Podcasts about parmenter

This session shares the audio of the Police Station Building Committee (PSBC) meeting on Tuesday, Feb 25, 2025. This is the first meeting of 2025. The full project team, OPM, and architects provided an overview of the process and what next steps were starting. Quick recap:Discussion on how many 3 or 4 open houses for public to visit the station to see the existing conditions and need for new spaceDiscussion on how many site visits to other new police facilities, likely 3 so at least the committee members could try and make at least 2 of the 3Presentation on template of project webpage, still in draft, discussion around what to add to it Discussion around the video walk through to be coordinated by Steve Sherlock/Franklin TV. Would enable residents who can't make the open houses to still see the situation. Discussion on 3 sites, one just rose along Grove St but won't be considered further as it is too small. Davis Thayer and Parmenter remain currently under evaluationTown administrator Jamie Hellen made a clear statement on the deed for the Parmenter property that nothing in it prohibits another use. The requirement at the time was to build a school within 3 years, and that was completed. There were no penalties or clawbacks in the deed in case the conditions weren't metNot likely to meet again as a committee until summer time. The OPM, architects, etc have work to do gathering info and developing the initial concepts before having something for the committee to review and weigh in on The recording run about an hour and 10 minutes--------------Franklin TV video of the meeting -> https://www.youtube.com/watch?v=IWC6PbFTu0s Meeting agenda -> https://www.franklinma.gov/AgendaCenter/ViewFile/Agenda/_02252025-1601 -------------We are now producing this in collaboration with Franklin.TV and Franklin Public Radio (wfpr.fm) or 102.9 on the Franklin area radio dial. This podcast is my public service effort for Franklin but we can't do it alone. We can always use your help.How can you help?If you can use the information that you find here, please tell your friends and neighborsIf you don't like something here, please let me knowAnd if you have interest in reporting on meetings or events, please reach. We'll share and show you what and how we do what we doThrough this feedback loop we can continue to make improvements. I thank you for listening.For additional information, please visit Franklinmatters.org/ or www.franklin.news If you have questions or comments you can reach me directly at shersteve @ gmail dot comThe music for the intro and exit was provided by Michael Clark and the group "East of Shirley". The piece is titled "Ernesto, manana" c. Michael Clark & Tintype Tunes, 2008 and used with their permission.I hope you enjoy!------------------You can also subscribe and listen to Franklin Matters audio on iTunes or your favorite podcast app; search in "podcasts" for "Franklin Matters"

This session shares the Franklin (MA) School Committee meeting held on Tuesday, Jan 28, 2024. 6 of the 7 members participated (6 in Chambers, 1 absent - Sompally).1364 is the full school committee meeting in one audio file1365 is the start of the meeting through to the end of the Middle School Math1366 starts with the FY 2026 budget presentation and runs to the endQuick recapThe middle school math curriculum program is being revised to meet MA Curriculum Framework guidelines and to better meet the needs for a solid foundation in math for all students. Photos of the presentation were recorded into one album -> https://photos.app.goo.gl/73DtDSCgcRCPiPHz9 Actual presentation doc posted after the meeting (normal process) https://core-docs.s3.us-east-1.amazonaws.com/documents/asset/uploaded_file/4780/FPSD/5247238/January_28__2025_MS_Math_Update_to_SC_for_Website.pdf The FY 2026 budget was presented and multiple questions from the committee to clarify the details. $80M is being requested, 3.78% more than prior year but within the guidelines offered by the Town Administrator which also assuming successful passage of the possible overrideThe schools do achieve significant savings with the redistricting. 34 positions are reassigned within the district, 20 positions ultimately will be reduced. For the non-redistricted budget: it would be a >$6M increase from last year. About $3M more than level service that is being requested for this yearThe budget timeline was laid out which includes a budget hearing Feb 4, School Committee vote on Feb 11, the Joint Budget listening sessions, before the Finance Committee hearings in April and Town Council hearings in MayWhat was not discussed, but is on the timeline, is the Town Council consideration of the possible override at a March meeting AFTER the listening sessions complete. The decision for yes or no on the override, and if yes, to determine a date and an amount are to be expectedPhotos of the presentation were recorded into one album -> https://photos.app.goo.gl/URuuP6RLYXmtnR3G9 Actual presentation doc posted after the meeting (normal process) https://core-docs.s3.us-east-1.amazonaws.com/documents/asset/uploaded_file/4780/FPSD/5256280/28Jan2025_FY26_Super_Rec_Budget_to_SC.pdf The decision to release the Parmenter facility to the Town was approved. Consideration of the alleged Parmenter family requirement for the land to be kept in school use was made but based upon Town Attorney advice that the deed does not include such a provision, the decision was made to proceed. Vote on this was 6-0-1 (1 absent, 6 for)Three sets of policy modifications were made per DESE request to bring language of the policy into compliance with current requirements. Vote on this was 6-0-1 (1 absent, 6 for)Motion to enter into executive session for contract negotiations, not to return to open session was made and approved. The vote on this was 6-0-1 (1 absent, 6 for)The recording runs about 4 hours & 13 minutes, so let's listen...

This session shares the Franklin (MA) School Committee meeting held on Tuesday, Jan 28, 2024. 6 of the 7 members participated (6 in Chambers, 1 absent - Sompally).1364 is the full school committee meeting in one audio file*** 1365 is the start of the meeting through to the end of the Middle School Math1366 starts with the FY 2026 budget presentation and runs to the endQuick recapThe middle school math curriculum program is being revised to meet MA Curriculum Framework guidelines and to better meet the needs for a solid foundation in math for all students. Photos of the presentation were recorded into one album -> https://photos.app.goo.gl/73DtDSCgcRCPiPHz9 Actual presentation doc posted after the meeting (normal process) https://core-docs.s3.us-east-1.amazonaws.com/documents/asset/uploaded_file/4780/FPSD/5247238/January_28__2025_MS_Math_Update_to_SC_for_Website.pdf The FY 2026 budget was presented and multiple questions from the committee to clarify the details. $80M is being requested, 3.78% more than prior year but within the guidelines offered by the Town Administrator which also assuming successful passage of the possible overrideThe schools do achieve significant savings with the redistricting. 34 positions are reassigned within the district, 20 positions ultimately will be reduced. For the non-redistricted budget: it would be a >$6M increase from last year. About $3M more than level service that is being requested for this yearThe budget timeline was laid out which includes a budget hearing Feb 4, School Committee vote on Feb 11, the Joint Budget listening sessions, before the Finance Committee hearings in April and Town Council hearings in MayWhat was not discussed, but is on the timeline, is the Town Council consideration of the possible override at a March meeting AFTER the listening sessions complete. The decision for yes or no on the override, and if yes, to determine a date and an amount are to be expectedPhotos of the presentation were recorded into one album -> https://photos.app.goo.gl/URuuP6RLYXmtnR3G9 Actual presentation doc posted after the meeting (normal process) https://core-docs.s3.us-east-1.amazonaws.com/documents/asset/uploaded_file/4780/FPSD/5256280/28Jan2025_FY26_Super_Rec_Budget_to_SC.pdf The decision to release the Parmenter facility to the Town was approved. Consideration of the alleged Parmenter family requirement for the land to be kept in school use was made but based upon Town Attorney advice that the deed does not include such a provision, the decision was made to proceed. Vote on this was 6-0-1 (1 absent, 6 for)Three sets of policy modifications were made per DESE request to bring language of the policy into compliance with current requirements. Vote on this was 6-0-1 (1 absent, 6 for)Motion to enter into executive session for contract negotiations, not to return to open session was made and approved. The vote on this was 6-0-1 (1 absent, 6 for)The recording runs about 4 hours & 13 minutes, so let's listen...

This session shares the Franklin (MA) School Committee meeting held on Tuesday, Jan 28, 2024. 6 of the 7 members participated (6 in Chambers, 1 absent - Sompally).1364 is the full school committee meeting in one audio file1365 is the start of the meeting through to the end of the Middle School Math** 1366 starts with the FY 2026 budget presentation and runs to the endQuick recapThe middle school math curriculum program is being revised to meet MA Curriculum Framework guidelines and to better meet the needs for a solid foundation in math for all students. Photos of the presentation were recorded into one album -> https://photos.app.goo.gl/73DtDSCgcRCPiPHz9 Actual presentation doc posted after the meeting (normal process) https://core-docs.s3.us-east-1.amazonaws.com/documents/asset/uploaded_file/4780/FPSD/5247238/January_28__2025_MS_Math_Update_to_SC_for_Website.pdf The FY 2026 budget was presented and multiple questions from the committee to clarify the details. $80M is being requested, 3.78% more than prior year but within the guidelines offered by the Town Administrator which also assuming successful passage of the possible overrideThe schools do achieve significant savings with the redistricting. 34 positions are reassigned within the district, 20 positions ultimately will be reduced. For the non-redistricted budget: it would be a >$6M increase from last year. About $3M more than level service that is being requested for this yearThe budget timeline was laid out which includes a budget hearing Feb 4, School Committee vote on Feb 11, the Joint Budget listening sessions, before the Finance Committee hearings in April and Town Council hearings in MayWhat was not discussed, but is on the timeline, is the Town Council consideration of the possible override at a March meeting AFTER the listening sessions complete. The decision for yes or no on the override, and if yes, to determine a date and an amount are to be expectedPhotos of the presentation were recorded into one album -> https://photos.app.goo.gl/URuuP6RLYXmtnR3G9 Actual presentation doc posted after the meeting (normal process) https://core-docs.s3.us-east-1.amazonaws.com/documents/asset/uploaded_file/4780/FPSD/5256280/28Jan2025_FY26_Super_Rec_Budget_to_SC.pdf The decision to release the Parmenter facility to the Town was approved. Consideration of the alleged Parmenter family requirement for the land to be kept in school use was made but based upon Town Attorney advice that the deed does not include such a provision, the decision was made to proceed. Vote on this was 6-0-1 (1 absent, 6 for)Three sets of policy modifications were made per DESE request to bring language of the policy into compliance with current requirements. Vote on this was 6-0-1 (1 absent, 6 for)Motion to enter into executive session for contract negotiations, not to return to open session was made and approved. The vote on this was 6-0-1 (1 absent, 6 for)The recording runs about 4 hours & 13 minutes, so let's listen...

This session of the radio show shares the Community Preservation Committee meeting held in the 3rd floor training room on Wednesday, December 18, 2024Quick Recap -> Town Administrator Jamie Hellen providing an update, introduces Evan Lacasse as Deputy Financial Officer and budget analyst who will be picking up the details of CPA as things go forwardUpdates on current CPA funded projects:Cupola out for bid, should start next year some timeFranklin Ridge about half financed at this point, starting infrastructure work in 2025Rod & Gun club didn't get funding, apparently did get their own fundingQ on Davis Thayer, (old high school), Police Station Building Cmte hired architect, open house planned for current station, architect hired. Middle of 2025 should get to site selection. There are some issues with Parmenter, and with DT, so it will an interesting decision. DT page has the reports and expression of interests proposal, zoning would also be needed for most other uses (https://www.franklinma.gov/davis-thayer-building-reuse-advisory-committee). W Batchelor not liking the police station at Parmenter (not yet a decision). "no one can convince me otherwise"CPA funds could be used for historical preservation of Davis ThayerReview of the CPA fund status provided in the agenda docWalking thru the 2nd page which shows the balances by category, expenses, encumbered amounts, etc. So we have at least $2M availableDiscussion on next meeting, Feb 5, 5 PM target for public hearingMoney is one thing but town bandwidth is an issueMotion to adjourn, passes 9-0The recording runs about 38 minutes, so let's listen in. --------------Franklin TV video available for replay -> https://www.youtube.com/watch?v=GMyHAV9qzy8 Agenda doc and CPA fund report status for FY 2025 https://www.franklinma.gov/sites/g/files/vyhlif10036/f/agendas/cpc_agenda_-_dec_18_2024.pdf My notes in one PDF file -> https://drive.google.com/file/d/1__-03pwdXow-qWVpqpwiXBBCKncQNmeD/view?usp=drive_link -------------We are now producing this in collaboration with Franklin.TV and Franklin Public Radio (wfpr.fm) or 102.9 on the Franklin area radio dial. This podcast is my public service effort for Franklin but we can't do it alone. We can always use your help.How can you help?If you can use the information that you find here, please tell your friends and neighborsIf you don't like something here, please let me knowAnd if you have interest in reporting on meetings or events, please reach. We'll share and show you what and how we do what we doThrough this feedback loop we can continue to make improvements. I thank you for listening.For additional information, please visit Franklinmatters.org/ or www.franklin.news If you have questions or comments you can reach me directly at shersteve @ gmail dot comThe music for the intro and exit was provided by

FM #1319 = This is the Franklin Matters radio show, number 1319 in the series. This session of the radio show shares our “Talk Franklin” discussion with Town Administrator Jamie Hellen in his office on Tuesday, November 19, 2024. Jamie has mentioned in many meetings that he doesn't spend time on social media. So I took some of the top items that generally get wrapped around misinformation and brought them to have Jamie provide his trusted source input Franklin doesn't have enough water, we have a water ban every year How come the Town of Franklin is building so many apartments What happening with Davis Thayer building I thought the old museum was being developed by Habitat for Humanity Get more grants Regionalization will save us Parmenter school deed restriction The recording runs about 45 minutes. Let's listen to this conversation and bust some myths floating around some of the social media in Franklin. -------------- Town of Franklin page https://www.franklinma.gov/ Community calendar https://bit.ly/FranklinCommunityCalendar Water system 3 part podcast https://www.franklinma.gov/water-sewer-division/news/franklin-matters-conversations-regarding-franklins-sewer-services-doug Franklin TV News Awareness Survey https://www.franklinmatters.org/2024/11/your-input-is-requested-for-franklin-ma.html -------------- We are now producing this in collaboration with Franklin.TV and Franklin Public Radio (wfpr.fm) or 102.9 on the Franklin area radio dial. This podcast is my public service effort for Franklin but we can't do it alone. We can always use your help. How can you help? If you can use the information that you find here, please tell your friends and neighbors If you don't like something here, please let me know Through this feedback loop we can continue to make improvements. I thank you for listening. For additional information, please visit Franklinmatters.org/ or www.franklin.news/ If you have questions or comments you can reach me directly at shersteve @ gmail dot com. The music for the intro and exit was provided by Michael Clark and the group "East of Shirley". The piece is titled "Ernesto, manana" c. Michael Clark & Tintype Tunes, 2008 and used with their permission. I hope you enjoy! ------------------ You can also subscribe and listen to Franklin Matters audio on iTunes or your favorite podcast app; search in "podcasts" for "Franklin Matters"

Chief paper discussed: T Parkington, T Maden-Wilkinson, D Broom, S Nawaz... (2023). Low-Intensity Resistance Exercise with Blood Flow Restriction for Patients with Claudication: A Randomised Controlled Feasibility Trial. Vascular Medicine . Position statement on managing PAD: Askew, C. D., Parmenter, B., Leicht, A. S., Walker, P. J., & Golledge, J. (2014). Exercise & Sports Science Australia (ESSA) position statement on exercise prescription for patients with peripheral arterial disease and intermittent claudication. Journal of Science and Medicine in Sport / Sports Medicine Australia, 17(6), 623–629. Additional papers referenced: Bentzen, A., Nisgaard, L. B., Mikkelsen, R. B. L., Høgh, A., Mechlenburg, I., & Jørgensen, S. L. (2023). Blood flow restricted walking in patients suffering from intermittent claudication: a case series feasibility and safety study. Annals of Medicine and Surgery (2012), 85(5), 1430–1435. Saes, G. F., Zerati, A. E., Wolosker, N., Ragazzo, L., Rosoky, R. M. A., Ritti-Dias, R. M., Cucato, G. G., Chehuen, M., Farah, B. Q., & Puech-Leão, P. (2013). Remote ischemic preconditioning in patients with intermittent claudication. Clinics , 68(4), 495–499. Ahmed, K. M., Hernon, S., Mohamed, S., Tubassum, M., Newell, M., & Walsh, S. R. (2018). Remote ischemic preconditioning in the management of intermittent claudication: a pilot randomized controlled trial. Annals of Vascular Surgery. https://doi.org/10.1016/j.avsg.2018.07.046 Podcast w/ Jamie Burr we referenced: https://owensrecoveryscience.com/podcasts/owens-recovery-science-podcast-bfr-ipc-for-performance-rehab-and-health-w-jamie-burr-phd

What is the central logic of AUKUS from a UK perspective?How does AUKUS contribute to European security?How does AUKUS fit into UK defence interests and strategies in the Indo-Pacific?In this episode, Damian Parmenter joins Rory Medcalf to discuss the UK perspective on AUKUS: the strategic environment, Pillar One operational specifics, diplomatic engagement and legislation, and progress on Pillar Two.Damian Parmenter CBE is Director General AUKUS at the UK Ministry of Defence. Professor Rory Medcalf is Head of the ANU National Security College. His professional experience spans three decades across diplomacy, intelligence analysis, think tanks, journalism and academia. Show notes The undergoing UK Strategic Defence Review Australian National Defence Strategy British SSN involved in search for Malaysian Airlines flight MH370 US International Traffic of Arms Regulation Recent AUKUS agreement tabled in Australian parliament We'd love to hear from you! Send in your questions, comments, and suggestions to NatSecPod@anu.edu.au. You can tweet us @NSC_ANU and be sure to subscribe so you don't miss out on future episodes. The National Security Podcast is available on Acast, Apple Podcasts, Spotify, and wherever you get your podcasts. Hosted on Acast. See acast.com/privacy for more information.

In this episode, I chat with the gorgeous ray of sunshine that is Alexandra Hockey-Parmenter. Alex is a marketing professional and style influencer based in Melbourne, Australia. On her rapidly growing Instagram account @ldy.alx she shares tips for finding your polished, authentic style through content that is thoughtful and well-researched, as well as full of personality and humour. She is passionate about making every day special and helping women feel confident inside and out, which shines through in this conversation and across her channels. This episode's girl talk includes: Curating a polished, authentic personal style that empowers you and won't break the bank Alex shares her top thrifting and second-hand shopping tips to find gems in the shops and online How to stand out and stay resilient (and positive!) in the current job market Why being a bit cringe can serve you well (and how it helped Alex go viral on LinkedIn) Taking care of yourself in your work, keeping your skills sharp and preventing social media brain rot Keeping things classy without losing our unique selves to societal norms Connect with Alex: Instagram ⁠@ldy.alx⁠ LinkedIn https://ldyalx.com --- Did you enjoy this episode? Please take a moment to leave a 5-star review and share your experience at whichever podcast platform you listen from.Follow the City Girl Talks Podcast on Instagram @citygirltalksThanks for listening! See you next time for another round of girl talk.

In this edition of "Update" we talk with 4-H Alumni Phyllis Sprenkle and Carol Parmenter about the Vernon County 4-H Alumni reunion happening at the Vernon County Youth Fair. There will be multiple people honored at the reunion such as community leaders for 4-H and century families.

In this episode, Breaking Free with Abi Parmenter, Abi shares a refreshing perspective on navigating the tumultuous world of competition in business and on social media. Her insights are not just invaluable, they’re game-changing, empowering listeners on their journey to success. Join us for an eye-opening episode as we sit down with Abi Parmenter, the […] The post Breaking Free with Abi Parmenter appeared first on WebTalkRadio.net.

Hey Ideal Protein Nation!!! I would like to introduce you to my amazing client Debbie!! Debbie is in the process of losing over 90 pounds using the Ideal Protein protocol – TWICE!! Have you been successful using this program to lose significant weight only to find yourself a few years later back where you started and needing a “do-over?!?” Join Debbie and I as we discuss her journey as she faced her guilt and shame head on and “pressed the button” to send me the email where she explained her plight and desire to come back and try again. Debbie will explain how her fibromyalgia pain was off the charts (again) and her ankles, legs and feet were so swollen and painful, she was severely limited in her ability to walk even through the grocery store.Her story is one of triumph that she is still writing as she has once again taken control of her metabolism through Ideal Protein nutrition which has relived 90%+ of her inflammation and fibro pain, eliminated all the swelling and pain from her legs and feet, and once again “Powers Her Life Possible” as she travels up and down the East coast on business trips all while successfully sticking to the protocol. Oh yeah, and she's down 88 pounds so far and heading towards her Phase 1 finish line! Hear he talk about how THIS time she is excited, but still a little fearful, about “Phasing Off” properly so that she can continue to live her life healthy, energetic and feeling THIS GOOD!!!

Jimi Parmenter, bassist and boom bringer of Wicked West, talks about the woes of finding good music in the flyover states, stage signals and knowing when to get involved in the band's business and when to just be the guy who brings the boom. Please like the DQYDJ Facebook page https://www.facebook.com/DontQuitYourDayJobThePodcast If you'd like to be a guest or would like to comment on something you heard on the podcast or have a topic suggestion, drop me a note at raywmrc@gmail.com Please subscribe wherever you get your podcasts and leave a review on Apple Podcasts!   Presented by... Ray's Automotive in Milford, MA Rubber Chicken Comics in Bellingham, MA Tim Rice Photo in Medway, MA Rushford and Sons Brewhouse in Upton, MA   Opening theme by ZeroDrift Closing theme by Fitch Proctor Incidental Music by Chiller Whale

The Franklin (MA) School Committee met on Tuesday, November 28, 2023 as scheduled. All seven newly elected members participated, one remotely.Quick recap:Parameter update from Principal Chelman, and Asst Principal HarveyFHS Art Honor Society proposal for two museums in one tripDistrict Assessment presentation, Dr Rogers remote; Dr Frazier, Director of Curriculum for humanities; Eric Stark, Director of Curriculum for STEMAl Charles speaks to the point of success seen a couple of years after the SchCmte funded the curriculum investments made in MathIt is important to know that MCAS is just one data point and that it takes more than that for students to striveLet's listen to the School Committee meeting of Nov 28. The total meeting audio runs about 1 hour & 40 minutes.--------------School Committee page -> https://www.franklinps.net/district/school-committee The agenda -> https://www.franklinmatters.org/2023/11/franklin-ma-school-committee-agenda-for_0289625050.html Meeting Packet folder -> https://www.franklinps.net/district/meeting-packets/pages/november-28-2023-school-committee-meeting-packet Franklin TV video link -> https://www.youtube.com/watch?v=2J9NdQCWqlM My notes collected via PDF (captured during meeting via Twitter)https://drive.google.com/file/d/1dKDfMFeUK43g70Li6XbLlhdVssSKLZAv/view?usp=drive_link Parmenter presentation (photos) -> https://photos.app.goo.gl/YqoHEk15yf9shdmUA FHS Honors Art field trip proposal -> https://photos.app.goo.gl/h2RijFLcBVSmMyxg9 FPS Assessment presentation (photos) -> https://photos.app.goo.gl/usVENZQpJ6up78RD6 --------------We are now producing this in collaboration with Franklin.TV and Franklin Public Radio (wfpr.fm) or 102.9 on the Franklin area radio dial. This podcast is my public service effort for Franklin but we can't do it alone. We can always use your help.How can you help?If you can use the information that you find here, please tell your friends and neighborsIf you don't like something here, please let me knowThrough this feedback loop we can continue to make improvements. I thank you for listening.For additional information, please visit franklin.news/ or Franklinmatters.org/If you have questions or comments you can reach me directly at shersteve @ gmail dot comThe music for the intro and exit was provided by Michael Clark and the group "East of Shirley". The piece is titled "Ernesto, manana" c. Michael Clark & Tintype Tunes, 2008 and used with their permission.I hope you enjoy!------------------You can also subscribe and listen

Scott and Wendi sat down with Matthew Parmenter who is one of the top Youth Recurve Archer in the Nation.  Matthew talks to us about how he got into the sport, how he's progressed over the years and what's his plans moving forward. Want to see the Video person of this?  Go check it out at on our patreon account. https://www.patreon.com/RaisinganArcher  

Cape Cod singer-songwriter Molly Parmenter performs on the WATD Tiny Stage to promote her new album "Gladly" which is available on all streaming services. Also check out her double album release show with Shannon Davis at the Dennis Cinema in Dennis on December 7th. Visit https://mollyparmenter.com for more information. 

In the dynamic world of business, growth and expansion are often the keys to success. But how does a small video production company evolve into a thriving multi-channel agency with over 420 employees spread across the UK and Europe? In this episode, Dale Parmenter, the founder of DRP Group shares his acquisition journey. Dale emphasizes the importance of strategic acquisitions that bring new expertise, clients, and market opportunities to the DRP Group. He discusses the impact of acquisitions on team size, services offered, and financial success. Dale also covers deal structures, integration challenges, and future growth plans. Listen now and gain valuable insights into sourcing deals, maintaining acquired brands' identity, and the significance of trust-building with acquired teams. Don't miss this episode!   WHAT YOU WILL LEARN: Dale's acquisition journey and DRP Group's growth Importance of finding acquisitions that bring new expertise, clients, or market opportunities Impact of acquisitions on team size, services offered, and financial success Valuing potential rather than current worth when considering acquisitions Integration challenges, including understanding culture and fostering collaboration among teams Sourcing deals through networks and brokers Importance of good advisors in acquisitions and ensuring a win-win situation   ABOUT OUR GUEST Dale has been in the presentation and communication industry for over 40 years. He left school with one goal to run his own business, after just 3 years the opportunity arose and Dale took it, operating at first from a small outbuilding at his parent's home as a filmmaker. Today DRPG is recognised as one of the leading integrated, full service presentation and communication groups, winning agency of the year multiple times. The drpg team comprises over 420 specialists across seven locations in Worcestershire, London, Windsor, Manchester, Germany, Ireland and the USA. DRPG designs and produces communications solutions globally. Working with a wide range of clients to effectively communicate to internal and external audiences, all through award-winning film & video, events, experiential, print, design, digital, exhibition and creative solutions. Dale is passionate about sustainability and believes businesses should be fully integrated into the community. DRPG was the first agency globally to gain the ISO14001 and ISO20121 accreditations plus more recently being awarded the Queen's Award for Enterprise in Sustainable Growth.   Website | www.drpgroup.com LinkedIn | www.linkedin.com/company/drpgroup  Facebook | www.facebook.com/DRPGteam Twitter | @drpgroup   CONNECT WITH BARNABY LinkedIn | Barnaby Cook   THE EXIT PLAN The Exit Plan is for business owners that are interested in learning more about how to sell their business. Each episode Barnaby Cook interviews someone who has bought or sold a business - either a creative agency, or a production company. The conversation gets under the skin of why they wanted to sell, or were looking to acquire, how the deal was structured, how they agreed upon a valuation and what lessons they learnt along the way.  

Youth Fair Board Vice President Justin Ogle talks about the events this week at the Vernon County Youth Fair.Carol Parmenter discusses the G.R.O.W. program.

Under legislation making its way through the General Assembly this session, North Carolina will soon dramatically expand its controversial private school vouchers program so that households of all incomes will be eligible to receive a state subsidy to send their kids to private school. The multi-million-dollar expansion comes at the same moment that the state's […] The post Educator and policy analyst Justin Parmenter on the plans to dramatically expand school vouchers appeared first on NC Newsline.

Happy Wednesday. My guest this week is Jamie Parmenter. Jamie now finds himself CEO at physical and digital NFT marketplace and agency RealNifty, leading a team of like-minded individuals in building a community for artists, creators, collectors, and those new to the fine art space.  In this week's episode, we chat about * His journey with RealNifty * (personal) Branding for artists looking to get into the Web3 space * Phygital art as well as Web2 to Web3 onboarding of both artists and community members * Metaverse "parties" * Community building for this part of the industry and obviously a lot more. Get in touch: Jamie - https://www.linkedin.com/in/jamieparmenter/ RealNifty - https://www.realnifty.xyz/

Interview with Kyle Parmenter with USA Mortgage - Where we discuss various financing options with USA Mortgage. Are you currently enrolled in a pre-license real estate school in the U.S.?  If so, and you need help, subscribe to my podcast for timely tips to help you pass the real estate exam on the first attempt!   You can also download valuable study aids from my website, http://www.GlobalRealEstateSchool.com Like us on Facebook ,https://www.facebook.com/GlobalRealEstateSchool/ Subscribe to our YouTube Channel  Follow me on Instagram @realestatetechguy As always, "thank you" for listening to the podcast!

Interview with Kyle Parmenter with USA Mortgage - Where we discuss various financing options with USA Mortgage. Are you currently enrolled in a pre-license real estate school in the U.S.?  If so, and you need help, subscribe to my podcast for timely tips to help you pass the real estate exam on the first attempt!   You can also download valuable study aids from my website, http://www.GlobalRealEstateSchool.com Like us on Facebook ,https://www.facebook.com/GlobalRealEstateSchool/ Subscribe to our YouTube Channel  Follow me on Instagram @realestatetechguy As always, "thank you" for listening to the podcast!

Justin Parmenter is a CMS teacher and public school advocate. He says the new "Choose Your School, Choose Your Future" bill in the General Assembly offers the wrong kind of choice. "When your choices have a negative impact on the education that others are receiving, it's not just about your own personal choice. And so I think this approach is depleting resources that we really need in our traditional public schools," Parmenter said on WCNC's Flashpoint.  On Wednesday, North Carolina Republicans celebrated what would be the largest expansion of the state's private school voucher program since it was created, saying all families should qualify for at least some money regardless of income. Senate Bill 406 would remove the program's current income caps, replacing them with a sliding scale that would let any family get a voucher, called an Opportunity Scholarship, of up to $3,246. READ MORE:   https://www.wcnc.com/article/news/politics/flashpoint/teachers-new-voucher-bill-public-education/275-811942be-5a6e-4a37-9572-8b1bd1f6737d

Justin Parmenter is a CMS teacher and public school advocate. He says the new "Choose Your School, Choose Your Future" bill in the General Assembly offers the wrong kind of choice."When your choices have a negative impact on the education that others are receiving, it's not just about your own personal choice. And so I think this approach is depleting resources that we really need in our traditional public schools," Parmenter said on WCNC's Flashpoint. On Wednesday, North Carolina Republicans celebrated what would be the largest expansion of the state's private school voucher program since it was created, saying all families should qualify for at least some money regardless of income.Senate Bill 406 would remove the program's current income caps, replacing them with a sliding scale that would let any family get a voucher, called an Opportunity Scholarship, of up to $3,246.READ MORE:   https://www.wcnc.com/article/news/politics/flashpoint/teachers-new-voucher-bill-public-education/275-811942be-5a6e-4a37-9572-8b1bd1f6737d

This episode's interview is with Eric Parmenter, Vice President of Health Systems at Quantum Health. Eric is also the author of Stop: 21 Stops to Reduce Stress and Enhance Joy.He shares stories and advice based on his management experiences, including the importance of:Putting your people firstAppreciating the perspectives of othersListening more and talking lessHe answers the same questions as each podcast guest:How do your values impact your management philosophy?Who or what has had the most impact on your management style?What book has made the biggest impact on you?

Crystal Rapid 1983 Part One of ThreeLayne Parmenter and Dave Stratton's experience  flipping a 37' motorized raft in Crystal Rapid at 75,000 cfs.Book Referenced throughout podcast:The Emerald Mile by Kevin FedarkoYoutube Video by Jeffe Aronsonhttps://youtu.be/VPcrccxcNsIInstagram:  Rivergirl RadioContact:rivergirlradio@gmail.comhttps://www.buymeacoffee.com/rivergirlradioSupport the show

This session shares the Franklin, MA School Committee meeting held on Tuesday, March 21, 2023. The meeting was conducted in the Council Chambers with all seven members present. School Committee Chair Denise Spencer opens the meeting at 7:02 PM. Key items on the agendaRecognition of several FHS studentsParmenter Elementary presentationSuperintendent's recommended budget for FY 2024 The show notes contain a link to the full agenda and to my notes & photos captured via Twitter during the meeting. The Committee entered Executive Session on a negotiation discussion and did return to public meeting. I did not capture that portion of the meeting.I split the audio into two sections#963 - Part 1 - covers the opening of meeting, FHS student recognitions, Parmenter presentation (less the musical audio segment - approx. 5 minutes), and then the closing of the meeting after the budget presentation (net of 1 hour and 25 minutes)#964 - Part 2 - the entirety of the budget presentation (2 hours) --------------School Committee page -> https://www.franklinps.net/district/school-committee The agenda for this meeting can be found https://www.franklinps.net/sites/g/files/vyhlif4431/f/agendas/scagenda_3-21-23-rescheduled.pdf The Packet folder contains the documents released for this meeting.https://www.franklinps.net/district/meeting-packets/pages/march-21-2023-school-committee-meeting-packet-31423-was-canceled-due My notes captured via Twitter and compiled into one PDF doc ->https://drive.google.com/file/d/1M6IGtXDw0VLVnIMOjr4XvMpAguwCEGWg/view?usp=share_linkYouTube video link for this meeting -> (to be available after the copyrighted music section is edited out)Presentation documents now available:Parmenter https://www.franklinps.net/district/meeting-packets/files/parmenter-highlights School budget FY 2024 https://www.franklinps.net/district/meeting-packets/files/budget-presentation-3 FY 2024 budget book -> https://www.franklinps.net/district/meeting-packets/files/fy24-budget-book Photos from the meeting (mostly screen shots of the presentations not yet posted to the packet folder) Parmenter presentation - https://photos.app.goo.gl/VmB9Gcrg5NutxX2V7 Budget presentation - https://photos.app.goo.gl/EfqFbaxjjYTgyiuf7 --------------We are now producing this in collaboration with Franklin.TV and Franklin Public Radio...

This session shares the Franklin, MA School Committee meeting held on Tuesday, March 21, 2023. The meeting was conducted in the Council Chambers with all seven members present. School Committee Chair Denise Spencer opens the meeting at 7:02 PM. Key items on the agendaRecognition of several FHS studnetsParmenter Elementary update & presentationSuperintendent's recommended budget for FY 2024The show notes contain a link to the full agenda and to my notes & photos captured via Twitter during the meeting. The Committee entered Executive Session on a negotiation discussion and did return to public meeting. I did not capture that portion of the meeting.The recording runs about three hours, thirty four minutes, so let's listen to the Franklin School Committee on March 21, 2023.I split the audio into two sections#963 - Part 1 - covers the opening of meeting, FHS student recognitions, Parmenter presentation (less the musical audio segment - approx. 5 minutes), and then the closing of the meeting after the budget presentation (net of 1 hour and 25 minutes)#964 - Part 2 - the entirety of the budget presentation (2 hours) --------------School Committee page -> https://www.franklinps.net/district/school-committee The agenda for this meeting can be found https://www.franklinps.net/sites/g/files/vyhlif4431/f/agendas/scagenda_3-21-23-rescheduled.pdf The Packet folder contains the documents released for this meeting.https://www.franklinps.net/district/meeting-packets/pages/march-21-2023-school-committee-meeting-packet-31423-was-canceled-due My notes captured via Twitter and compiled into one PDF doc ->https://drive.google.com/file/d/1M6IGtXDw0VLVnIMOjr4XvMpAguwCEGWg/view?usp=share_linkYouTube video link for this meeting -> (to be available after the copyrighted music section is edited out)Presentation documents now available:Parmenter https://www.franklinps.net/district/meeting-packets/files/parmenter-highlights School budget FY 2024 https://www.franklinps.net/district/meeting-packets/files/budget-presentation-3 FY 2024 budget book -> https://www.franklinps.net/district/meeting-packets/files/fy24-budget-book Photos from the meeting (mostly screen shots of the presentations not yet posted to the packet folder) Parmenter presentation - https://photos.app.goo.gl/VmB9Gcrg5NutxX2V7 Budget presentation -

Web3 is the revolutionized version of the internet, encompassing the decentralized applications running on blockchain, including NFTs and cryptocurrencies. The characteristics of NFTs make them integrable with Web3. In this episode, we discuss the connection between NFTs and Web3. [00:38] - About Jamie Parmenter Jamie is the CEO of Real Nifty, which is an NFT agency. His love for music and an entrepreneurial bug led to Vinyl Chapters. As he started writing articles about music and the potential for NFTs, the BBC website borrowed from his writings to complain the meaning of NFTs to the world. This led to NFT startup, RealNifty to onboard him as CEO. --- Support this podcast: https://podcasters.spotify.com/pod/show/tbcy/support

It's almost criminal that here in the US we pay teachers so little that our government is currently trying to pass a bill just to get the minimum teaching wage to reach the national average for wages. These are the people responsible for making sure entire generations of kids grow up to be well educated adults, and we aren't even paying them the average?! Welcome to the Just Dumb Enough Podcast. A show that acknowledges no one is always an expert, by dispelling misconceptions with real experts. I'm your host as always Colton Petry. My guest today is Natalie Parmenter. Natalie has officially held a degree in teaching for just over ten years, but like most great educators she has spent her whole life being a role model and helping people younger than her learn what she already figured out. Her happiest years were spent with the youngest group of kids to go to school: Kindergartners. And even though Natalie has since left the elementary school in favor of educating all ages with the YouTube Primary Focus ( PrimaryFocus.TV ), she brings an enormous amount of experience and wisdom for parents, grandparents, educators, or even just people work vaguely around kids or teachers. And I will say that there really is something so gratifying about seeing the lightbulb come on when someone figures out a critical idea. It's so incredible that I literally use it in the official art for this podcast. So if you're an expert in anything at all and want to share, email DumbEnoughPodcast@Gmail.Com or send me a message on any of the social media pages! I'd love to have more listeners as guests because they always seem to be the best ones. For now, Let's grab a milk, listen to this episode, and then all take a group nap. Do you feel more informed having listened to this episode of the Just Dumb Enough Podcast? If so, please take a brief moment to rate the show five stars on iTunes, Spotify, or Audible.  If you really liked it, remember to subscribe for more episodes and check out the nearly one hundred episode backlog I've built up. Let me know what you'd like to hear next by reaching out and emailing me: DumbEnoughPodcast@Gmail.Com or send a message on any of the show pages on Facebook, Instagram, Twitter, or wherever else. I am always looking for new topics, guest ideas, and questions from the audience. That's it for this week, enjoy your weekend, Merry Christmas, Happy Holidays, and I'll see you all Monday.

Glen Parmenter served in the Scotland, Edinburgh Mission from February of 2004 through February of 2006. He comes on and has a one-on-one conversation with Jack Bryce, whom was part of Glen's MTC group and they were companions for the last 5 months of their time together in Scotland. Glen recollects his experiences serving the people in Shetland and throughout mainland Scotland, but most importantly recollects the amazing people he served and was around while in the mission. Glen currently lives in Arlington, Texas, with his wife and their daughter. Recorded October 25, 2022

This week's episode is about the transition from the direct contracting model to the Accountable Care Organization (ACO). Quantum Health's vice president of health systems, Eric Parmenter, summarizes what has happened in direct contracting and ACO in the previous six years. He also talks about current and potential roadblocks to broader implementation of these techniques.What You'll Learn From This Episode:1:35 Major issues that employers are currently experiencing and may continue to experience in the coming years.5:04 Employers' engagement in direct contracting or ACO in 2022.8:31 The Association of Physicians' definition of quality healthcare: The inverse correlation between quality and cost.12:30: Three obstacles to the implementation of direct contracting and ACOs.14:54 The function of carriers in the ACO model.17:19 Analytics and reporting: Measuring the goals and objectives that the buyer and seller have agreed upon.20:04 The trajectory of the ACO model.Enjoy The Show?Don't miss an episode, subscribe via iTunes, Stitcher or RSS.Leave us a review in iTunes (here's how)Join the conversation by leaving a comment below!

Tune into the Radio One 91FM Drive show weekdays, 4pm - 7pm NZDT or head to https://www.r1.co.nz

In this episode we get to know Industry Leader, Cody and his wife Courtney, & discuss life as a horse show photographer. What a perfect second episode to release right after the NSBA World Show where Cody was awarded being the official horse show photographer! We hope you enjoy! Connect with Cody Here! Follow Us on Facebook!

The post Charlotte-Mecklenburg public school teacher and education policy analyst Justin Parmenter discusses some mysterious and troubling efforts to promote a new and controversial teacher licensure and pay plan appeared first on NC Policy Watch.

Carol Parmenter discusses the GROW Program with us, part of Vernon County 4H Alumni.

Get ready for ALL the feelings. AudioFile's Emily Connelly and host Jo Reed discuss Alice Oseman's story of the British prep school boyfriends who readers and viewers fell in love with in HEARTSTOPPER. Narrators Huw Parmenter and Sam Newton bring listeners up to date on Charlie and Nick's relationship as the end of the school year approaches. As Nick talks more about being excited to go to university, Charlie worries their relationship won't withstand the distance and fears being left behind. Oseman's writing is incredibly appealing, and in alternating first-person chapters, Parmenter and Newton bring out all of Charlie and Nick's humor, charm, teenage angst, and swoony romance. Read the full review of the audiobook on AudioFile's website. Published by HarperCollins Publishers Limited. Find more audiobook recommendations at audiofilemagazine.com Support for AudioFile's Behind the Mic comes from PENGUIN RANDOM HOUSE AUDIO, dedicated to producing top-quality fiction and nonfiction audiobooks written and read by the best in the business. Visit penguinrandomhouseaudio.com/audiofile now to start listening. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kim is CRYING! It's okay to cry when you lose a beloved pet. We talk with Pet Chaplain Kelly and Jennifer from The Parmenter Foundation about Pet Loss & Grief. Bereavement of a pet is not discussed often enough. Please share this episode far & wide as we all will face the loss of a beloved pet at some point. The GRIEF we feel is real and it is okay to cry. There are lots of resources available. Please reach out if you need help.www.parmenterfoundation.orgWe thank our amazing sponsors:www.petVRA.cowww.silkvet.comwww.metropetsnatick.comwww.westonnurseries.comPodcast Jingle Podcast Jingle Created by Kim Mixed by Kostas

Follow Kali on Instagram https://www.instagram.com/funnyazzbitch_kp/ Intro/Outro music by Ethen Esparza https://soundcloud.com/hiphoptrip https://soundcloud.com/chavapeople Follow Jadrien on Facebook https://www.facebook.com/jadrien.long Instagram https://www.instagram.com/jadrienlong/ YouTube https://www.youtube.com/user/knkijmq Follow Brian on Instagram https://www.instagram.com/bdnystrom/ Facebook https://www.facebook.com/brian.nystrom.54/ Follow the podcast https://linktr.ee/greenlightweekend Follow Dead Room Comedy at deadroomcomedy.com and everything else https://linktr.ee/DeadroomComedy

Veteran Mecklenburg Co. school teacher and education policy commentator Justin Parmenter on a controversial draft plan recently floated by the Department of Public Instruction to alter how North Carolina teachers are paid. Read more about the proposal here. The post Veteran Mecklenburg Co. school teacher and education policy commentator Justin Parmenter appeared first on NC Policy Watch.

Layne Parmenter has worked as a river guide for 50 years. He recently retired as a teacher and principal after 38 years in the Wyoming school system. In 2014 he received the National Distinguished Principal award. Since 2014 he has served on the Harvard Principal Training Center Advisory Board associated with Harvard's Graduate School of Education. He has been a river guide on the Main Salmon River in Idaho and in the Grand Canyon. He is a wealth of knowledge and laughter.  Enjoy Layne.https://www.buymeacoffee.com/rivergirlradioShow notes:Frances Wisner book:  My Mountains Where the River Still Runs Downhill.  A great place to find more information on Frances and her life along the Main Salmon River  http://www.ronwatters.com/stories4.htmThe Emerald Mile:  The Epic Story of the Fastest Ride in History Through the Heart of the Grand Canyon   Author Kevin FedarkoGeorgie Clark Autobiography:  Thirty Years of River Running. More information on Georgie Clark:https://www.adventure-journal.com/2021/06/the-life-and-mystery-of-grand-canyon-pioneer-georgie-white/Shoutout to Stokes Strategies for the use of your podcast studio.Thanks Sophia Clark for the artwork!Follow me on Instagram:  Rivergirl Radio

#143 Me pergunto quantos dos nossos ouvintes carrega essas preocupações mundanas sobre os rumos do surfe como atividade comercial. São dois trabalhos, inquietar-se ou virar pro outro lado, ajeitando a cabeça no travesseiro. Debaixo d'água furando onda ou namorando um fundo de esquerda, não fará muita diferença a alegada profanação do seu sacerdócio - a fé em Netuno e pé na tábua permanece inalterada. Toda semana, pontualmente as terças-feiras, Bruno Bocayuva, João Valente e Júlio Adler fazem o sacrifício do camarão dourado e jejuam durante quase duas horas para o deleite de poucos e dissabor de tantos outros, rogando por uma onda aberta, sem gente remando ao lado. No altar, colocamos Parmenter e Brisick, The Surfers Journal, Brock Little, Elifas Andreato, podcasts, João Donato, Jards Macalé e Joan Manuel Serrat. Saravá! --- Send in a voice message: https://anchor.fm/boia/message

The surfer-shaper-writer-critic talks with Jamie Brisick about outrigger canoes, his relationship with the surf world, surfing “then” versus “now,” and how to keep wave riding interesting riding waves in mid-life and beyond. Produced by Jonathan Shifflett. Music by Little Wings.

https://youtu.be/_mXa3WevT9MOver You by Jaynie Parmenter Link: https://apple.co/3BK8bIsSubscribe to Indie Artist Music Hustle on IHeart Podcasts: https://www.iheart.com/podcast/269-blonde-intelligence-68458669/Subscribe to the Indie Artist Music Hustle YouTube Channel: https://www.youtube.com/c/IndieArtistMusicHustlewithBlondeIntelligenceDonate to the Show: $RoniR1Buzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show (https://cash.app/$RoniR1)

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

The way we work with documents is changing forever. Let's talk about it with David Parmenter, Director, Data & Engineering, Adobe Document Cloud. Recorded live on LinkedIn. https://infiniaml.com/

In this episode we meet Jared Parmenter, an active Latter-day Saint who has served in a Bishopric and Stake High Council. We're going to tell you everything you need to know about Mormon Twitter, DezNat and ProgMos, and we're going to see what happens when Church leaders are just plain cool! Would you be more likely to share your feelings with a counselor on the Bishopric who has green hair and a mowhawk? We think the answer is YES, so come join the discussion! --- Send in a voice message: https://anchor.fm/jane-christie/message

In this episode we meet Jared Parmenter, an active Latter-day Saint who has served in a Bishopric and Stake High Council. We're going to tell you everything you need to know about Mormon Twitter, DezNat and ProgMos, and we're going to see what happens when Church leaders are just plain cool! Would you be more likely to share your feelings with a counselor on the Bishopric who has green hair and a mowhawk? We think the answer is YES, so come join the discussion! --- Send in a voice message: https://anchor.fm/jane-christie/message

In this premiere episode, Paul Fleming sits down with Cornell associate professor of history, Jon Parmenter, to learn more about his new research. Jon's blog post, "Flipped Scrip, Flipping the Script, the Morrill Act of 1862, Cornell University and the Legacy of 19th Century Indigenous Dispossession,” adds to the emerging conversations on America's land-grant universities to tell the early story of Cornell University.  

In our visit with, Eric Parmenter (National Leader of Value-based Care at Collective Health) we discuss a little-known metric that research proves correlates positively with growth. The Net Promoter Score has been used in other industries for more than 10 years, but despite its simplicity and effectiveness, it has not been widely applied in our industry. You can find show notes and more information by clicking here: https://bit.ly/2Qgftua