Road -- they commandeered the entire studio complex, and got engineers to sit with the tapes looped round pencils and wine-glasses, while the Beatles supervised Emerick and Martin in mixing the loops into a single track. They then added a loop of a tamboura drone played by George, and the result was one of the strangest records ever released by a major pop group: [Excerpt: The Beatles, "Tomorrow Never Knows"] While Paul did add some backwards guitar -- some sources say that this is a cut-up version of his solo from George's song "Taxman", but it's actually a different recording, though very much in the same style -- they decided that they were going to have a tape-loop solo rather than a guitar solo: [Excerpt: The Beatles, "Tomorrow Never Knows"] And finally, at the end, there's some tack piano playing from McCartney, inspired by the kind of joke piano parts that used to turn up on the Goon Show. This was just McCartney messing about in the studio, but it was caught on tape, and they asked for it to be included at the end of the track. It's only faintly audible on the standard mixes of the track, but there was actually an alternative mono mix which was only released on British pressings of the album pressed on the first day of its release, before George Martin changed his mind about which mix should have been used, and that has a much longer excerpt of the piano on it. I have to say that I personally like that mix more, and the extra piano at the end does a wonderful job of undercutting what could otherwise be an overly-serious track, in much the same way as the laughter at the end of "Within You, Without You", which they recorded the next year. The same goes for the title -- the track was originally called "The Void", and the tape boxes were labelled "Mark One", but Lennon decided to name the track after one of Starr's malapropisms, the same way they had with "A Hard Day's Night", to avoid the track being too pompous. [Excerpt: Beatles interview] A track like that, of course, had to end the album. Now all they needed to do was to record another thirteen tracks to go before it. But that -- and what they did afterwards, is a story for another time. [Excerpt, "Tomorrow Never Knows (alternate mono mix)" piano tag into theme music]
How do you solve a problem like institutional racism? Deny, deny, deny then reaccuse if the Azeem Rafiq Yorkshire County Cricket club experience is anything to go by. The team got together for Series 3 Episode 10 to discuss the mishandling of the scandal, what constitutes “banter” and whether things will change from here. The performative tears of American teen shooter Kyle Rittenhouse at his trial are also on the agenda. We tackle the selective weaponsation of both age and white remorse in America as Angelo makes the argument that America needs Rittenhouse to walk free. Marcus Rashford picked up his MBE and Barbados was taking back control of its head of state duties from Britain's monarchy. Which if us would take a royal honour? Finally we look at Netflix series Colin in Black and White and the impact of microaggressions on your mental health as a minority. Like. Share. Subscribe.
Shirin Dehghan is a hugely successful entrepreneur, having built Arieso and sold it to JDSU. In part 2 of her podcast, we hear how she decided to take a year out before getting bored and subsequently gravitating back to the start-up ecosystem. She has made a number of angel investments, including a lesson inletting her guard down as she invested in a team she knew well. Shirin is now a senior partner at Frog Capital, where she sits on four start-up boards. A tip to entrepreneurs, “Don't turn up to a board meeting with a laundry list of problems without thinking of possible solutions. Your board will lose faith quickly”. To read the podcast transcription please CLICK HERE - Powered by Speechmatics Shirin founded, expanded and subsequently sold mobile communications business Arieso. A University of Southampton Engineering alumna, she has over 20 years' experience in the software and mobile communications industry. She is a senior partner at Frog Capital where she sits on the board of Skimlinks. She is also the Non-exec Chairwoman of Opensignal, a UK based company that sets the gold standard for mobile experience globally.She is a passionate advisor and board member to companies wishing to transform their business. As CEO, Chairwoman and Investor leading start-up, medium size as well as blue chip companies to create new markets and build winning teams to bring disruptive products to the mobile industry. Taking a partnership approach with key stakeholders at board level, cultivating many close relationships to help deliver real value to customers. Shirin is the winner of numerous awards including Blackberry Woman in Technology, Best Woman in Mobile, Business Woman of the year 2013, and European Entrepreneur of the year 2013. Produced by Mark Cotton, Twitter. Podcast links: Shirin Dehghan Arieso - UK-based startup that makes location-aware networking software to improve mobile carriers' network performance. OpenSignal - is the global standard for mobile experience trusted by consumers, and industry stakeholders. They offer a modern and proven way to measure mobile network performance. Frog Capital - invests in software enabled scale-up stage tech companies in Europe. SceneSkope - personalise Brand and Visitor Engagement across every digital experience. Making interactions unique and personal. Rovco - Use 3D to gain complete Ocean Insight. Our high-res MBES, 4K video and live 3D vision systems provide you with unmatched levels of measurable information, accuracy and clarity. 19 SEPTEMBER 2018COMMENT About Peter Cowley Peter Cowley, a Cambridge university technology graduate, founded and ran over a dozen businesses in technology and property over the last 40 years. He has built up a portfolio of 75 angel investments with nine good exits (including one that is 107X his investment and returned all the cash he has invested) and thirteen failures. He is a board member of the Global Business Angel Network (GBAN), President Emeritus of the European Business Angel Network (EBAN), former chair of the Cambridge Business Angels and was UK Angel of the Year 2014. He has mentored hundreds of entrepreneurs and is on the board of nine startups. Linkedin Peter's webpage. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/entrepreneurship-and-leadership
Shirin Dehghan is a hugely successful entrepreneur, having built Arieso and sold it to JDSU. In part 2 of her podcast, we hear how she decided to take a year out before getting bored and subsequently gravitating back to the start-up ecosystem. She has made a number of angel investments, including a lesson inletting her guard down as she invested in a team she knew well. Shirin is now a senior partner at Frog Capital, where she sits on four start-up boards. A tip to entrepreneurs, “Don't turn up to a board meeting with a laundry list of problems without thinking of possible solutions. Your board will lose faith quickly”. To read the podcast transcription please CLICK HERE - Powered by Speechmatics Shirin founded, expanded and subsequently sold mobile communications business Arieso. A University of Southampton Engineering alumna, she has over 20 years' experience in the software and mobile communications industry. She is a senior partner at Frog Capital where she sits on the board of Skimlinks. She is also the Non-exec Chairwoman of Opensignal, a UK based company that sets the gold standard for mobile experience globally.She is a passionate advisor and board member to companies wishing to transform their business. As CEO, Chairwoman and Investor leading start-up, medium size as well as blue chip companies to create new markets and build winning teams to bring disruptive products to the mobile industry. Taking a partnership approach with key stakeholders at board level, cultivating many close relationships to help deliver real value to customers. Shirin is the winner of numerous awards including Blackberry Woman in Technology, Best Woman in Mobile, Business Woman of the year 2013, and European Entrepreneur of the year 2013. Produced by Mark Cotton, Twitter. Podcast links: Shirin Dehghan Arieso - UK-based startup that makes location-aware networking software to improve mobile carriers' network performance. OpenSignal - is the global standard for mobile experience trusted by consumers, and industry stakeholders. They offer a modern and proven way to measure mobile network performance. Frog Capital - invests in software enabled scale-up stage tech companies in Europe. SceneSkope - personalise Brand and Visitor Engagement across every digital experience. Making interactions unique and personal. Rovco - Use 3D to gain complete Ocean Insight. Our high-res MBES, 4K video and live 3D vision systems provide you with unmatched levels of measurable information, accuracy and clarity. 19 SEPTEMBER 2018COMMENT About Peter Cowley Peter Cowley, a Cambridge university technology graduate, founded and ran over a dozen businesses in technology and property over the last 40 years. He has built up a portfolio of 75 angel investments with nine good exits (including one that is 107X his investment and returned all the cash he has invested) and thirteen failures. He is a board member of the Global Business Angel Network (GBAN), President Emeritus of the European Business Angel Network (EBAN), former chair of the Cambridge Business Angels and was UK Angel of the Year 2014. He has mentored hundreds of entrepreneurs and is on the board of nine startups. Linkedin Peter's webpage. Learn more about your ad choices. Visit megaphone.fm/adchoices
Shirin Dehghan is a hugely successful entrepreneur, having built Arieso and sold it to JDSU. In part 2 of her podcast, we hear how she decided to take a year out before getting bored and subsequently gravitating back to the start-up ecosystem. She has made a number of angel investments, including a lesson inletting her guard down as she invested in a team she knew well. Shirin is now a senior partner at Frog Capital, where she sits on four start-up boards. A tip to entrepreneurs, “Don't turn up to a board meeting with a laundry list of problems without thinking of possible solutions. Your board will lose faith quickly”. To read the podcast transcription please CLICK HERE - Powered by Speechmatics Shirin founded, expanded and subsequently sold mobile communications business Arieso. A University of Southampton Engineering alumna, she has over 20 years' experience in the software and mobile communications industry. She is a senior partner at Frog Capital where she sits on the board of Skimlinks. She is also the Non-exec Chairwoman of Opensignal, a UK based company that sets the gold standard for mobile experience globally.She is a passionate advisor and board member to companies wishing to transform their business. As CEO, Chairwoman and Investor leading start-up, medium size as well as blue chip companies to create new markets and build winning teams to bring disruptive products to the mobile industry. Taking a partnership approach with key stakeholders at board level, cultivating many close relationships to help deliver real value to customers. Shirin is the winner of numerous awards including Blackberry Woman in Technology, Best Woman in Mobile, Business Woman of the year 2013, and European Entrepreneur of the year 2013. Produced by Mark Cotton, Twitter. Podcast links: Shirin Dehghan Arieso - UK-based startup that makes location-aware networking software to improve mobile carriers' network performance. OpenSignal - is the global standard for mobile experience trusted by consumers, and industry stakeholders. They offer a modern and proven way to measure mobile network performance. Frog Capital - invests in software enabled scale-up stage tech companies in Europe. SceneSkope - personalise Brand and Visitor Engagement across every digital experience. Making interactions unique and personal. Rovco - Use 3D to gain complete Ocean Insight. Our high-res MBES, 4K video and live 3D vision systems provide you with unmatched levels of measurable information, accuracy and clarity. 19 SEPTEMBER 2018COMMENT About Peter Cowley Peter Cowley, a Cambridge university technology graduate, founded and ran over a dozen businesses in technology and property over the last 40 years. He has built up a portfolio of 75 angel investments with nine good exits (including one that is 107X his investment and returned all the cash he has invested) and thirteen failures. He is a board member of the Global Business Angel Network (GBAN), President Emeritus of the European Business Angel Network (EBAN), former chair of the Cambridge Business Angels and was UK Angel of the Year 2014. He has mentored hundreds of entrepreneurs and is on the board of nine startups. Linkedin Peter's webpage. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Welcome back to How I Lawyer! Today's special episode is third in a series called "Panel Opinion" where I bring together experts on a particular topic (don't worry, there will be a new interview episode later this week or early next). Today's topic is on the mind of many How I Lawyer: how to succeed in your 1L year. I am grateful to the three incredible professional academic success professionals who agreed to join me and share such incredible wisdom for those just starting their legal education: Maura Demouy is the Director of Academic Success at Georgetown Law. At Georgetown, Maura provides personal and academic advising; develops and presents the 1L 101 workshop series; and oversees the peer tutoring program. She is also the head of the innovative RISE Program, which is designed to serve incoming JD students from backgrounds historically underrepresented in law school and the legal profession, including but not limited to underrepresented racial, ethnic, geographic, socioeconomic, and first generation college backgrounds. Prior to coming to Georgetown, Maura was the Dean of Students at The Catholic University of America's Columbus School of Law. She started her legal career as a law clerk to Judge Catherine Blake of the United States District Court for Maryland and as an associate in private practice at two law firms in Baltimore. She is a graduate of Maryland's Carey School of Law. Professor O.J. Salinas from the University of North Carolina School of Law where he is a Clinical Professor and Director of Academic Excellence. A native of South Texas, O.J. Salinas is the first Hispanic to hold a full-time faculty position at the University of North Carolina School of Law. His teaching and research interests include academic and bar support, legal writing, and client counseling. He has written several essays and blog posts on academic and bar support, and he is the author of A Short and Happy Guide to Effective Client Interviewing and Counseling (West 2016) and the upcoming book, MBEs for the MBE: Mnemonics, Blueprints, and Examples for the Multistate Bar Examination. Salinas is a graduate of the University of Dayton School of Law and St. Mary's University. Before joining the academic ranks, Salinas practiced civil litigation in Texas and received a Master's Degree in Counseling from the University of Texas at San Antonio, where he worked with individuals suffering from severe mental illness to students seeking educational academic support. Professor Sarah Schendel from Suffolk Law. Sarah is an Associate Professor in the Law School's Academic Support Program where she teaches and writes in the areas of academic success, legal writing, negotiation and professional responsibility. She was previously an instructor at Emerson College, Northeastern University, and Northeastern University School of Law. Before that, she was an immigration attorney for 7 years, representing immigrants facing deportation, seeking security and safety in the United States, and reuniting their families. She was previously a Board Member of the Irish International Immigrant Center, and the Co-Chair of the Immigration Section of the Massachusetts LGBTQ Bar Association. She is a graduate of Bard College and Northeastern Law. Other Resources: - Rachel Gurvich's Article: https://scholarship.law.unc.edu/cgi/viewcontent.cgi?article=1402&context=faculty_publications - Jonah's Tweet Thread on Law School Success: https://twitter.com/JonahPerlin/status/1425809608606507014?s=20
Guest presenter Kofi Smiles with strangers, friends and relatives in conversation. This week strangers Roger and Gill reflect back on being awarded MBEs and why one of them chose to accept and the other decline; Maisie and Tommi, both in their early 20s, share stories of challenges of living with Tourette Syndrome; and mountain rescuer Ian and adventuring enthusiast Tayo talk about their passion for the great outdoors. The Listening Project is a Radio 4 initiative that offers a snapshot of contemporary Britain in which people across the UK volunteer to have a conversation. The conversations are being gathered across the UK by teams of producers from local and national radio stations who facilitate each encounter. Every conversation lasts up to an hour, and is then edited to extract the key moments of connection between the participants. Most of the unedited conversations are being archived by the British Library and used to build up a collection of voices capturing a unique portrait of the UK in this decade of the millennium. You can learn more about The Listening Project by visiting bbc.co.uk/listeningproject Producer: Mohini Patel
This week's episode looks at "Ticket to Ride", the making of the Beatles' second film, and the influence of Bob Dylan on the Beatles' work and lives. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "The Game of Love" by Wayne Fontana and the Mindbenders. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them, but the ones I specifically referred to while writing this episode were: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For material on the making of the film, I referred to Getting Away With It by Steven Soderbergh, a book which is in part a lengthy set of conversations between Soderbergh and Richard Lester. Sadly the only way to legally get the original mix of "Ticket to Ride" is this ludicrously-expensive out-of-print box set, but the 1987 remix is widely available on the CD issue of the Help! soundtrack. The film is available on DVD. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we last looked at the Beatles, they had just achieved their American success, and had appeared in their first film, A Hard Day's Night. Today, we're going to look at the massive artistic growth that happened to them between late 1964 and mid 1965, the making of their second film, Help!, the influence, both artistic and personal, of Bob Dylan on the group, and their introduction both to studio experimentation and to cannabis. We're going to look at "Ticket to Ride": [Excerpt: The Beatles, "Ticket to Ride"] 1964 was a tremendously busy year for the Beatles. After they'd finished making A Hard Day's Night, but even before it was released, they had gone on yet another tour, playing Denmark, the Netherlands, Hong Kong, Australia, and New Zealand, though without Ringo for much of the tour -- Ringo had to have his tonsils removed, and so for the first eight shows of the tour he was replaced by session drummer Jimmy Nicol, the former drummer with Colin Hicks and his Cabin Boys, who had played on several cheap soundalike records of Beatles songs. Nicol was a competent drummer, though very different in style from Ringo, and he found his temporary moment of celebrity hugely upsetting -- he later described it as the worst thing to ever happen to him, and ended up declaring bankruptcy only nine months after touring with the group. Nicol is now a recluse, and hasn't spoken to anyone about his time with the Beatles in more than thirty years. After Ringo returned to the group and the film came out they went back into the studio, only two months after the release of their third album, to start work on their fourth. They recorded four songs in two sessions before departing on their first full US tour. Those songs included two cover versions -- a version of "Mr. Moonlight" by Doctor Feelgood and the Interns that appeared on the album, and a version of Little Willie John's "Leave My Kitten Alone" that didn't see release until 1995 -- and two originals written mostly or entirely by John Lennon, "Baby's In Black", and "I'm a Loser": [Excerpt: The Beatles, "I'm a Loser"] "I'm a Loser" was an early sign of an influence that had particularly changed Lennon's attitude to songwriting -- that of Bob Dylan. Dylan had been on the group's radar for some time -- Paul McCartney in the Anthology book seems to have a confused memory of seeing Madhouse on Castle Street, the TV play Dylan had appeared in in January 1963 -- but early 1964 had seen him rise in prominence to the point that he was a major star, not just an obscure folk singer. And Lennon had paid particular attention to what he was doing with his lyrics. We've already seen that Lennon had been writing surreal poetry for years, but at this point in his life he still thought of his songwriting and his poetry as separate. As he would later put it "I had a sort of professional songwriter's attitude to writing pop songs; we would turn out a certain style of song for a single, and we would do a certain style of thing for this and the other thing. I'd have a separate songwriting John Lennon who wrote songs for the meat market, and I didn't consider them (the lyrics or anything) to have any depth at all." This shouldn't be taken as Lennon saying that the early Beatles songs were lacking in quality, or that he didn't take the work seriously, but that it wasn't about self-expression. He was trying to do the best work he could as a craftsman. Listening to Dylan had showed him that it was possible instead to treat pop songwriting as art, in the sense Lennon understood the term -- as a means of personal expression that could also allow for experimentation and playing games. "I'm a Loser" is a first tentative step towards that, with Lennon for one of the first times consciously writing about his own emotions -- though careful to wrap those feelings both in a conventional love song structure and in a thick layer of distancing irony, to avoid making himself vulnerable -- and the stylistic influence of Dylan is very noticeable, as much in the instrumentation as in the lyrics. While several early Beatles singles had featured Lennon playing harmonica, he had been playing a chromatic harmonica, a type of harmonica that's mostly used for playing single-note melodies, because it allows the player to access every single note, but which is not very good for bending notes or playing chords. If you've heard someone playing the harmonica as a single-note melody instrument with few or no chords, whether Stevie Wonder, Larry Adler, or Max Geldray, the chances are they were playing a chromatic harmonica. On "I'm a Loser", though, Lennon plays a diatonic harmonica -- an instrument that he would refer to as a "harp" rather than a harmonica, because he associated it with the blues, where it's often referred to as a harp. Diatonic harmonicas are the instrument of choice for blues players because they allow more note-bending, and it's easier to play a full chord on them -- the downside, that you have a smaller selection of notes available, is less important in the blues, which tends towards harmonic minimalism. Diatonic harmonicas are the ones you're likely to hear on country, blues, and folk recordings -- they're the instrument played by people like Little Walter, Sonny Boy Williamson, Charlie McCoy, and Bob Dylan. Lennon had played a diatonic before, on "I Should Have Known Better", another song which shows Dylan's influence in the performance, though not in the lyrics. In both cases he is imitating Dylan's style, which tends to be full of chordal phrases rather than single-note melody. What's interesting about “I'm a Loser” though is contrasting John's harmonica solo with George's guitar solo which follows immediately after: [Excerpt: The Beatles, "I'm a Loser"] That's a pure Carl Perkins solo, and the group would, in their choices of cover versions for the next few months, move away somewhat from the soul and girl-group influences that dominated the covers on their first two albums, and towards country and rockabilly -- they would still cover Larry Williams, Little Richard, and Chuck Berry, but there were no more covers of contemporary Black artists, and instead there were cover versions of Buddy Holly, Carl Perkins, and Buck Owens, and Harrison switched from the Rickenbacker that had been his main instrument on A Hard Day's Night to playing a Gretsch -- the brand of guitar that Chet Atkins and Eddie Cochrane played. The consensus among commentators -- with which, for once, I agree -- seems to be that this was also because of the influence of Dylan. The argument is that the Beatles heard Dylan's music as a form of country music, and it inspired them to go back to their other country-oriented influences. And this makes a lot of sense -- it was only fifteen years earlier, at the same time as they replaced "race" with "rhythm and blues", that Billboard magazine chose to rename their folk chart to the country and western chart -- as Tyler Mahan Coe puts it, "after years of trying to figure out what to call their “poor Black people music” and “poor white people music” charts". And Dylan had been as influenced by Hank Williams as by Woody Guthrie. In short what the Beatles, especially Lennon, heard in Dylan seems to have been three things -- a reminder of the rockabilly and skiffle influences that had been their first love before they'd discovered R&B and soul, permission to write honestly about one's own experiences, and an acknowledgement that such writing could include surrealistic wordplay. Fundamentally, Dylan, as much as being a direct influence, seems to have given the group a kind of permission -- to have shown them that there was room in the commercial sphere in which they were now operating for them to venture into musical and lyrical areas that had always appealed to them. But of course, that was not the only influence that Dylan had on the group, as anyone who has ever read anything at all about their first full US tour knows. That tour saw them playing huge venues like the Hollywood Bowl -- a show which later made up a big part of their only official live album, which was finally released in 1977: [Excerpt: The Beatles, "Things We Said Today (live at the Hollywood Bowl 1964)"] It was nine days into the tour, on the twenty-eighth of August 1964, that they met Bob Dylan for the first time. The meeting with Dylan is usually called the first time the Beatles ever smoked cannabis -- and that's true, at least if you're talking about them as a group. Lennon had tried it around 1960, and both Lennon and Harrison had tried it at a show at the Southport Floral Hall in early 1962, but neither had properly understood what they were smoking, and had both already been drunk before smoking it. According to a later interview with Harrison, that had led to the two of them madly dancing the Twist in their dressing room, shouting "This stuff isn't doing anything!" But it was at this meeting that Paul and Ringo first smoked it, and it also seems to have been taken by Lennon and Harrison as their "real" first time, possibly partly because being introduced to cannabis by Bob Dylan in a New York hotel sounds a lot cooler than being introduced to it by your support band's drummer in Southport, possibly because it was the first time that they had all smoked it together as a group, but mostly because this was the time when it became a regular part of the group's life. Oddly, it happened because of a misheard lyric. Dylan had loved "I Want to Hold Your Hand", and had misheard "I can't hide" as "I get high", and thus just assumed that the British band were already familiar with cannabis. The drug had a profound effect on them -- McCartney later recalled being convinced he had discovered the meaning of life, writing it down on a bit of paper, and getting their roadie Mal Evans to hold the paper for safekeeping. The next morning, when he looked at the paper, he found it merely said "there are seven levels". Lennon, on the other hand, mostly remembered Dylan playing them his latest demos and telling them to listen to the words, but Lennon characteristically being unable to concentrate on the lyrics because in his stoned state he was overwhelmed by the rhythm and general sound of the music. From this point on, the use of cannabis became a major part of the group's life, and it would soon have a profound effect on their lifestyles, their songwriting, the production on their records, and every other aspect of their career. The Beatle on whom it seems to have had the strongest and most immediate effect was Lennon, possibly because he was the one who was coping least well with success and most needed something to take his mind off things. Lennon had always been susceptible to extremes of mood -- it's likely that he would these days be diagnosed as bipolar, and we've already seen how as soon as he'd started writing personally, he'd written "I'm a Loser". He was feeling trapped in suburbia, unsuited for his role as a husband and father, unhappy about his weight, and just generally miserable. Cannabis seemed, at least at first, to offer a temporary escape from that. All the group spent much of the next couple of years stoned, but Lennon probably more than any of them, and he was the one whose writing it seemed to affect most profoundly. On the group's return from the US, they carried on working on the next album, and on a non-album single designed to be released simultaneously with it. "I Feel Fine" is a major milestone in the group's career in a number of ways. The most obvious is the opening -- a brief bit of feedback which Lennon would always later claim to be the first deliberate use of the technique on a record: [Excerpt: The Beatles, "I Feel Fine"] Feedback had, up until this point, been something that musicians generally tried to avoid -- an unwanted sound that could wreck a performance. But among guitarists in London, especially, it was becoming the fashionable sound to incorporate, in a carefully controlled manner, in order to make sounds that nobody had heard before. Jeff Beck, Dave Davies, and Pete Townshend would all argue about which of them was the first to use the technique, but all were using it on stage by the time the Beatles recorded "I Feel Fine". But the Beatles were, if not the first to deliberately use feedback on a record (as I've said in the past, there is no such thing as a first anything, and there are debatable examples where feedback may be deliberate going back to the 1930s and some records by Bob Wills), certainly the most prominent artists to do so up to that point, and also the first to make it a major, prominent feature of a hit record in this manner. If they hadn't done it, someone else undoubtedly would, but they were the first to capture the sound that was becoming so popular in the London clubs, and as so often in their career they were able to capture something that was at the cutting edge of the underground culture and turn it into something that would be accepted by millions. "I Feel Fine" was important to the Beatles in another way, though, in that it was the first Beatles original to be based entirely around a guitar riff, and this was if anything a more important departure from their earlier records than the feedback was. Up to this point, while the Beatles had used riffs in covers like "Twist and Shout", their originals had avoided them -- the rhythm guitar had tended to go for strummed chords, while the lead guitar was usually reserved for solos and interjections. Rather than sustaining a riff through the whole record, George Harrison would tend to play answer phrases to the vocal melody, somewhat in the same manner as a backing vocalist. This time, though, Lennon wrote an entire song around a riff -- one he had based on an R&B record from a few years earlier that he particularly loved, "Watch Your Step" by Bobby Parker: [Excerpt: Bobby Parker, "Watch Your Step"] Parker's record had, in turn, been inspired by two others -- the influence of Ray Charles' "What'd I Say" is very obvious, but Parker had based the riff on one that Dizzy Gillespie had used in "Manteca", a classic early Afro-Cuban jazz record from 1947: [Excerpt: Dizzy Gillespie, "Manteca"] Parker had played that riff on his guitar, varied it, and come up with what may be the most influential guitar riff of all time, one lifted not only by the Beatles (on both "I Feel Fine" and, in a modified form, "Day Tripper") but Led Zeppelin, Deep Purple, the Allman Brothers Band, and many, many others: [Excerpt: Bobby Parker, "Watch Your Step"] Lennon took that riff and based a new song around it -- and it's important to note here that "I Feel Fine" *is* a new song. Both songs share the same riff and twelve-bar blues structure, but Lennon's lyric and melody are totally different, and the record has a different feel. There's a blurry line between plagiarism and homage, and to my mind "I Feel Fine" stays on the right side of that line, although it's a difficult issue because the Beatles were so much more successful than the unknown Parker. Part of the reason "I Feel Fine" could be the Beatles' first single based around a riff was it was recorded on a four-track machine, EMI having finally upgraded their equipment, which meant that the Beatles could record the instrumental and vocal tracks separately. This allowed Lennon and Harrison to hold down the tricky riff in unison, something Lennon couldn't do while also singing the melody -- it's noticeable that when they performed this song live, Lennon usually strummed the chords on a semi-acoustic guitar rather than doubling the riff as he does on the record. It's also worth listening to what Ringo's doing on the drums on the track. One of the more annoying myths about the Beatles is the claim made by a lot of people that Starr was in some way not a good drummer. While there has been some pushback on this, even to the extent that there is now a contrarian counterconsensus that says he was the best drummer in the world at the time, the general public still thinks of him as having been not particularly good. One listen to the part Starr played on "I Feel Fine" -- or indeed a close listen to any of his drum parts -- should get rid of that idea. While George and John are basically duplicating Parker's riff, Ringo picks up on the Parker record's similarity to "What'd I Say" and plays essentially the same part that Ray Charles' drummer had: [Excerpt: The Beatles, "I Feel Fine (isolated drum part)"] There are copies of that posted on YouTube, and almost all of them have comments from people claiming that the drumming in question must be a session drummer, because Starr couldn't play that well. Several of the Beatles' singles for the next two years would feature a heavy guitar riff as their main instrumental hook. Indeed, it seems like late 1964 is a point where things start to change a little for the Beatles in how they conceptualise singles and albums. Up to this point, they seem to have just written every song as a potential single, then chosen the ones they thought of as the most commercial as singles and stuck the rest out as album tracks. But from autumn 1964 through early 1966 there seems, at least on Lennon's part, to be a divide in how he looked at songs. The songs he brought in that became singles were almost uniformly guitar-driven heavy rockers with a strong riff. Meanwhile, the songs recorded for albums were almost all based on strummed acoustic guitars, usually ballads or at most mid-tempo, and often with meditative lyrics. He clearly seems to have been thinking in terms of commercial singles and less commercial album tracks, even if he didn't quite articulate it that way. I specify Lennon here, because there doesn't seem to be a comparable split in McCartney's writing -- partly because McCartney didn't really start writing riff-based songs until Lennon dropped the idea in late 1966. McCartney instead seems to start expanding his palette of genres -- while Lennon seems to be in two modes for about an eighteen-month period, and not really to venture out of either the bluesy riff-rocker or the country-flavoured folk rock mode, McCartney starts becoming the stylistic magpie he would become in the later period of the group's career. The B-side to the single, "She's a Woman" is, like the A-side, blues-based, but here it's McCartney in Little Richard mode. The most interesting aspect to it, though, is the rhythm guitar part -- off-beat stabs which sound very much like the group continuing to try to incorporate ska into their work: [Excerpt: The Beatles, "She's a Woman"] The single went to number one, of course, as all the group's singles in this period did. Beatles For Sale, the album that came out of these sessions, is generally regarded as one of the group's weaker efforts, possibly because of the relatively large number of cover versions, but also because of its air of bleakness. From the autumnal cover photo to the laid-back acoustic feel of much of the album, to the depressing nature of Lennon's contributions to the songwriting -- "No Reply", "I'm a Loser", "Baby's in Black", and "I Don't Want to Spoil the Party" all being a far cry from "I Feel Fine" – it's not a fun album by any means. I've always had a soft spot for the album myself, but it's clearly the work of people who were very tired, depressed, and overworked. And they were working hard -- in the four months after the end of their American tour on the twentieth of September, they recorded most of Beatles For Sale and the accompanying single, played forty-eight gigs, made TV appearances on Shindig, Scene at 6:30, Thank Your Lucky Stars, Ready Steady Go, and Top of the Pops, radio appearances on Top Gear and Saturday Club, and sundry interviews. On top of that John also made an appearance on Peter Cook and Dudley Moore's show "Not Only... But Also", performing versions of some of his poetry with Moore and Norman Rossington, who had co-starred in A Hard Day's Night: [Excerpt: John Lennon, Dudley Moore and Norman Rossington, "All Abord Speeching"] They did get a month off from mid-January 1965 through mid-February, but then it was back to work on a new film and accompanying soundtrack album. The group's second film, Help!, is generally regarded with rather less fondness than A Hard Day's Night, and it's certainly the case that some aspects of the film have not dated at all well -- in particular the way that several characters are played by white actors in brownface doing very unconvincing Indian accents, and the less than respectful attitude to Hindu religious beliefs, are things which will make any modern viewer with the slightest sensitivity to such issues cringe terribly. But those aren't the aspects of the film which most of its critics pick up on -- rather they tend to focus only on the things that the Beatles themselves criticise about the film, mostly that the group spent most of the filming stoned out of their minds, and the performances are thus a lot less focused than those in A Hard Day's Night, and also that the script -- written this time by Richard Lester's regular collaborator Charles Wood, from a story by Marc Behm, rather than by Alun Owen -- is also a little unfocused. All these are fair criticisms as far as they go, but it's also the case that Help! is not a film that is best done justice by being viewed on a small screen on one's own, as most of its critics have viewed it most of the time. Help! is part of a whole subgenre of films which were popular in the 1960s but largely aren't made today -- the loose, chaotic, adventure comedy in which a nominal plot is just an excuse for a series of comedy sketches strung together with spectacular visuals. The genre encompasses everything from It's a Mad Mad Mad Mad World to Casino Royale to The Pink Panther, and all of these films are meant to be seen on a big screen which allows the audience to appreciate their visual inventiveness, and in a communal audience which is laughing along with them. And when seen in that light, Help! is actually a remarkably entertaining example of the type. Yes, it doesn't hold together as well as A Hard Day's Night, and it doesn't resolve so much as just stop, but structurally it's remarkably close to the films of the Marx Brothers, especially their Paramount films, and it's odd that the Marx comparisons get made about A Hard Day's Night, a slice-of-life film inspired by the French New Wave, and not about the screwball comedy that ends in a confused chase sequence. There is one thing that is worth noting about Help! that is often obscured -- part of the reason for its globetrotting nature was because of the levels of taxation in Britain at the time. For top earners, like the Beatles were, the marginal rate of income tax was as high as ninety-five percent in the mid-sixties. Many of us would think this was a reasonable rate for people who were earning many, many times in a year what most people would earn in a lifetime, but it's also worth noting that the Beatles' success had so far lasted only two years, and that a pop act who was successful for five years was remarkably long-lived -- in the British pop industry only Cliff Richard and the Shadows had had a successful career as chart artists for longer than that, and even they were doing much less well in 1965 than they had been in 1963. In retrospect, of course, we know that the Beatles would continue to sell millions of records a year for more than sixty years, but that was not something any of them could possibly have imagined at the time, and we're still in a period where Paul McCartney could talk about going into writing musicals once the Beatles fad passed, and Ringo could still imagine himself as the owner of a hairdresser's. So it's not completely unreasonable of them to want to keep as much of their money as they could, while they could, and so while McCartney will always talk in interviews about how many of the scenes in the film were inspired by a wishlist from the group -- "We've never been skiing", "We've never been to the Bahamas" -- and there might even be some truth to that, it's also the case that the Bahamas were as known for their lax tax regime as for their undoubted charm as a tourist destination, and these journeys were not solely about giving the group a chance to have fun. But of course, before making the film itself, the group had to record songs for its soundtrack, and so on February the sixteenth they went into the studio to record four songs, including the next single, "Ticket to Ride": [Excerpt: The Beatles, "Ticket to Ride"] While "Ticket to Ride" is mostly -- or possibly solely -- John's song, the record is very much Paul's record. For most of 1964, McCartney hadn't really been pulling his weight in the songwriting department when compared to John -- the handful of songs he had written had included some exceptional ones, but for the most part he hadn't written much, and John had been the more productive member of their partnership, writing almost all of the A Hard Day's Night album, most of the better tracks on Beatles For Sale, and the non-album single "I Feel Fine". But now, John was sinking into one of his periodic bouts of depression -- he was still writing strong material, and would produce some of the best songs of his career in 1965, but he was unfocused and unhappy, and it was showing in his slowed productivity -- while McCartney was energised by living in London, the cultural capital of the world at that point in time, and having a famous girlfriend who was exposing him to vast areas of culture he had never been aware of before. I say that "Ticket to Ride" is written by John, but there is some slight dispute about who contributed what to the writing. John's statement was that the song was all him, and that Paul's main contribution was the drum pattern that Ringo plays. Paul, on the other hand, claims that the song is about a sixty-forty split, with John being the sixty. McCartney's evidence for that is the strong vocal harmony he sings -- usually, if there's a two-part harmony like that on a Beatles song, it came about because Lennon and McCartney were in the same room together while writing it, and singing the part together as they were writing. He also talks about how when writing it they were discussing Ryde in the Isle of Wight, where McCartney's cousin ran a pub. I can certainly see it being the case that McCartney co-wrote the song, but I can also easily see the musicianly McCartney feeling the need to harmonise what would otherwise have been a monotonous melody, and adding the harmonies during the recording stage. Either way, though, the song is primarily John's in the writing, but the arrangement is primarily McCartney's work -- and while Lennon would later claim that McCartney would always pay less attention to Lennon's songs than to McCartney's own, in this middle period of the group's career most of their truly astounding work comes when Lennon brings in the song but McCartney experiments with the arrangement and production. Over and over again we see McCartney taking control of a Lennon song in the studio and bringing out aspects of it that its composer either had not considered or had not had the musical vocabulary or patience to realise on his own. Indeed one can see this as part of the dynamic that eventually led to the group breaking up. Lennon would bring in a half-formed idea and have the whole group work on it, especially McCartney, and turn it into the best version of itself it could be, but this would then seem like McCartney trying to take over. McCartney, meanwhile, with his greater musical facility, would increasingly not bother asking for the input of the group's other members, even when that input would have turned a mediocre song into a good one or a good one into a great one. But at this point in their careers, at least, the collaboration brought out the best in both Lennon and McCartney -- though one must wonder what Harrison and Starr felt about having their parts dictated to them or simply replaced. In the case of "Ticket to Ride", one can trace the evolution of McCartney's drum pattern idea over a period of a few months. He was clearly fascinated by Hal Blaine's drum intro to "Be My Baby": [Excerpt: The Ronettes, "Be My Baby"] and came up with a variation of it for his own song "What You're Doing", possibly the most interesting song on Beatles For Sale on a pure production level, the guitar part for which, owing a lot to the Searchers, is also clearly a pointer to the sound on “Ticket to Ride”: [Excerpt: The Beatles, "What You're Doing"] "Ticket to Ride"s drum part is a more complex variation on that slightly broken pattern, as you can hear if you listen to the isolated drum part: [Excerpt: The Beatles, "Ticket to Ride (isolated drums)"] Interestingly, Ringo doesn't keep that precise pattern up all the way through in the studio recording of the song, though he does in subsequent live versions. Instead, from the third verse onwards he shifts to a more straightforward backbeat of the kind he would more normally play: [Excerpt: The Beatles, "Ticket to Ride (isolated drums)"] The mono mix of "Ticket to Ride", which is how most listeners of the time encountered it, shows much more than the stereo mix just what the group, and particularly Paul, were trying to do. It's a bass-heavy track, sluggish and thundering. It's also a song that sounds *obsessed*. For the first six bars of the verse, and the whole intro, the song stays on a single chord, A, only changing on the word "away", right before the chorus: [Excerpt: The Beatles, "Ticket to Ride"] This obsession with one chord was possibly inspired by soul music, and in particular by "Dancing in the Street", which similarly stays on one chord for a long time: [Excerpt: Martha and the Vandellas, "Dancing in the Street"] We'll be looking more at how soul music was increasingly doing away with chord progressions in favour of keeping to an extended groove on a single chord when we next look at James Brown in a few weeks' time. But in its single-chord focus and its broken drum beat, "Ticket to Ride" is very much a precursor of what the group would do a little over a year later, when they recorded "Tomorrow Never Knows". Of course, it was also around this time that the group discovered Indian music for the first time. There are scenes in the film Help! which feature musicians playing Indian instruments, and George Harrison became fascinated by the sound of the sitar and bought one, and we'll be seeing the repercussions of that for much of the next year. But it's interesting to note that a lot of the elements that make Indian classical music so distinctive to ears used to Western popular music -- the lack of harmonic movement, the modal melodies, the use of percussion not to keep a steady beat but in melodic interplay with the string instruments -- were all already present in songs like "Ticket to Ride", albeit far less obviously and in a way that still fit very much into pop song conventions. The Beatles grew immensely as musicians from their exposure to Indian music, but it's also the case that Indian music appealed to them precisely because it was an extension of the tastes they already had. Unlike when recording Beatles For Sale, the group clearly had enough original material to fill out an album, even if they ended up not doing so and including two mediocre cover versions on the album -- the last time that would happen during the group's time together. The B-sides of the two singles, John's "Yes It Is" and Paul's "I'm Down", both remained only available on the singles, even though the previous film soundtrack had included the B-sides of both its singles. Not only that, but they recorded two Lennon/McCartney songs that would remain unreleased until more than thirty years later. "If You've Got Troubles" was left unreleased for good reason -- a song written for Ringo to sing, it's probably the single worst Lennon/McCartney song ever attempted by the group, with little or nothing to redeem it. McCartney's "That Means a Lot" is more interesting. It's clearly an attempt by McCartney to write a "Ticket to Ride" part two, with a similar riff and feel: [Excerpt: The Beatles, "That Means a Lot"] It even has a sped-up repurposing of the hook line at the end, just as "Ticket to Ride" does, with "Can't you see?" taking the place of "My baby don't care": [Excerpt: The Beatles, "That Means a Lot"] The group spent a couple of sessions on that track, but seem to have given up on it. While it's far from the best thing they did, it's not worthless or unreleasable, and one suspects that they ended up thinking that the track couldn't go on the same album as "Ticket to Ride" because the two songs were just too close. Instead, they ended up giving the song to P.J. Proby, the American singer who had been brought over by Jack Good for the About The Beatles show, and who had built something of a career for himself in the UK with a string of minor hits. Lennon said "we found we just couldn't sing it. In fact, we made a hash of it, so we thought we'd better give it to someone who could do it well". And Proby *could* have done it well -- but whether he did or not is something you can judge for yourself: [Excerpt: P.J. Proby, "That Means a Lot"] Somehow, Proby's version of the song made the top thirty. When the group started filming "Help!", the film was still going under the working title "Eight Arms to Hold You", which absolutely nobody involved liked -- the title was even included on the label of some copies of "Ticket to Ride", but Lennon and McCartney particularly disliked the idea of writing a song to that title. Some have suggested that the plan was to use McCartney's "Eight Days a Week", an album track from Beatles For Sale that had been released as an American single, as a title track, but it seems unlikely that anyone would have considered that -- United Artists wanted something they could put out on a soundtrack album, and the song had already been out for many months. Instead, at almost the last minute, it was decided to name the film "Help!". This was actually close to the very first working title for the film, which had been "Help, Help". According to Lester, "the lawyer said it had already been registered and you mustn't use it so we had Beatles Two and then Eight Arms to Hold You". The only film I've been able to discover with the title "Help, Help", though, is a silent film from 1912, which I don't imagine would have caused much problem in this case. However, after the group insisted that they couldn't possibly write a song called "Eight Arms to Hold You", Lester realised that if he put an exclamation mark after the word "help", that turned it into a different title. After getting legal approval he announced that the title of the new film was going to be "Help!", and that same day John came up with a song to that title: [Excerpt: The Beatles, "Help!"] Lennon later said that the song had started out as a slow, intense, ballad, and he had been persuaded to speed it up in the studio somewhat against his will. The song being performed as an upbeat pop song possibly made it harder for the public to see what was obvious to Lennon himself, that the song itself was a cry for help from someone going through a mental health crisis. Despite the title not being his, the sentiments certainly were, and for the first time there was barely even the fig-leaf of romantic love to disguise this. The song's lyrics certainly could be interpreted as being the singer wanting help from a romantic partner, but they don't actually specify this, which is not something that could be said about any of the group's other originals up to this point. The soundtrack album for Help! is also notable in other ways. George Harrison writes two songs on the album, when he'd only written one in total for the first four albums. From this point on he would be a major songwriting presence in the group. It also contains the most obvious Dylan homage yet, with Lennon impersonating Dylan's vocal style on "You've Got to Hide Your Love Away", recorded three days after "Ticket to Ride": [Excerpt: The Beatles, "You've Got to Hide Your Love Away"] "You've Got to Hide Your Love Away" was notable in another way as well -- it was the first time that a musician other than the Beatles or George Martin was called in to work on a Beatles record (other than Andy White on the "Love Me Do" session, which was not something the Beatles chose or approved of). The flute player Johnny Scott overdubbed two tracks of flute at the end of the recording: [Excerpt: The Beatles, "You've Got to Hide Your Love Away"] That was a sign of things to come, because in June, once filming had completed, the group went into the studio to continue recording for the non-soundtrack side of the soundtrack album. This was the height of the group's success and embrace by the establishment -- two days earlier it had been announced that they were all to be awarded MBEs -- and it's also the point at which McCartney's new creative growth as a songwriter really became apparent. They recorded three songs on the same day -- his Little Richard soundalike "I'm Down", which ended up being used as the B-side for "Help!", an acoustic country song called "I've Just Seen a Face", and finally a song whose melody had come to him in a dream many months earlier. McCartney had been so impressed by the melody he'd dreamed that he'd been unable to believe it was original to him, and had spent a long time playing it to other people to see if they recognised it. When they didn't, he eventually changed the lyrics from his original jokey "Scrambled eggs/Oh my baby how I love your legs" to something more appropriate, and titled it "Yesterday": [Excerpt: The Beatles, "Yesterday (Anthology 2 early take)"] "Yesterday" was released as a Beatles track, on a Beatles album, but it had absolutely no involvement from John, George, and Ringo -- nobody could figure out how to adapt the song to a guitars/bass/drums format. Instead George Martin scored it for a string quartet, with some assistance from McCartney who, worried that strings would end up meaning something Mantovani-like, insisted that the score be kept as simple as possible, and played with almost no vibrato. The result was a Beatles track that featured five people, but only one Beatle: [Excerpt: The Beatles, "Yesterday"] The group's next album would see all the band members appearing on every track, and no musicians brought in from outside the group and their organisation, but the genie was now out of the bottle -- the label "The Beatles" on a record no longer meant that it featured John, Paul, George, and Ringo, but just that at least one of them was on the track and the others had agreed it could go out under their name. This would lead to immense changes in the way the group worked, and we'll be seeing how that played out throughout the rest of the 1960s.
This week Emily chats to Paul Elkington, Professor of Respiratory Medicine at the University of Southampton about his work during COVID-19 and the development of the ground-breaking PeRSo respirator.The Royal Academy of Engineering (RAEng) has awarded the University of Southampton team behind PeRSo - Personal Respirator Southampton - with a President's Special Award for Pandemic Service for exceptional engineering achievements in tackling COVID-19 throughout the UK.Both Professor Elkington and his colleague Hywel Morgan have been awarded MBEs in the Queen's Birthday Honours for services to medicine and services to biomedical engineering respectively.For further information:Website – www.southampton.ac.uk/publicpolicyPerso project page - https://www.southampton.ac.uk/publicpolicy/support-for-policymakers/policy-projects/perso.page Policy pod - https://www.southampton.ac.uk/publicpolicy/support-for-researchers/policy-podcasts.page How to get in touch with Public Policy Unit Southampton - https://www.southampton.ac.uk/publicpolicy/about/1_team.page https://www.linkedin.com/showcase/publicpolicyuos/https://twitter.com/publicpolicyuos https://www.facebook.com/PublicPolicyUoS
Some quite deep stuff about dreams right off the bat here, but fear not, we come back to our usual level of idiocy fairly quickly. Also, one of us is recording the podcast topless…find out who… See acast.com/privacy for privacy and opt-out information.
Some quite deep stuff about dreams right off the bat here, but fear not, we come back to our usual level of idiocy fairly quickly. Also, one of us is recording the podcast topless…find out who… See acast.com/privacy for privacy and opt-out information.
With EURO 2020 kicking off yesterday, we've got everything you need to know about the Three Lions' on day two of the tournament. Dean Henderson stopped by The Official England Podcast to talk about why it's always been his dream to play for England and why he's gunning for Jordan Pickford to be first pick goalie.Josh Denzel is back as our eyes and ears in St. George's Park to give us the lowdown on everything that's been happening and what his guest on Lions' Den connected by EE, John Stones, had to say about his experience in the 2018 World Cup.Watch full episodes of Lions' Den Connected by EE here...https://www.youtube.com/watch?v=CwYZ9mMFxbU&list=PLH4hJ2GPUXQWyY0drQPTXcC8qPSAuAdVV Keep up to date with all things England:► Twitter: http://www.twitter.com/england► Instagram: http://www.instagram.com/england► Facebook: http://www.facebook.com/englandteam► Twitch: https://www.twitch.tv/england► TikTok: https://www.tiktok.com/@england See acast.com/privacy for privacy and opt-out information.
Welcome to The Profit Talk! In this show, we're going to help you explore strategies to help you maximize profits in your business while scaling and creating the lifestyle that you want as an entrepreneur. I am your host, Susanne Mariga! I'm a certified Mastery Level Profit First Professional. Let's dive into strategies to maximize profits in your business! In this episode, we are celebrating the launch of my new book, Profit First For Minority Business Enterprises. Join me as I introduce our surprise guests and give you an inside look at my new book. Visit my FREE Facebook Group, The Profit First Masterclass, where I'll be sharing additional exclusive trainings to members of the community. If you're excited about what's next for your business and upcoming episodes, please head to our itunes page and give us a review! Your support will help me to bring in other amazing expert interviews to share their best tips on how to powerfully grow in your business! DISCLAIMER: The information contained within these videos is provided for informational purposes only and does not constitute, an accountant-client relationship. While we use reasonable efforts to furnish accurate and up-to-date information, we assume no liability or responsibility for any errors, omissions, or regulatory updates in the content of this video. Any U.S. federal tax advice contained within is not intended to be used for the purpose of avoiding penalties under U.S. federal tax law.
Welcome to The Profit Talk! In this show, we're going to help you explore strategies to help you maximize profits in your business while scaling and creating the lifestyle that you want as an entrepreneur. I am your host, Susanne Mariga! I'm a certified Mastery Level Profit First Professional. Let's dive into strategies to maximize profits in your business! In this episode, I interview Jerry Won for my new book, Profit First For Minority Business Enterprises. Jerry is a storyteller, brand builder, and community leader. He is the Founder & CEO of Just Like Media, an Asian American storytelling company whose brands include Dear Asian Americans, Beyond the Resumes, MBAsians, The Janchi Show, and Asian Podcast Network. He is the CEO of The Podcast Firm, a podcasting production, consulting, and education company. Connect with Jerry on Linkedin at jerrywon.com. Visit my FREE Facebook Group, The Profit First Masterclass, where I'll be sharing additional exclusive trainings to members of the community. If you're excited about what's next for your business and upcoming episodes, please head to our itunes page and give us a review! Your support will help me to bring in other amazing expert interviews to share their best tips on how to powerfully grow in your business! DISCLAIMER: The information contained within these videos is provided for informational purposes only and does not constitute, an accountant-client relationship. While we use reasonable efforts to furnish accurate and up-to-date information, we assume no liability or responsibility for any errors, omissions, or regulatory updates in the content of this video. Any U.S. federal tax advice contained within is not intended to be used for the purpose of avoiding penalties under U.S. federal tax law.
Welcome to The Profit Talk! In this show, we're going to help you explore strategies to help you maximize profits in your business while scaling and creating the lifestyle that you want as an entrepreneur. I am your host, Susanne Mariga! I'm a certified Mastery Level Profit First Professional. Let's dive into strategies to maximize profits in your business! In this episode we interview Kym Yancey for my upcoming book, Profit First For Minority Business Enterprises. Kym is the Co-founder, Chief Marketing Officer and President of eWomenNetwork. He has a legacy of success and brings an avalanche of creativity, passion and business savvy to everything he touches. Today he is going to teach us how to learn from the “No's" that we receive in business. You can learn more about Kym Yancey at ewomennetwork.com Visit my FREE Facebook Group, The Profit First Masterclass, where I'll be sharing additional exclusive trainings to members of the community. If you're excited about what's next for your business and upcoming episodes, please head to our itunes page and give us a review! Your support will help me to bring in other amazing expert interviews to share their best tips on how to powerfully grow in your business! DISCLAIMER: The information contained within these videos is provided for informational purposes only and does not constitute, an accountant-client relationship. While we use reasonable efforts to furnish accurate and up-to-date information, we assume no liability or responsibility for any errors, omissions, or regulatory updates in the content of this video. Any U.S. federal tax advice contained within is not intended to be used for the purpose of avoiding penalties under U.S. federal tax law.
Welcome to The Profit Talk! In this show, we're going to help you explore strategies to help you maximize profits in your business while scaling and creating the lifestyle that you want as an entrepreneur. I am your host, Susanne Mariga! I'm a certified Mastery Level Profit First Professional. Let's dive into strategies to maximize profits in your business! In this episode I interview Adrienne Trimble. Adrienne is the former President and CEO of the National Minority Supplier Development Council (NMSDC). She is a known thought leader for advancing corporate Diversity, Equity, and Inclusion (DEI) initiatives. Her goal is to expand economic engagement and ownership as a powerful and productive force in the Asian, Black, Hispanic and Native American communities in the years ahead – with an eye toward the year 2045, the year the U.S. will achieve a majority-minority population. To learn more about the National Minority Supplier Development Council please visit: www.nmsdc.org . Visit my FREE Facebook Group, The Profit First Masterclass, where I'll be sharing additional exclusive trainings to members of the community. If you're excited about what's next for your business and upcoming episodes, please head to our itunes page and give us a review! Your support will help me to bring in other amazing expert interviews to share their best tips on how to powerfully grow in your business! DISCLAIMER: The information contained within these videos is provided for informational purposes only and does not constitute, an accountant-client relationship. While we use reasonable efforts to furnish accurate and up-to-date information, we assume no liability or responsibility for any errors, omissions, or regulatory updates in the content of this video. Any U.S. federal tax advice contained within is not intended to be used for the purpose of avoiding penalties under U.S. federal tax law.
Welcome to The Profit Talk! In this show, we're going to help you explore strategies to help you maximize profits in your business while scaling and creating the lifestyle that you want as an entrepreneur. I am your host, Susanne Mariga! I'm a certified Mastery Level Profit First Professional. Let's dive into strategies to maximize profits in your business! In this episode we interview Dr. Avis Jones-DeWeever. Dr. Avis is a Media Monetization Mentor with over 20 years of media experience under her belt. Today she will show us how entrepreneurs can make the critical links from visibility to profitability through strategically leveraging the power of media to grow their businesses, elevate their brands, and become profitable. You can learn more about Dr. Avis's services at https://perfectmediapitch.com. Visit my FREE Facebook Group, The Profit First Masterclass, where I'll be sharing additional exclusive trainings to members of the community. If you're excited about what's next for your business and upcoming episodes, please head to our itunes page and give us a review! Your support will help me to bring in other amazing expert interviews to share their best tips on how to powerfully grow in your business! DISCLAIMER: The information contained within these videos is provided for informational purposes only and does not constitute, an accountant-client relationship. While we use reasonable efforts to furnish accurate and up-to-date information, we assume no liability or responsibility for any errors, omissions, or regulatory updates in the content of this video. Any U.S. federal tax advice contained within is not intended to be used for the purpose of avoiding penalties under U.S. federal tax law.
Welcome to The Profit Talk! In this show, we're going to help you explore strategies to help you maximize profits in your business while scaling and creating the lifestyle that you want as an entrepreneur. I am your host, Susanne Mariga! I'm a certified Mastery Level Profit First Professional. Let's dive into strategies to maximize profits in your business! In this episode, I interview husband and wife entrepreneurs, Ed and Jane Harris, who are featured in my new Book Profit First For Minority Business Enterprises. Chef Ed and Jane are owners of The Virgin Hair Fantasy who provide their clients with top of the line authentic virgin human hair that is both durable and versatile. Join me as the Harris's walk us through their Profit First journey to become the Gen 1 millionaires in their family. To learn more about Ed & Jane and their products visit their website at https://thevirginhairfantasy.com Visit my FREE Facebook Group, The Profit First Masterclass, where I'll be sharing additional exclusive trainings to members of the community. If you're excited about what's next for your business and upcoming episodes, please head to our itunes page and give us a review! Your support will help me to bring in other amazing expert interviews to share their best tips on how to powerfully grow in your business! DISCLAIMER: The information contained within these videos is provided for informational purposes only and does not constitute, an accountant-client relationship. While we use reasonable efforts to furnish accurate and up-to-date information, we assume no liability or responsibility for any errors, omissions, or regulatory updates in the content of this video. Any U.S. federal tax advice contained within is not intended to be used for the purpose of avoiding penalties under U.S. federal tax law.
Tamara is the founder and CEO of Mr & Mrs Smith, the boutique hotel booking specialists. An entrepreneur with a background in marketing and technology, she co-founded Mr & Mrs Smith with her husband James and has been responsible for evolving the company’s digital infrastructure ever since. As CTO she oversaw the pivot from publishing house to online travel agent, developing Mr & Mrs Smith’s in-house booking engine, proprietary availability-management systems and responsive global website. Today, Mr & Mrs Smith has more than 1.5 million members worldwide and Tamara and James have received MBEs for their services to the British travel industry. In 2018 Mr & Mrs Smith raised £6m through crowdfunding on Crowdcube – one of the fastest and highest raises seen on the platform to date.About this episode:Company Name Mr & Mrs SmithCompany Website www.mrandmrssmith.comAbout Infinite Luxury:LUXURY VOICES is a podcast curated by Infinite Luxury Group, a luxury Sales, Marketing, Communications specialist based in Asia. www.infiniteluxurygroup.comFollow us: LinkedIN www.linkedin.com/in/infinite-luxury-a132271bInstagram infiniteluxurymanifestoWeChat InfiniteLuxury-jxmContact us: WeChat InfiniteLuxuryEmail hongkong@infiniteluxurygroup.comPodcast available on iTunes, Spotify, online or wherever you listen to your episodes
Making Conversations Count: Honest, relatable conversations with business leaders
Making Conversations about Influencer Marketing count! Influencing and marketing expert Nat Schooler joins Wendy as they chat about how important it is to produce strategic content online. Nat spends his time podcasting, writing, and driving across foreign continents for fun. However, their conversations quickly turn to the importance of building relationships with the people you want to work with. Nat places trust as the highest asset everyone should nurture. Nat is considered a social media influencer in marketing and has a great business approach. Nat explains this pivotal moment with such clarity you can smell the soap and understand quickly why he was influenced to be driven with it… You can connect with Nat here where he's more than happy to start conversations. https://www.linkedin.com/in/nathanielschooler/ Check out his resources and https://natschooler.com/ FULL TRANSCRIPT OF EPISODE Making Conversations Count – Episode 2 Wendy Harris & Nat Schooler November 5th 2020 Timestamps 00:00:00: Introduction 00:01:45: Importance of content relevance 00:04:22: Building an audience through relationships 00:08:12: Conversations lead to useful introductions 00:09:38: Nat's pivotal moment 00:13:59: The joy of following your path 00:16:05: Developing the skills you need 00:18:05: Final thoughts Wendy Harris: Welcome to Making Conversations Count, the podcast where business leaders come and share their pivotal moments to help aspiring entrepreneurs with their stories. Today on the show, I have Nat Schooler. Hello, Nat, thanks for joining us. Nat Schooler: Hello, Wendy, it's very nice of you to invite me. Wendy Harris: So, Nat, tell everybody what you do and how we first met. Nat Schooler: Well, my major focus is around influencing and marketing. So, I'm the Principal Consultant at The Influencer Marketing Company and we run a series, loads of different podcast shows. We mainly deal with technology businesses, software-as-a-service businesses, to create market exposure, understanding and presence. I do a bit of writing as well and I do a lot of podcasting. Wendy Harris: I know that you are very active on social. That's kind of where we met really, wasn't it, through mutual friends online, and you have a very conversational style. So, I was naturally drawn to what you were chatting about on the different platforms on LinkedIn and I particularly like your Facebook, I have to say. That's where you get to see the real Nat, I think? Nat Schooler: Yeah, it's quite funny, my Facebook; I forgot you were on there! Oh dear! Wendy Harris: I am who I am, wherever I am, whatever the platform. I really don't stick to any kind of protocol. LinkedIn is the business platform, but still I think people need to know who you are and I think that's where what you are putting out there, in terms of conversational content, is what attracts people, and that's the influence that you can have over people. Is that what you see in what you do? Nat Schooler: Yeah, I agree completely. I mean, I think the content is the key; but also, the relevance of the content to the audience, right? So if, for example, I'm helping IBM with a software trial or something like this, then I want to be speaking to the right people. So, that piece of content needs to be a blog or a video or whatever, and it needs to actually have the right content so that particular job, the actual person, is relevant to the content; and the other way round. So, if you're getting a blog written that's really technical, it's going to appeal to a chief tech officer or a chief information officer or a chief security officer, or whatever, but it needs to be relevant and I think that's the most important thing that I've learnt. I think, yes, you can build relationships and you can get closer to people but I think, if you want to sell something, then you need relevance, definitely, yeah. Wendy Harris: With that, everybody has a different sort of absorption, don't they? Some people like to read, some people like to watch, some people like to listen. So, I think it's important as well that whatever that content is, that you have a mix and a myriad of the same content, but just delivered in different styles? Nat Schooler: Yeah, well we've got to try. Then, that goes back to the specific job role, right? If you're trying to hit executives, most executives read. All right, they will also listen to stuff and they will also watch it. If you're like me, I'll read stuff, I'll listen to it, I'll watch it, because that's who I am. So, I will absorb content in many different ways. It's just knowing your audience. And yeah, of course, if money was no object and there was no budget, you'd create content on all channels all the time. You'd create a podcast, you'd turn that into videos, you'd cut them up, you'd turn them into audiograms and then, you'd put them into blogs. But the thing is that, in the real world, that actually takes a hell of a lot of resource. You know, I do podcasts myself and creating transcriptions; all right, you're going to get 90% accuracy, but there's always going to be someone that's going to get annoyed because it's not accurate. So, you know, that takes extra resource. Everything's a matter of resource, right? Wendy Harris: Yeah, time or money or effort. Nat Schooler: Yeah, it's the same thing, because someone's got to do it and if you were going to pay yourself to do it, you'd be doing a £10 an hour job, which is not really what I want to do with my time. But, it really just depends on who it's for, if you've got a love and a passion for what you're doing; if you enjoy what you're doing, it doesn't matter much. Wendy Harris: I think that's why people go from doing to teaching. I would never run out of ideas for content; it's bizarre, yet I don't have the time to fashion exactly how I would want it. There's a loose strategy around it, but then if I had more time to do it, I think that would be tighter and smarter. And it's the old adage, “Don't do as I do; do as I say”, as well. Nat Schooler: Well, yeah. But, when you look at Gary Vaynerchuk, I mean some people don't like him. I don't care if they don't like him. I went through a couple of years of totally disliking him because he swore all the time and I just got fed up with his attitude, but he's right. You can create 100 pieces of content a day and put that out there, then you're going to get a load of eyeballs, then that is going to build your audience and then, that is going to, in essence, translate into money, providing you've got a business strategy. If you don't have a business strategy and you don't align content with your business strategy, then what's the point of having content anyway? I just try to keep up a constant level of awareness of me, right, and that's it. And I'd like to do more, but I don't, because I just get burnout. Everyone gets burnout. I spent nearly two years saying, “Well, can I really be bothered to do this?” Whatever, 26,000 Twitter followers went to 25,500. I think there's too much obsession with creating content. I think it's really about personal relationships, and if you've got a business and you've got a business model and you can send someone a private message and say, “Hey, Wendy, I'm doing this, I noticed that you're doing that, do you want to partner on this?” which is what I've been doing. I mean, I'm talking to an SEO strategy company today. Wendy Harris: Yeah, collaboration's really powerful. Nat Schooler: Yeah, massive. Wendy Harris: I mean, it is about the building of relationships, and I understand that content springboards the start of that. What I endorse is that you've got to show up as yourself and I think that's even more important, that if you're going to take what's online into the real world, it has to match, it's got to be consistent. You've got to be representing your true self, your true identity, your true values to the core. You don't always see that translate, which is why I always say conversations count, on every level. Nat Schooler: Authenticity is 100%. But, I think it depends on the kind of content you're putting out there. Like, if I put out on LinkedIn all the pictures that I've been taking while I've been travelling across Europe, it would drive people insane right now; so, I just reserve that for my Instagram, for my friends on Facebook to drive them nuts, right, because they know me and it's like, they don't have to look at it. But also, on LinkedIn it's like, well actually, if you've got good content that's sitting there on your profile and you go and connect with someone, then that is going to help you. If you don't have any content on your profile, some people are going to connect with you, but are they the people that you want? No. So, you need something! Wendy Harris: Yes. And the point there though, I think, is that whilst I am the same everywhere I go, there are some protocols where you know that, like you were saying, those images of you travelling are going to be more popular on Instagram than on LinkedIn, so it's what you lead. The content's going to be the same; it's just going to be tweaked slightly differently. But of course, if I'm going to start a conversation with somebody on LinkedIn, I would hope that I would get to know them well enough that then I do become their friend on Facebook; that then I do go and have a look at what they're doing on Instagram, because they've put a Facebook post up going, “I've just stuck a load of stuff on Instagram”. So, I think there's just different levels of building up that relationship that all starts with a conversation at some point. Nat Schooler: Very much so. And a lot of the time, those people are not your customers. They're going to be people that might introduce you to other people that might be your customers, and that's what people forget. You can say what you want to me, right, but you don't know who I know and you don't know; I could just introduce you to someone that could make you a millionaire in the next 24 months, right? So, my advice is to just best be polite! Wendy Harris: Noted! Be polite to Nat! Nat Schooler: I'm not talking to you though, Wendy. I like your style; you've got a really good conversational style, and that's who you are. You're authentic; you're the same person face-to-face as you are online. Wendy Harris: And that's important, because putting a mask on can be really draining. There are tools and tricks that you learn, but in terms of being able to be faceless on the phone, now there's nowhere to hide. So, just be yourself, because it will come back on your tenfold, and not necessarily in a good way, if you are anything other. I ask everybody that comes on the show to have a think about a pivotal moment, because I think that there are conversations that we have with different people on our journey, whether that be work or just generally in life, and we know when that moment was. So, I'm going to ask you to share what that moment was and how it affected you after? Nat Schooler: All right. It's a big one this. I've had so many different ones, but I think this is the most important one, because it wasn't a conversation with a person; that's what's so crazy. I'll give you a bit of background. I'd had a podcast show and I did interviews with people, well since 2014, I think, I'd been interviewing people on YouTube and I didn't really build a big following. It wasn't about that; it was about building relationships and understanding other people's knowledge and learning. So, I interviewed all sorts of people and for some reason, I launched a podcast show with a business partner and it didn't work out. So, I was like, “I love podcasting”, and I was umming and ahhing about this probably for about six months, maybe even longer. And, I heard these words in my head, like, this was September 2018. And these words in my head said, “You must start another podcast”. So, I was like, “What?!” It was like my dad or someone leaning into my head with a pipe and shouting in my head. So, it was just super-weird. So I was like, all right, I'll start a podcast. I basically launched a website, got some podcasts that I'd had in my archives; one of them was with Michael Tobin OBE. He basically merged two big cloud storage companies, data centres, and he sold them for like, well I think he sold them for nearly US$3 billion, which is like ten times a UK billion; so, a substantial amount of money. And, he's been a supporter of mine since I started podcasting back on my first show. I'd connected with him on LinkedIn and we met up in London. I've interviewed him multiple times. He's helped me to launch multiple shows. I dug out this old episode of Michael Tobin and I put it on my website and I did the transcriptions and then I was like, “Oh, that's a relief, I can relax now”. And then maybe half hour later, I heard these words in my head saying, “You can't relax, you need to do more, you need to get going, you've got to get your [bleeped audio] into gear”. Wendy Harris: There's something a little familiar about this conversation in your head happening? Nat Schooler: So then I was like, “All right, all right, I'll do it”. So, I basically dug out a few more episodes, interviewed three or four people, got six episodes ready with full transcriptions, imagery, titles, everything, and I launched one per day for a week. So, I had six episodes launching per week on iTunes and, you know, all the platforms. And then, I was like, “Oh, that's a relief, I can relax now”. Christmas, I hear these words again in my head saying, “No, you can have three days off, you need to cook your dad some lunch and that's it”. I got to the end of that and I was like, “All right, I'll get back to work”. So, I dug out another few old episodes, interviewed a few more people, and I basically launched six episodes in a week during January 2019, based upon what I was told in my head. So, I launched one, two, three. I got to the Wednesday, launched the third one, and then I had an email, or a LinkedIn connection request, from the world's largest eBook publisher asking me to basically create some expert talks. So then they were like, “Well, this is what it pays”, and we had a long conversation and I said, “Well, I can't say that figure really motivates me”. So, in my childish mind, I timesed that figure by 100 and I said, “All right, I'll do 100 for you”, and I almost did 100. I think I did 97 or something. We've reached 100 now, so I get paid every six months for my interviews. I mean, I've interviewed Stanley Tucci; I've interviewed Ed Vaizey, the politician; I've interviewed so many people, you just wouldn't believe it. And you basically become the guardian of their brand. I've interviewed quite a few OBEs, MBEs. They're trusting you with their brand, right, and that trust is what is so powerful. The relationships that you are building with these people are phenomenal and it propels you. So, it might be that you hear these words in your head, but if you don't listen to them, you're never going to know what you're going to achieve in your life. Wendy Harris: Yes, it's interesting, and you're not only guest that has had the conversation with themselves. Nat Schooler: Well, I think it was the man upstairs, but they can think it was themselves. Wendy Harris: Well, yeah, whatever. But by saying, you know, I've not had a physical conversation. And I kind of get it because, as soon as I realised what I wanted to talk to my guests about, I've been so driven. It's consuming. I'm actually asleep dreaming what the conversation's going to go like, and it's — Nat Schooler: Yeah, it's really fun. Wendy Harris: It is; it's a really powerful process. Like you say, it's a gift and you are a guardian of something. It's so precious. I do feel like it's a blessing to be able to have guests that come on like you to share a story and, you know, even I'm going, “I get that; I totally understand that, that you were meant to do that, because that was waiting for you to happen”. If you hadn't have done it, who knows? Had that wine been a good bottle and you'd have had another bottle, would you have done the same thing the next day? Nat Schooler: Yeah. I had to do what I was told. It was clear instructions. When you hear a voice that's that loud in your head, you need to do something. If you don't do it, then you're basically just robbing yourself and you're going to end up on that bed looking back over your whole life, and that might be one of your biggest regrets, when you see all the other people that have done what you wanted to do in your life. Wendy Harris: Absolutely. I think that this year particularly, it's been about not just bringing back the basic priorities, but our basic drive for life. What are we leaving behind? What are the footsteps that we're walking for others that haven't done that; or, are we following somebody else's footsteps; are we making our own path; are we leading the way for somebody to follow and make their life easier? There are so many things about this year that have been a fascinating insight into people and relationships. Nat Schooler: I think also the skills, I think, outlining what you really need to learn. A friend of mine, about ten years ago, told me, “Look, you need to learn how to do all this stuff yourself. Everything that you're selling, you need to learn how to do yourself”. And, you know what; he's right, because if you don't know how to do something yourself, who's going to finish it when someone messes it up. Like, someone today came to me. I did some interviews for a company and they're like, “Well, we need an image with this text on with a photo of the person for our blog which we'll feature in three episodes that you did for us, and we need them”. And I was just like, “Oh”. And then I was like, “Oh, it will take me ten minutes”, and I just did it. I sent it to her in half an hour and she was like, “Wow, that was fast!” and I was just like, “Yeah, fairly; not bothered”, because those skills, you need to hone the skills you need because then, you can pick up the pieces if you need to fix something. Certainly with writing, with video, with podcast, with imagery; you don't have to be an expert, but you need to know how to use the tools that are so easy to use. Wendy Harris: I agree so much with what you're saying there, Nat, because it's one of those that I say to all the delegates that come on my sales and marketing workshops, that I train on a one-to-one or in a team basis, is if you don't know what is expected through that process, how can you then even instruct anybody else to do it the way that you want it? Because, at some point, you're not going to want to be making the tea and sweeping the floor and cleaning the loo; you're going to want somebody to make the tea you like it, sweep the floor the way you like it, and leave the bowl nice and shiny. It's about understanding that process. Nat Schooler: You can't hire anyone to do anything if you don't know how it works. You're going to get ripped off, is another reason. Wendy Harris: Yes. Be as invested in it as anything else that you really want to do, is the key message there. Nat, I could talk to you forever. Thank you so much for sharing that pivotal moment for us. If anybody wants to pick up the conversation with you from today's episode, where can people find you? Nat Schooler: My website's fine. It's natschooler.com. Wendy Harris: Nice and simple; I like it! Well, thanks so much again, Nat, I really appreciate your time. And for the listeners, don't forget to send us your comments. We do reply to them all. Make sure you share and subscribe. The place to be is makingconversationscount.studio/podcast. Thank you so much for listening. Take care.
Tune in to listen to a tip related to doing mixed subject sets for the MBEs.
Tune in to listen to a tip that can help you improve your MBE scores.
The Joint Venture Podcast investigates the most exciting deals and financial innovations, as well as broader market trends such as digital disruption, ESG and life in the post-pandemic world.In our second episode, Jon and Ott catch up on the week's news and then talk to Jeremy M. Ebie, founder and CEO of Washington-based Phoenix Infrastructure Group.We chat with Jeremy about the minority-owned investor space, the impact of the Black Lives Matter protests, the much-touted US infrastructure bill, the challenges of Covid-19, and many more topics.
There has been so much concern and discussion about the effect of COVID-19 and the July 2020 Bar Exam. New York has announced postponement until “fall”, while California’s emergency teleconference on March 30 did not result in a definitive decision as to postponement of the July 2020 examination.Many people have been hoping and wishing for a “JD Privilege” which would allow for being licensed while having a Juris Doctorate rather than sitting for a Bar Exam. I think that a Diploma Privilege would never happen in certain jurisdictions with lower bar pass rates. This would allow for the practice of law without passing a bar exam for so many new attorneys at present, let alone the cumulative applicants that have yet to pass.Further, it makes sense there would be a simultaneous outcry by those 1.35M currently licensed attorneys in the United States and 170k in California alone.NCBE has recently announced 3 separate dates that materials would be available for the “July” Exam. The usual July dates and two September dates of 9 & 10 as well as 30 & 1.All this to say that the Bar Exam itself is not going anywhere. I definitely do not think it will be administered normally in July for most jurisdictions if at all, and will likely be postponed to the later dates in September with new precautions considered and the added possibility of further postponement.In following news of bar exam postponement so closely, a new problem has arisen - Why would examinees bar prep if they have no idea when they are even going to sit for the exam?This reasoning easily follows because ALL programs except for Bar Exam Drills are based on schedules - meaning it must be aligned with an actual exam date.For the Bar Exam Drills app, it actually doesn’t matter when the exam is to be administered. The more time the better, because the Bar Exam Drills app is principled on Scaffolding. Levels of MBEs in any of the 8 separate subjects must be mastered before moving on to new material.That way for every new level, it is reinforced leaving you with a significant advantage for a postponed bar exam.If you have any questions that you would like us to answer, please direct them to podcast@barexamdrills.com.
The MBDA Business Center located in Orlando, FL is operated by the Florida State Minority Supplier Development Council. The center is part of a national network of funded centers located in major cities throughout the United States. The center works with minority business enterprises to generate increased financing and contract opportunities and to create and retain jobs. Program Director Retu Jalhan is an accomplished business professional with a specialization in the finance industry. Her finance and marketing skills are derived from over fifteen years of experience in the banking, investments and insurance sectors. After graduation from York University, Miss Jalhan began her career in Insurance on the Property and Casualty side of the business. She progressed from the Manager of Direct Marketing to Group Account Manager for the Cooperators Insurance Company where she managed a portfolio of group insurance clients valued at over $160 million in premiums. More recently Miss Jalhan was the Director of Business Development at The RMP Group where she is responsible for the detailed financial analysis and valuation of acquisition opportunities. She also assisted in the preparation of legal and marketing documents and managed the due diligence timelines for acquisitions. The focus of Miss Jalhan’s work has been on the growth of Minority (MBE), Women (WBE) and Disabled Veteran supply chain companies. She has also led a special initiative focused on niche social enterprises impacting the Caribbean. Leveraging her unique experience, she aims to lead the way for further development of MBEs and WBEs in the Central Florida region. Phone: 407-251-7021 Location: 8251 Presidents Dr., Suite 155 Orlando, FL 3280
Today: Coronavirus lols, Princess Meghan and her new admirer, new MBEs, and DA-DA-DA-DARRRRR; ANDREW MARR. It is NICE TO BE BACK. See acast.com/privacy for privacy and opt-out information.
The MBDA Business Center located in Orlando, FL is operated by the Florida State Minority Supplier Development Council. The center is part of a national network of funded centers located in major cities throughout the United States. The center works with minority business enterprises to generate increased financing and contract opportunities and to create and retain jobs. Program Director Retu Jalhan is an accomplished business professional with a specialization in the finance industry. Her finance and marketing skills are derived from over fifteen years of experience in the banking, investments and insurance sectors. After graduation from York University, Miss Jalhan began her career in Insurance on the Property and Casualty side of the business. She progressed from the Manager of Direct Marketing to Group Account Manager for the Cooperators Insurance Company where she managed a portfolio of group insurance clients valued at over $160 million in premiums. More recently Miss Jalhan was the Director of Business Development at The RMP Group where she is responsible for the detailed financial analysis and valuation of acquisition opportunities. She also assisted in the preparation of legal and marketing documents and managed the due diligence timelines for acquisitions. The focus of Miss Jalhan’s work has been on the growth of Minority (MBE), Women (WBE) and Disabled Veteran supply chain companies. She has also led a special initiative focused on niche social enterprises impacting the Caribbean. Leveraging her unique experience, she aims to lead the way for further development of MBEs and WBEs in the Central Florida region. Phone: 407-251-7021 Location: 8251 Presidents Dr., Suite 155 Orlando, FL 32809
Tune in to learn about an important bar exam tip that is going to help you become more efficient for the MBEs and essays.
Tune in to learn how you can increase your overall MBE scores by focusing on your 3 lowest performing subject areas.
Sometimes we get in our own way and we believe that if we don’t do 50 MBEs per day that we will not make progress. Tune in to how you can switch this mindset around and alter the course of your bar exam preparation. You got this!
Tune in to learn about a strategy that can help you stay accountable and motivated for purposes of engaging in timed practice for any of the 3 sections of the bar exam (essays, MBEs, Performance Test).
Today I’m joined by James Lohan, the co-founder - and the Mr - of Mr & Mrs Smith, the much-loved boutique and luxury hotel booking service and travel club. It all began when James and his wife Tamara (aka Mrs Smith) decided to go about creating their own boutique hotel guidebook, travelling the UK to dine the best spots for a luxurious weekend break. The book was a huge success, and the business has since grown to include a popular online booking service, and its membership programme now has more than a million global members.In 2014, James and Tamara received MBEs for their services to the travel industry, and when I asked James how many hotels he’s visited, he estimated a whopping 2000.As soon as we started chatting, I knew this had to be a long haul feature length episode. As a bit of a hotel junkie myself, this was just so much fun, listening to James zig zag across the globe from one extraordinary destination to the other. Whatever you’re dreaming about, if you’re thinking of a weekend staycation or a mega honeymoon, I guarantee you’ll get some great inspiration from James.Destination recap: Polzeath Beach, Cornwall, EnglandTresanton Hotel, Cornwall, England Blakes Hotel, London, EnglandThe Witchery, Edinburgh, Scotland Drunken Duck Inn, Lake District, England Le Manoir aux quat’saisons, Oxfordshire, EnglandUxua Casa, Trancoso, BrazilVik, Southern Iceland Deplar Farm, Troll Peninsula, Iceland Soneva Fushi, The Maldives Il Latini, Florence, ItalyJK Place, Florence, ItalyLime Wood, New Forest, England Reschio, Umbria, Italy Ett Hem, Stockholm, SwedenFoxhill Manor, The Cotswolds, England Morokuru, De Hoop Nature Reserve, South AfricaGeorgiaNamibiaRwandaIndia MenorcaYou can find Mr & Mrs Smith online and on Instagram @mrandmrssmithThank you so much for listening. If you haven’t yet left a 5 star rating, why not do so now! Your support is so greatly appreciated and most importantly, helps others to discover the podcast. Come and find me on Instagram - I’m @hollyrubenstein - and to find out more about the podcast, visit TheTravelDiariesPodcast.com This... See acast.com/privacy for privacy and opt-out information.
On the next episode of the Bar Exam Game Plan™ podcast I cover a couple of tips related to the importance of slowing down time on the MBEs.
During our time at the Florida State Minority Supplier Development Council's expo, we've met a number of people who understand the secrets behind growing your business and creating value. Felix Bratslavsky works at Tampa General Hospital, a very large level-one trauma center that is number one in Florida for transplants. The organization has more than 8,000 employees but they still contract out much of their workload. Gilda Rosenberg started a vending machine company 35 years ago in Miami and she slowly grew it to include major clients like universities, schools, and hospitals. She calls her relationship with the NMSDC a love affair that resulted in referrals, connections, and mentorship that helped her to grow her business. Partnerships Tampa General has a minority business program that breaks out the four procurement categories from construction and professional services to general goods and services, and medical services and supplies. The hospital has a lot of contracting opportunities and a lot of partners within the state of Florida and even nationwide. The Minority Business Enterprise program administered by the NMSDC recognizes for-profit businesses in the U.S. that are 51 percent owned, operated, capitalized, and controlled by minorities. Felix says that MBEs that want to stand out should strive to be a partner. Add value, be cost-efficient, and know about the customer. Understand the customers' goals, their missions, and where they're headed. Bring the solution to wherever your prospective customer is going. In the case of Tampa General, the hospital recently got a new CEO that is leading the organization down a different path. MBEs that want to engage should recognize that the business has changed paths and they should offer solutions that relate to the path the company is on. Be an expert in your own business. Instead of coming to the prospect with a variety of items, they should know the situation well enough to narrow the solution down the best possible option and lead with that one. Homework MBEs must do their homework and focus on preparation if they that want to get noticed. Organizations receive hundreds of emails every day, so generic outreach will generally get deleted. Learn the process to get on the vendor application and then build a relationship. Finally, come with solutions. Understand your business and their business well enough that you can have meaningful conversations about each. If you want to be the next partner, you should already know who your competitors are, and who your prospect is currently using and why they are using that company. You should know whether a contract exists, and whether it's up for renewal. Companies that do those things win opportunities. Differentiate Differentiate yourself by being prepared. When there are so many companies doing the same thing and offering the same service, you have to stand out. Maybe you stand out on price or on value or even additional services. Whatever it is, make sure that the corporations you're pursuing know what sets you apart. Finding the right people Gilda recalls asking a bank for a $5 million loan for vending machines and being treated as though she was crazy. She said that her connections through NMSDC helped her learn how to negotiate the loan process as she interacted with banking people and how to create bids from connecting with hospital CEOs. Her biggest challenge in the vending industry has been the labor force. Her first route driver stole from her, so she learned that she had to control inventories differently. As the industry grew into a technological one, she had to bring in geek squads. She also learned how to find the human resources that support your mission and your vision. She said that finding the right manpower still poses one of her greatest challenges even today. The company struggles to find loyal employees who stick around because small companies struggle to sustain high turnover. The cost of training is simply too high. NMSDC She experienced a huge lift when she was introduced to the minority certification program. Then, she slowly grew her network and interacted with larger organizations where she landed contracts. You must prove yourself to the client. She says the most incredible satisfaction comes from helping minorities nationwide. Her suppliers and equipment originate from minorities. And now newer companies want her to introduce them to other contacts. Gilda calls her mission a mission to help other minorities. She also calls NMSDC the best college she ever went to. Although she studied economics in college, she grew professionally among the members of the NMSDC. She learned to nurture others. [Tweet "The product and service aren't so important anymore. It's your personality and how you take care of your clients that matter most. #Differentiate"] Don't think twice about joining the council because there's nowhere better to network. The council's handholding helps businesses by taking extra steps to get you to the right people. And knowing the right people can be the key to growing your business and creating value. "Growing Your Business and Creating Value" episode resources You can connect with Felix at (813) 844-3474 or at fbratslavsky@tgh.org or go to the hospital website. You can connect with Gilda at gilda@gillyvending.com. Learn more about the National Minority Supplier Development Council and its offerings at the website, nmsdc.org. If you haven't connected with me on LinkedIn already, do that at Donald C. Kelly and watch the things I'm sharing there. You've heard us talk about the TSE Certified Sales Training Program, and we're offering the first module free as a gift to you. Preview it. Check it out. If it makes sense for you to join, you can be part of our upcoming semester. You can take it on your own or as part of the semester group. The program includes 65 videos altogether, and we just completed a beta group that helped us improve the program and maximize the information in it. If you and your team are interested in learning more, we'd love to have you join us. Call (561)578-1729 to speak directly to me or one of our team members about the program. This episode is also brought to you in part by mailtag.io, a Chrome browser extension for Gmail that allows you to track and schedule your emails. You'll receive real-time alerts anyone opens an email or clicks a link. I hope you enjoyed the show today as much as I did. If so, please consider leaving us a rating on Apple Podcast, Google Podcast, Stitcher, or wherever you consume this content and share it with someone else who might benefit from our message. It helps others find our message and improves our visibility. Audio provided by Free SFX and Bensound.
When it comes to the bar exam you have to be strategic and tactical about every area of preparation. Today I provide you with some of the more commonly tested areas of the 8 MBE subjects so that you can strengthen your preparation and scores. You got this!
A lot of times bar examinees may be concerned about taking as many MBEs as possible early on during their preparation period because they might get a lot of questions wrong. In this episode I help you understand why getting wrong answers is ok, especially at the beginning, and I encourage you to learn to use the wrongly answered questions as a tool. You got this!
The MBEs require your full focus and attention, check out this tip that helps you bring your full awareness to each question and raise your scores!
Have you thought about the advantages of working with a Minority Owned Business or Enterprise (MBE)? Have you considered the advantages of developing diversity and inclusion initiatives? On this episode of The Self Made Strategies Podcast, we sat down with Greg DeShields, of PHLDiversity. Here is what you will learn about on this podcast episode:• What are some of the fundamental strategies businesses (especially minority owned enterprises or MBEs) can use for their strategic plan?• How do some of those strategies apply to preparing a business plan?• How can minority owned businesses leverage when attending meetings or conferences? • How can MBEs better prepare themselves for these opportunities?• What are some of the procurement strategies that MBEs should use to increase their likelihood of success?• What are some of other longterm strategies MBEs should use to ensure greater likelihood of success?• What are some of the barriers MBEs face regularly (for example, access to capital) and what are the best strategies to work around those barriers?• Other tips to help businesses become "business ready."• What are the advantages to bringing MBEs on as subcontractors for other businesses?• After you’ve listened to the episode, go to SelfMadeStrategies.com for more information about our show, exclusive content and to contact the Self Made Strategies hosts. Are you wanting even more awesome Self Made Strategies content? Follow @SelfMadeStrategies on Instagram.
Have you thought about the advantages of working with a Minority Owned Business or Enterprise (MBE)? Have you considered the advantages of developing diversity and inclusion initiatives? On this episode of The Self Made Strategies Podcast, we sat down with Greg DeShields, of PHLDiversity. Here is what you will learn about on this podcast episode:• What are some of the fundamental strategies businesses (especially minority owned enterprises or MBEs) can use for their strategic plan?• How do some of those strategies apply to preparing a business plan?• How can minority owned businesses leverage when attending meetings or conferences? • How can MBEs better prepare themselves for these opportunities?• What are some of the procurement strategies that MBEs should use to increase their likelihood of success?• What are some of other longterm strategies MBEs should use to ensure greater likelihood of success?• What are some of the barriers MBEs face regularly (for example, access to capital) and what are the best strategies to work around those barriers?• Other tips to help businesses become "business ready."• What are the advantages to bringing MBEs on as subcontractors for other businesses?• After you’ve listened to the episode, go to SelfMadeStrategies.com for more information about our show, exclusive content and to contact the Self Made Strategies hosts. Are you wanting even more awesome Self Made Strategies content? Follow @SelfMadeStrategies on Instagram.
C View proudly presents Remembering Your True Essence with Dammah Debbie Chisholm. This interview is based upon the newly published book, “Blossoming Your True Essence - Soul Retrieval and Spiritual Abundance Through Affirmation, Meditation & Intuitive Collage” by Light House Co-founder, Dammah Debbie Chisholm. Through our conversation, Debbie offers simple yet powerful tools that will help you begin to hear the echoes of your Soul, remember why you are here and help you shift into a deeper understanding about Who You Are. What do meditation, journaling and collage have in common? They are all “doorways to understanding”, and when combined with affirmations from the Angel Metatron to guide the process, they synergistically work in tandem to open you to hearing the voice of God in a whole new way. Get ready to hear and trust the voice of The Divine loud and clear! About the author: Debbie, also known as Dammah, is a Reiki Master, Starseed Shaman and a Light Language Channel, blending the wisdom of many traditions and lifetimes of experience in her 1:1 services. She works with the Christ Diamond Light energies that come through Mother Mary, Mary Magdalene and Yeshua, an Ascended Master group of Divine Feminine Energies that Debbie lovingly calls "the Sophias", Saints, and a team of Archangels including Michael, Ariel, Raphael and the Master Ophanim Angel Metatron, for your deep energetic re-balancing and re-Sourcing. Whether working with Debbie in person or remotely, all of her work is aimed at reducing stress in your energy field (MBES) and opening the doorway to bridge the gap of remembrance, where you can begin to align your earthly experience with your heavenly nature. Dammah, Debbie Chisholm - Light House Co-founder http://www.debbiechisholm.com Call 704-658-1442 https://www.lighthousespiritualcenter.com
Transmission 343 Christmas Time Is Here – Khruangbin Southbound Jericho Parkway – Roy Orbison Prøv Og Gor Li Some Jeg – Lotte Kaerså All Washed Up – Hampshire and Foat Mind the Gap – The Radiophonic Workshop Smell of Insense – The West Coast Pop Art Experimental Band Pony – Annette Peacock Cristina – Roy and the Devil’s Motorcycle We Were Wrong – Bonzo Dog Band Wish Me Up -The Seeds Silver Pill Box – Mattiel Get Down On It – King Louis One Man Band Losing Hand – Oblivians I’m So Depressed – Insecure Men Jingle Bells – Booker T and the MGs Now I’m Happy – Marvin Pontiac Dear Ramona – Parquet Courts Wed 21 – Juana Molina Marble Tulip Juicy Tree – Ween Christmas 1979 – The MBEs
The cripple impersonations, the Nazi salutes, the MBEs (received and returned), the groupies, the ‘Butcher cover’, the ‘bigger than Jesus’ controversy, the drugs, the love anthem, the naked album cover, the politically-charged lyrics, the peace campaign, the erotic artwork… However we slice and dice The Beatles’ story, it’s never boring,. What they said, sang and did still incites heated debates and disagreements five decades later. And what was deemed acceptable or unimportant back in the 1960s is often judged far more harshly today—as well as the other way around. So, diving into this often amusing, sometimes disturbing topic, we appraise things according to not only current mores, but also the era in which they took place—guaranteeing an action-packed episode… and a splendid time for all. The Music I Saw Her Standing There Day Tripper The Word Girl Run for Your Life Got to Get You into My Life Tomorrow Never Knows Doctor Robert Penny Lane Lucy in the Sky with Diamonds A Day in the Life All You Need is Love Revolution 1 Blackbird Piggies No Pakistanis Maggie Mae I’ve Got a Feeling Don’t Let Me Down Give Peace a Chance Come Together You Can’t Do That Across the Universe Piggies Happiness is a Warm Gun Revolution Commonwealth
If you classify yourself as a small business owner, an entrepreneur or someone with a side hustle looking to grow it into your full-time dream, you are in for a treat. We are joined by two fabulous women— Lynn Haynes, Director of MBE Services and Rhonda Carter Adams, the Executive Director for Central Illinois and Eastern MO — representing the Mid-States Minority Supplier Development Council. In this episode of "Entrepreneurially Thinking", discover more about what the Mid-States MSDC organization is and why they are important for you! Joining the conversation is the MBE, Regents Maintenance & Supply. President, Lamonte Sowell shares his story of how this organization has impacted him and his company. The Mid-States Minority Supplier Development Council is an affiliate of the National Minority Supplier Development Council and 1 of 23 regional councils operating in the U.S. Mid-States MSDC was created by the Indianapolis business community in the mid ‘70s to address and support minority business development. Headquartered in Indianapolis, IN, the primary mission of the Mid-States MSDC is to promote and cultivate successful minority enterprises within the Central Illinois, Indiana and Eastern MO business communities. It serves as an advocate for the economic well-being & growth of certified MBEs while also providing a direct connection for corporations who are committed to purchasing products & services from MId-States MSDC-certified MBEs.
Entrepreneurially Thinking: Innovation | Experimentation | Creativity | Business
If you classify yourself as a small business owner, an entrepreneur or someone with a side hustle looking to grow it into your full-time dream, you are in for a treat. We are joined by two fabulous women— Lynn Haynes, Director of MBE Services and Rhonda Carter Adams, the Executive Director for Central Illinois and Eastern MO — representing the Mid-States Minority Supplier Development Council. In this episode of "Entrepreneurially Thinking", discover more about what the Mid-States MSDC organization is and why they are important for you! Joining the conversation is the MBE, Regents Maintenance & Supply. President, Lamonte Sowell shares his story of how this organization has impacted him and his company. The Mid-States Minority Supplier Development Council is an affiliate of the National Minority Supplier Development Council and 1 of 23 regional councils operating in the U.S. Mid-States MSDC was created by the Indianapolis business community in the mid ‘70s to address and support minority business development. Headquartered in Indianapolis, IN, the primary mission of the Mid-States MSDC is to promote and cultivate successful minority enterprises within the Central Illinois, Indiana and Eastern MO business communities. It serves as an advocate for the economic well-being & growth of certified MBEs while also providing a direct connection for corporations who are committed to purchasing products & services from MId-States MSDC-certified MBEs.
If you classify yourself as a small business owner, an entrepreneur or someone with a side hustle looking to grow it into your full-time dream, you are in for a treat. We are joined by two fabulous women— Lynn Haynes, Director of MBE Services and Rhonda Carter Adams, the Executive Director for Central Illinois and Eastern MO — representing the Mid-States Minority Supplier Development Council. In this episode of "Entrepreneurially Thinking", discover more about what the Mid-States MSDC organization is and why they are important for you! Joining the conversation is the MBE, Regents Maintenance & Supply. President, Lamonte Sowell shares his story of how this organization has impacted him and his company. The Mid-States Minority Supplier Development Council is an affiliate of the National Minority Supplier Development Council and 1 of 23 regional councils operating in the U.S. Mid-States MSDC was created by the Indianapolis business community in the mid ‘70s to address and support minority business development. Headquartered in Indianapolis, IN, the primary mission of the Mid-States MSDC is to promote and cultivate successful minority enterprises within the Central Illinois, Indiana and Eastern MO business communities. It serves as an advocate for the economic well-being & growth of certified MBEs while also providing a direct connection for corporations who are committed to purchasing products & services from MId-States MSDC-certified MBEs.
“西门子调频1847”祝大家万圣节快乐！海底蕴藏着大量天然气。在探寻近海盆地中的碳氢化合物时，研究人员首先需要考虑地质情况，并评估当地的地球物理与地震数据，而这些数据通常是由昂贵的勘探船采集而得的。然而，即使数据表明当地环境与地质结构有利于碳氢化合物的开采，在尚待开发或开发程度较低的区域内部署石油开采系统仍将面临巨大的风险。因此，研究人员可以使用高分辨率超声波探测以识别出水体内的烟流，从而采集更好的碳氢化合物样本。这个步骤旨在规避钻干井的风险，而钻干井的代价可高达1亿欧元以上。石油与天然气勘探中的超声波数据西门子石油与天然气市场发展部门携手西门子中央研究院和西门子德莱赛兰业务的专家，后者与荷兰皇家壳牌公司的勘探地球科学家合作，共同开发了一套算法，可将上文所述的评估过程自动化，并在记录数据后迅速给出分析结果。软件可以生成三维模型并将其与GPS定位信息、勘探船航行速度和海底地形等信息相关联。此外，借助西门子在分析医疗超声成像方面积累的专业知识，软件可以校正图像以尽可能地减少由阴影等因素造成的错误。最为重要的是，它还可以自动标识出天然气气泡。在与壳牌共同利用高分辨率MBES数据集进行的测试中，海洋图像处理软件可以定位出95%的海底天然气逸出位置。这个结果比人工分析所能实现的不足80%的定位率要更加优秀。这个原型软件的速度是人工分析的四倍。这意味着专家们在船上就能较有信心地做出关于后续工作的决策。由于勘探船的运行成本高达每天数万欧元，利用这个新工具来探寻石油和天然气将不仅能够提高效率，还可以节省大笔资金。
Talks on Entrepreneurial Leadership at London Business School - TELL Series
Tamara Heber-Percy is the co-founder and CTO of Mr & Mrs Smith. In 2014 Tamara, and co-founder James Lohan were awarded MBEs for services to the British travel industry. Tamara has combined travel expertise with technological knowledge as the architect behind Mr & Mrs Smith's e-commerce websites. Her first job took her to Brazil to launch a new energy drink and she went on to work in marketing for brands such as Ericsson, Honda, Unilever and Swissair. A series of data-driven projects, including building large CRM databases through online channels, helped her develop and hone her technical expertise. In 2002, she left to head up her own company, the County Register – an exclusive introductions agency – and to launch Mr & Mrs Smith. --- London Business School students created the TELL Series in 2009 to put the spotlight on entrepreneurship in Europe. The TELL Series showcases successful entrepreneurs' personal stories of building high growth businesses. Successful founders, investors and key figures from the European entrepreneurship world share their start-up stories, lessons learned and thoughts on the future. Tell Series is sponsored by the Deloitte Institute of Innovation and Entrepreneurship and Frog Capital.
Barrister Rob Rinder looks at how criminal law affects ordinary people, and especially its victims. Guests include Barry and Margaret Mizen, MBEs, Alison Levitt QC, former Principal Legal Advisor to the Director of Public Prosecutions of England and Wales, and one of the UK's leading legal criminal barristers, Anesta Weeks QC.
Beth Tramel was born in Miami and raised in Jacksonville Florida. She attended Stanton College Preparatory and received her Bachelor’s Degree in Business Administration from the University of North Florida and her Masters Degree in Business Administration from University of Phoenix. She is currently employed with Duval County Public Schools (DCPS) as the Supervisor of the Minority Business Affairs Office. In this role, she assists Minority Business Enterprise (MBEs) owners with doing business with DCPS. She also works with other public and private organizations such as the First Coast Business Alliance, the Florida Association of Minority Business Enterprise Officials, the North Florida Procurement Association, the Florida Minority Supply and Diversity Council to advocate partnering with MBEs. She is very active in the community and is currently servings as President of the First Coast Business Alliance, and is a board member for the Florida Association of Minority Business Enterprise Officials. She has two sons-- a 22 year old and a 15 year old. In her spare time she enjoys spending time with her family and friends, serving at her church, cooking, listening to music and reading. Contact Beth Tramel (904)858-4860 or visit www.duvalschools. ----------------------------------------------------------- The First Coast Business Alliance (FCBA) will be hosting a luncheon in recognition of the 2015 Minority Economic Development (MED) Week on Thursday, September 17, 2015, 11:30am to 1:30pm at the University Center, located at 12000 Alumni Drive. This year's theme is " Emerging Markets & Industries: Blueprint for Success'. Click here for more details.
Irish DJ, producer, and host of the Alchemy Radio podcast series, John Gibbons, joins us for his second Good Vibrations appearance. John last guested in May 2013, when he reported that there were subtle indicators of manipulation in the upper levels of the electronic dance music scene. Two years on, he says, the calling cards are blatant for those with the eyes to see. The same occult symbols that have been permeating the hip-hop and pop music worlds are now cropping up in this genre, suggesting that it is now firmly in the sights of those that wish to hijack its household names for mass mind controlling purposes.We discuss the apparent 'recruitment' of certain big names in dance music who, after years of organic growth, seem to be suddenly and miraculously elevated to colossal levels of success, as well as the new young names, who appear from seemingly nowhere. We also get into the bizarre trend of big-name DJs now starting to receive extremely dubious 'honours' like knighthoods and MBEs. John shares some of his insights as a music producer into how sound itself can be used to affect human mood and emotion and to shape perceptions - particularly that of a digital/ electronic nature, which can interact with the energy field of the human body on an unseen level. We also cover symbols as a method of marketing, particularly with relevance to the big dance music festivals, and the power that DJs hold over massive numbers of people at such gatherings. The chat finishes by reflecting on the so-called second Summer Of Love of 1988 - the Acid House/ rave movement and the arrival of massive quantities of Ecstacy which gave rise to the global dance music scene we see today. We examine the parallels between this and the LSD-laden Summer of 1967, and question whether both could have been Establishment-sponsored movements.
Irish DJ, producer, and host of the Alchemy Radio podcast series, John Gibbons, joins us for his second Good Vibrations appearance. John last guested in May 2013, when he reported that there were subtle indicators of manipulation in the upper levels of the electronic dance music scene. Two years on, he says, the calling cards are blatant for those with the eyes to see. The same occult symbols that have been permeating the hip-hop and pop music worlds are now cropping up in this genre, suggesting that it is now firmly in the sights of those that wish to hijack its household names for mass mind controlling purposes.We discuss the apparent 'recruitment' of certain big names in dance music who, after years of organic growth, seem to be suddenly and miraculously elevated to colossal levels of success, as well as the new young names, who appear from seemingly nowhere. We also get into the bizarre trend of big-name DJs now starting to receive extremely dubious 'honours' like knighthoods and MBEs. John shares some of his insights as a music producer into how sound itself can be used to affect human mood and emotion and to shape perceptions - particularly that of a digital/ electronic nature, which can interact with the energy field of the human body on an unseen level. We also cover symbols as a method of marketing, particularly with relevance to the big dance music festivals, and the power that DJs hold over massive numbers of people at such gatherings. The chat finishes by reflecting on the so-called second Summer Of Love of 1988 - the Acid House/ rave movement and the arrival of massive quantities of Ecstacy which gave rise to the global dance music scene we see today. We examine the parallels between this and the LSD-laden Summer of 1967, and question whether both could have been Establishment-sponsored movements.
Beth Tramel was born in Miami and raised in Jacksonville Florida. She attended Stanton College Preparatory. She received her Bachelor's Degree in Business Administration from the University of North Florida and her Masters Degree in Business Administration from University of Phoenix. She is currently employed with Duval County Public Schools (DCPS) as the Supervisor of the Minority Business Affairs Office. In this role she assists Minority Business Enterprise (MBEs) owners with doing business with DCPS. She also works with other public and private organizations such as the First Coast Business Alliance, the Florida Association of Minority Business Enterprise Officials, the North Florida Procurement Association, the Florida Minority Supply and Diversity Council to advocate partnering with MBEs. She is very active in the community and is currently servings as President of the First Coast Business Alliance, and is a board member for the Florida Association of Minority Business Enterprise Officials. She has two sons a 22 year old and a 15 year old. In her spare time she enjoys spending time with her family and friends, serving at her church, cooking, listening to music and reading. Contact information: Contact Beth Tramel (904)858-4860 or visit www.duvalschools.or
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