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2 Boys, 1 Country; meet the two Brits running from Perth to Sydney! Have you got your Golden Ticket? The Goldfields Children Charity have you covered! Kalgoorlie International Speedway, bringing Mike Pratt home! Enjoy!See omnystudio.com/listener for privacy information.
This podcast hit paid subscribers' inboxes on Sept. 13. It dropped for free subscribers on Sept. 20. To receive future pods as soon as they're live, and to support independent ski journalism, please consider an upgrade to a paid subscription. You can also subscribe to the free tier below:WhoChip Seamans, President of Windham Mountain Club, New YorkRecorded onAugust 12, 2024About Windham Mountain ClubClick here for a mountain stats overviewOwned by: Majority owned by Beall Investment Partners and Kemmons Wilson Hospitality Partners, majority led by Sandy BeallLocated in: Windham, New YorkYear founded: 1960Pass affiliations:* Ikon Pass: 7 days* Ikon Base Pass: 5 days, holiday blackoutsClosest neighboring ski areas: Hunter (:17), Belleayre (:35), Plattekill (:48)Base elevation: 1,500 feetSummit elevation: 3,100 feetVertical drop: 1,600 feetSkiable Acres: 285Average annual snowfall: 100 inchesLift count: 11 (1 six-pack, 3 high-speed quads, 1 triple, 1 double, 5 carpets – view Lift Blog's inventory of Windham's lift fleet)Why I interviewed himThe Catskills are the closest thing to big-mountain skiing in my immediate orbit. Meaning the ski areas deliver respectable vertical drops, reasonably consistent snowfall, and an address reachable for first chair with a 6 to 7 a.m. departure time. The four big ski areas off I-87 – Belleayre, Plattekill, Hunter, and Windham – are a bit farther from my launchpad than the Poconos, than Mountain Creek, than Catamount or Butternut or the smaller ski areas in Connecticut. But on the right day, the Catskills mountains ski like a proto-Vermont, a sampler that settles more like a main course than an appetizer.I'm tremendously fond of the Catskills, is my point here. And I'm not the only one. As the best skiing within three hours of New York City, this relatively small region slings outsized influence over North American ski culture. Money drives skiing, and there's a lot of it flowing north from the five boroughs (OK maybe two of the boroughs and the suburbs, but whatever). There's a reason that three Catskills ski areas (Belleayre, Hunter, and Windham), rock nearly as many high-speed chairlifts (nine) as the other 40-some ski areas in New York combined (12). These ski areas are cash magnets that prime the 20-million-ish metro region for adventures north to New England, west to the West, and east to Europe.I set this particular podcast up this way because it's too easy for Colorad-Bro or Lake Ta-Bro or Canyon Bro to look east and scoff. Of course I could focus this whole enterprise on the West, as every ski publication since the invention of snow has done. I know the skiing is better out there. Everyone does. But that doesn't mean it's the only skiing that matters. The Storm is plenty immersed in the West, but I can also acknowledge this reality: the West needs the East more than the East needs the West. After all, there's plenty of good skiing out here, with a lot more options, and without the traffic hassles (not to mention the far smaller Brobot:Not Brobot ratio). And while it's true that New England ski areas have lately benefitted from capital airdrops launched by their western overlords, a lot of that western money is just bouncing back east after being dropped off by tourists from Boston, New York, Philly, and D.C. Could Colorado have skiing without eastern tourism? Yes, but would Summit and Eagle counties be dripping with high-speed lifts and glimmering base villages without that cash funnel, or would you just have a bunch of really big Monarch Mountains?None of which tells you much about Windham Mountain Windham Mountain Club, which I've featured on the podcast before. But if you want to understand, rather than simply scoff at, the New Yorkers sharing a chair with you at Deer Valley or Snowmass or Jackson, that journey starts here, in the Catskills, a waystation on many skiers' pathway to higher altitudes.What we talked aboutChip is the new board chairman of the National Ski Areas Association; searching for a new NSAA head; the difference between state and national ski organizations; the biggest challenge of running a ski area in New York; could New York State do more to help independent ski areas?; how the ski area's rebrand to Windham Mountain Club “created some confusion in the market, no doubt”; the two-day weekend lift ticket minimum is dead; “our plan has always been to stay open to the public and to sell passes and tickets”; defining “premium”; what should a long liftline look like at WMC?; lift ticket and Ikon Pass redemption limits for 2024-25; the future of Windham on the Ikon Pass; rising lift ticket prices; free season passes for local students; who owns WMC, and what do they want to do with it?; defining the “club” in WMC; what club membership will cost you and whether just having the cash is enough to get you in; is Windham for NYC or for everyone?; how about a locals' pass?; a target number of skiers on a busy day at Windham; comparing Windham to Vermont's all-private Hermitage Club; how about the Holimont private-on-weekends-only model?; some people just want to be angry; the new owners have already plowed $70 million into the bump; snowmaking updates; a badass Cat fleet; a more or less complete lift fleet; the story behind K lift; the Windham village and changes to parking; and the dreaded gatehouse. Why I thought that now was a good time for this interviewRather than right now, maybe the best time for this interview would have been a year ago, or six months ago, or maybe all three. It's been a confusing time at Windham, for skiers, for employees, for the people running the place. No one seems to understand exactly what the bump is, what it plans to be, and what it wants to be.Which doesn't stop anyone from having an opinion, most of them wildly misinformed. Over the past year, I've been told, definitively, by a Saturday liftline's worth of casual skiers that Windham had “gone private.” The notion is pervasive, stubborn, immune to explanations or evidence to the contrary. So, very on brand for our cultural moment.Which doesn't mean I shouldn't try. I'm more than willing to bang on ski areas for their faults. In Windham's case, I've always thought that they groom too much, that the season is too short, that the season pass price (currently $2,000!), is beyond insane. But it's not really fair to invent a problem and then harangue the operators about it. Windham is not a private ski area, it is not shut off from locals, it does not require a $200,000 handshake to pass through the RFID gates. Inventing a non-existent problem and then taking offense to it is a starter kit for social media virtue signaling, but it's a poor way to conduct real life.But honestly, what the hell is going on up there? How can Windham Mountain Club justify a larger initiation fee than Vermont's truly private Hermitage Club for a ski experience that still involves half of Manhattan? Why is it so hard to make a weekend Ikon Pass reservation? Does anyone really go to the Catskills in search of the “rarified reality” that WMC insists it is somehow providing? What is the long-term vision here?All fair questions, all spun from WMC's self-inflicted PR tornado. But the answers are crystalizing, and we have them here.What I got wrong* I said that “Gore's triple chair,” which was only a “12, 13-year-old lift” was going to McCauley. I was referring to the Hudson triple, a 2010 Partek (so 14 years old), which will replace nearby but much smaller McCauley's 1973 Hall double, known as “Big Chair,” for the coming ski season. * I said that the club fees for Windham were roughly the same as Hermitage Club. This is drastically untrue. WMC's $200,000 initiation fee is double Hermitage Club's $100,000 number. Windham's annual dues, however, are much lower than HC's $18,500.* I said that Windham was automating its first snowmaking trail this year. That is incorrect, as Seamans points out in our conversation. Windham is installing its first automated snowmaking on the east side of the mountain this year, meaning that 40 percent of the mountain's snowmaking system will now be automated.* I said that Windham had a water-supply-challenge, which is not accurate. I was confusing water supply (adequate), with snowmaking system pumping capacity (room for improvement). I think I am covering too many mountains and sometimes the narratives cross. Sorry about that.Why you should ski Windham Mountain ClubIf you really want an uncrowded Catskills ski experience, you have exactly one option: go to family-owned Plattekill, 40 minutes down the road. It has less vert (1,100 feet), and half Windham's acreage on paper, but when the glades fill in (which they often do), the place feels enormous, and you can more or less walk onto either of the mountain's two chairlifts any day of the season.But Plattekill doesn't have high-speed lifts, it's not on the Ikon Pass, and it's not basically one turn off the thruway. Windham has and is all of those things. And so that's where more skiers will go.Not as many, of course, as will go to Hunter, Windham's Vail-owned archnemesis 15 minutes away, with its unlimited Epic Pass access, Sahara-sized parking lots, and liftlines that disappear over the curvature of the Earth. And that has been Windham's unspoken selling point for decades: Hey, at least we're not Hunter. That's true not only in relative crowd size, but in attitude and aesthetic; Hunter carries at least a 10:1 ratio* over Windham in number of LongIsland Bros straightlining its double-blacks in baseball caps and Jets jerseys.In that context, Windham's rebrand is perfectly logical – as Hunter grows ever more populist, with a bargain season pass price and no mechanism to limit visitors outside of parking lot capacity (they ski area does limit lift ticket sales, but not Epic Pass visits), the appeal of a slightly less-chaotic, more or less equally scaled option grows. That's Windham. Or, hey, the much more exclusive sounding “Windham Mountain Club.”And Windham is a good ski area. It's one of the better ones in New York, actually, with two peaks and nice fall line skiing and an excellent lift system. It doesn't sprawl like Gore or tower like Whiteface, and those fall lines do level off a bit too abruptly from the summit, but it feels big, especially when that Catskills snowbelt fires. On a weekday, it really can feel like a private ski area. And you can probably score an Ikon Pass slot without issue. So go now, before WMC jumps off that mainstream pass, and the only way in the door is a triple-digit lift ticket.*Not an actual statistic^^Probably though it's accurate.Podcast NotesOn New York having more ski areas than any other state in the countryIt's true. New York has 51. The next closest state is Michigan, with 44 (only 40 of which operated last winter). Here's a list:On the three New York state-owned ski areas that “have been generously funded by the state”It's basically impossible to have any honest conversation about any New York ski area without acknowledging the Godzilla-stomping presence of the state's three owned ski areas: Belleayre, Gore, and Whiteface. These are all terrific ski areas, in large part because they benefit from a firehose of taxpayer money that no privately owned, for-profit ski area could ever justify. As the Adirondack Explorer reported in July:The public authority in charge of the state's skiing, sliding and skating facilities saw expenses and losses jump in the past year, its annual financial report shows.The Lake Placid-based Olympic Regional Development Authority [ORDA], whose big-ticket sites are the Belleayre Mountain, Gore Mountain and Whiteface Mountain alpine centers, disclosed operating losses of $47.3 million for the last fiscal year. That compared with losses of $29.3 million for the same period a year earlier.It's important to acknowledge that this budget also covers a fun park's worth of skating rinks, ski jumps, luge chutes (or whatever), and a bunch of other expensive, unprofitable crap that you need if you ever want to host an Olympics (which New York State has done twice and hopes to do again). Still, the amount of cash funneled into ORDA in recent years is incredible. As the Adirondack Explorer reported last year:“The last six years, the total capital investment in the Olympic Authority was $552 million,” [now-fomer ORDA President and CEO Mike] Pratt told me proudly. “These are unprecedented investments in our facilities, no question about it. But the return on investment is immediate.”Half a billion dollars is a hell of a lot of money. The vast majority of it, more than $400 million, went to projects in the Lake Placid region, home to some 20,000 year-round residents—and it turns out, that breathtaking sum is only part of the story.Adirondack Life found New York State has actually pumped far more taxpayer dollars into ORDA since Pratt took the helm than previously reported, including a separate infusion of subsidies needed to cover the Olympic Authority's annual operating losses. Total public spending during Pratt's six-year tenure now tops $620 million.… Taken together that's more money than New York spent hosting the 1980 Winter Olympics. It's also more money than the state committed, amid growing controversy, to help build a new NFL stadium in Buffalo, a city with a population more than 10 times that of the Lake Placid region.There's also no sign ORDA's hunger for taxpayer cash will shrink anytime soon. In fact, it appears to be growing. The Olympic Authority is already slated to receive operating subsidies and capital investments next year that total another $119 million.To put that amount in context, the entire Jay Peak Resort in Vermont sold last year for $76 million. Which means New York State's spending on the Olympic Authority in 2024 would be enough to buy an entire new ski mountain, with tens of millions of dollars left over.It now appears certain the total price tag for Pratt's vision of a new, revitalized ORDA will top $1 billion. He said that's exactly what the organization needed to finally fulfill its mission as keeper of New York's Olympic flame.More context: Vail resorts, which owns and operates 42 ski areas – more than a dozen of which are several times larger than Belleayre, Gore, and Whiteface combined – is allocating between $189 and $194 million for 2024 capital improvements. You can see why New York is one of the few states where Vail isn't the Big Bad Guy. The state's tax-paying, largely family-owned ski areas funnels 95 percent of their resentment toward ORDA, and it's easy enough to understand why.On New York's “increasingly antiquated chairlift fleet”Despite the glimmer-glammer of the lift fleets at ORDA resorts, around the Catskills, and at Holiday Valley, New York is mostly a state of family-owned ski areas whose mountains are likely worth less than the cost of even a new fixed-grip chairlift. Greek Peak's longest chairlift is a Carlevaro-Savio double chair installed in 1963. Snow Ridge runs lifts dating to 1964, '60, and '58(!). Woods Valley installed its three lifts in 1964, '73, and '75 (owner Tim Woods told me last year that the ski area has purchased at least two used chairlifts, and hopes to install them at some future point). Intermittently open (and currently non-operational) Cockaigne's two double chairs and T-bar date to 1965. These lifts are, of course, maintained and annually inspected, and I have no fear of riding any of them, but in the war for customers, lifts that predate human space travel do make your story a bit trickier to tell.On Holiday Valley selling a chairlift to CatamountI noted that a lift had moved from Holiday Valley to Catamount – that is the Catamount quad, Holiday Valley's old Yodeler quad. Catamount installed the new lift in 2022, the year after Holiday Valley pulled out the 20-year-old, 500-vertical-foot fixed-grip lift to replace it with a new high-speed quad.On Windham's pass price in comparison to othersWindham's season pass price is the eighth most expensive in America, and the most expensive in the East by an enormous amount (Windham also offers a Monday through Friday, non-holiday season pass for $750, and a Sunday through Friday, non-holiday pass for $1,300). Here's how WMC compares nationally:And here's how it stacks up in the East:On WMC's ownershipWe talk a bit about Windham's ownership in the pod. I dug into that a bit more last year, when they bought the place in April and again when the mountain rebranded in October.On Blackberry Farms Lodged between Windham and New York City is a hilltop resort called Mohonk Mountain House. In its aesthetic and upscale cuisine, it resembles Blackberry Farm, the Tennessee resort owned by Windham majority owner Sandy Beall, which The New York Times describes as “built on a foundation of simple Tennessee country life as reinterpreted for guests willing to pay a premium to taste its pleasures without any of its hardships.” In other words, an incredibly expensive step into a version of nature that resembles but sidesteps its wild form. I think this is what WMC is going for, but on snow.On the location of Windham's tubing hillI frankly never even realized that Windham had a tubing hill until Seamans mentioned it. Even though it's marked on the trailmap, the complex sits across the access road, well removed from the actual ski area. Tubing is not really something I give a damn about (sorry #TubeNation), other than to acknowledge that it's probably the reason many small ski areas can continue to exist, but I usually at least notice it if it's there. Circled in red below:On Hermitage ClubWe talk a bit about how Hermitage Club is similar in size to Windham. The southern Vermont ski area sports a slightly smaller vertical drop (1,400 feet to Windham's 1,600), and skiable acreage (200 to Windham's 285). Here's the trailmap:On Holimont, Buffalo Ski Club, and Hunt HollowNew York is home to three private, chairlift-served ski areas that all follow a similar business model: the general public is welcome on weekdays, but weekends and holidays are reserved for members. Holimont, right next door to Holiday Valley, is the largest and most well-known:Hunt Hollow is smaller and less-renowned, but it's a nice little bump (my favorite fact about HH is that the double chair – the farthest looker's left – is Snowbird's old Little Cloud lift):Buffalo Ski Center is the agglomeration of three side-by-side, formerly separate ski areas: Sitzmarker Ski Club, Ski Tamarack and Buffalo Ski Club. The trail network is dense and super interesting:On Windham in The New York TimesI referred to a feature story that The Times ran on Windham last December. Read that here.On Vail's pay bumpWhen Vail Resorts raised its minimum wage to $20 an hour in 2022, that presented a direct challenge to every competing resort, including Windham, just down the road from Vail-owned Hunter.On Windham's village expansionWindham will build a new condominium village over some portion of its current parking lots. Here's a concept drawing:The Storm explores the world of lift-served skiing year-round. Join us.The Storm publishes year-round, and guarantees 100 articles per year. This is article 57/100 in 2024, and number 557 since launching on Oct. 13, 2019. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.stormskiing.com/subscribe
Our panel of former/current QB's analyze the top Quarterbacks in college football entering the 2023 season. In Part 1, our experts looked at UNC sophomore sensation Drake Maye who finished 3rd in Heisman voting last season. They will also analyze Tulane's junior play-caller Michael Pratt who shocked the world last year with an incredible comeback win over USC in the Cotton Bowl....Video version of the podcast can be found on YouTube @starsvoltaOur QB Panel:1. Kevin Anderson - Current Pro QB who just won the XFL Championship with the Arlington Renegades and played his college ball at Marshall and Fordham.2. Warren Arnold - Former D1 starting QB for Valparaiso where he played against Jim Harbaugh (Coach) and Josh Johnson (QB) at San Diego.3. Jeff Supernah - Former D3 QB at Loras College and High School football coach in the Madison, Wisconsin area.
This podcast hit paid subscribers' inboxes on August 7. It dropped for free subscribers on August 10. To receive future pods as soon as they're live, and to support independent ski journalism, please consider an upgrade to a paid subscription. You can also subscribe for free below:WhoDanielle and Laszlo Vajtay, Owners of Plattekill Mountain, New YorkRecorded onJuly 14, 2023About Plattekill MountainClick here for a mountain stats overviewOwned by: Danielle and Laszlo VajtayLocated in: Roxbury, New YorkYear founded: 1958Pass affiliations: NoneReciprocal partners:* 3 days each at Snow Ridge, Swain, Mont du Lac, Ski Cooper* 2 days at HomewoodClosest neighboring ski areas: Belleayre (28 minutes), Windham (41 minutes), Hunter (46 minutes)Base elevation: 2,400 feetSummit elevation: 3,500 feetVertical drop: 1,100 feetSkiable Acres: 75 acresAverage annual snowfall: 175 inchesTrail count: 40 (20% expert, 20% most difficult, 40% more difficult, 20% easiest)Lift count: 3 (1 triple, 1 double, 1 carpet)Why I interviewed themThink about every ski area in the country that almost everyone knows. Almost every one of them has a smaller, less-well-known, slightly badass neighbor lurking nearby. In LA, it's Baldy, forgotten in the shadow of Big Bear and Mountain High. In Tahoe, it's Homewood, lost in the Palisades Tahoe circus. We can just keep going: Hoodoo/Bachelor; White Pass/Crystal; Mt. Spokane/Schweitzer; Soldier/Sun Valley; Snow King/Jackson; Sunlight/Aspen; Red River/Taos.In New York, we have a few versions of this: West and (currently closed) Hickory, adjacent to Gore Mountain; Titus, intercepted by Whiteface as cars wind north. But the most dramatic contrast lies in the Catskills. There, you find four ski areas: Hunter, recently expanded, owned by Vail Resorts and flying two six-packs; Windham, two new investors on its masthead, an Ikon Pass partner that runs three high-speed lifts out of its base; Belleayre, owned by the state and run by the Olympic Regional Development Authority, or ORDA, with a shimmering gondola that no other ski area of its size could afford; and Plattekill.Plattekill is owned by Laszlo and Danielle Vajtay, former ski instructors who purchased the bump in 1993. They have added snowmaking to one of their 40 trails each year that they could afford to. Their lift fleet is a 1974 Hall triple and a 1977 Hall double, moved from Belleayre in 1999. It took the Vajtays three years to install the lift. The parking lots cling layer-cake-style to the mountainside. Plattekill is open Friday through Sunday, plus Christmas and Presidents' Weeks and MLK Day. Access is down poorly marked backroads, half an hour past Belleayre, which sits directly off state route 28.It's fair to ask how such a place endures. New York is filled with family-owned ski areas running vintage lifts. But only Plattekill must compete directly with so many monsters. How?There is no one answer. There's the scrap and hustle, the constant scouring of the countryside for the new-to-Platty machines to rebuild to glory. There's the deliberate, no-debt, steady-steady better-better philosophy that keeps the banks away. There's the 1,100 feet of pure fall-line skiing. The vast kingdom of glades. The special geography that seems to squeeze just a bit extra out of every storm. There's the lodge, rustic but clean, cozy, and spacious. And there's the liftlines, or miraculous lack of them, for such a ski area just three hours from the nation's largest city. And there are the midweek private-mountain rentals – Platty's secret weapon, a $8,500 guarantee on even the feistiest weather days.That algorithm, or some version of it, has equaled survival for Plattekill. When the Vajtays bought “Ski Plattekill” in 1993, the Catskills were crowded. But Bobcat, Scotch Valley, Cortina, Highmount, and Sawkill all vanished over the decades. Plattekill could have died too. Instead, it is beloved. Enough so that it can charge more for its season pass - $779 early-bird, $799 right now – than Vail charges for the Epic Local Pass ($676 early-bird, $689 today), which includes unlimited access to Hunter and most of the company's 40 other resorts. When a harder-to-reach, smaller mountain running 50-year-old lifts can charge more for a single-mountain season pass than its larger, more up-to-date, easier-to-access neighbor whose season pass also gets skiers in the front door at Whistler and Breckenridge, it's doing something mighty right.What we talked aboutPlattekill's “surprisingly good” 2022-23 ski season; building a snowmaking system gun-by-gun; 2023 offseason improvements; how the Vajtays have grown Plattekill without taking on traditional debt; what killed independent skiing in the Catskills; private mid-week mountain rentals; a growing wedding business; why Plattekill was an early adopter of lift-served mountain-biking, why the mountain abandoned the project, and whether they would ever bring it back; assessing Platty's newest trail; potential terrain expansion within the existing footprint; plans to moderate the steep section at the end of the Overlook trail; the potential lift and terrain expansion that could make Plattekill “a big, big player in the world of ski areas”; considering outside investment to turbocharge growth - “the possibilities for the mountain are that it could be a lot more”; “I don't have an interest in selling Plattekill”; Snow Operating; assessing Plattekill's Hall chairlifts; “anybody taking out a lift, please don't cut it up and throw it in the Dumpster before contacting” small ski areas; the lightning strike that changed Plattekill's summer; helping save Holiday Mountain; competing against the Epic and Ikon passes; competing against state-owned and taxpayer-funded ski areas; how New York State could help independent ski areas compete against its owned ski areas; Liftopia's collapse; the Ski Cooper season pass; and reconsidering the Indy Pass.Why I thought that now was a good time for this interviewThe Vajtays have appeared on The Storm Skiing Podcast before, in episode two, which I released on Oct. 25, 2019. They'd agreed to do the interview without knowing who I was, and before I'd published a single episode. I will always be grateful to them (and the other seven folks* who recorded an episode when The Storm was still gathering in my brain), for that. The conversation turned out great, I thought, and fused the podcast to the world of scrappy independents from its earliest days.But in the intervening years, I've gotten to know the Vajtays much better. Laz and I, especially, communicate a lot. Mostly via text, but occasionally email, or when I'm up there skiing. In May, he joined a panel I hosted at the National Ski Areas Association (NSAA) convention in Savannah, Georgia. Alongside the general managers of Mt. Rose, Mt. Baker, and Cascade, Wisconsin, Laz articulated why the Vajtays had so far elected to keep Plattekill off of any multi-mountain pass.The NSAA's convention rules forbade me from recording that panel, but the conversation so closely aligned with my daily pass-world coverage that I knew I had to bring some version of it to you. This is installment one. Cascade GM Matt Vohs is scheduled to join me on the pod in October, followed by Mt. Rose GM Greg Gavrilets in November (you can always view the upcoming podcast schedule here). I've yet to schedule Mt. Baker CEO Gwyn Howat, but I'm hopeful that we can lock in a future date.So that is part of it: why has Plattekill held firm against the pass craze as all of its better-capitalized competitors have joined one coalition or the other? But that is only part of the larger Platty story. Vail was supposed to ruin everything. Then Alterra was supposed to ruin it more. Family-owned ski areas would be crushed beneath these nukes launched from a Colorado silo. But this narrative has been disproven across the country. Because of a lot of things – the Covid-driven outdoor boom, the indie cool factor, the big boys overselling their passes – small ski areas are having a moment. No one, arguably, has a tougher hill to defend than Platty, and no one's proven themselves more.*Those six people were: New England Lost Ski Areas Project founder Jeremy Davis, Lift Blog founder Peter Landsman, Boyne Resorts CEO Stephen Kircher, Magic Mountain President Geoff Hatheway, Killington President Mike Solimano, and Burke GM Kevin Mack.What I got wrongI said that The New York Times profile on Plattekill's private-rentals business ran in 2018. It actually ran Jan. 4, 2019.Why you should ski PlattekillI can endorse all four large Catskills ski areas. Hunter holds a crazy, possessed energy. Impenetrable on weekends, you can roll 1,600-vertical-foot fastlaps off the sixer on spring weekdays. Belleayre throws past-era vibes with its funky-weird trail network while delivering rides on a top-to-bottom gondola that is the nicest lift in New York State. Windham's high-speed lift fleet hides a narrow and fantastically interesting trail network that, when wide open with new snow in the woods, feels enormous.So Plattekill is not, for me, a family-diner-versus-McDonald's kind of fight. I probably ski all four of those mountains about the same amount. But I will make an appeal here to those New York-based Epic and Ikon passholders who are scanning their mountain menus and deciding where to ski this winter: take one day and go to Plattekill. Make it a day that you know will be miserable at Hunter or Windham. A day when the lift queues can be seen from space. A holiday, a Saturday, a powder day. I know you already invested in your pass. But suck up one more lift ticket, and check out Plattekill.Here's what you will find: no liftlines, ever. The parking lots simply aren't large enough to accommodate enough skiers to form them. A double chair with this view:At the top, three choices: loop green-circle Overlook all the way around, thread your way down through the tight and narrow blues, or ride one of four double-blacks all the way back to the valley. I prefer the blues because they lead to the glades, unmarked but maintained, funky, interesting, tap-shoes required.The triple side is more traditional, more wide runs, especially Upper Face. Powder Puff is fabulous for kids. The snow doesn't stick to the triple side like it does to the double side, but when it's deep enough, wild lines through the trees lie everywhere.Plattekill is littered with curiosities. A rock quarry. An old T-bar terminal. An overgrown halfpipe in the trees. Abandoned MTB trails still signed and useable for skiing. More than any ski area in New York, Plattekill rewards exploration and creativity, enables and encourages it with a permissive Patrol and line-less lifts. Twenty or 25 runs are possible here, even on a big day. Just keep ripping.In some ways, Plattekill is a time machine, a snapshot of a Catskills otherwise lost. In others, it is exactly of this moment, stripped of the pretense and the crowds that can seem like skiing's inevitable trajectory. The bozos who can't stand a fixed-grip lift ride longer than three minutes don't come here. They would rather stand in a long line for a fast lift. But you don't have to. You can come to Plattekill.Podcast NotesOn Platty's singular atmosphereNo one has written more on Plattekill than Harvey Road, founder of the fantastic New York Ski Blog. I asked him to share links to his five favorite Platty write-ups:Return to Plattekill Mountain – Jan. 8, 2013“Those intangible forces pull me inexorably to Plattekill. Don't get me wrong, Plattekill has some solid tangibles too: lake effect powder and steeps and trees and beautiful views are important to people who love to ski. But there's also something more. A simplicity of purpose that fills my soul with an exuberance I have a hard time capturing in my nine-to-five life.”Plattekill: The Life of Riley – March 5, 2018“Later in the morning the snow and the wind really picked up. It must have snowed two or three inches an hour well into the afternoon. By noon all traces of the bottom were gone and Plattekill was 100% open for business. Twist and Ridge were deserted and any tracks you left on that side of the mountain were gone by the time you returned.”I'm Done Skiing Alone – March 20, 2018“When I was a little kid living on a farm, I'd play by myself in a big tractor tire that served as a sandbox. I developed a reputation for playing alone. ‘Harvey doesn't need playmates, he's happy all by himself!' It wasn't true, down inside I didn't like it, but I didn't know myself well enough to push back.”Chasing Plake – Feb. 4, 2019“Around 10:00 am we headed into the lodge to give our legs a break, hydrate and warm up a little (it was maybe -1 F at this point). As we got to the door, we saw the man himself. ‘I was wondering when you'd show up.'“'Hi, my name is Glen!' he said, offering his hand. I introduced myself and my son and asked if he'd been skiing yet.“'No, we kind of take our time on Saturdays. I love to watch a mountain wake up and come alive.' We chatted about Tahoe and the weather for a couple minutes. I asked if we could take some pics. Of course we could.”Plattekill: Five Days Later – March 11, 2019“We skied down to the double and Sam the Smiling Liftie let us step around the rope and head up early with Patrol. At the top, a new character was introduced. Maybe he'd seen my custom skis, as he said ‘Road? I'm Soule. Jeff Soule.'“I use the word character in it's broadest sense. Gregarious and engaging, with homemade poles he'd carved from tree branches, Jeff had switched to tele this season and was absolutely ripping, hucking everything in sight.”On the lost ski areas of the CatskillsWhen the Vajtays purchased Plattekill in 1993, the mountain was one of six family-owned ski areas in the Catskills. One by one, the other five failed. Here's an overview of each:Highmount, circa 1985Bobcat circa 1996Cortina, circa 1995Scotch Valley, circa 2004I don't think a trailmap exists of Sawkill, which was basically one or two runs and a ropetow on 70 vertical feet.On that ominous New York Times article from the ‘90sLaszlo referred to a New York Times article covering the Vajtays' disastrous second season as owners – that article ran on Jan. 21, 1995. An excerpt:A sign posted at the Ski Plattekill resort here warns against packing the cozy, wood-paneled cafeteria beyond its capacity of 242 people. That has hardly been a problem this winter.With a third of the ski season already over, this resort in the central Catskills has yet to open a single one of its 27 trails. The reason is plain: it has barely snowed this winter, and whatever snow has fallen has been washed away by driving rains and unseasonably warm temperatures. When Laszlo Vajtay, the owner of Ski Plattekill, looks out at his mountain, all he sees is brown grass."It is depressing," he said, as he trudged through the mud blanketing his steepest trail, Blockbuster, on this 52-degree afternoon. "Look at how warm it is. It's like summer. Winter's just not here yet."Mr. Vajtay's experience is the starkest example of what has been a disastrous season for skiers and ski areas across the Northeast. Of the 50 ski areas in New York State, all but nine closed down late this week, hoping to preserve their remaining snow cover for the weekend, according to Ski Areas of New York, a trade group. Things were not much better in New England, where nearly 60 percent of ski resorts reported being closed.On The New York Times article on private mountain rentalsPlattekill has offered private mountain rentals for 15 years. That part of the business really took off, however, after The New York Times profiled the ski area in 2019:Plattekill, in turn, has branded itself as an intimate, old-fashioned resort for expert skiers and families alike. Most important, however, it has been able to guarantee income on the slower weekdays, by becoming a private mountain of sorts. Four days a week, it puts itself up for rent. Any group can have exclusive access to it for just a few thousand dollars a day.In their early years as owners, the Vajtays were obsessed with two things that were not always compatible: making snow and avoiding debt. In the summer, they opened up the mountain for camping, music festivals and mountain biking. They took what they earned and invested it into snow-making equipment.Eventually, a new business idea came from Plattekill's regular skiers, who visited the mountain every time it snowed, even when it wasn't open. (The mountain was and is only open to the public Fridays through Sundays.) This became so common that the Vajtays decided to open the mountain, regardless of the day, following a major snowfall. Typically, about 500 paying customers would show up for the event, called Powderdaize.Powderdaize led to another idea: renting out the entire mountain to groups. Some Plattekill regulars so enjoyed the quiet setting of the last-minute weekday openings that they intimated to Ms. Vajtay how great it would be to have a “power day” to themselves, she recalled. The couple knew of a few members-only mountains in the United States but these were fancy, expensive resorts like the Yellowstone Club in Montana and the Hermitage Club in Vermont. Why not rent out their humble little mountain?In 2008, they started to do just that, charging $2,500 a day for exclusive use of Plattekill Monday through Thursday. (The price has since increased to $4,500.) Clients have ranged from corporations, like Citigroup, to religious organizations. Every year since 2010, Jehovah's Witnesses congregations from New Jersey and New York have met there once a year.On being “The Alta of The Catskills”Laz referred to an old Powder article that glossed Plattekill “the Alta of the Catskills.” The author, Porter Fox, also visited Hunter and Belleayre, but here's the Platty section:Two lifts rose 1,100 vertical feet from the base of Plattekill Ski Resort to the 3,500-foot summit. Between them were a few lift enclosures—designed to mimic gambrel barn roofs in the valley—an oversized base lodge, dirt parking lots, a dirt driveway, and about 200 skiers lapping trails as fast as they could.Plattekill is the Alta of the Catskills. The Little Ski Area That Could has fewer trails but gets more snow than most resorts in the range, averaging 150 inches annually. It is easy to forget that New York State borders two Great Lakes (Ontario and Erie), and that lake-effect storms often carry all the way to the Catskills. Sitting on the northwestern fringe of the range, Plattekill rings out most of the moisture before storms warm up and dry out.The mountain's 38 trails are only open Friday through Sunday. (You can rent the whole place for $3,500/day midweek.) If it snows 12 inches or more, the staff will get the chairs spinning midweek as well. Last year, “Platty” opened on a Monday after receiving four feet of snow in one dump. It wasn't a fluke, resort owner Laszlo Vajtay told me as he pulled up National Weather Service radar images of the storm. Precipitation spanned all the way from Manhattan to Albany in the image. The red dot in the center of the maelstrom was positioned precisely over his mountain.Vajtay, 56, started skiing at Plattekill when he was 7 and never left. He taught skiing, met his wife, Danielle (also an instructor), proposed and got married there. In 1993, he bought the place. The Vajtays didn't have deep pockets, so when their ancient DMC 3700 groomer broke down, they hired a nearby mechanic, named “Macker,” who learned how to fix it. He fixed all of the groomers on the hill, then refurbished an older model that Vajtay bought for a song. In 2014, Plattekill became the only authorized Bombardier service center in New York and Pennsylvania.Meanwhile, one of their snowcat clients asked them to work on their snow guns as well. There was no snowmaking at Plattekill when Vajtay bought it; the Platty crew cobbled one together from used guns and pumps they salvaged from old fire trucks. They took the job on and now part of Plattekill's business is also repairing snow-making equipment and lifts throughout the Northeast. “We run this place like they run farms in the valley—no debt,” Vajtay said. “The one time we had to borrow, we asked our skiers to chip in for a new lift. We paid them back on time, with interest.”Vajtay's standard look is one of excitement, or shock. His clear blue eyes are penetrating, and his gray hair is usually messed up by a ski hat or helmet. The “shock” part is real. He is genuinely amazed at how well he and his crew have done with a small ski area in an era when many others have gone belly up. Sixty-five resorts in New York have closed in the last 40 years, according to the New England Lost Ski Areas Project.In the new world of mega resorts, Plattekill is a time capsule of the way things used to be—steep runs, wild-eyed locals, friendly staff, boot cubbies, $2 frozen pizza slices, and an oversized base lodge bar, where auburn alpenglow settles on the last skiers of the day cruising down. The hand-hewn rafters, deer antler chandeliers, stained pine paneling, antique snowshoes and skis hanging on the wall reel the clock back to the 1980s, '70s, '60s —when televisions received three channels, every car had 300 horsepower under the hood, politicians were accountable for their actions, and all anyone in the Northeast wanted to do in the winter was sleep and ski.Laszlo Vajtay is not just the owner of Plattekill, he grew up skiing there. He and his wife, Danielle, run the ski area like a farm--debt free. They also run it as a family. Above,It's easy to fall into that world at Platty. The day we arrived was the Friday before the annual “Beach Party.” The ticket-seller-bartender-receptionist-office-manager-landscaper gal took a break from blowing up balloons and unfolding last year's tiki decorations to give us tickets before Vajtay took us on a tour of the grounds. Here was the PR-mountain-ops-ticket-sales-manager's office; there were the ski lockers; there was the cafe and the cabinet-sized ski shop run by George Quinn—who wrote two books about ski history in the Catskills and knows the range better than anyone since Rip Van Winkle. Lastly, Vajtay showed us the main eating hall, where a circular fireplace flickered in the middle of the room, itself an actual invention of the 1960s that now absolutely vibes the place with a '60s aura.Out the double picture windows at the northern end of the Blockbuster Lounge was a quiver of double-diamond runs Platty is known for: Blockbuster, Freefall, Plunge, Northface, all of which are pitched straight down. At the top, a long, wooded ridge hems in the resort.Vajtay had rounded up a scrappy crew of locals who were anxious to go, including Scott Ketchum, a longtime local who moved to Phoenicia the same week that Jimmy Hendrix played at Woodstock a few miles away and grew up skiing Simpson's rope tow. After a quick introduction, Ketchum offered to show Reddick some leftover powder in the trees while Vajtay and I talked.Turned out that, at Platty, “leftover powder in the trees” was code for: traverse 45 minutes east across the ridge; find a foot of fresh a week after the last storm; plenty steep and plenty of vertical; bad route-finding at the top; a thicket of trees so dense it became impossible to simply get down; multiple over-the-handlebar moments; broken pole; run-in with an ornery neighbor who had fired a shotgun over someone's head the week before; a few laughs; and, finally, a smelly pig-pile ride in a pickup truck back to the resort.On Snow OperatingLaszlo referenced a podcast episode that I recorded with Snow Operating CEO Joe Hession. Listen here.Laz also talks about Hugh Reynolds, who joined me on a different podcast episode. Listen here. On the Olympic Regional Development AuthorityWe talked extensively about the Olympic Regional Development Authority (ORDA), which manages three ski areas owned by New York State: Belleayre (which is right down the road from Plattekill), Gore, and Whiteface. Recent NPR reports detailed the stunning level of taxpayer funding channeled into ORDA's coffers over the past six years:Standing in the boardroom of New York's state-run Olympic Regional Development Authority in Lake Placid, CEO Mike Pratt spread out photographs of Olympic sports venues in Beijing, Berlin and Sarajevo that lie abandoned and in ruins.His message was plain: This almost happened here.Pratt convinced New York state to bet on a different future, investing huge amounts of taxpayer cash rebuilding and modernizing the sports authority's venues, most dating back to the 1980 Winter Olympics."The last six years, the total capital investment in the Olympic authority was $552 million," Pratt said. "These are unprecedented investments in our facilities, no question about it. But the return on investment is immediate."NPR found New York state has actually pumped far more dollars into the organization since Pratt took the helm, with government documents showing the total outlay closer to $620 million.You can read more here. It's an incredible story.On Ski Cooper's controversial season passI asked Laz and Danielle about Plattekill's longtime reciprocal partnership with Ski Cooper and where they stand on the controversy around it. I've covered that extensively here, here, and here.On Mount Bohemia's $99 season passI've covered this extensively in the past, but my podcast with Boho owner Lonie Glieberman goes into the whole backstory and strategy behind the mega-bargain pass at this ungroomed glade kingdom in Michigan's remote Upper Peninsula. This year's season pass sale is set for Nov. 22 to Dec. 2. The $99 pass no longer includes Saturdays – skiers have to level up to the $109 version for that. Bohemia also sells a $172 two-year pass and a $1,299 lifetime pass.The Storm explores the world of lift-served skiing year-round. Join us.The Storm publishes year-round, and guarantees 100 articles per year. This is article 67/100 in 2023, and number 453 since launching on Oct. 13, 2019. Want to send feedback? Reply to this email and I will answer (unless you sound insane, or, more likely, I just get busy). You can also email skiing@substack.com. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.stormskiing.com/subscribe
Bobby V is coming to you from The Steel City ahead of tonight's UofL vs Pitt matchup. He raves about a nice breakfast he got. Coop stops by, and helps the guys celebrate the Mike Pratt jersey retirement. Tim Sullivan joins to talk about Cards hoops, and his coverage of The Baffert vs Churchill trial. See omnystudio.com/listener for privacy information.
Tristan Pharis of KY Insider joins to talk this past week's Kentucky Basketball games with Ole Miss and Florida, Mike Pratt's jersey to the rafters of Rupp Arena, and our thoughts on moving forward.
Dan's out, so Cam Drummond joins Louie for the morning. They open the show discussing Mike Pratt's jersey retirement and Kentucky basketball. They then discuss a little Indiana Basketball. They react to some Cal sound, and Dan calls in for a brief moment. They close out the hour discussing Louisville Basketball.See omnystudio.com/listener for privacy information.
Dan and Louie opens the second hour of the show with Dan's Monday Morning Morons. We then delve into the Culture Article of the Day. We close the show with Dan and Louie talking about the new documentary starring Dan, Mike Pratt and a few other former Kentucky Basketball players on how the SEC has changed over the years.See omnystudio.com/listener for privacy information.
Dan and Louie open the show recapping the College Football National Title Game between Georgia and TCU. We also announce some news about our good friend Mike Pratt and do a bit of reminiscing to close out the hour.See omnystudio.com/listener for privacy information.
The Winter World University Games is the largest multi-sport winter event in the world, after the Olympic Winter Games. This year's event starts January 12 and is an 11-day international festival and competition combining high-level sport with educational and cultural events, all taking place in Lake Placid, New York, and nearby towns. With more than 2,500 participants from over 50 countries, the Winter World University Games will reignite the celebrated history of the 1932 and 1980 Olympic venues, many of which have been recently modernized. In this conversation, SportsTravel Managing Editor Matt Traub sits down with Mike Pratt, president and chief executive officer of the Olympic Regional Development Authority, and with Jim McKenna, the longtime president and chief executive officer of the Lake Placid CVB. We discuss not only the new venues and the logistics for the Winter World University Games but the legacy of Lake Placid's Olympic history and how it still has an impact on sports tourism in the Adirondacks region and what he hopes will be this event's legacy both in the field of competition and beyond when it comes to sustainability in sports.See omnystudio.com/listener for privacy information.
Second hour of Fast Break Friday presented by Ale 8 One. Paul and Bob talk about the UofL-UK game the first without their friend, Mike Pratt. We read some texts. Paul discusses if he prefers calling football or basketball. Nick has a mascot poll. The guys talk trophies, and wrap with their final picks segment of the football season. See omnystudio.com/listener for privacy information.
Episode 159 of A History of Rock Music in Five Hundred Songs looks at “Itchycoo Park” by the Small Faces, and their transition from Mod to psychedelia. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "The First Cut is the Deepest" by P.P. Arnold. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As so many of the episodes recently have had no Mixcloud due to the number of songs by one artist, I've decided to start splitting the mixes of the recordings excerpted in the podcasts into two parts. Here's part one and part two. I've used quite a few books in this episode. The Small Faces & Other Stories by Uli Twelker and Roland Schmit is definitely a fan-work with all that that implies, but has some useful quotes. Two books claim to be the authorised biography of Steve Marriott, and I've referred to both -- All Too Beautiful by Paolo Hewitt and John Hellier, and All Or Nothing by Simon Spence. Spence also wrote an excellent book on Immediate Records, which I referred to. Kenney Jones and Ian McLagan both wrote very readable autobiographies. I've also used Andrew Loog Oldham's autobiography Stoned, co-written by Spence, though be warned that it casually uses slurs. P.P. Arnold's autobiography is a sometimes distressing read covering her whole life, including her time at Immediate. There are many, many, collections of the Small Faces' work, ranging from cheap budget CDs full of outtakes to hundred-pound-plus box sets, also full of outtakes. This three-CD budget collection contains all the essential tracks, and is endorsed by Kenney Jones, the band's one surviving member. And if you're intrigued by the section on Immediate Records, this two-CD set contains a good selection of their releases. ERRATUM-ISH: I say Jimmy Winston was “a couple” of years older than the rest of the band. This does not mean exactly two, but is used in the vague vernacular sense equivalent to “a few”. Different sources I've seen put Winston as either two or four years older than his bandmates, though two seems to be the most commonly cited figure. Transcript For once there is little to warn about in this episode, but it does contain some mild discussions of organised crime, arson, and mental illness, and a quoted joke about capital punishment in questionable taste which may upset some. One name that came up time and again when we looked at the very early years of British rock and roll was Lionel Bart. If you don't remember the name, he was a left-wing Bohemian songwriter who lived in a communal house-share which at various times was also inhabited by people like Shirley Eaton, the woman who is painted gold at the beginning of Goldfinger, Mike Pratt, the star of Randall and Hopkirk (Deceased), and Davey Graham, the most influential and innovative British guitarist of the fifties and early sixties. Bart and Pratt had co-written most of the hits of Britain's first real rock and roll star, Tommy Steele: [Excerpt: Tommy Steele, "Rock with the Caveman"] and then Bart had gone solo as a writer, and written hits like "Living Doll" for Britain's *biggest* rock and roll star, Cliff Richard: [Excerpt: Cliff Richard, "Living Doll"] But Bart's biggest contribution to rock music turned out not to be the songs he wrote for rock and roll stars, and not even his talent-spotting -- it was Bart who got Steele signed by Larry Parnes, and he also pointed Parnes in the direction of another of his biggest stars, Marty Wilde -- but the opportunity he gave to a lot of child stars in a very non-rock context. Bart's musical Oliver!, inspired by the novel Oliver Twist, was the biggest sensation on the West End stage in the early 1960s, breaking records for the longest-running musical, and also transferred to Broadway and later became an extremely successful film. As it happened, while Oliver! was extraordinarily lucrative, Bart didn't see much of the money from it -- he sold the rights to it, and his other musicals, to the comedian Max Bygraves in the mid-sixties for a tiny sum in order to finance a couple of other musicals, which then flopped horribly and bankrupted him. But by that time Oliver! had already been the first big break for three people who went on to major careers in music -- all of them playing the same role. Because many of the major roles in Oliver! were for young boys, the cast had to change frequently -- child labour laws meant that multiple kids had to play the same role in different performances, and people quickly grew out of the roles as teenagerhood hit. We've already heard about the career of one of the people who played the Artful Dodger in the original West End production -- Davy Jones, who transferred in the role to Broadway in 1963, and who we'll be seeing again in a few episodes' time -- and it's very likely that another of the people who played the Artful Dodger in that production, a young lad called Philip Collins, will be coming into the story in a few years' time. But the first of the artists to use the Artful Dodger as a springboard to a music career was the one who appeared in the role on the original cast album of 1960, though there's very little in that recording to suggest the sound of his later records: [Excerpt: Steve Marriott, "Consider Yourself"] Steve Marriott is the second little Stevie we've looked at in recent episodes to have been born prematurely. In his case, he was born a month premature, and jaundiced, and had to spend the first month of his life in hospital, the first few days of which were spent unsure if he was going to survive. Thankfully he did, but he was a bit of a sickly child as a result, and remained stick-thin and short into adulthood -- he never grew to be taller than five foot five. Young Steve loved music, and especially the music of Buddy Holly. He also loved skiffle, and managed to find out where Lonnie Donegan lived. He went round and knocked on Donegan's door, but was very disappointed to discover that his idol was just a normal man, with his hair uncombed and a shirt stained with egg yolk. He started playing the ukulele when he was ten, and graduated to guitar when he was twelve, forming a band which performed under a variety of different names. When on stage with them, he would go by the stage name Buddy Marriott, and would wear a pair of horn-rimmed glasses to look more like Buddy Holly. When he was twelve, his mother took him to an audition for Oliver! The show had been running for three months at the time, and was likely to run longer, and child labour laws meant that they had to have replacements for some of the cast -- every three months, any performing child had to have at least ten days off. At his audition, Steve played his guitar and sang "Who's Sorry Now?", the recent Connie Francis hit: [Excerpt: Connie Francis, "Who's Sorry Now?"] And then, ignoring the rule that performers could only do one song, immediately launched into Buddy Holly's "Oh Boy!" [Excerpt: Buddy Holly, "Oh Boy!"] His musical ability and attitude impressed the show's producers, and he was given a job which suited him perfectly -- rather than being cast in a single role, he would be swapped around, playing different small parts, in the chorus, and occasionally taking the larger role of the Artful Dodger. Steve Marriott was never able to do the same thing over and over, and got bored very quickly, but because he was moving between roles, he was able to keep interested in his performances for almost a year, and he was good enough that it was him chosen to sing the Dodger's role on the cast album when that was recorded: [Excerpt: Steve Marriott and Joyce Blair, "I'd Do Anything"] And he enjoyed performance enough that his parents pushed him to become an actor -- though there were other reasons for that, too. He was never the best-behaved child in the world, nor the most attentive student, and things came to a head when, shortly after leaving the Oliver! cast, he got so bored of his art classes he devised a plan to get out of them forever. Every art class, for several weeks, he'd sit in a different desk at the back of the classroom and stuff torn-up bits of paper under the floorboards. After a couple of months of this he then dropped a lit match in, which set fire to the paper and ended up burning down half the school. His schoolfriend Ken Hawes talked about it many decades later, saying "I suppose in a way I was impressed about how he had meticulously planned the whole thing months in advance, the sheer dogged determination to see it through. He could quite easily have been caught and would have had to face the consequences. There was no danger in anybody getting hurt because we were at the back of the room. We had to be at the back otherwise somebody would have noticed what he was doing. There was no malice against other pupils, he just wanted to burn the damn school down." Nobody could prove it was him who had done it, though his parents at least had a pretty good idea who it was, but it was clear that even when the school was rebuilt it wasn't a good idea to send him back there, so they sent him to the Italia Conti Drama School; the same school that Anthony Newley and Petula Clark, among many others, had attended. Marriott's parents couldn't afford the school's fees, but Marriott was so talented that the school waived the fees -- they said they'd get him work, and take a cut of his wages in lieu of the fees. And over the next few years they did get him a lot of work. Much of that work was for TV shows, which like almost all TV of the time no longer exist -- he was in an episode of the Sid James sitcom Citizen James, an episode of Mr. Pastry's Progress, an episode of the police drama Dixon of Dock Green, and an episode of a series based on the Just William books, none of which survive. He also did a voiceover for a carpet cleaner ad, appeared on the radio soap opera Mrs Dale's Diary playing a pop star, and had a regular spot reading listeners' letters out for the agony aunt Marje Proops on her radio show. Almost all of this early acting work wa s utterly ephemeral, but there are a handful of his performances that do survive, mostly in films. He has a small role in the comedy film Heavens Above!, a mistaken-identity comedy in which a radical left-wing priest played by Peter Sellers is given a parish intended for a more conservative priest of the same name, and upsets the well-off people of the parish by taking in a large family of travellers and appointing a Black man as his churchwarden. The film has some dated attitudes, in the way that things that were trying to be progressive and antiracist sixty years ago invariably do, but has a sparkling cast, with Sellers, Eric Sykes, William Hartnell, Brock Peters, Roy Kinnear, Irene Handl, and many more extremely recognisable faces from the period: [Excerpt: Heavens Above!] Marriott apparently enjoyed working on the film immensely, as he was a fan of the Goon Show, which Sellers had starred in and which Sykes had co-written several episodes of. There are reports of Marriott and Sellers jamming together on banjos during breaks in filming, though these are probably *slightly* inaccurate -- Sellers played the banjolele, a banjo-style instrument which is played like a ukulele. As Marriott had started on ukulele before switching to guitar, it was probably these they were playing, rather than banjoes. He also appeared in a more substantial role in a film called Live It Up!, a pop exploitation film starring David Hemmings in which he appears as a member of a pop group. Oddly, Marriott plays a drummer, even though he wasn't a drummer, while two people who *would* find fame as drummers, Mitch Mitchell and Dave Clark, appear in smaller, non-drumming, roles. He doesn't perform on the soundtrack, which is produced by Joe Meek and features Sounds Incorporated, The Outlaws, and Gene Vincent, but he does mime playing behind Heinz Burt, the former bass player of the Tornadoes who was then trying for solo stardom at Meek's instigation: [Excerpt: Heinz Burt, "Don't You Understand"] That film was successful enough that two years later, in 1965 Marriott came back for a sequel, Be My Guest, with The Niteshades, the Nashville Teens, and Jerry Lee Lewis, this time with music produced by Shel Talmy rather than Meek. But that was something of a one-off. After making Live It Up!, Marriott had largely retired from acting, because he was trying to become a pop star. The break finally came when he got an audition at the National Theatre, for a job touring with Laurence Olivier for a year. He came home and told his parents he hadn't got the job, but then a week later they were bemused by a phone call asking why Steve hadn't turned up for rehearsals. He *had* got the job, but he'd decided he couldn't face a year of doing the same thing over and over, and had pretended he hadn't. By this time he'd already released his first record. The work on Oliver! had got him a contract with Decca Records, and he'd recorded a Buddy Holly knock-off, "Give Her My Regards", written for him by Kenny Lynch, the actor, pop star, and all-round entertainer: [Excerpt: Steve Marriott, "Give Her My Regards"] That record wasn't a hit, but Marriott wasn't put off. He formed a band who were at first called the Moonlights, and then the Frantiks, and they got a management deal with Tony Calder, Andrew Oldham's junior partner in his management company. Calder got former Shadow Tony Meehan to produce a demo for the group, a version of Cliff Richard's hit "Move It", which was shopped round the record labels with no success (and which sadly appears no longer to survive). The group also did some recordings with Joe Meek, which also don't circulate, but which may exist in the famous "Teachest Tapes" which are slowly being prepared for archival releases. The group changed their name to the Moments, and added in the guitarist John Weider, who was one of those people who seem to have been in every band ever either just before or just after they became famous -- at various times he was in Johnny Kidd and the Pirates, John Mayall's Bluesbreakers, Family, Eric Burdon and the Animals, and the band that became Crabby Appleton, but never in their most successful lineups. They continued recording unsuccessful demos, of which a small number have turned up: [Excerpt: Steve Marriott and the Moments, "Good Morning Blues"] One of their demo sessions was produced by Andrew Oldham, and while that session didn't lead to a release, it did lead to Oldham booking Marriott as a session harmonica player for one of his "Andrew Oldham Orchestra" sessions, to play on a track titled "365 Rolling Stones (One For Every Day of the Year)": [Excerpt: The Andrew Oldham Orchestra, "365 Rolling Stones (One For Every Day of the Year)"] Oldham also produced a session for what was meant to be Marriott's second solo single on Decca, a cover version of the Rolling Stones' "Tell Me", which was actually scheduled for release but pulled at the last minute. Like many of Marriott's recordings from this period, if it exists, it doesn't seem to circulate publicly. But despite their lack of recording success, the Moments did manage to have a surprising level of success on the live circuit. Because they were signed to Calder and Oldham's management company, they got a contract with the Arthur Howes booking agency, which got them support slots on package tours with Billy J Kramer, Freddie and the Dreamers, the Kinks, and other major acts, and the band members were earning about thirty pounds a week each -- a very, very good living for the time. They even had a fanzine devoted to them, written by a fan named Stuart Tuck. But as they weren't making records, the band's lineup started changing, with members coming and going. They did manage to get one record released -- a soundalike version of the Kinks' "You Really Got Me", recorded for a budget label who rushed it out, hoping to get it picked up in the US and for it to be the hit version there: [Excerpt: The Moments, "You Really Got Me"] But the month after that was released, Marriott was sacked from the band, apparently in part because the band were starting to get billed as Steve Marriott and the Moments rather than just The Moments, and the rest of them didn't want to be anyone's backing band. He got a job at a music shop while looking around for other bands to perform with. At one point around this time he was going to form a duo with a friend of his, Davy Jones -- not the one who had also appeared in Oliver!, but another singer of the same name. This one sang with a blues band called the Mannish Boys, and both men were well known on the Mod scene in London. Marriott's idea was that they call themselves David and Goliath, with Jones being David, and Marriott being Goliath because he was only five foot five. That could have been a great band, but it never got past the idea stage. Marriott had become friendly with another part-time musician and shop worker called Ronnie Lane, who was in a band called the Outcasts who played the same circuit as the Moments: [Excerpt: The Outcasts, "Before You Accuse Me"] Lane worked in a sound equipment shop and Marriott in a musical instrument shop, and both were customers of the other as well as friends -- at least until Marriott came into the shop where Lane worked and tried to persuade him to let Marriott have a free PA system. Lane pretended to go along with it as a joke, and got sacked. Lane had then gone to the shop where Marriott worked in the hope that Marriott would give him a good deal on a guitar because he'd been sacked because of Marriott. Instead, Marriott persuaded him that he should switch to bass, on the grounds that everyone was playing guitar since the Beatles had come along, but a bass player would always be able to find work. Lane bought the bass. Shortly after that, Marriott came to an Outcasts gig in a pub, and was asked to sit in. He enjoyed playing with Lane and the group's drummer Kenney Jones, but got so drunk he smashed up the pub's piano while playing a Jerry Lee Lewis song. The resulting fallout led to the group being barred from the pub and splitting up, so Marriott, Lane, and Jones decided to form their own group. They got in another guitarist Marriott knew, a man named Jimmy Winston who was a couple of years older than them, and who had two advantages -- he was a known Face on the mod scene, with a higher status than any of the other three, and his brother owned a van and would drive the group and their equipment for ten percent of their earnings. There was a slight problem in that Winston was also as good on guitar as Marriott and looked like he might want to be the star, but Marriott neutralised that threat -- he moved Winston over to keyboards. The fact that Winston couldn't play keyboards didn't matter -- he could be taught a couple of riffs and licks, and he was sure to pick up the rest. And this way the group had the same lineup as one of Marriott's current favourites, Booker T and the MGs. While he was still a Buddy Holly fan, he was now, like the rest of the Mods, an R&B obsessive. Marriott wasn't entirely sure that this new group would be the one that would make him a star though, and was still looking for other alternatives in case it didn't play out. He auditioned for another band, the Lower Third, which counted Stuart Tuck, the writer of the Moments fanzine, among its members. But he was unsuccessful in the audition -- instead his friend Davy Jones, the one who he'd been thinking of forming a duo with, got the job: [Excerpt: Davy Jones and the Lower Third, "You've Got a Habit of Leaving"] A few months after that, Davy Jones and the Lower Third changed their name to David Bowie and the Lower Third, and we'll be picking up that story in a little over a year from now... Marriott, Lane, Jones, and Winston kept rehearsing and pulled together a five-song set, which was just about long enough to play a few shows, if they extended the songs with long jamming instrumental sections. The opening song for these early sets was one which, when they recorded it, would be credited to Marriott and Lane -- the two had struck up a writing partnership and agreed to a Lennon/McCartney style credit split, though in these early days Marriott was doing far more of the writing than Lane was. But "You Need Loving" was... heavily inspired... by "You Need Love", a song Willie Dixon had written for Muddy Waters: [Excerpt: Muddy Waters, "You Need Love"] It's not precisely the same song, but you can definitely hear the influence in the Marriott/Lane song: [Excerpt: The Small Faces, "You Need Loving"] They did make some changes though, notably to the end of the song: [Excerpt: The Small Faces, "You Need Loving"] You will be unsurprised to learn that Robert Plant was a fan of Steve Marriott. The new group were initially without a name, until after one of their first gigs, Winston's girlfriend, who hadn't met the other three before, said "You've all got such small faces!" The name stuck, because it had a double meaning -- as we've seen in the episode on "My Generation", "Face" was Mod slang for someone who was cool and respected on the Mod scene, but also, with the exception of Winston, who was average size, the other three members of the group were very short -- the tallest of the three was Ronnie Lane, who was five foot six. One thing I should note about the group's name, by the way -- on all the labels of their records in the UK while they were together, they were credited as "Small Faces", with no "The" in front, but all the band members referred to the group in interviews as "The Small Faces", and they've been credited that way on some reissues and foreign-market records. The group's official website is thesmallfaces.com but all the posts on the website refer to them as "Small Faces" with no "the". The use of the word "the" or not at the start of a group's name at this time was something of a shibboleth -- for example both The Buffalo Springfield and The Pink Floyd dropped theirs after their early records -- and its status in this case is a strange one. I'll be referring to the group throughout as "The Small Faces" rather than "Small Faces" because the former is easier to say, but both seem accurate. After a few pub gigs in London, they got some bookings in the North of England, where they got a mixed reception -- they went down well at Peter Stringfellow's Mojo Club in Sheffield, where Joe Cocker was a regular performer, less well at a working-man's club, and reports differ about their performance at the Twisted Wheel in Manchester, though one thing everyone is agreed on is that while they were performing, some Mancunians borrowed their van and used it to rob a clothing warehouse, and gave the band members some very nice leather coats as a reward for their loan of the van. It was only on the group's return to London that they really started to gel as a unit. In particular, Kenney Jones had up to that point been a very stiff, precise, drummer, but he suddenly loosened up and, in Steve Marriott's tasteless phrase, "Every number swung like Hanratty" (James Hanratty was one of the last people in Britain to be executed by hanging). Shortly after that, Don Arden's secretary -- whose name I haven't been able to find in any of the sources I've used for this episode, sadly, came into the club where they were rehearsing, the Starlight Rooms, to pass a message from Arden to an associate of his who owned the club. The secretary had seen Marriott perform before -- he would occasionally get up on stage at the Starlight Rooms to duet with Elkie Brooks, who was a regular performer there, and she'd seen him do that -- but was newly impressed by his group, and passed word on to her boss that this was a group he should investigate. Arden is someone who we'll be looking at a lot in future episodes, but the important thing to note right now is that he was a failed entertainer who had moved into management and promotion, first with American acts like Gene Vincent, and then with British acts like the Nashville Teens, who had had hits with tracks like "Tobacco Road": [Excerpt: The Nashville Teens, "Tobacco Road"] Arden was also something of a gangster -- as many people in the music industry were at the time, but he was worse than most of his contemporaries, and delighted in his nickname "the Al Capone of pop". The group had a few managers looking to sign them, but Arden convinced them with his offer. They would get a percentage of their earnings -- though they never actually received that percentage -- twenty pounds a week in wages, and, the most tempting part of it all, they would get expense accounts at all the Carnaby St boutiques and could go there whenever they wanted and get whatever they wanted. They signed with Arden, which all of them except Marriott would later regret, because Arden's financial exploitation meant that it would be decades before they saw any money from their hits, and indeed both Marriott and Lane would be dead before they started getting royalties from their old records. Marriott, on the other hand, had enough experience of the industry to credit Arden with the group getting anywhere at all, and said later "Look, you go into it with your eyes open and as far as I was concerned it was better than living on brown sauce rolls. At least we had twenty quid a week guaranteed." Arden got the group signed to Decca, with Dick Rowe signing them to the same kind of production deal that Andrew Oldham had pioneered with the Stones, so that Arden would own the rights to their recordings. At this point the group still only knew a handful of songs, but Rowe was signing almost everyone with a guitar at this point, putting out a record or two and letting them sink or swim. He had already been firmly labelled as "the man who turned down the Beatles", and was now of the opinion that it was better to give everyone a chance than to make that kind of expensive mistake again. By this point Marriott and Lane were starting to write songs together -- though at this point it was still mostly Marriott writing, and people would ask him why he was giving Lane half the credit, and he'd reply "Without Ronnie's help keeping me awake and being there I wouldn't do half of it. He keeps me going." -- but for their first single Arden was unsure that they were up to the task of writing a hit. The group had been performing a version of Solomon Burke's "Everybody Needs Somebody to Love", a song which Burke always claimed to have written alone, but which is credited to him, Jerry Wexler, and Bert Berns (and has Bern's fingerprints, at least, on it to my ears): [Excerpt: Solomon Burke, "Everybody Needs Somebody to Love"] Arden got some professional writers to write new lyrics and vocal melody to their arrangement of the song -- the people he hired were Brian Potter, who would later go on to co-write "Rhinestone Cowboy", and Ian Samwell, the former member of Cliff Richard's Drifters who had written many of Richard's early hits, including "Move It", and was now working for Arden. The group went into the studio and recorded the song, titled "Whatcha Gonna Do About It?": [Excerpt: The Small Faces, "Whatcha Gonna Do About It?"] That version, though was deemed too raucous, and they had to go back into the studio to cut a new version, which came out as their first single: [Excerpt: The Small Faces, "Whatcha Gonna Do About It?"] At first the single didn't do much on the charts, but then Arden got to work with teams of people buying copies from chart return shops, bribing DJs on pirate radio stations to play it, and bribing the person who compiled the charts for the NME. Eventually it made number fourteen, at which point it became a genuinely popular hit. But with that popularity came problems. In particular, Steve Marriott was starting to get seriously annoyed by Jimmy Winston. As the group started to get TV appearances, Winston started to act like he should be the centre of attention. Every time Marriott took a solo in front of TV cameras, Winston would start making stupid gestures, pulling faces, anything to make sure the cameras focussed on him rather than on Marriott. Which wouldn't have been too bad had Winston been a great musician, but he was still not very good on the keyboards, and unlike the others didn't seem particularly interested in trying. He seemed to want to be a star, rather than a musician. The group's next planned single was a Marriott and Lane song, "I've Got Mine". To promote it, the group mimed to it in a film, Dateline Diamonds, a combination pop film and crime caper not a million miles away from the ones that Marriott had appeared in a few years earlier. They also contributed three other songs to the film's soundtrack. Unfortunately, the film's release was delayed, and the film had been the big promotional push that Arden had planned for the single, and without that it didn't chart at all. By the time the single came out, though, Winston was no longer in the group. There are many, many different stories as to why he was kicked out. Depending on who you ask, it was because he was trying to take the spotlight away from Marriott, because he wasn't a good enough keyboard player, because he was taller than the others and looked out of place, or because he asked Don Arden where the money was. It was probably a combination of all of these, but fundamentally what it came to was that Winston just didn't fit into the group. Winston would, in later years, say that him confronting Arden was the only reason for his dismissal, saying that Arden had manipulated the others to get him out of the way, but that seems unlikely on the face of it. When Arden sacked him, he kept Winston on as a client and built another band around him, Jimmy Winston and the Reflections, and got them signed to Decca too, releasing a Kenny Lynch song, "Sorry She's Mine", to no success: [Excerpt: Jimmy Winston and the Reflections, "Sorry She's Mine"] Another version of that song would later be included on the first Small Faces album. Winston would then form another band, Winston's Fumbs, who would also release one single, before he went into acting instead. His most notable credit was as a rebel in the 1972 Doctor Who story Day of the Daleks, and he later retired from showbusiness to run a business renting out sound equipment, and died in 2020. The group hired his replacement without ever having met him or heard him play. Ian McLagan had started out as the rhythm guitarist in a Shadows soundalike band called the Cherokees, but the group had become R&B fans and renamed themselves the Muleskinners, and then after hearing "Green Onions", McLagan had switched to playing Hammond organ. The Muleskinners had played the same R&B circuit as dozens of other bands we've looked at, and had similar experiences, including backing visiting blues stars like Sonny Boy Williamson, Little Walter, and Howlin' Wolf. Their one single had been a cover version of "Back Door Man", a song Willie Dixon had written for Wolf: [Excerpt: The Muleskinners, "Back Door Man"] The Muleskinners had split up as most of the group had day jobs, and McLagan had gone on to join a group called Boz and the Boz People, who were becoming popular on the live circuit, and who also toured backing Kenny Lynch while McLagan was in the band. Boz and the Boz People would release several singles in 1966, like their version of the theme for the film "Carry on Screaming", released just as by "Boz": [Excerpt: Boz, "Carry on Screaming"] By that time, McLagan had left the group -- Boz Burrell later went on to join King Crimson and Bad Company. McLagan left the Boz People in something of a strop, and was complaining to a friend the night he left the group that he didn't have any work lined up. The friend joked that he should join the Small Faces, because he looked like them, and McLagan got annoyed that his friend wasn't taking him seriously -- he'd love to be in the Small Faces, but they *had* a keyboard player. The next day he got a phone call from Don Arden asking him to come to his office. He was being hired to join a hit pop group who needed a new keyboard player. McLagan at first wasn't allowed to tell anyone what band he was joining -- in part because Arden's secretary was dating Winston, and Winston hadn't yet been informed he was fired, and Arden didn't want word leaking out until it had been sorted. But he'd been chosen purely on the basis of an article in a music magazine which had praised his playing with the Boz People, and without the band knowing him or his playing. As soon as they met, though, he immediately fit in in a way Winston never had. He looked the part, right down to his height -- he said later "Ronnie Lane and I were the giants in the band at 5 ft 6 ins, and Kenney Jones and Steve Marriott were the really teeny tiny chaps at 5 ft 5 1/2 ins" -- and he was a great player, and shared a sense of humour with them. McLagan had told Arden he'd been earning twenty pounds a week with the Boz People -- he'd actually been on five -- and so Arden agreed to give him thirty pounds a week during his probationary month, which was more than the twenty the rest of the band were getting. As soon as his probationary period was over, McLagan insisted on getting a pay cut so he'd be on the same wages as the rest of the group. Soon Marriott, Lane, and McLagan were all living in a house rented for them by Arden -- Jones decided to stay living with his parents -- and were in the studio recording their next single. Arden was convinced that the mistake with "I've Got Mine" had been allowing the group to record an original, and again called in a team of professional songwriters. Arden brought in Mort Shuman, who had recently ended his writing partnership with Doc Pomus and struck out on his own, after co-writing songs like "Save the Last Dance for Me", "Sweets For My Sweet", and "Viva Las Vegas" together, and Kenny Lynch, and the two of them wrote "Sha-La-La-La-Lee", and Lynch added backing vocals to the record: [Excerpt: The Small Faces, "Sha-La-La-La-Lee"] None of the group were happy with the record, but it became a big hit, reaching number three in the charts. Suddenly the group had a huge fanbase of screaming teenage girls, which embarrassed them terribly, as they thought of themselves as serious heavy R&B musicians, and the rest of their career would largely be spent vacillating between trying to appeal to their teenybopper fanbase and trying to escape from it to fit their own self-image. They followed "Sha-La-La-La-Lee" with "Hey Girl", a Marriott/Lane song, but one written to order -- they were under strict instructions from Arden that if they wanted to have the A-side of a single, they had to write something as commercial as "Sha-La-La-La-Lee" had been, and they managed to come up with a second top-ten hit. Two hit singles in a row was enough to make an album viable, and the group went into the studio and quickly cut an album, which had their first two hits on it -- "Hey Girl" wasn't included, and nor was the flop "I've Got Mine" -- plus a bunch of semi-originals like "You Need Loving", a couple of Kenny Lynch songs, and a cover version of Sam Cooke's "Shake". The album went to number three on the album charts, with the Beatles and the Rolling Stones in the number one and two spots, and it was at this point that Arden's rivals really started taking interest. But that interest was quelled for the moment when, after Robert Stigwood enquired about managing the band, Arden went round to Stigwood's office with four goons and held him upside down over a balcony, threatening to drop him off if he ever messed with any of Arden's acts again. But the group were still being influenced by other managers. In particular, Brian Epstein came round to the group's shared house, with Graeme Edge of the Moody Blues, and brought them some slices of orange -- which they discovered, after eating them, had been dosed with LSD. By all accounts, Marriott's first trip was a bad one, but the group soon became regular consumers of the drug, and it influenced the heavier direction they took on their next single, "All or Nothing". "All or Nothing" was inspired both by Marriott's breakup with his girlfriend of the time, and his delight at the fact that Jenny Rylance, a woman he was attracted to, had split up with her then-boyfriend Rod Stewart. Rylance and Stewart later reconciled, but would break up again and Rylance would become Marriott's first wife in 1968: [Excerpt: The Small Faces, "All or Nothing"] "All or Nothing" became the group's first and only number one record -- and according to the version of the charts used on Top of the Pops, it was a joint number one with the Beatles' double A-side of "Yellow Submarine" and "Eleanor Rigby", both selling exactly as well as each other. But this success caused the group's parents to start to wonder why their kids -- none of whom were yet twenty-one, the legal age of majority at the time -- were not rich. While the group were on tour, their parents came as a group to visit Arden and ask him where the money was, and why their kids were only getting paid twenty pounds a week when their group was getting a thousand pounds a night. Arden tried to convince the parents that he had been paying the group properly, but that they had spent their money on heroin -- which was very far from the truth, the band were only using soft drugs at the time. This put a huge strain on the group's relationship with Arden, and it wasn't the only thing Arden did that upset them. They had been spending a lot of time in the studio working on new material, and Arden was convinced that they were spending too much time recording, and that they were just faffing around and not producing anything of substance. They dropped off a tape to show him that they had been working -- and the next thing they knew, Arden had put out one of the tracks from that tape, "My Mind's Eye", which had only been intended as a demo, as a single: [Excerpt: The Small Faces, "My Mind's Eye"] That it went to number four on the charts didn't make up for the fact that the first the band heard of the record coming out at all was when they heard it on the radio. They needed rid of Arden. Luckily for them, Arden wasn't keen on continuing to work with them either. They were unreliable and flakey, and he also needed cash quick to fund his other ventures, and he agreed to sell on their management and recording contracts. Depending on which version of the story you believe, he may have sold them on to an agent called Harold Davison, who then sold them on to Andrew Oldham and Tony Calder, but according to Oldham what happened is that in December 1966 Arden demanded the highest advance in British history -- twenty-five thousand pounds -- directly from Oldham. In cash. In a brown paper bag. The reason Oldham and Calder were interested was that in July 1965 they'd started up their own record label, Immediate Records, which had been announced by Oldham in his column in Disc and Music Echo, in which he'd said "On many occasions I have run down the large record companies over issues such as pirate stations, their promotion, and their tastes. And many readers have written in and said that if I was so disturbed by the state of the existing record companies why didn't I do something about it. I have! On the twentieth of this month the first of three records released by my own company, Immediate Records, is to be launched." That first batch of three records contained one big hit, "Hang on Sloopy" by the McCoys, which Immediate licensed from Bert Berns' new record label BANG in the US: [Excerpt: The McCoys, "Hang on Sloopy"] The two other initial singles featured the talents of Immediate's new in-house producer, a session player who had previously been known as "Little Jimmy" to distinguish him from "Big" Jim Sullivan, the other most in-demand session guitarist, but who was now just known as Jimmy Page. The first was a version of Pete Seeger's "The Bells of Rhymney", which Page produced and played guitar on, for a group called The Fifth Avenue: [Excerpt: The Fifth Avenue, "The Bells of Rhymney"] And the second was a Gordon Lightfoot song performed by a girlfriend of Brian Jones', Nico. The details as to who was involved in the track have varied -- at different times the production has been credited to Jones, Page, and Oldham -- but it seems to be the case that both Jones and Page play on the track, as did session bass player John Paul Jones: [Excerpt: Nico, "I'm Not Sayin'"] While "Hang on Sloopy" was a big hit, the other two singles were flops, and The Fifth Avenue split up, while Nico used the publicity she'd got as an entree into Andy Warhol's Factory, and we'll be hearing more about how that went in a future episode. Oldham and Calder were trying to follow the model of the Brill Building, of Phil Spector, and of big US independents like Motown and Stax. They wanted to be a one-stop shop where they'd produce the records, manage the artists, and own the publishing -- and they also licensed the publishing for the Beach Boys' songs for a couple of years, and started publicising their records over here in a big way, to exploit the publishing royalties, and that was a major factor in turning the Beach Boys from minor novelties to major stars in the UK. Most of Immediate's records were produced by Jimmy Page, but other people got to have a go as well. Giorgio Gomelsky and Shel Talmy both produced tracks for the label, as did a teenage singer then known as Paul Raven, who would later become notorious under his later stage-name Gary Glitter. But while many of these records were excellent -- and Immediate deserves to be talked about in the same terms as Motown or Stax when it comes to the quality of the singles it released, though not in terms of commercial success -- the only ones to do well on the charts in the first few months of the label's existence were "Hang on Sloopy" and an EP by Chris Farlowe. It was Farlowe who provided Immediate Records with its first home-grown number one, a version of the Rolling Stones' "Out of Time" produced by Mick Jagger, though according to Arthur Greenslade, the arranger on that and many other Immediate tracks, Jagger had given up on getting a decent performance out of Farlowe and Oldham ended up producing the vocals. Greenslade later said "Andrew must have worked hard in there, Chris Farlowe couldn't sing his way out of a paper bag. I'm sure Andrew must have done it, where you get an artist singing and you can do a sentence at a time, stitching it all together. He must have done it in pieces." But however hard it was to make, "Out of Time" was a success: [Excerpt: Chris Farlowe, "Out of Time"] Or at least, it was a success in the UK. It did also make the top forty in the US for a week, but then it hit a snag -- it had charted without having been released in the US at all, or even being sent as a promo to DJs. Oldham's new business manager Allen Klein had been asked to work his magic on the US charts, but the people he'd bribed to hype the record into the charts had got the release date wrong and done it too early. When the record *did* come out over there, no radio station would play it in case it looked like they were complicit in the scam. But still, a UK number one wasn't too shabby, and so Immediate Records was back on track, and Oldham wanted to shore things up by bringing in some more proven hit-makers. Immediate signed the Small Faces, and even started paying them royalties -- though that wouldn't last long, as Immediate went bankrupt in 1970 and its successors in interest stopped paying out. The first work the group did for the label was actually for a Chris Farlowe single. Lane and Marriott gave him their song "My Way of Giving", and played on the session along with Farlowe's backing band the Thunderbirds. Mick Jagger is the credited producer, but by all accounts Marriott and Lane did most of the work: [Excerpt: Chris Farlowe, "My Way of Giving"] Sadly, that didn't make the top forty. After working on that, they started on their first single recorded at Immediate. But because of contractual entanglements, "I Can't Make It" was recorded at Immediate but released by Decca. Because the band weren't particularly keen on promoting something on their old label, and the record was briefly banned by the BBC for being too sexual, it only made number twenty-six on the charts. Around this time, Marriott had become friendly with another band, who had named themselves The Little People in homage to the Small Faces, and particularly with their drummer Jerry Shirley. Marriott got them signed to Immediate, and produced and played on their first single, a version of his song "(Tell Me) Have You Ever Seen Me?": [Excerpt: The Apostolic Intervention, "(Tell Me) Have You Ever Seen Me?"] When they signed to Immediate, The Little People had to change their name, and Marriott suggested they call themselves The Nice, a phrase he liked. Oldham thought that was a stupid name, and gave the group the much more sensible name The Apostolic Intervention. And then a few weeks later he signed another group and changed *their* name to The Nice. "The Nice" was also a phrase used in the Small Faces' first single for Immediate proper. "Here Come the Nice" was inspired by a routine by the hipster comedian Lord Buckley, "The Nazz", which also gave a name to Todd Rundgren's band and inspired a line in David Bowie's "Ziggy Stardust": [Excerpt: Lord Buckley, "The Nazz"] "Here Come the Nice" was very blatantly about a drug dealer, and somehow managed to reach number twelve despite that: [Excerpt: The Small Faces, "Here Come the Nice"] It also had another obstacle that stopped it doing as well as it might. A week before it came out, Decca released a single, "Patterns", from material they had in the vault. And in June 1967, two Small Faces albums came out. One of them was a collection from Decca of outtakes and demos, plus their non-album hit singles, titled From The Beginning, while the other was their first album on Immediate, which was titled Small Faces -- just like their first Decca album had been. To make matters worse, From The Beginning contained the group's demos of "My Way of Giving" and "(Tell Me) Have You Ever Seen Me?", while the group's first Immediate album contained a new recording of "(Tell Me) Have You Ever Seen Me?", and a version of "My Way of Giving" with the same backing track but a different vocal take from the one on the Decca collection. From this point on, the group's catalogue would be a complete mess, with an endless stream of compilations coming out, both from Decca and, after the group split, from Immediate, mixing tracks intended for release with demos and jam sessions with no regard for either their artistic intent or for what fans might want. Both albums charted, with Small Faces reaching number twelve and From The Beginning reaching number sixteen, neither doing as well as their first album had, despite the Immediate album, especially, being a much better record. This was partly because the Marriott/Lane partnership was becoming far more equal. Kenney Jones later said "During the Decca period most of the self-penned stuff was 99% Steve. It wasn't until Immediate that Ronnie became more involved. The first Immediate album is made up of 50% Steve's songs and 50% of Ronnie's. They didn't collaborate as much as people thought. In fact, when they did, they often ended up arguing and fighting." It's hard to know who did what on each song credited to the pair, but if we assume that each song's principal writer also sang lead -- we know that's not always the case, but it's a reasonable working assumption -- then Jones' fifty-fifty estimate seems about right. Of the fourteen songs on the album, McLagan sings one, which is also his own composition, "Up the Wooden Hills to Bedfordshire". There's one instrumental, six with Marriott on solo lead vocals, four with Lane on solo lead vocals, and two duets, one with Lane as the main vocalist and one with Marriott. The fact that there was now a second songwriter taking an equal role in the band meant that they could now do an entire album of originals. It also meant that their next Marriott/Lane single was mostly a Lane song. "Itchycoo Park" started with a verse lyric from Lane -- "Over bridge of sighs/To rest my eyes in shades of green/Under dreaming spires/To Itchycoo Park, that's where I've been". The inspiration apparently came from Lane reading about the dreaming spires of Oxford, and contrasting it with the places he used to play as a child, full of stinging nettles. For a verse melody, they repeated a trick they'd used before -- the melody of "My Mind's Eye" had been borrowed in part from the Christmas carol "Gloria in Excelsis Deo", and here they took inspiration from the old hymn "God Be in My Head": [Excerpt: The Choir of King's College Cambridge, "God Be in My Head"] As Marriott told the story: "We were in Ireland and speeding our brains out writing this song. Ronnie had the first verse already written down but he had no melody line, so what we did was stick the verse to the melody line of 'God Be In My Head' with a few chord variations. We were going towards Dublin airport and I thought of the middle eight... We wrote the second verse collectively, and the chorus speaks for itself." [Excerpt: The Small Faces, "Itchycoo Park"] Marriott took the lead vocal, even though it was mostly Lane's song, but Marriott did contribute to the writing, coming up with the middle eight. Lane didn't seem hugely impressed with Marriott's contribution, and later said "It wasn't me that came up with 'I feel inclined to blow my mind, get hung up, feed the ducks with a bun/They all come out to groove about, be nice and have fun in the sun'. That wasn't me, but the more poetic stuff was." But that part became the most memorable part of the record, not so much because of the writing or performance but because of the production. It was one of the first singles released using a phasing effect, developed by George Chkiantz (and I apologise if I'm pronouncing that name wrong), who was the assistant engineer for Glyn Johns on the album. I say it was one of the first, because at the time there was not a clear distinction between the techniques now known as phasing, flanging, and artificial double tracking, all of which have now diverged, but all of which initially came from the idea of shifting two copies of a recording slightly out of synch with each other. The phasing on "Itchycoo Park" , though, was far more extreme and used to far different effect than that on, say, Revolver: [Excerpt: The Small Faces, "Itchycoo Park"] It was effective enough that Jimi Hendrix, who was at the time working on Axis: Bold as Love, requested that Chkiantz come in and show his engineer how to get the same effect, which was then used on huge chunks of Hendrix's album. The BBC banned the record, because even the organisation which had missed that the Nice who "is always there when I need some speed" was a drug dealer was a little suspicious about whether "we'll get high" and "we'll touch the sky" might be drug references. The band claimed to be horrified at the thought, and explained that they were talking about swings. It's a song about a park, so if you play on the swings, you go high. What else could it mean? [Excerpt: The Small Faces, “Itchycoo Park”] No drug references there, I'm sure you'll agree. The song made number three, but the group ran into more difficulties with the BBC after an appearance on Top of the Pops. Marriott disliked the show's producer, and the way that he would go up to every act and pretend to think they had done a very good job, no matter what he actually thought, which Marriott thought of as hypocrisy rather than as politeness and professionalism. Marriott discovered that the producer was leaving the show, and so in the bar afterwards told him exactly what he thought of him, calling him a "two-faced", and then a four-letter word beginning with c which is generally considered the most offensive swear word there is. Unfortunately for Marriott, he'd been misinformed, the producer wasn't leaving the show, and the group were barred from it for a while. "Itchycoo Park" also made the top twenty in the US, thanks to a new distribution deal Immediate had, and plans were made for the group to tour America, but those plans had to be scrapped when Ian McLagan was arrested for possession of hashish, and instead the group toured France, with support from a group called the Herd: [Excerpt: The Herd, "From the Underworld"] Marriott became very friendly with the Herd's guitarist, Peter Frampton, and sympathised with Frampton's predicament when in the next year he was voted "face of '68" and developed a similar teenage following to the one the Small Faces had. The group's last single of 1967 was one of their best. "Tin Soldier" was inspired by the Hans Andersen story “The Steadfast Tin Soldier”, and was originally written for the singer P.P. Arnold, who Marriott was briefly dating around this time. But Arnold was *so* impressed with the song that Marriott decided to keep it for his own group, and Arnold was left just doing backing vocals on the track: [Excerpt: The Small Faces, "Tin Soldier"] It's hard to show the appeal of "Tin Soldier" in a short clip like those I use on this show, because so much of it is based on the use of dynamics, and the way the track rises and falls, but it's an extremely powerful track, and made the top ten. But it was after that that the band started falling apart, and also after that that they made the work generally considered their greatest album. As "Itchycoo Park" had made number one in Australia, the group were sent over there on tour to promote it, as support act for the Who. But the group hadn't been playing live much recently, and found it difficult to replicate their records on stage, as they were now so reliant on studio effects like phasing. The Australian audiences were uniformly hostile, and the contrast with the Who, who were at their peak as a live act at this point, couldn't have been greater. Marriott decided he had a solution. The band needed to get better live, so why not get Peter Frampton in as a fifth member? He was great on guitar and had stage presence, obviously that would fix their problems. But the other band members absolutely refused to get Frampton in. Marriott's confidence as a stage performer took a knock from which it never really recovered, and increasingly the band became a studio-only one. But the tour also put strain on the most important partnership in the band. Marriott and Lane had been the closest of friends and collaborators, but on the tour, both found a very different member of the Who to pal around with. Marriott became close to Keith Moon, and the two would get drunk and trash hotel rooms together. Lane, meanwhile, became very friendly with Pete Townshend, who introduced him to the work of the guru Meher Baba, who Townshend followed. Lane, too, became a follower, and the two would talk about religion and spirituality while their bandmates were destroying things. An attempt was made to heal the growing rifts though. Marriott, Lane, and McLagan all moved in together again like old times, but this time in a cottage -- something that became so common for bands around this time that the phrase "getting our heads together in the country" became a cliche in the music press. They started working on material for their new album. One of the tracks that they were working on was written by Marriott, and was inspired by how, before moving in to the country cottage, his neighbours had constantly complained about the volume of his music -- he'd been particularly annoyed that the pop singer Cilla Black, who lived in the same building and who he'd assumed would understand the pop star lifestyle, had complained more than anyone. It had started as as fairly serious blues song, but then Marriott had been confronted by the members of the group The Hollies, who wanted to know why Marriott always sang in a pseudo-American accent. Wasn't his own accent good enough? Was there something wrong with being from the East End of London? Well, no, Marriott decided, there wasn't, and so he decided to sing it in a Cockney accent. And so the song started to change, going from being an R&B song to being the kind of thing Cockneys could sing round a piano in a pub: [Excerpt: The Small Faces, "Lazy Sunday"] Marriott intended the song just as an album track for the album they were working on, but Andrew Oldham insisted on releasing it as a single, much to the band's disgust, and it went to number two on the charts, and along with "Itchycoo Park" meant that the group were now typecast as making playful, light-hearted music. The album they were working on, Ogden's Nut-Gone Flake, was eventually as known for its marketing as its music. In the Small Faces' long tradition of twisted religious references, like their songs based on hymns and their song "Here Come the Nice", which had taken inspiration from a routine about Jesus and made it about a drug dealer, the print ads for the album read: Small Faces Which were in the studios Hallowed be thy name Thy music come Thy songs be sung On this album as they came from your heads We give you this day our daily bread Give us thy album in a round cover as we give thee 37/9d Lead us into the record stores And deliver us Ogdens' Nut Gone Flake For nice is the music The sleeve and the story For ever and ever, Immediate The reason the ad mentioned a round cover is that the original pressings of the album were released in a circular cover, made to look like a tobacco tin, with the name of the brand of tobacco changed from Ogden's Nut-Brown Flake to Ogden's Nut-Gone Flake, a reference to how after smoking enough dope your nut, or head, would be gone. This made more sense to British listeners than to Americans, because not only was the slang on the label British, and not only was it a reference to a British tobacco brand, but American and British dope-smoking habits are very different. In America a joint is generally made by taking the dried leaves and flowers of the cannabis plant -- or "weed" -- and rolling them in a cigarette paper and smoking them. In the UK and much of Europe, though, the preferred form of cannabis is the resin, hashish, which is crumbled onto tobacco in a cigarette paper and smoked that way, so having rolling or pipe tobacco was a necessity for dope smokers in the UK in a way it wasn't in the US. Side one of Ogden's was made up of normal songs, but the second side mixed songs and narrative. Originally the group wanted to get Spike Milligan to do the narration, but when Milligan backed out they chose Professor Stanley Unwin, a comedian who was known for speaking in his own almost-English language, Unwinese: [Excerpt: Stanley Unwin, "The Populode of the Musicolly"] They gave Unwin a script, telling the story that linked side two of the album, in which Happiness Stan is shocked to discover that half the moon has disappeared and goes on a quest to find the missing half, aided by a giant fly who lets him sit on his back after Stan shares his shepherd's pie with the hungry fly. After a long quest they end up at the cave of Mad John the Hermit, who points out to them that nobody had stolen half the moon at all -- they'd been travelling so long that it was a full moon again, and everything was OK. Unwin took that script, and reworked it into Unwinese, and also added in a lot of the slang he heard the group use, like "cool it" and "what's been your hang-up?": [Excerpt: The Small Faces and Professor Stanley Unwin, "Mad John"] The album went to number one, and the group were justifiably proud, but it only exacerbated the problems with their live show. Other than an appearance on the TV show Colour Me Pop, where they were joined by Stanley Unwin to perform the whole of side two of the album with live vocals but miming to instrumental backing tracks, they only performed two songs from the album live, "Rollin' Over" and "Song of a Baker", otherwise sticking to the same live show Marriott was already embarrassed by. Marriott later said "We had spent an entire year in the studios, which was why our stage presentation had not been improved since the previous year. Meanwhile our recording experience had developed in leaps and bounds. We were all keenly interested in the technical possibilities, in the art of recording. We let down a lot of people who wanted to hear Ogden's played live. We were still sort of rough and ready, and in the end the audience became uninterested as far as our stage show was concerned. It was our own fault, because we would have sussed it all out if we had only used our brains. We could have taken Stanley Unwin on tour with us, maybe a string section as well, and it would have been okay. But we didn't do it, we stuck to the concept that had been successful for a long time, which is always the kiss of death." The group's next single would be the last released while they were together. Marriott regarded "The Universal" as possibly the best thing he'd written, and recorded it quickly when inspiration struck. The finished single is actually a home recording of Marriott in his garden, including the sounds of a dog barking and his wife coming home with the shopping, onto which the band later overdubbed percussion, horns, and electric guitars: [Excerpt: The Small Faces, "The Universal"] Incidentally, it seems that the dog barking on that track may also be the dog barking on “Seamus” by Pink Floyd. "The Universal" confused listeners, and only made number sixteen on the charts, crushing Marriott, who thought it was the best thing he'd done. But the band were starting to splinter. McLagan isn't on "The Universal", having quit the band before it was recorded after a falling-out with Marriott. He rejoined, but discovered that in the meantime Marriott had brought in session player Nicky Hopkins to work on some tracks, which devastated him. Marriott became increasingly unconfident in his own writing, and the writing dried up. The group did start work on some new material, some of which, like "The Autumn Stone", is genuinely lovely: [Excerpt: The Small Faces, "The Autumn Stone"] But by the time that was released, the group had already split up. The last recording they did together was as a backing group for Johnny Hallyday, the French rock star. A year earlier Hallyday had recorded a version of "My Way of Giving", under the title "Je N'Ai Jamais Rien Demandé": [Excerpt: Johnny Hallyday, "Je N'Ai Jamais Rien Demandé"] Now he got in touch with Glyn Johns to see if the Small Faces had any other material for him, and if they'd maybe back him on a few tracks on a new album. Johns and the Small Faces flew to France... as did Peter Frampton, who Marriott was still pushing to get into the band. They recorded three tracks for the album, with Frampton on extra guitar: [Excerpt: Johnny Hallyday, "Reclamation"] These tracks left Marriott more certain than ever that Frampton should be in the band, and the other three members even more certain that he shouldn't. Frampton joined the band on stage at a few shows on their next few gigs, but he was putting together his own band with Jerry Shirley from Apostolic Intervention. On New Year's Eve 1968, Marriott finally had enough. He stormed off stage mid-set, and quit the group. He phoned up Peter Frampton, who was hanging out with Glyn Johns listening to an album Johns had just produced by some of the session players who'd worked for Immediate. Side one had just finished when Marriott phoned. Could he join Frampton's new band? Frampton said of course he could, then put the phone down and listened to side two of Led Zeppelin's first record. The band Marriott and Frampton formed was called Humble Pie, and they were soon releasing stuff on Immediate. According to Oldham, "Tony Calder said to me one day 'Pick a straw'. Then he explained we had a choice. We could either go with the three Faces -- Kenney, Ronnie, and Mac -- wherever they were going to go with their lives, or we could follow Stevie. I didn't regard it as a choice. Neither did Tony. Marriott was our man". Marriott certainly seemed to agree that he was the real talent in the group. He and Lane had fairly recently bought some property together -- two houses on the same piece of land -- and with the group splitting up, Lane moved away and wanted to sell his share in the property to Marriott. Marriott wrote to him saying "You'll get nothing. This was bought with money from hits that I wrote, not that we wrote," and enclosing a PRS statement showing how much each Marriott/Lane
It's our INAGURAL FOOTBALL FRIDAY presented by Ale 8 One. Hall of Fame voice of The Cards Paul Rogers joins Bobby V on The V Show. The two share some stories, and fondly remember former FBF host, the legendary, Mike Pratt, The duo also preview The Cards/Cuse with Orange PBP man Matt Park!See omnystudio.com/listener for privacy information.
Bobby and Nicky V are both away at Mike Pratt memorial this afternoon, Pat fills in and in the first hour Pat talks about his favorite memories of Mike Pratt and gets chatting about those people that have an impact on your life like Mike did and some other around the station for Pat. Pat also take your calls or texts on your favorite memories of Mike Pratt. See omnystudio.com/listener for privacy information.
Pat in hour two, starts the show with a little news about Inside The Program. Pat talks more about Mike Pratt, and his impact and memories of the Wildcat player and broadcaster. Pat speak on UK and Gonzaga as there going to meet for some hoops action this season. In the bottom of the hour Pat speaks with CBS Sports David Cobb on College Football, the ACC as a whole, and his prediction on Louisville and Kentucky this year. See omnystudio.com/listener for privacy information.
Andy and Jack are away at the Mike Pratt memorial, so Streble has the keys to the kingdom in the first hour on The Take. In the first hour, Streble talks some UK and UofL football, as well as he speaks on Mike Pratt and the memories of him. To wrap up the hour Coach David Sisk from Rivals sports joins the show to talk pre-bahamas hoops and some UofL and UK recruiting. See omnystudio.com/listener for privacy information.
ITC Entertained The World - Episode 15 (Season 2, episode 2) - Randall And Hopkirk (Deceased) Hosted by Jaz Wiseman, Rodney Marshall and Al Samujh. Jaz, Rodney and Al discuss Randall And Hopkirk (Deceased) - the 1968/69 ITC action/adventure series that starred Mike Pratt as Jeff Randall, Kenneth Cope as Marty Hopkirk and Annette Andre as Jean Hopkirk. Hear the Ghost Talk with contributions from Kenneth Cope and Annette Andre. Take a Sentimental Journey with our hosts as they investigate A Disturbing Case. They Can Always Find A Fall Guy, as they go undercover and learn to Never Trust A Ghost. As with all the previous ITC Entertained The World podcast it's All Work and No Pay and there's no Money To Burn as the podcast is free from adverts, free from sponsors and free to download. With thanks to Network and Umbrella.
In the newest episode of the Blue Ribbon College Basketball Podcast, hosts Chris Dortch (@cdortch) and Kevin Ingram (@KIngramSports) discuss a variety of college basketball topics:• Has the NCAA’s transfer portal finally been picked clean?• Best match-ups in the ACC-Big Ten and Big 12-SEC challenges.• Tom Leach helps us pay tribute to his dear friend and broadcast partner, the late, great Mike Pratt.• The apple doesn’t far fall from the tree after a coaching change at Davidson.• We loved the Star Wars mini-series Obi Wan Kenobi. Deal with it.All Blue Ribbon college basketball podcasts are available on Apple Podcasts and Spotify.You can also listen in your email client or click on the “Listen In Podcast App” link above to listen in your podcast player of choice.Coming up soonThanks for listening to this free podcast from the Blue Ribbon Report. If you haven’t yet subscribed to the newsletter, there’s still time so you can read all our college basketball coverage, which will continue throughout the offseason. Subscribe now for only $7.99 per month to have it sent directly to your email. And coming in mid-August, you can order the 2022-23 edition of the Blue Ribbon College Basketball Yearbook, our 42nd edition. Get your copy while you can!Subscribe now This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit blueribbon.substack.com/subscribe
Dick Gabriel pays tribute to the late Mike Pratt. Thoughts from Tom Leach, Dan Issel, Jim Host and Billy Rutledge.
Andy is back from vacation and the guys remember their friend Mike Pratt, the guys catch Andy up on all the stories he missed, there's a feud, did Streble bend the knee to DJ, Roush trumps Streble, and the emergence of “golf guy” this weekend. See omnystudio.com/listener for privacy information.
UK legend and friend of this podcast Mike Pratt has passed away. Took a few minutes to talk about some memories of the Pratt Man. There was no smooth way to transition, but also talked a little about UK greats Abby Steiner and Rhyne Howard. Got some love from Big Game Boomer. Plus a beef with Blooper the Braves mascot.
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....Love you Mr. Pratt See omnystudio.com/listener for privacy information.
We wrap our show of tributes to the late great Mike Pratt. Cancer is a thief of time and joy....if you'd like to donate in the fight against cancer please do so in Mike's honor at kfov.org See omnystudio.com/listener for privacy information.
James opens the show introducing Ethan Moore and tells some of his favorite memories of Mike Pratt after his passing. We listen to a Mike Pratt montage. We end the hour talking all things UofL recruiting. See omnystudio.com/listener for privacy information.
Streble and Ethan start the hour discussing Fabio Basili. Shaedon Sharpe released a new statement on this past season. We also play more Mike Pratt sound. See omnystudio.com/listener for privacy information.
We talk Toppin's return, Mike Pratt and Reggie Warford. NBA Finals and more. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/cats-talk-wednesday/message Support this podcast: https://anchor.fm/cats-talk-wednesday/support
Thoughts for Mike Pratt. Condolences for Reggie Warford. Will Levis swagger stays on 10. NBA Finals thoughts and more!
Tom talks with Mike Pratt, Justin Rowland, and Bruno DeJulio.
Tom talks with Justin Rowland, Mike Pratt, and Jeremy Plonk.
Host Clay Howerton interviews Tom Leach about his new book with Mike Pratt, "Kentucky Basketball: Two Decades Behind the Scenes"
Tom talks with Mike Pratt, Justin Rowland, and Ryan Flanders.
Hour one of Fast Break Friday presented by Ale 8 One kicks off with Mike Pratt chatting with Louis Rabaut and Perrin Johnson. The guys talk all things Final Four, and get a nice visit with CBS Sports' Andy Katz, from Radio Row in NOLA. See omnystudio.com/listener for privacy information.
Tom talks with Mike Pratt, John Lewis, and Dick Gabriel.
Mike Pratt, Phil Baker, and Nicky V talk about last night games. And what's next for Cal and Sheafon Sharpe. See omnystudio.com/listener for privacy information.
Tom talks with Justin Rowland, Mike Pratt, and Jon Hale.
Tom talks with Tony Delk, Justin Rowland, and Mike Pratt.
On Thusday's show, Steve Russell talks with a plethora of guests like former Gators Football standout Major Wright for an insightful conversation about life after football. Also, Kentucky Men's Basketball's very own Mike Pratt talks to Steve about the Wildcats upcoming matchup with the Gators.
Dick Gabriel fills in to talk with Mike Pratt, Justin Rowland, and Rachel Lawson.
Mike Pratt is CEO and co-founder of Panamplify, a Dallas SaaS startup that serves medium-sized marketing agencies with an automated client reporting solution. Panamplify automatically builds stunning and meaningful reports so agency teams can focus on adding value not building PowerPoint presentations and spreadsheets. Mike started his career in the Air Force and then joined Goldman Sachs in New York City as a trader and analyst. He moved to Dallas in 2010 to start a digital marketing agency that served large companies. At his agency, he discovered the time-consuming problem of monthly client reporting that Panamplify solves. In this episode, Mike talks about the challenges of automating an existing manual management process, building software with a small team, and building communities of tech leaders in Dallas.
From ‘Dig for Victory' to 'Pick for Britain', Tom Pattinson takes us on a potted history of compost and how a special recipe (John Innes) helped win the day…Steve Lowe's keeping an eye on river levels and the future is looking brighter in Northumberland for crayfish thanks to a project with Northumberland Zoo… Could Beavers be coming to Northumberland? Mike Pratt, CEO, Northumberland Wildlife Trust, explains more about the plan to bring back one of nature's eager engineers. And, if you (like me) struggle to identify birds (I'm rubbish at it), fear not, we've got an exciting new feature to help from our very own birder, Tom Cadwallender (British Trust for Ornithology).Support the show
“Expect 2020 to be a full year of full learning potential.” On this episode, Founders Kevin and Mike ( @mr.kevintouch) (@mikepratt_tv ) discuss what The UP was truly like in 2019. They discuss how community is embedded into the system and the automation process of giving clients easy access to stores can create community vibes for all. The United Promotion overall grew and a big thing was the UP 1.0 to 2.0 where story posts drive the crowd and the people. The key is using that momentum and gaining trust in the process to keep up. The guys discuss what it takes to build a podcast and create a community with over 10,000 plus downloads. They also talk about their personal goals and how the experience of a full podcast year will benefit them and stay patient as well. Connect with us https://www.instagram.com/theunitedpromotion/ https://linktr.ee/TheUp
Brian Cunningham has over 20 years of experience as a Chief Executive in both the private and public sectors, and is widely recognised for leading and developing successful organisations through significant change across a variety of sectors including sport, education, training and economic development. From his debut with the SANFL Port Adelaide Magpies under age football teams in the late 1960s, ‘Bucky' has played an integral role with the Port Adelaide Football Club over a period spanning 35 years. During his playing career he kicked 428 goals from a total of 256 league games for Port after debuting in 1971. He was renowned for being Impeccably fair, highly skilled and one of the most naturally two-sided players of his era. He kicked four goals and was Port's best player in the drought-breaking 1977 Grand Final win against Glenelg, and captained the Magpies to three consecutive premierships between 1979 and 1981. He also represented South Australia six times before retiring from the game after the 1983 season. With sports at the heart of Brian's ethos, he is best known for his key leadership role in the successful tender for Port Adelaide's Australian Football League Club franchise licence in 1994, leading the transition from a state based sporting club a highly successful national football league entity in the period 1996 through to 2004 – crowning his career with Port Adelaide Power's first premiership in his last year at the helm. In the corporate arena, Brian led strategic reviews and change management programs in the structural reform of two large South Australian government departments. Firstly As CEO of TAFE for four years in the mid 2000s, he led the state skills training system (of over 80,000 students) producing government funded student outcomes in 2008, ranking first in Australia in all key categories of employment success of graduates, student satisfaction and student transition to higher qualifications. He then spent three years overseeing state efforts in key economic development activities to generate increased trade, investment and jobs as Chief Executive of the Department of Trade and Economic Development. Brian then moved out of the public sector in mid-2010 and has taken up private sector Board Director roles. He has also formed his own consultancy company http://www.briancunningham.com.au/. He is a Fellow of the Australian Institute of Company Directors and holds a Bachelor of Science and a Diploma in Education. He has performed the role as Chairman of various national and state government committees in the spheres of training, education and also economic development. He currently sits as a Director on six diverse Boards and acts as Chairman of five of these. Not surprisingly, Brian is an accredited professional in Emotional Intelligence or EQ and Leadership. How is that for an impressive lifetime of leadership CV! So during our wide ranging discussion on success and leadership, you will learn: How teams make a difference The importance of 10,000 hours The role of motivation, where positive psychology fits in and the benefits of focussing on strength building Plus the advantages of building a good war chest, and a whole lot more Brian's book recommendation: Peak Performance: Business Lessons From The World's Top Sports Organizations by Clive Gilson, Mike Pratt, Kevin Roberts and Ed Weymes. Get Invested is the podcast dedicated to time poor professionals who want to work less and live more. Join Bushy Martin, one of Australia's top 10 property specialists, as he and his influential guests share know-how on the ways investing in property can unlock the life you always dreamed about and secure your financial future. Remember to subscribe on your favourite podcast player, and if you're enjoying the show please leave us a review. Find out more about Get Invested here https://bushymartin.com.au/get-invested-podcast/ Want to connect with Bushy? Get in touch here https://bushymartin.com.au/contact/ This show is produced by Apiro Media - http://apiropodcasts.com
Larry Vaught fills in for Tom and speaks with Justin Rowland, Rachel Lawson and Mike Pratt.
Thomas Beisner and Bradley McKee fill in and talk with Mike Pratt and Justin Rowland.