Podcasts about So Long

Eric dives into another fun topic this week throughout musical history. Hold on to your butts because these names take you for a ride because they are SO LONG!@SinatrasRatPack#ThisIsFunner #FunnerFamily #FunnerNetwork #ListenToThishttps://twitter.com/ThisIsFunnerhttps://www.facebook.com/ThisIsFunner/

Tails presents a fresh and energetic mix for bitbird radio. Tune in!Spotify Playlist: bitbird.lnk.to/bbradio-spotifyFull Tracklist: https://1001.tl/15kvgqbkfollow Tailshttps://instagram.com/tailsxbeatshttps://twitter.com/tailsxbeatshttps://facebook.com/tailsxbeats@tailsxbeats

​You know her from her songs "Indescribable," "Blessings," and many others. Laura Story will join us on Chris Fabry Live. If you know anything about her life, you know the ups and downs, the losses she and her family have experienced. She’s going to encourage us to say, “So Long, Normal.” Don’t miss the encouragement on Chris Fabry Live.

The NewsAs bare as a freshly mopped TARDIS floor. Review story this episode: Torchwood: AdriftGwen is not happy with Jack who seems to be hiding something as the people of Cardiff disappear. PC Andy is back who tries to get Gwen to care once more but has she been embedded within Torchwood's elitist "alien-only" point of view for too long now? Coming in two weeks: CastrovalvaIt's been SO LONG since we watched any Davison stories for review so let's start at the beginning with his first full outing as The Doctor, kicking off Series 19. Thank you all for listening to this week's episode and remember to follow the podcast wherever you listen to your podcasts so you don't miss an episode when they land every Friday. We're away next week so no episode but we're back the week after so stay cool and until then - Allons-y!

Finding Your Light In A Sea Of Darkness: A look into life purpose, divine missions, and the meaning of life.Life is an ocean.  It is a vast expanse of opportunity with countless shores to explore. At times its waters are calm & peaceful, allowing you to enjoy its majesty while it lulls you to sleep with its gentle lullaby. Other times, the ocean is rough, angry, and turbulent, tossing you to and fro in its rage and turning your world upside down as you are forced to fight for survival.  The ocean is not fair; it doesn't choose sides or discriminate. It follows its ebbs and flows without regard to your feelings or your input. Many a ship has been lost at sea, slammed into the rocks of despair, especially at night. In the darkness, visibility is reduced by the thick black walls of night. Life is hard enough with eyes to see, but you can succumb to fear and desperation without light.  Most people drift aimlessly through life lost, broken, and in search of meaning. They get distracted and follow the drift currents of social expectation, which keeps them from seeking their very purpose.They don't realize that they were made for a purpose, born to follow the light shining out on the water, leading them to the harbor's safety. A lighthouse is a beacon of hope and faith.  It light brings you to hope for a better tomorrow, and you can have faith in its light to guide you through the darkness.  Lighthouses pour their light on the water for sinking souls to see, rescuing millions from the darkness. Though each lighthouse has its own distinctions and signature, its light comes from a universal source that longs to save you.  The question is, will you ever find the light, or will you drift evermore?Join Ron Bouchard and Ana Silveira as they discuss:Life Purpose,  Missions,  & The Meaning Of LifeLinks to Ron Bouchard & Ana Silveirainfo@waypointmastermind.com833-862-2734 Waypointwww.waypointmastermind.comSchedule a Free 50 Minute Clarity Session with Ron Bouchard:https://app.acuityscheduling.com/schedule.php?owner=18291344Related Links and Resources:Visit our Gone Fishing Podcast Webpagehttp://gonefishingpodcast.com/Subscribe on Itunes:https://podcasts.apple.com/.../gone-fishing/id1519168586Support our work by checking out our great merchandise:https://www.sargassoapparel.com/Register for free access to our Gone Fishing Tackle Box Tools and Resources. Our guests have shared some of their most excellent tools, information, and advice. All of it is available free as well as an ever-increasing array of mindset, coaching, real estate, financial, health, wellness, relationship, and other tools & resources to help you improve your life, increase your income, and live life on purpose. Join us today by visiting our website at www.waypointmastermind.com and click the Join Now button.  Enter code "2021" and start your journey to a new you today.So Long, and Thanks for All the Fish! (Douglas Adams Tribute)Thank you for tuning in. We at the Gone Fishing Podcast and Waypoint Mastermind gSupport the show (https://www.buymeacoffee.com/gonefishing)

Join us on our car ride to Upstate NY to visit Jamie's family after not seeing them for SO LONG! Jamie and Doug talk about her past and how she and her siblings have overcome so much, and Jamie also shares her exciting conversation with her makeup artist Alisha. She gives some REALLY fantastic tips on skincare and also she and Jamie give some good true crime suggestions! Don't miss this ep! And thank you to our sponsors: Credit Karma - Take the stress away and use Credit Karma today! Go to creditkarma.com/podcast to learn more and find offers tailored just for you or you can see your offers on the Credit Karma app.   Agency - Do what I did and try out Agency – the personalized, anti-aging skincare that evolves with you! Go to withagency.com/ hotmarriage for a free 30-day trial, just pay $4.95 for shipping and handling!   Learn more about your ad choices. Visit megaphone.fm/adchoices

Single-family rentals (SFR) are having a moment, with significant momentum in rent levels and values. Build to rent is the gateway drug to SFR, with new groups entering the sector left and right. Aggressive assumptions and favorable deal terms are necessary to execute a portfolio transaction. Considering this, how do investors get in on the action in such a competitive market? Roofstock's VP of Business Development, Clayton Wyatt has answers for you in this episode. --- Transcript Before we jump into the episode, here's a quick disclaimer about our content. The remote real estate investor podcast is for informational purposes only and is not intended as investment advice. The views, opinions and strategies of both the hosts and the guests are their own and should not be considered as guidance from Roofstock. Make sure to always run your own numbers, make your own independent decisions and seek investment advice from licensed professionals.   Michael: Hey, everyone, welcome to another episode of remote real estate investor. I'm Michael Albaum, and today I'm joined by Roofstock, VP of Business Development, Clayton Wyatt. And Clayton is going to be talking to us today about some of the things investors need to be aware of, and things they can do to win portfolio deals. Alright, let's get into it.   Clayton Wyatt, thank you so much for taking the time to join us today. Really appreciate it.   Clayton: Yeah, happy to be here.   Michael: And so I would love if you could give our listeners a little bit of background on who you are as an individual and what your role is at Roofstock specifically.   Clayton: Yeah, who am I as an individual, I don't know if I want to bore the audience. But I mean, I'll give a little bit of background, you know, came from real estate, private equity and investment banking, you know, background, you know, Rich and I both spent a lot of time at Jeffrey's covering the single family rental space, including, you know, waypoint which obviously Gary was the the CEO of and, you know, all the way, way back to when waypoint was ramping up to go public. And we ended up merging them into, you know, a spinoff from Starwood into a public reit, and, you know, covered them as a public company. So when, you know, rich, and Gary and Gregor had co founded Roofstock, I stayed behind and had done some, some read coverage, mostly in the residential space, but also started a cover, you know, some prop tech companies, as we started to see more of these technology companies getting into the real estate space.   And so, you know, groups that were like an Opendoor, or an Offerpad, or, you know, Point or Unison, or some of these mortgage companies really starting to see a lot, a lot more of those, those groups come into the space, because residential is a massive asset class. Right. And so similar to, you know, Roofstock there was there was a big Tam available for for groups to cover. So it's been a little bit of time there. And then, you know, finally got an opportunity to come over to Roofstock, about three years ago, and primarily spending, you know, my time in the in the business development team, which, you know, obviously, we handle the portfolio transactions, but also a lot of the, the JVs and interesting relationships that we've got going on there, including, you know, the recent announcement we had with JLL, that made an investment into rootstock, and then obviously, we set up a joint venture with them and with the acquisition of stessa. So I would say, majority of time spent there, but also, you know, at a at a corporate level, you know, any any capital markets activities, so rather that's, you know, US structuring, you know, debt or equity, but also on the investment services side, where we have clients coming in that are looking for advice on putting credit facilities in place or debt products, spending a little time there with with the broader team.   Michael: Right on.   Clayton: Does that work for an overview?   Michael: Yeah, that was great. That was great. And so for those of our listeners that might not be familiar with the private equities market, what is covering something mean, you talk about covering a read or covering SFR? as an asset class?   Clayton: Yeah, So just as an investment, you know, banker, you're, you're really a, it's a client, you know, driven business. And so covering a company is really, you know, you're the point of contact for that company for all the services that, you know, the bank can offer to them. So rather, it's advisory on selling a large portfolio, or accessing the public markets for either equity or debt. You know, we're a coverage officer in the sense that, you know, if, if you want to do any of those services, we sort of help you set up any of those products or access those markets.   Michael: Perfect. Okay. Thanks for clarifying. So today, what I really wanted to chat with you about is what you're seeing in the marketplace, in terms of how to win portfolio deals, both on the institution side of things, and then also for your individual or retail investor. What are some things that have changed in the in the landscape and what are some things that folks are doing to win portfolio deals?   Clayton: Yeah, so I mean, a couple of things that I would say just stepping back First, you have to recognize the size of this market. Right. And single family rental is not a new industry, it's not a new marketplace, but it's been new to institutions, just over even the last decade. And SFR, we've been saying this for a while, but SFR is definitely having a moment. And the market is very hot, you're just seeing record amounts of new capital, particularly at an institutional level flowing into the space. And if you compare that to, you know, other real estate asset classes, there's there's a massive gap between the the percentage of ownership at an institutional level versus the smaller retail, you know, investors one off investor.   So within let's just look at multifamily residential as a comparison, I think the the quote unquote, institutional ownership in that space is 30 35%. And it kind of depends on how you classify institutional investors could be a little bit higher, within SFR, it's still two or 3%. So you've got this, 10x, opportunity or more right, to to capture more of that class from an institutional level. And once use in any of these real estate classes, once you've seen institutional money come into a space, it's not like it retracts and then exits the space, right? It just continues to be more and more institutional, so that that's a huge opportunity, I think from a, you know, from a retail ownership or a smaller, you know, investor ownership, because that means that your portfolio is likely going to be worth more money, you know, tomorrow than it is today, because of this cheaper cost of capital, you know, coming into the market.   And so it really has been, you know, from one of the trends, I guess, it's been a supply problem, not a not a demand problem, right? So is with an ever increasing amount of money coming into a, you know, sort of a fixed asset, you know, base, you're going to have more competition at every turn. Yeah. And so I think that's one of the major trends that we're just we're watching closely. And as we take out portfolios for sale, we're just seeing more and more investors interested and more and more, quote, unquote, real buyer showing up to bid on processes. And I think people are looking for ways to differentiate themselves, and for ways to, you know, get get proprietary access to different deal flow channels.   I think from a, you know, how do you, how do you win more deals in the market? I think it really is, goes into that differentiator, right. So you can, you know, in any in any process, you could pay more money for a deal, right, you can be a more certain buyer. I mean, ultimately, if you pay more money for a deal, you're gonna win that deal, right? If you're the if you're the, it's kind of, you know, simple to say, but if you pay the most money, in any process, you're gonna win the deal. But I do think that when you're a seller, getting that, that certainty of close is important, as well. And so when we always tell our sellers, and we tell the buyers that are bidding, it's really three things, it's, you know, how do I win a deal, it's price, terms of the contract, and then certainty of close, right, so you can win, win, win or lose a deal on those three deal points. And I think that applies to, you know, anywhere from the, you know, a 10,000 home portfolio deal all the way down to a 10 home, you know, deal or even to a, you know, a single, a single home. So, from a perspective of what are we seeing, and what does it take to, to win deals? It's really those three things,   Michael: Yeah I'm curious to just get your personal insights and opinion as to why do you think SFR has become this explosion? airy, if that's a word asset class, into the institutional world, and the multifamily commercial industrial has always kind of been there. But why now, all of a sudden, are we seeing institutions so interested in the single family space?   Clayton: Yeah, I mean, I don't know if that's a word, but we could we could invent it here. And we could we could try to get it into the dictionary,   Michael: We'll go with it.   Clayton: Well, I think it's, it's it's a couple of things. This has always been an asset class. And it's always been a really important way that investors have been able to to grow wealth over time. It's just now becoming more relevant or, you know, apparent institutions. Because, I would say in large part technology, and companies like a Roofstock that can create a marketplace can eliminate some of the friction Out of the transaction or out of the management and the ownership of these assets.   If you, you know, back up to, let's say, you know, 2011-12-13, when companies were, you know, institutions were buying these assets, and then getting ready to take them out as public companies, there were a lot of investors that really do this as a trade for institutions and didn't believe that you could manage, you know, a scattered site portfolio of properties, at the same efficiency, or at the same scale as multifamily properties, which, you know, could be units all in one building vertically, right? Technology, change that, because you could now, and it's been proven out now, like, I don't think that there's any question anymore of, can you can you manage a, you know, 80,000 unit portfolio of single family rental, at the same level as you can manage 80,000 units of multifamily. And so I think you have have that, let me, let me put a pin in that for a second.   But the other piece of it is, we've just been through a crazy pandemic, where on its face, I think everybody would have thought real estate, you're going to see another massive dip in real estate values, and what actually happened over the last, you know, 12-18 months, values went up, right, and it's, it's a supply problem, we over the last, you know, decade, we have under built in terms of supply. And so why you see a lot of these home builders rushing to build even more, even if you look back at the last decade, we there's, there's so many more homes that need to be built to even catch up with that normal, you know, curve in terms of the amount of product that that we need, as a as a country. So I think that's, that's magnifying the problem.   But in terms of this is an asset class, the reason it's so interesting to institutions is because you can manage it at scale, the technology's there to do it. And it's, it's a hedge against, you know, downturns people, the value of home has become so much more important even during this pandemic. And I think it Listen, it was apparent in the last downturn, that the rental income is very durable, even during a real estate depression when prices go down. And so, you know, during this, this pandemic, it was actually it was a huge winner, because not only were the was the the rental income durable, but prices were actually going up, right during a during a downturn. And so, I think those those things have kind of made this an important asset class for investors. And, you know, you also see this, you know, iterating, in, in, in different forms, right, like the build to rent, you know, asset classes has become much more, it's kind of like the the in vouge thing to do right now. Right, is to own build around to go accumulate assets. Yeah, from my perspective. And why is that? Like, that's, that's not a new concept.   I mean, if you look at Europe, they've been doing builddirect for decades, right? It's, it's just in the US, where I've been calling it the gateway drug to scattered site, single family rental, because if you're a, you're a residential multifamily investor, you're used to having 200 units in one building. And so you weren't quite as comfortable saying, I'm going to go buy 200 units in Phoenix in a scattered site, where I have to manage all these these assets in different places across the MSA. But if I can buy 200 units that are contiguous, and it's a build to rent community, it's an easy way for you to start getting into that, that single family rental portfolio. And I think that, you know, that's important because it gives investors a comfort level that you can you can own and operate these similar to, you know, other residential asset classes.   And so I think in the future, it's not just going to be Is it a single family rental, you know, residential portfolio, or is it a multifamily residential portfolio, it's just residential. And rather, it's, it's it's multifamily or single family, you're owning a house for somebody to rent, right. And that's an that's a very important thing. Because where you wake up and how you feel about your home, like, I think it permeates so many other areas of your life. And, you know, the best thing you can do is provide a roof over somebody's head that, you know, gives them a safe and happy like place to live. And so that's never going away, regardless of if it's multifamily single family or, you know, we figure out ways for people live in, you know, co living situations or what have you. So I think it's an asset class. That's, that's been important for years and years and years, but it's just been institutionalized and technology has helped accelerate You know, our ability to do that efficiently?   Michael: I think that makes a lot of sense. Makes a lot of sense. Alright, so let's jump into talking about a little bit more in depth some of the three points that you brought up in terms of what it's taking to win a portfolio. So, so price terms, and then certainty of close. So let's start with price. Where are you seeing these portfolios go with regards to list price, versus what they're actually being purchased for?   Clayton: Yeah, that's a hard one. Because, you know, list price is difficult. And I think in some scenarios, having a list price could even hurt you particularly in, in, you know, in an appreciating market, right. So if yours, you're setting a list price, you might be setting that list price too low,   Michael: Someone could be willing to pay more,   Clayton: In some cases, it's Yeah, and and on an individual asset basis, I think it's a little bit easier to set a list price, because you've got, you know, sort of some insight into what that looks like. But at a portfolio level, I think it gets a little bit more difficult because you, you're starting to see capital, underwrite the cash flows. And we have this broken system of appraisals or bpos or AVMs, that, you know, generally do an okay job on, you know, just law of large numbers, like you're gonna get some wrong up or down. And on average, it's pretty good.   But it's really built for, you know, the one off home that that's probably going to be occupied by an owner occupant, it doesn't take into account, you know, what folks are willing to, to receive in terms of cash flow, like on a yield basis, right. And I think that's a huge problem. Because if you're not evaluating what that cash flow stream is worth, to any institution, and in a market where institutions are, are looking for yield, or you know, where debt is so creative, that they're able to pay lower cap rates and cap rates are compressing, then you're gonna miss the valuation of these portfolios. So, you know, again, I think it's very difficult for, for, for me to just bogey like what what are all portfolios trading at in terms of like a quote unquote, list price, because a lot of times these AVMs are, are actually not very helpful in terms of determining where the price is going to go.   And I do think it's actually a little bit of a tale of two cities here, because there are the portfolios that fit very well, for an institutional investor in terms of, you know, what are the top 10 markets in the US that the portfolio is in? What's the vintage of the house? What are the areas that it's located in? Is it a high school score neighborhood? You know, is it a high neighborhood score, is it you know, is it in a market where rents are appreciating very quickly.   And I think groups are very willing to pay up today, for those dynamics in a in a well defined stabilized portfolio, and we are starting to see groups pay up, pay a premium, quote unquote, for a stabilized portfolio. So, you know, there's cases where we're seeing, you know, if you back up two years ago, I would, you could say, you might see us pricing portfolios, or guiding on pricing and portfolios at a at a discount to a BPO value. Today, I would argue that for the best portfolios, you're actually seeing a premium to BPO. And, and on an individual basis, it might be a little bit a little bit closer to, you know, that appraisal or BPO. But on a portfolio level, you've got a couple dynamics that are are working in your favor in terms of being a seller of portfolios, because the cost of capital today is is very low. And it particularly on the debt side, you're seeing institutions able to, you know, securitize these portfolios and get debt at a leverage point that's in the mid to high 80s. And at a sub 2% cost of capital.   Now, obviously, there's some some expenses in terms of structuring that dealing and and and selling it into the market. But if you've got a 2% cost of capital on the debt side, and you can get very high leverage, that's gonna make, you know, a portfolio very, very accretive on a current cap rate basis, and so we're seeing compression of cap rates. We're also seeing That because rent is, you know, accelerating in some of these markets very quickly, that groups are able to really underwrite the loss to lease, or that discount to quote unquote market rent. Because there's a there's a real tangible increase, you know, year over year or lease over lease in terms of the, those rental bumps.   And so I think it's, it's a combination of all those things to say, you know, don't I, the one warning, I would say is, you know, don't don't miss price the portfolio or set your, your bar, you know, necessarily too low. But I do think it's helpful for sellers to be realistic, you know, I'd be remiss without without hitting the other side of that coin, which is, there are portfolios where it's a little rougher, and if it's not right down the center of the fairway for these these institutions on where they want to buy, what markets they're in, you know, what the product type is, as soon as you start to, you know, diverge from that a little bit, you're, you're starting to see bigger discounts, you know, to a, quote unquote, market value for those portfolios.   So rather that, you know, small multifamily units or townhomes that don't necessarily fit a investors buy box, or is it you know, lower rent band homes or a little bit older homes. So I do think those things come into play. But for the very best, you know, well located portfolios, we're seeing premiums to, to to a BPO or quote unquote, market value.   Michael: Man, that's awesome. So in a nutshell, to wrap that up with a bow, that we are seeing premiums being paid on the best located and best manage portfolios, because we are seeing rental increases shoot through the roof, coupled with very low cost of capital for these buyers, institutional buyers. Is that a fair way to sum it up?   Clayton: Yeah, I think that's right. And so to, to just highlight maybe the two points, I think that we even shot out, there's like, you got to really underwrite the upside, because it's real. It's not just, you know, theoretical upside. And there's embedded, you know, gains in some of these portfolios. And it's, it's, you know, don't focus on these these AVMs because these AVMs are flawed. And it's really about the cash flow that you receive. So, you know, real cash flow matters to institutions. And that's what's important versus you know, what some automated valuation methodology tells you.   Michael: Yeah, interesting. It's, you know, I back in 2014, or 15, I bought a portfolio for four duplexes right next to one another, and they were bank owned. And so we were able to get them at a discount. And it sounds like So Long gone are the days of Oh, well, you're buying multiple properties and the portfolio, you should be getting a discount, because you're doing the seller favor. The Costco effect, if you will, buying in bulk. It sounds like that's, you know, that's no longer in play here, which is so interesting.   Clayton: Yeah, I don't want to say that completely gone. Because obviously, like a distressed portfolio, a, you know, some of these loan pools that are purchased, where it's a non performing, you know, loan pool, you're still gonna see discounts like that, and where there's, there's quote unquote, hair on a deal. You know, you're gonna have to work through to get get those portfolios, but I'm just saying, like, you know, previously, where you might have a perfect, quote, unquote, perfect, you know, SFR portfolio where it's, you know, great rents, great real estate, new product, and SFR was getting a discount, just because it was a new asset class, like those days are gone. Right there, you're gonna, you're seeing a convergence of multifamily cap rates and the SFR cap rates.   Michael: Got it. Okay. All right. And do you think the same is applicable on the retail side of things for retail investors and maybe looking at a portfolio of 510 15 properties? Should they expect the same things? And would you advise, recommend folks looking to underwrite in a similar fashion? And that the upside is, is this tangible as well? Or does does the dynamic shift? When we go into that smaller retail investment scale?   Clayton: I gotta be a little bit careful here, because you know, that that individual investor, you know, still has to be fairly disciplined in terms of, you know, what their cost of capital is and what their return thresholds are. Right. So I would say you still have to think about that on a personal, you know, level. But yes, I mean, if there's, if you're buying a group of 10 properties that's in you know, Phoenix, Arizona, and the, you know, the in place rent is 12 $100. But you know, that the market rent is 15 $100. You should be underwriting the upside, right? Because that's a market where it's a very tangible You know, upside in the market rent and and it's not as big of a risk to to underwrite that upside if it's really there, right.   So I think that those sorts of things matter, and then finding ways to operate your portfolio even more efficiently, you know, that we always talk about, you know, the gross yield or the net yield, right? Like, what's your noi margin? Well, if you've, if you've found a way to operate a portfolio at a, you know, a 70 plus percent margin, and somebody else is underwriting it at a 50% margin, right to be extreme, you're going to more often than not beat out that other that other buyer, because you've got a more efficient way. And it's actual more dollars of cash that are coming into you as an investor.   Michael: Yeah, yeah, I talked about that all the time in the restock Academy is look at the current rent, but also look at what the true market rent is. And if there's a huge disparity there, there's real potential there for true value add, and maybe you don't even have to do anything. So I always look look to see if you can't see those those opportunities through that lens as a positive, as opposed to Oh, well, the market rents 1500 but the property in places only getting 1200. That's a demerit sure, if you can switch your thinking, you really have a lot of opportunity.   Clayton: Yeah, I think that's right.   Michael: Okay, great. So let's move on and talk about terms. What are you seeing now? And how folks are winning portfolios with more aggressive terms?   Clayton: Yeah, it's super interesting, because I think, you know, early on, in structuring these deals, we may have done, you know, all of ourselves a little bit of a disservice, because we, you know, we viewed these, these portfolios of assets, really as individual assets, and they are not getting priced or sold today as individual assets, right, like, in early days selling a portfolio, rather, it was, you know, $500 or 5000 homes, buyers? Well, number one, there was there was a smaller group of buyers, right, so So, you know, if it was any sizable portfolio, there was probably a handful, three or five groups that you could go to, and really hope that, you know, you'd have two or three of those groups, you know, in a, in a final round, sort of bidding against each other to take down the portfolio.   Today, I mean, there's 30-50 groups that can take down very sizable portfolios, I think the terms really matter. Like before you could cherry pick, and, you know, if there was 500 Homes for sale, you could bet on, you know, 300 or 400. And, and, and really, the seller would figure out, Okay, what I do with the remaining assets, do I sell it, you know, these 300, this, this buyer and these 200, to another buyer? Or do I sell, you know, some of those on a retail basis, it's a seller's market. And so you're, you're definitely seeing contracts become more seller friendly, to get to get deals done.   So, again, that and those terms, it can can differentiate you as a buyer in the market, if it's a quicker closing, it's a you know, a shorter diligence period, more money that's up, you know, in escrow that becomes hard, you know, sooner in the process, there's, you know, no kick outs to a portfolio, you're buying the entire portlet portfolio that's there for list. I think that that has become key in all these contracts. And I think that, you know, without getting into the, the individual details of what a PSA looks like, on these portfolio deals, I just think it's becoming much, much more seller friendly.     Michael: So you're seeing institutions willing to overlook some of the warts, if you will, to take down the portfolio, because they're seeing the value upside, potential there.   Clayton: Yeah, and some of it was just kind of, you know, like, you know, I know, there's a bad example now, but like having like, a huge environmental indemnification on a single a pool of single family rental assets, is is not going to be received well from a seller. Because these are homes that have gone through, you know, environmental checks, right? Like, is there a possibility that you've got, you know, some massive, you know, spill on a on a property, maybe if it's a vacant lot, but like on a on an at an in place, single family home, like, that's a limited risk. So just kind of eliminating some of these quirky things that maybe buyers got got away with in the past. It's pushing more of that, that risk from the seller, to the buyer in these deals.   Michael: Got it. Right. It's really interesting.   Clayton: And it makes sense, right? Because if you're a seller and you've got you've got two buyers and one's telling you I'm going to give you, you know, again, let me just be extreme like I'll give you a 10%, you know, deposit up front, no closing in 10 days. And, you know, there's, there's no, you know, liability post close or anything like that I'm buying it as is, versus someone that's saying, I'm going to give you, you know, a half a percent upfront, and I'm going to take, you know, 90 days to close. And you know, I've got all these other hooks and options in the deal, like, you're going to choose the one that has much better terms, and that that is a differentiating point in these processes.   Michael: Yeah, I know I having recently sold a couple of properties, the path of least resistance is so often the easiest choice. And it's interesting, because you were mentioning these talking about these three different points, and one is the the price the terms and then the certainty of close, which we're going to get to in a minute, but you can really play around with two out of the three, to get a better to do better on that third, right. So if you come in with super aggressive terms, and a very high certainty of close, even if you're not the highest price, you still have, you know, the opportunity to win those bids. So I think if you can really be creative around structuring your deals, there's a lot a lot to be had here.   Clayton: Yeah. So if you that's why that third point, I think, is very important, right? It's certainty of close, which is really saying, like, are you a credible group? Or, you know, do you have a reputation of closing deals? Or do you have a reputation of, of retreating and not closing deals. And so that's, that third point really ties the first two together, because if I gave you the best price, and the best terms in a deal, but I was a high risk to close, because you've never done, I've never done a deal on the sector before. And, you know, I'm just a new entity that that, that doesn't have that reputation of closing, that's gonna hurt you. Right. And or I should just say it the opposite way, if I've got a reputation of being a bad trading partner, and re trading deals, or not closing on time, or anything like that, that matters to a seller. And so, you know, is that worth, you know, 1% 10% in a deal, I don't think it's 10. But, you know, maybe it's worth 1%, I think the each seller has to individually sort of weigh that risk. And they might say, Listen, I've closed with this, this buyer before, I know, they can get something done quickly. And so even though their their price or their terms may not be, you know, as good as some other unknown buyer, I'm going to close with them because I know they can get the deal done. And so that I think that does matter in this market.   And and I should say all else equal, all else equal on if you had the same price and the same terms, then you the certainty of clothes definitely matters as well, because that's the thing that's going to tip them over the edge.   Michael: Right, right. And I think it's such an important point to drive home and for all the sellers listening, even that, you know, the one off individual sellers or retail sellers, it's so important to weigh this in your calculation when looking at offers that you've received. Because I know that I did it, I got multiple offers on a property I was selling, the first day it hit the market, and somebody offered way over ask. But they were known to do this kind of janky thing where then they jerked around a little bit once the appraisal came in. And then I got another offer that was slightly above ask, but they put some terms in there that are really attractive. And I said, you know, let's go for that, which technically, at the end of the day was less money, but I knew that the deal was going to get done. So I think it's important not to get shiny object syndrome and just look at the number when there's so much more that goes into a deal, a real estate deal.   Clayton: Yeah, and this, and this is an important point for especially new investors coming into the market that say, Well, you know, I don't have a track record. And so, you know, is that gonna hurt me in my first deal? And, and maybe it does, but like, the best way to, you know, to overcome that is to, to do some deals, and, you know, make sure that you're building a good reputation as a buyer, and you're not re-trading in any deal. Yeah, like if that that is kind of like a poison pill. If you go into a deal, and, you know, listen, absent something that's really material that wasn't you know, understood or there from the seller in the beginning, you should not be retrading deals, you should avoid that at all costs, because that is really going to hurt you, as a buyer in the market. If If you come out of a deal. And you you you agree to go in at x, let's say it's 100. And then you you you change the terms it during diligence or closing to you know, 100 minus x, right? You You really have to start now building a reputation as a good buyer and not retreating deals because I think that's just your poison pill to the market.   Michael: Yeah, that makes a lot of sense. And so How do you think about retraining with regard to kind of individual investors retail investors with one off properties that are now getting an inspection report to review after they've made an offer? So they made an offer at 100, they get the inspection report, it's got some hair on it, let's call it $10,000 worth of work that needs to be done to get the property safe and rent ready for your next tenant? Are you still thinking that re-trading is off the table at that point? Or is that something that you would you would consider?   Clayton: It's such a dangerous game to play, going into a deal thinking that I'm going to get an inspection and bring the price down? After I get an inspection? A couple things like that's nitpicking on inspection list is is just trouble, right? Because you you inspect any house, I don't care how perfect it is a brand new builders inspector can find, you know, anything wrong with it, right.   Michael: It's what they're trained to do.   Clayton: And I think it's got to be, yeah, I think it's got it Well, there's no, there's no upside for them to miss things. Right. Like, it's, it's a cover your ass sort of analysis. And so I think, you know, there are going to be circumstances where you've got a material issue, and you're going to need to, you know, solve that. And if that's an a material issue, issue to you, as a buyer, it could be, it's going to be a material issue to another buyer and the seller, you know, items that the seller is going to have to fix, regardless, I think, are items that are up for discussion, but it all depends on, you know, sort of level setting going into a deal, right? Because if the seller saying, Hey, here's the deal, we know that it needs a new air conditioner or something else, and then you get in with a with a buyer. And the buyer says, well, it needs a new air conditioner. So I you know, I need another, you know, 5000 bucks.   Well, it's it's all I think just kind of level setting when you go into the deal. So you know, kind of, here are the items if any of it's a problem. I'm just telling you like that easy going buyers are going to win more deals. Right.   Michael: Yeah, I think that that perfectly sums it up. I think that perfectly sums it up. Man Clayton, this was awesome. This was awesome. Any final thoughts you think for for investors out there that are looking at picking up portfolios or starting to think about investing in portfolios?   Clayton: Yeah, I mean, listen, I would, I don't want to come off like, too negative here. And in terms of like just saying, Hey, this is this is a too hot of a market. And it's too hard to compete, because institutions have a cheap cost of capital. And so you know, you should, you should just not even invest. That's not the like takeaway at all, I think the idea is like, as a bar is having a moment, but I still very much view this as a 10x opportunity for investors, because, you know, we should be an aggregation mode, because the asset class works at the numbers that are out there today. Even though you see cap rates compressing, like, again, this market is going to go from a two or 3% institutional penetration all the way up to 20 or 30%. Over, my prediction is over the next, let's call it seven years, right?   So if you just stand back and say, you know, how many homes need to be purchased? It's in the millions, right? Over that period of time. And so there's a lot of homes that need to be purchased. And, you know, don't don't feel like you're not the institution, because guess what, you might not be the institution today, but you're the institution, you know, tomorrow, right. And so, you know, we can define institutional ownership at different levels, rather that, you know, you own 100 homes or 1000 homes. The smaller investors today are the institutions of tomorrow, right? If you look at multifamily, that's a very real thing. You know, the these groups can grow over time, we're still in a very attractive market for investors to own this, this asset class. And it's, it's only going to be you know, it's it's going to make more and more attractive over time.   At some point, are we going to hit like too hot of a of a market? And it's going to, you know, go back down? Yes. Because that's, that's, that's what real estate does. And it might be, you know, for some other reason that we're not anticipating today. But I do think that owning residential real estate is just a very durable way to collect current income and to build wealth over time. So it should be viewed as more the takeaway should be, it's still an attractive market to go out and own this asset class. Right.   Michael: Love it. But no, and I couldn't agree more. And I'm just curious from your perspective, I mean, what size portfolio is really gaining traction and interest from institutions because we, we talk about institutions, we throw that term around a lot, but I think a lot of listeners might not be familiar with what that is or what size portfolio those institutions are. are interested in investing in So do you have a gut feel or a sense for kind of where where they look at what size either in dollar amount or door count?   Clayon: Yeah, it's changing, it's kind of the wrong question anymore. Because, you know, before institutions didn't have the capability, the platform, the technology to buy, you know, portfolios that were smaller than, you know, let's just say 100 owned. Today, you know, there are institutions that are buying, you know, upwards of 1000 to 2000 homes per month, on an individual basis, one by one by one. So I don't think that it actually matters anymore. It's, it's more like the channels that you can deliver. So if you're a seller, and you've got one home, don't think that you don't, you know, you can't sell it to an institution. They're, they're buying homes on a one off basis. Right.   Michael: Interesting. Okay. I would have I did not know that. Very cool. Well, maybe call depending on how you if you're a buyer or seller,   Clayton: Yeah, I mean, obviously, Market to Market matters. But no, I mean, it's, it's, it's, it's a very efficient market. And, you know, you can sell and you can buy on a one off basis, or you can buy and sell on a, you know, a portfolio basis.   Michael: Awesome. Well, Clayton, this was great. Thank you so much for taking the time this was gave me a lot of really great insights. And hopefully, our listeners got a lot out of it, too. I hope you have an awesome and we'll have to have you back. Because before the episode we were chatting about some of the additional topics we could cover and I think you'd be a great person to do that. So look forward to picking up the conversation then.   Clayton: Yeah, absolutely. All right. Appreciate it.   Michael: Alright, everybody, that was our episode. A big big, big thank you to Clayton for coming on the show today. A lot, a lot. A lot of meat on the bone there. Lots of good, interesting topics. I learned a ton. Hopefully you did too, as well. I know that I've been in the portfolio purchasing space for a little bit. If you are thinking about that, definitely give us episode a listen to and we look forward to seeing on the next one. If you liked the episode, please feel free to give us a rating or review or subscribe wherever you listen your podcasts and look forward to seeing on the next one. Happy investing

Amish apologizes it has been SO LONG since a "Hot Take" has been uttered in a very busy Summer 2021 for the entire team of broadcasters attempting to entertain you regarding the world of Major League Baseball!  So I went ahead and dove into topics such as the scare at Nationals Stadium, Trevor Bauer situation, the MLB draft and the current standings situation and some Trade rumors and more!  Tune in for just a few minutes, as that's all there is with my solo banter this week! SEND IN YOUR QUESTIONS! DO YOU HAVE Comments or suggestions?  Takes of your own?  Give us a shout @hottakescorner on Twitter, or you can even audio message us right here on Anchor! https://anchor.fm/hottakescorner (click the message button just to the right of where it says "listen on spotify"!) --- Send in a voice message: https://anchor.fm/hottakescorner/message

Wild and free Cinderella, You can laugh, you can groan, If you think I won't ignore you… We're off to Belleville this week via the Gillian Lynne Theatre - that's right, we've gone to a theatre! It's a very special, spoiler-filled episode as we discuss Sir Andrew Lloyd Webber's brand new musical Cinderella! Starring Carrie Hope Fletcher, and a phenomenal debut from Ivano Turco, we find that Beauty Has A Price, as we experience a Bad Cinderella like never before! Will Sir Andrew Lloyd Webber, responsible for so many of Danny's favourites on this Podcast, have another Moment of Triumph? Will his winning streak remain Unbreakable? Or will Danny be Unfair and say So Long to Cinderella? Download now to find out our verdict!   Music: purple-planet.com

Thank you to DistroKid for sponsoring this episode of the podcast. Use the link below to receive 30% off your first year of DistroKid services.https://distrokid.com/?c=cablewww.producerowcafe.comHannah Glavor is a Portland, Oregon based musician and songwriter. I chatted with Hannah about how she got interested in playing music, how her songwriting has evolved, the intent in her art and creative process, as well as her 2020 LP 'So Far, So Long'.To keep up with Hannah Glavor and the Dan Cable Presents Podcast, please check out the links below!https://hannahglavor.bandcamp.com/album/so-far-so-longwww.dancablepresents.comINSTAGRAM:@hannahtheglavor@producerowcafe@dancablepresents@distrokid@vrtxmagDCP SHIRTShttps://www.dancablepresents.com/storeDCP MUGShttps://dan-cable-presents.myshopify.com/products/dcp-extra-buttered-5yr-anniversary-mugSpotify Playlists:https://open.spotify.com/user/54u8tkp1mevtd0i3cz79qbp8l?si=-4NT4PWPSlSowoXQkJhlkA

Catching The Winds Of The Crypto Opportunity With ZTEGhttps://ineedtoknowit.com/Today's guest has spent his life providing value to people across the world through his creation of exceptional products and services.  He has also made it possible for people to recognize and take advantage of opportunities that would otherwise be inaccessible to them. Join Ron Bouchard and his guest Troy Mason as they discuss, ZTEG Crypto. A currency designed to produce patterns that can help people to make better decisions! Links to Troy MasonCEO of Ztegrityhttp://ztegcrypto.com/https://ineedtoknowit.com/Links to Ron Bouchardwww.waypointmastermind.cominfo@waypointmastermind.comSchedule a Free 50 Minute Clarity Session with Ron Bouchard: https://app.acuityscheduling.com/schedule.php?owner=18291344Related Links and Resources:Visit our Gone Fishing Podcast Webpagehttp://gonefishingpodcast.com/Subscribe on Itunes:https://podcasts.apple.com/.../gone-fishing/id1519168586Support our work by checking out our great merchandise:https://www.sargassoapparel.com/Register for free access to our Gone Fishing Tackle Box Tools and Resources. Our guests have shared some of their most excellent tools, information, and advice. All of it is available free as well as an ever-increasing array of mindset, coaching, real estate, financial, health, wellness, relationship, and other tools & resources to help you improve your life, increase your income, and live life on purpose. Join us today by visiting our website at www.waypointmastermind.com and click the Join Now button.  Enter code “2021” and start your journey to a new you today.So Long, and Thanks for All the Fish! (Douglas Adams Tribute)Thank you for tuning in. We at the Gone Fishing Podcast and Waypoint Mastermind genuinely appreciate you! To get more content sent directly to your device as it becomes available, subscribe to iTunes, Stitcher, or your favorite podcast application. Reviews on iTunes are beneficial and appreciated! Support the show (https://www.buymeacoffee.com/gonefishing)

Thème de l’émission : LOOV Mix VII   – Birélie Lagrene – Scwarze Augen – Banda Eddie – Danada – The Bahama Soul Club – Ay Jona – Quantic – So Long – Gaye Su Akyol – Hemserim Memleket Nire... Continue Reading →

"Cowboy's Juke Joint Flagship Show" Harder Side of Blues & Edgy Southern Rock - Searching for Newer & Emerging Artists and Music around the world for you. If it’s not Gritty, Raw & Pure; it ain’t Cowboy’s Juke Joint! Live Sunday's 8:00 PM EST on www.cowboysjukejoint.com  1. The Age Of Truth - (Holding Hands Like Thieves) 2. Kurt Mauser - (Don't Lie To Me) 3. Kurt Mauser - (King Of Everything) 4. Shayk - (The Chase) 5. Cletus Hungwell - (The Booty Hunter) 6. So Long, Albatross - (Ace Of Spades) 7. War Horse Band - (Lightning N' Thunder) 8. Lé Betre - (Shades of Grey) 9. Sea Mouse - (Same Old Song) 10. Shotgun Sawyer - (Shallow Grave) 11. THE GRAND ACID - (Neptune) 12. Blues Saraceno - (Moonshine & Gasoline) 13. CHEAP WINE - (Sheep) 14. The Maness Brothers - (Gun) 15. Band of Rascals - (Holler) 16. Beitthemeans - (Mr. Devil and the Black Widow Woman) 17. The Lucky Dutch - (What You Do to Me) 18. Cam Cole - (Steam) 19. 61 Ghosts - (If Tears Were Dirt) 20. BUSHFIRE - (SHELTER) 21. The White Rattlesnake - (Happy motherfucker) 22. The Ramble Riders - (Valley Of Souls) 23. The Gaslight Anthem - (Too Much Blood) 24. Mountain's Foot - (Libra) 25. SILTMAN - (MI) 26. Mountain Dust - (Inside The Rift) 27. MAGIC JOVE - (Sonic Understanding) 28. Black Mirrors - (Funky Queen) 29. The Young Revelators - (Times Is Hard) 30. 49 Winchester - (So Damn Sweet) 31. Indighost - (The Body) 32. The Blackwater Fever - (Can't Help Yourself) 33. Green Gasoline - (One In The Same) 34. Citrus Blossom - (Indifference)

A geografia e a memória, a noção de cânone, a curiosidade pela oficina dos escritores. Com a obra de Patrick Modiano, Proust, Philip Roth, Rachel Cusk, Stiglitz, Edward Gibbon ou Djaimilia Pereira de Almeida, e os livros: O Pequeno Livro do Grande Terramoto, de Rui Tavares, Eu Confesso, de Jaume Cabré, A Morte de Jesus, de J.M. Coetzee, Benito Prada, de Fernando Assis Pacheco, Os Cadernos de Pickwick, de Charles Dickens, Os Doze Césares, de Suetónio, Feliciano, de A.M. Pires Cabral, Suíte Tóquio, de Giovana Madalosso, Autografia Não Autorizada, de Dulce Maria Cardoso, There There, de Tommy Orange, Ensaísmo, de Brian Dillon, So Long, See You Tomorrow, de William Maxwell, The Laughing Monters, de Denis Johnson.

Cincuenta y un años tiene el disco que vamos a repasar hoy, y todavía conserva la frescura y la calidad del primer día. Quinto y último álbum del dúo estadounidense Simon and Garfunkel, se publicó en enero de 1970 e inmediatamente se convirtió en un éxito mundial. Vendieron más de veinte millones de discos en todo el mundo. Es muy fácil que tengáis uno por casa, mirad por ahí. Grammy al Mejor álbum del año y Mejor canción del año por el tema que da nombre al disco. Pero el éxito no lo es todo. Al terminar la promoción del álbum, el dúo se separó. Garfunkel se dedicó al cine y Simon inició su exitosa carrera musical como solista. Esto es “Puente sobre aguas turbulentas”. Este trabajo contó con la colaboración de los mejores músicos de estudio del momento, gente acreditada en más de 1000 discos, y digo cada uno, de los más importantes artistas de su época, entre los años 60 y 80. Joe Osborn, al bajo; Larry Knechtel, al piano; Fed Carter Jr., a la guitarra; Hal Blaine, a la batería y el grupo folclórico “Los Incas”. Y lo cierto es que el trabajo de esta gente queda de manifiesto en la grabación. Una grabación en la que se emplearon 800 horas y en la que hubo sus más y sus menos entre Simon y Garfunkel. Algunas canciones que se grabaron durante las sesiones no llegaron al álbum. Simon había propuesto la canción “Cuba si, Nixon No” pero fue descartada por Garfunkel. A su vez, éste propuso cambiarla por “Feuilles-O” con la que Simon no estuvo de acuerdo. Era el principio del fin. “El condor pasa” es una canción que forma parte de una zarzuela del mismo nombre compuesta por el peruano Daniel Alomía en 1913. Se estima, supongo que a voleo, que se han hecho más de 4000 versiones de esta canción. Bueno, pues esta es la de Simon and Garfunkel. Escrita por Paul Simon, la canción “Cecilia” parece ser que se gestó en una fiesta nocturna, en la que el dúo y unos amigos comenzaron a golpear en un banco de piano. Grabaron el sonido en una grabadora de cinta y, más tarde, en el estudio, emplearon la reverberación e hicieron coincidir el sonido con el tempo de la línea de guitarra que había compuesto Simon. La canción nos cuenta la historia de amor entre dos amantes en la que ella no parece muy de fiar. “Cecilia” So Long, Frank Lloyd Wright, también compuesta por Paul Simon, es igualmente fuente de conflicto. Garfunkel declaró que el origen de la canción fue la petición que le hizo a Simon de que escribiera un canción sobre el famoso arquitecto Frank Lloys Wright. Por su parte, Simon declaró que había compuesto la canción sin tener ni idea de quien era su protagonista. A esta letra se le han dado varios significados. Por un lado, el texto parece estar alabando el trabajo del famoso arquitecto pero por otro, Simon está hablando de la inminente ruptura del dúo. Garfunkel no se dio cuenta de esta circunstancia hasta años más tarde, y aunque al principio se sintió dolido (en una entrevista manifestó “nunca me dejó entrar en su secreto”), en la actualidad ha hecho las paces con la canción y dice que “puede ignorar este subtexto porque la canción es preciosa y muy divertida de cantar”. So Long, Frank Lloyd Wright. En una entrevista concedida a la revista Playboy, Simón comentó que había escrito The Boxer en un momento especialmente delicado para él. La crítica se estaba ensañando con su música y el era el boxeador encajando golpes. Siempre ha dicho que la letra es autobiográfica, todo el mundo le golpeaba y el amenaza con dejarlo todo si no paraban. La canción tardó en grabarse 100 horas, parte de ella en los estudios Columbia Records en Nashville y Nueva York y las voces el coro se grabaron en la Iglesia St. Paul’s Chapel, aprovechando la gran acústica que proporcionaba su espectacular cúpula de azulejos. Curiosamente, esta canción se grabó un año antes del lanzamiento del disco. The Boxer. Hace 50 años que Simon & Garfunkel se separaron cuando eran el grupo más exitoso del mundo. El motivo, en pocas palabras, es que no podían ni verse: su rivalidad artística acabó destruyendo la amistad que los unía desde niños. Esa tensión surgía exactamente del mismo lugar que su éxito, los talentos de uno complementaban las carencias del otro, las hermosas canciones de Paul Simon conectaban con el espíritu de todo el que las oyese gracias a la voz de Art Garfunkel. Ambos envidiaban el rol del otro en el equipo, Paul pensaba que el público veía a Artie como la estrella porque era el vocalista principal e incluso algunos creerían que Artie componía las canciones. Pero Artie sabía que Paul era el autor de las canciones y por tanto controlaba el futuro del grupo. Ninguno de los dos superó jamás esta situación. Lástima. Baby driver. Y es que, … son como niños. Nada más por hoy. Yo también soy de la opinión de que fue una lástima no poder disfrutar más tiempo de este grupo. Pero los egos tienen estas cosas. Disfrutad todo lo que podáis esta semana y yo os espero aquí, en sienteloconoido.caster.fm el próximo jueves. Hasta entonces… ¡¡¡Buenas Vibraciones!!!

What's up dirty cones! So Long and Thanks for all the Balls! ~ Cody A miracle… Thanks for listening Have a good one Me

Welcome back to our third in a series where we curate what we think are the best 40 minutes of music from an underrated band's career ... with headbangers and hard rockers in mind (ie. you won't be hearing many ballads!). Basically, it's what we'd put on a single vinyl release (being limited to 20 minutes per side) if we were asked to put a Best Of record together to convince the uninitiated long haired miscreant that this band is worth checking out. This episode is dedicated to another overlooked Canadian punk unit ... Teenage Head. You ain't got no sense if you don't like these guys! Side 1 Teenage Head (1979) (0:00) Top Down (2:04) Ain't Got No Sense (6:18) Lucy Potato (9:57) You're Tearing Me Apart Frantic City (1980) (12:41) Let's Shake (15:45) Wild One Some Kinda Fun (1982) (17:54) Some Kinda Fun Side 2 (20:36) Teenage Beer Drinking Party (23:48) Fist To Face (27:30) Sheila Scarf Head Disorder (1996) (31:25) So Long, Goodbye (33:42) Glasgow's Cryin' (36:09) My Mommies Pot (38:26) First Time

When you're actively working on a goal — in your business or in any aspect of life — do you find yourself getting really impatient about when you're going to achieve it? I used to struggle SO MUCH with reaching my goals and was constantly agonizing about why it was taking SO LONG to reach them. We tend to believe that once we hit a certain goal, rank, or income level, our lives will instantly transform into something better. Here's the truth… There is no level of success that will ever make you feel better about yourself. In my case, after I hit the big goal and finally making money, I was just as miserable. I still felt like I wasn't good enough. Here's the thing - impatience is not the root cause, it is a symptom of the problem – SELF-WORTH. So tune in as I share with you how to teach your team (and yourself!) to not be impatient, leading from a place of WORTHINESS, BELIEF, and LOVE, and how you can move past the stay-stuck cycle. Subscribe to my YouTube Channel!

I've wanted to cover this movie for SO LONG, y'all!!! Instead of a book this month, we're doing a movie- I'm thinking I'm going to start mixing movies in more often. And to kick it off, we are discussing the philosophy of Ridley Scott's 1982 classic BLADE RUNNER. So, if you like Harrison Ford, noir detective movies, cyber punk or philosophy, this episode is for you. PS- can AI develop a soul?@ivebeenthinkingpodivebeenthinkingpod.comSupport the show (https://www.patreon.com/ivebeenthinkingpod)

Hello Cassettes! Well, it's time to say So Long, Farewell to Musical May. Here is the second installment of our deep dive into The Sound of Music!   Check out our blog for show notes and sources! What's your favorite song from the film? Let us know! Twitter: @blackcasediary Instagram @blackcasediariespodcast Thanks for listening! 

The CCHits.net Daily Exposure Show for 2021-05-25 "So Long" by "Lorenzo's Music" Don't see the vote button above? Click here to vote.

Today’s guest took the world of country music by storm in 2015 with her critically acclaimed full-length debut, Untamed. The record not only bowed in the Top 15 of the Billboard Top 200 and registered at #2 on the Top Country Albums Chart, but it also yielded her double-platinum GRAMMY®, CMA and ACM-nominated smash single, "Burning House," which remains the bestselling country song by a female solo artist since its release in 2015. Since then, our guest has continued to thrive as both a songwriter and musician. She recently released her sophomore album, The Otherside and she’s lent her writing voice to Miley Cyrus' 2015 album, Bangerz, and co-wrote "Palace" with Sam Smith for his 2017 album, The Thrill of It All. She broke boundaries with her bold and empowering 2017 lead single, "Diane," and further showcased her range when she teamed up with Diplo for the genre-bending Thomas Wesley 2019 debut single, "So Long." She has consistently sold-out shows across the globe, cementing her status as an international powerhouse on stage. She performed alongside Sam Smith for 4 sold-out shows at the O2 Arena in London and joined him on his 2018 North American tour, opened for Harry Styles at the legendary Ryman Auditorium in Nashville, delivered standout festivals sets including the coveted sunset slot at Stagecoach in 2019, headlined top venues across Europe and Australia, and performed a "game-changing" (Rolling Stone) debut-headline gig at The Ryman Auditorium. By taking risks and standing up for herself, our guest has continued to hustle and pave her own way. And The Writer Is… Cam!Artwork: Michael Richey White See acast.com/privacy for privacy and opt-out information.

Today we are joined via Zoom by the members of So Long, Stargazer, Kristin Greene, Tommy Davis, Chase McCants, and Nick Wray. The incredible Columbus-based band sits down with Krista and Ben to discuss how the band formed, where they draw their inspiration from, and about their remarkably prescient album Venture, which pretty much predicted the future. Links below to their incredible music! So Long, Stargazer online... https://solongstargazer.com/ Bandcamp... https://solongstargazer.bandcamp.com/releases All the socials, too! Listen to this episode on iTunes! https://podcasts.apple.com/us/podcast/speak-easily-with-krista-stauffer/id1446908410 Listen to ALL of our episodes on Soundcloud! https://soundcloud.com/speakeasilycolumbus Special Thanks to all of our loyal listeners! Speak Easily is produced at Boxland Media Studios, in beautiful Columbus Ohio. To see more of our work, check out www.boxlandmedia.com #podcast #SpeakEasily #KristaStauffer #AsSeenInColumbus #614

BOOTS & SADDLE - May 4, 2021 1. Time Lock - George Jones (Country & Western No 1 Male Singer - 1964) 2. Goodbye, So Long, Hello - Prairie Oyster (Different Kind Of Fire - 1990) 3. Heard It Through The Red Wine - Charlie Marie (Ramble On - 2021) 4. Weird Thought Thinker - Joshua Hedley (Mr. Jukebox - 2018) 5. Has Anybody Seen Me Lately - Harlan Howard (Harlan Howard Sings Harland Howard - 1961) 6. Learnin' to Drown - Vincent Neil Emerson (Vincent Neil Emerson - 2021) 7. Would You Like to Get Some Goats - Melissa Carper (Daddy's Country Gold - 2021) 8. Down Here on Earth - Mike T. Kerr (Heart Pine Valley - 2021) 9. Family - Nick Garza's Get Along (Single - 2021) 10. Out Back Baby - (feat. John Evans Band) - James Steinle (Single - 2021) 11. Too Many Rivers - Liz Anderson (Liz Anderson Sings - 1967) 12. Walk Out  - Justin Townes Earle (Midnight At The Movies - 2009) 13. Five Minutes Of The Latest Blues - Justin Tubb (Star Of The Grand Ole Opry - 1962) 14. Never On Sunday [instrumental] - Roy Penney (Twistin' The Pick - 1965) 15. Sometimes It's a Lonely Road - Bobby Dove (Hopeless Romantic - 2021) 16. One More Time - Hayden C. James (One More Time - 2017) 17. There She Goes - Frank Jacket (Sad Songs To Dance To - 2021) 18. Bouquet of Roses - Carl Smith (Man with a Plan - 1966) 19. Then and Only Then - Loretta Lynn (Blue Kentucky Girl - 1965) 20. Histoire d'antan - Eric Lemoine (Single - 2021)  21. Johnny Boychuck Song - Jolie Blue (Single - 2020) 22. Wondering' If Willy - Marie Bottrell (The Star - 1980) 23. The Fool is the Last One to Know - The Blue Shadows (On The Floor Of Heaven - 1993) 24. Movin' to the Country - David Gideon (Single - 2020) 25. Sweet Talkin' - Katie Mae & the Lubrication (Hazy Angel - 2020) 26. I Can't Deal With It - Nicholas Campbell (Livin' and Other Western Ideas - 2021) 27. Sweet Lies - Linda Longard (Empty Dreams and Other Country Favorites)  28. Do-Die - Johnny Dollar (Johnny Dollar - 1967)  29. This Time's The Next Time - Wanda Jackson (You'll Always Have My Love - 1967) 30. My Heart Skips a Beat - Chef Adams and Yvonne Terry (Show Stoppers - 1965)  31. Under Your Spell Again [instrumental] - The Buckaroos (The Buckaroos Play Buck & Merle - 1965) 32. South Richmond Girl - Robbie Fulks (South Mouth - 1997)

If you struggle feeling confident in yourself and it affects your relationship with your husband, the way you show up as a mom, or a friend, today's episode is for you. Low self confidence can affect every aspect of your life or it can affect just one aspect, like your ability to lose weight and keep it off. The judgement you put on yourself because of this is high and it's keeping you stuck and frustrated! Lots of my clients are successful in several areas of their lives but there's just this one area that they aren't confident in. When I work with these women they are astounded at how simple it is to get some traction on something they've struggled with on their own for SO LONG, and the first step is to get curious and stop judging. If this sounds familiar, good news! Today I'm going to teach you what you can do to stop judging yourself and where you are NOW and how being curious instead will actually get you better results.Support the show (http://sheribrasier.com)

On this episode of the Born Leadaz Podcast, we sit down with 2almightyy They discuss how they vibe in the Studio, breaking down the song “So Long”, New music And much more. ______________________________________ Follow all our social media accounts https://www.Instagram.com/Bornleadazpodcast https://www.Instagram.com/BornLeadaztv https://www.Instagram.com/BornLeadazWrestlingpodcast https://www.Instagram.com/Lavontefsmith https://www.Instagram.com/Jamib_118 https://www.Instagram.com/2almightyy https://www.Instagram.com/ballalmighty https://www.Instagram.com/_almightyguapo https://www.twitter.com/BornLeadazpod https://www.twitter.com/Bornleadaztv --- Support this podcast: https://anchor.fm/bornleadazpodcast/support

And how your desires can help you sell more on Teachers Pay Teachers  Let me take you back in time to four years ago…to a time when I was merely beginning to understand how to sell on Teachers pay Teachers. Ya know, I’d really just begun to start making any traction with sales on my Teachers pay Teachers dashboard and my Teachers pay Teachers worksheets were starting to take off. With the little money I’d made from my Teachers pay Teachers sales, I bought a 1990s popup. Ohhhh and believe you me, friend, I had wanted that popup for SO LONG. My husband and I, we were going to a music festival and I was so proud to not be sleeping in a tent. We paid for that popup in CASH. But this popup didn’t have a bathroom. The popup didn’t have a shower. What the popup had was a real bed and an air conditioner. And I felt like I was on top of the world. That was just 4 years ago. Fast Forward to 2020. It’s the pandemic. My husband and I paid cash again, but this time, for a new RV with bunk beds, a kitchen, a tv, shower, air conditioner, a pull out couch, a master bedroom, and more. In 4 year’s time – my life has changed dramatically. From stressing about paying my Netflix bill to paying cash for nearly everything we own. It all started with selling on teachers pay teachers. How to sell on teachers pay teachers is the foundation of my company, The CEO Teacher, and selling on teachers pay teachers is how I got to where I am today…in more ways than just buying a camper. How to sell on teachers pay teachers if you’re starting out or as an experienced seller If you’re here and you are like, “Kayse, I’m already selling on teachers pay teachers!” stick with me, friend! Going back to the basics is always helpful, no matter how many years you’ve been in the game. In today’s show, I want to help you get started (or grow) on Teachers Pay Teachers for free and to give you steps to show you that your dreams are closer than you think. Listen here to get five strategies to start making sales (or making more sales) on teachers pay teachers today! In this episode, you will learn: How guilt around money or making money can be holding you back Why teachers pay teachers worksheets are still the number one way to make easy money on Teachers pay teachers What data is reliable and what data is inaccurate on your teachers pay teachers dashboard Why easy wins can motivate you to keep going And how dreaming big may expand how much money you can make by selling on teachers pay teachers LINKS MENTIONED IN THIS EPISODE ABOUT HOW TO SELL ON TEACHERS PAY TEACHERS:  The CEO Teachergram Challenge: kaysemorris.com/teachergram Earl Nightingale The Untethered Soul Michael Alan Singer More from Michael Alan Singer: https://youtu.be/zSzIJc5G9Eo The Surrender Experiment  kaysemorris.com/go CEO TEACHER® RESOURCES WORTH THEIR WEIGHT IN GOLD:  What's your CEO Teacher® Type? Find out here! Download my free book, Start or Expand Your Online Teacher Business, and get started building your business today! Check out my CEO Teacher® Book Recommendations here! JOIN OUR CEO TEACHER® PODCAST COMMUNITY TO GROW WITH LIKE-MINDED TEACHERS: The CEO Teacher® Podcast Facebook Group Send me a DM on Instagram– I love chatting with my people, so send me a message about your teachers pay teachers school access! ENJOYING THE PODCAST? THANKS FOR TUNING IN! Tag me @kaysemorris on Instagram and tell me what you are listening to! I love seeing what resonates most with our listeners!  I don’t want you to miss a thing! Be the first to know when a new episode is available by subscribing on iTunes here! If you would like to support The CEO Teacher® podcast, it would mean so much to me if you would leave a review on iTunes. By leaving a review, you are helping fellow CEO teachers find this podcast and start building a life they love.  To leave a review on iTunes, click HERE and scroll down to Ratings and Reviews. Click “Write a Review” and share with me how this podcast is changing your business and your life! READY FOR MORE? I LIKE YOUR STYLE! LISTEN TO THESE CEO TEACHER® PODCAST EPISODES NEXT! Use a Business Storyboard to Make More TpT Sales Online Streamline Your Selling On Teachers Pay Teachers Boost Your Teachers Pay Teachers Sales with these 5 Systems

    Today on 'Songs To Chew' we'll listen to a song called SO LONG, and talk about sadness and loss and grieving.  We know that things in our lives have beginnings and middles and ends, and so it is with people.  Leaving people, places and things behind can be scary and sad and exciting all at the same time.  Sometimes leaving things or people that created problems for us becomes even more complicated, because they also provided us with some great stories and unforgettably joyous rides.  Some losses in our lives we have absolutely no control over, but sometimes we do have some control and we can choose.  With practice, we learn to make better choices, and then we begin to intentionally steer our lives in directions we want to go, and set our course toward a life that we want to live.  I'm Peter Alsop.  I'll see you next week with another SONG TO CHEW.  Bye for now!  * Subscribe to my weekly - Songs To Chew podcast ~     https://podcasts.apple.com/us/podcast/peter-alsops-songs-to-chew/id1446179156  * CAMPING WITH DADS - my newest album! ~     https://www.amazon.com/Camping-Dads-Peter-Alsop/dp/B08CS871QW/ref=sr_1_1  * E-mail/ Website ~ peter@peteralsop.com  ~ https://www.peteralsop.com  * www.FaceBook.com/WeLikePeterAlsop  * Youtube.com/peteralsop ~ videos * Patreon.com/peteralsop ~ support my music, podcast & other artistic endeavors * CDs & downloads ~ http://www.peteralsop.com/music 

Продолжаем говорить о соул-музыке периода 50-х годов, самом важном десятилетии жанра ритм-энд-блюз. Героиня сегодняшней программы королева ритм-энд-блюза - Ruth Brown. Американская певица и актриса прославилась в 1950-х годах своими хитами на студии «Atlantic Records». Первый трек «So Long», который прозвучит в нашем подкасте, попал в список хитов и в 40-х исполнялся Ella Fitzgerald.

We're back! It's been SO LONG! Ha! The listening portion was on a hiatus, but with google rankings and blog views skyrocketing, I have some special treats for you coming. Today we're going to be doing a Listening Part C with a comprehensive breakdown, so let's get into it!Instagram ESL Podcast: https://www.instagram.com/arsenioseslpodcast/Patreon: https://www.patreon.com/arseniosesllearningPodcast on Spotify: https://open.spotify.com/show/7hdzplWx6xB8mhwDJYiP6fPodcast on ListenNote: https://www.listennotes.com/c/778cf3cfd2564ba5b01f693bfebc96de/arsenio-s-esl-podcast/Podcast on CastBox: https://castbox.fm/channel/Arsenio's-ESL-Podcast-id1251433?country=usCalendar (Consultation)- https://calendly.com/arseniobuck/teaching-coaching-for-1-hourCalendar (Patreon Badge Consultation) - https://calendly.com/arseniobuck/teaching-coaching-for-2-5-hourFacebook: https://www.facebook.com/Arseniobuck/?ref=bookmarksYoutube: https://www.youtube.com/channel/UCIzp4EdbJVMhhSnq_0u4ntAWebsite: https://thearseniobuckshow.com/Q & A: ArsenioBuck@icloud.comLinkedIn: https://www.linkedin.com/in/arsenio-buck-9692a6119/Instagram: https://www.instagram.com/thearseniobuckshow/?hl=enBuzz sprout: https://www.buzzsprout.com/165390Twitter: https://twitter.com/ArseniosESLPodSupport the show (https://www.patreon.com/arseniosesllearning)

APTSITMOA (Andrew Programs The Show In The Month of April) continues with the dreadfully boring Ridley Scott flick Legend! Where the HELL IS TIM CURRY? What is going on in this movie? Why does it take SO LONG to get going?! Why is there NO QUEST?! All this and more! “NewsSting, Ouroboros” Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/ Keywords: Return to Oz, Fairuza Balk, TickTok, Movie, Retro, 80s, Podcast, Eighties

Ken and Gar are going back to the 100 Acre Wood this week as they review Disney's 51st animated feature, Winnie the Pooh, first released in 2011. The brothers also discuss possible future Pooh adaptations and why kids need Eeyore. Featuring  a rendition of Zooey Deschanel's "So Long" from the Winnie the Pooh soundtrack by Musical Correspondent, Nicole McDonagh. We hereby declare that we do not own the rights to this music/song. All rights belong to the owner. No copyright infringement intended.Follow Nicole @NicoleMcD_PR on Twitter and @n.mcdonagh on Instagram for more magical musical contentWatch along on Disney Plus and join the conversation on social media:Facebook: https://www.facebook.com/MagicByDesignPodTwitter: @MagicDesignPodInstagram: @magicbydesignpod

Hello Friends! Today we're hanging out in 1966 with Nancy Sinatra's debut LP, 'Boots'. The first in a string of albums produced by Lee Hazlewood, this album was host to smash hit "These Boots Are Made For Walkin'", along with classic tracks such as "So Long, Babe", and many fantastic covers, including my personal favourite, "Run For Your Life". Remaining unissued in mono since 1966, let's see how the in-print stereo mix holds up to the single-channeled punch of the mono. So, get ready to count those Flowers On The Wall, and let's dig right in! Happy Listening,  Frederick  P.S. - This episode was voted on by our Graduate Tier Patrons. If you want to control which albums I look at in the future, consider signing up at https://www.patreon.com/backtomono Email the show at: backtomonoradio@gmail.com Listen to companion podcast Back to Mono here: backtomono.podbean.com Find me on Instagram @hypnoticfred Join the Facebook Community here: https://www.facebook.com/groups/backtomono

Episode 118 of A History of Rock Music in Five Hundred Songs looks at "Do-Wah-Diddy-Diddy" by Manfred Mann, and how a jazz group with a blues singer had one of the biggest bubblegum pop hits of the sixties. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on "Walk on By" by Dionne Warwick. 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/ ----more---- Resources No Mixcloud this week due to the number of tracks by Manfred Mann. Information on the group comes from Mannerisms: The Five Phases of Manfred Mann, by Greg Russo, and from the liner notes of this eleven-CD box set of the group's work. For a much cheaper collection of the group's hits -- but without the jazz, blues, and baroque pop elements that made them more interesting than the average sixties singles band -- this has all the hit singles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript: So far, when we've looked at the British blues and R&B scene, we've concentrated on the bands who were influenced by Chicago blues, and who kept to a straightforward guitar/bass/drums lineup. But there was another, related, branch of the blues scene in Britain that was more musically sophisticated, and which while its practitioners certainly enjoyed playing songs by Howlin' Wolf or Muddy Waters, was also rooted in the jazz of people like Mose Allison. Today we're going to look at one of those bands, and at the intersection of jazz and the British R&B scene, and how a jazz band with a flute player and a vibraphonist briefly became bubblegum pop idols. We're going to look at "Do Wah Diddy Diddy" by Manfred Mann: [Excerpt: Manfred Mann, "Do Wah Diddy Diddy"] Manfred Mann is, annoyingly when writing about the group, the name of both a band and of one of its members. Manfred Mann the human being, as opposed to Manfred Mann the group, was born Manfred Lubowitz in South Africa, and while he was from a wealthy family, he was very opposed to the vicious South African system of apartheid, and considered himself strongly anti-racist. He was also a lover of jazz music, especially some of the most progressive music being made at the time -- musicians like Ornette Coleman, Charles Mingus, and John Coltrane -- and he soon became a very competent jazz pianist, playing with musicians like Hugh Masakela at a time when that kind of fraternisation between people of different races was very much frowned upon in South Africa. Manfred desperately wanted to get out of South Africa, and he took his chance in June 1961, at the last point at which he was a Commonwealth citizen. The Commonwealth, for those who don't know, is a political association of countries that were originally parts of the British Empire, and basically replaced the British Empire when the former colonies gained their independence. These days, the Commonwealth is of mostly symbolic importance, but in the fifties and sixties, as the Empire was breaking up, it was considered a real power in its own right, and in particular, until some changes to immigration law in the mid sixties, Commonwealth citizens had the right to move to the UK.  At that point, South Africa had just voted to become a republic, and there was a rule in the Commonwealth that countries with a head of state other than the Queen could only remain in the Commonwealth with the unanimous agreement of all the other members. And several of the other member states, unsurprisingly, objected to the continued membership of a country whose entire system of government was based on the most virulent racism imaginable. So, as soon as South Africa became a republic, it lost its Commonwealth membership, and that meant that its citizens lost their automatic right to emigrate to the UK. But they were given a year's grace period, and so Manfred took that chance and moved over to England, where he started playing jazz keyboards, giving piano lessons, and making some money on the side by writing record reviews. For those reviews, rather than credit himself as Manfred Lubowitz, he decided to use a pseudonym taken from the jazz drummer Shelly Manne, and he became Manfred Manne -- spelled with a silent e on the end, which he later dropped. Mann was rather desperate for gigs, and he ended up taking a job playing with a band at a Butlin's holiday camp. Graham Bond, who we've seen in several previous episodes as the leader of The Graham Bond Organisation, was at that time playing Hammond organ there, but only wanted to play a few days a week. Mann became the substitute keyboard player for that holiday camp band, and struck up a good musical rapport with the drummer and vibraphone player, Mike Hugg. When Bond went off to form his own band, Mann and Hugg decided to form their own band along the same lines, mixing the modern jazz that they liked with the more commercial R&B that Bond was playing.  They named their group the Mann-Hugg Blues Brothers, and it initially consisted of Mann on keyboards, Hugg on drums and vibraphone, Mike Vickers on guitar, flute, and saxophone, Dave Richmond on bass, Tony Roberts and Don Fay on saxophone and Ian Fenby on trumpet. As their experiences were far more in the jazz field than in blues, they decided that they needed to get in a singer who was more familiar with the blues side of things. The person they chose was a singer who was originally named Paul Pond, and who had been friends for a long time with Brian Jones, before Jones had formed the Rolling Stones. While Jones had been performing under the name Elmo Lewis, his friend had taken on Jones' surname, as he thought "Paul Pond" didn't sound like a good name for a singer. He'd first kept his initials, and performed as P.P. Jones, but then he'd presumably realised that "pee-pee" is probably not the best stage name in the world, and so he'd become just Paul Jones, the name by which he's known to this day. Jones, like his friend Brian, was a fan particularly of Chicago blues, and he had occasionally appeared with Alexis Korner. After auditioning for the group at a ska club called The Roaring 20s, Jones became the group's lead singer and harmonica player, and the group soon moved in Jones' musical direction, playing the kind of Chicago blues that was popular at the Marquee club, where they soon got a residency, rather than the soul style that was more popular at the nearby Flamingo club, and which would be more expected from a horn-centric lineup. Unsurprisingly, given this, the horn players soon left, and the group became a five-piece core of Jones, Mann, Hugg, Vickers, and Richmond. This group was signed to HMV records by John Burgess. Burgess was a producer who specialised in music of a very different style from what the Mann-Hugg Blues Brothers played. We've already heard some of his production work -- he was the producer for Adam Faith from "What Do You Want?" on: [Excerpt: Adam Faith, "What Do You Want?"] And at the time he signed the Mann-Hugg Blues Brothers, he was just starting to work with a new group, Freddie and the Dreamers, for whom he would produce several hits: [Excerpt: Freddie and the Dreamers, "If You Gotta Make a Fool of Somebody"] Burgess liked the group, but he insisted that they had to change their name -- and in fact, he insisted that the group change their name to Manfred Mann. None of the group members liked the idea -- even Mann himself thought that this seemed a little unreasonable, and Paul Jones in particular disagreed strongly with the idea, but they were all eventually mollified by the idea that all the publicity would emphasise that all five of them were equal members of the group, and that while the group might be named after their keyboard player, there were five members. The group members themselves always referred to themselves as "the Manfreds" rather than as Manfred Mann. The group's first single showed that despite having become a blues band and then getting produced by a pop producer, they were still at heart a jazz group. "Why Should We Not?" is an instrumental led by Vickers' saxophone, Mann's organ, and Jones' harmonica: [Excerpt: Manfred Mann, "Why Should We Not?"] Unsurprisingly, neither that nor the B-side, a jazz instrumental version of "Frere Jacques", charted -- Britain in 1963 wanted Gerry and the Pacemakers and Freddie and the Dreamers, not jazz instrumentals. The next single, an R&B song called "Cock-A-Hoop" written by Jones, did little better. The group's big breakthrough came from Ready, Steady, Go!, which at this point was using "Wipe Out!" by the Surfaris as its theme song: [Excerpt: The Surfaris, "Wipe Out"] We've mentioned Ready, Steady, Go! in passing in previous episodes, but it was the most important pop music show of the early and mid sixties, just as Oh Boy! had been for the late fifties. Ready, Steady, Go! was, in principle at least, a general pop music programme, but in practice it catered primarily for the emerging mod subculture. "Mod" stood for "modernist", and the mods emerged from the group of people who liked modern jazz rather than trad, but by this point their primary musical interests were in soul and R&B. Mod was a working-class subculture, based in the South-East of England, especially London, and spurred on by the newfound comparative affluence of the early sixties, when for the first time young working-class people, while still living in poverty, had a small amount of disposable income to spend on clothes, music, and drugs. The Mods had a very particular sense of style, based around sharp Italian suits, pop art and op art, and Black American music or white British imitations of it. For them, music was functional, and primarily existed for the purposes of dancing, and many of them would take large amounts of amphetamines so they could spend the entire weekend at clubs dancing to soul and R&B music. And that entire weekend would kick off on Friday with Ready, Steady, Go!, whose catchphrase was "the weekend starts here!" Ready, Steady, Go! featured almost every important pop act of the early sixties, but while groups like Gerry and the Pacemakers or the Beatles would appear on it, it became known for its promotion of Black artists, and it was the first major British TV exposure for Motown artists like the Supremes, the Temptations, and the Marvelettes, for Stax artists like Otis Redding, and for blues artists like John Lee Hooker and Sonny Boy Williamson. Ready Steady Go! was also the primary TV exposure for British groups who were inspired by those artists, and it's through Ready Steady Go! that the Animals, the Yardbirds, the Rolling Stones, Them, and the Who, among others reached national popularity -- all of them acts that were popular among the Mods in particular. But "Wipe Out" didn't really fit with this kind of music, and so the producers of Ready Steady Go were looking for something more suitable for their theme music. They'd already tried commissioning the Animals to record something, as we saw a couple of weeks back, but that hadn't worked out, and instead they turned to Manfred Mann, who came up with a song that not only perfectly fit the style of the show, but also handily promoted the group themselves: [Excerpt: Manfred Mann, "5-4-3-2-1"] That was taken on as Ready, Steady, Go!s theme song, and made the top five in the UK. But by the time it charted, the group had already changed lineup. Dave Richmond was seen by the other members of the group as a problem at this point. Richmond was a great bass player, but he was a great *jazz* bass player -- he wanted to be Charles Mingus, and play strange cross-rhythms, and what the group needed at this point was someone who would just play straightforward blues basslines without complaint -- they needed someone closer to Willie Dixon than to Mingus. Tom McGuinness, who replaced him, had already had a rather unusual career trajectory. He'd started out as a satirist, writing for the magazine Private Eye and the TV series That Was The Week That Was, one of the most important British comedy shows of the sixties, but he had really wanted to be a blues musician instead. He'd formed a blues band, The Roosters, with a guitarist who went to art school with his girlfriend, and they'd played a few gigs around London before the duo had been poached by the minor Merseybeat band Casey Jones and his Engineers, a group which had been formed by Brian Casser, formerly of Cass & The Cassanovas, the group that had become The Big Three. Casey Jones and his Engineers had just released the single "One Way Ticket": [Excerpt: Casey Jones and His Engineers, "One-Way Ticket"] However, the two guitarists soon realised, after just a handful of gigs, that they weren't right for that group, and quit. McGuinness' friend, Eric Clapton, went on to join the Yardbirds, and we'll be hearing more about him in a few weeks' time, but McGuinness was at a loose end, until he discovered that Manfred Mann were looking for a bass player. McGuinness was a guitarist, but bluffed to Paul Jones that he'd switched to bass, and got the job. He said later that the only question he'd been asked when interviewed by the group was "are you willing to play simple parts?" -- as he'd never played bass in his life until the day of his first gig with the group, he was more than happy to say yes to that. McGuinness joined only days after the recording of "5-4-3-2-1", and Richmond was out -- though he would have a successful career as a session bass player, playing on, among others, "Je t'Aime" by Serge Gainsbourg and Jane Birkin, "Your Song" by Elton John, Labi Siffre's "It Must Be Love", and the music for the long-running sitcoms Only Fools and Horses and Last of the Summer Wine. As soon as McGuinness joined, the group set out on tour, to promote their new hit, but also to act as the backing group for the Crystals, on a tour which also featured Johnny Kidd and the Pirates and Joe Brown and his Bruvvers.  The group's next single, "Hubble Bubble Toil and Trouble" was another original, and made number eleven on the charts, but the group saw it as a failure anyway, to the extent that they tried their best to forget it ever existed. In researching this episode I got an eleven-CD box set of the group's work, which contains every studio album or compilation they released in the sixties, a collection of their EPs, and a collection of their BBC sessions. In all eleven CDs, "Hubble Bubble Toil and Trouble" doesn't appear at all. Which is quite odd, as it's a perfectly serviceable, if unexceptional, piece of pop R&B: [Excerpt: Manfred Mann, "Hubble Bubble Toil and Trouble"] But it's not just the group that were unimpressed with the record. John Burgess thought that the record only getting to number eleven was proof of his hypothesis that groups should not put out their own songs as singles. From this point on, with one exception in 1968, everything they released as an A-side would be a cover version or a song brought to them by a professional songwriter. This worried Jones, who didn't want to be forced to start singing songs he disliked, which he saw as a very likely outcome of this edict. So he made it his role in the group to seek out records that the group could cover, which would be commercial enough that they could get hit singles from them, but which would be something he could sing while keeping his self-respect. His very first selection certainly met the first criterion. The song which would become their biggest hit had very little to do with the R&B or jazz which had inspired the group. Instead, it was a perfect piece of Brill Building pop. The Exciters, who originally recorded it, were one of the great girl groups of the early sixties (though they also had one male member), and had already had quite an influence on pop music. They had been discovered by Leiber and Stoller, who had signed them to Red Bird Records, a label we'll be looking at in much more detail in an upcoming episode, and they'd had a hit in 1962 with a Bert Berns song, "Tell Him", which made the top five: [Excerpt: The Exciters, "Tell Him"] That record had so excited a young British folk singer who was in the US at the time to record an album with her group The Springfields that she completely reworked her entire style, went solo, and kickstarted a solo career singing pop-soul songs under the name Dusty Springfield. The Exciters never had another top forty hit, but they became popular enough among British music lovers that the Beatles asked them to open for them on their American tour in summer 1964. Most of the Exciters' records were of songs written by the more R&B end of the Brill Building songwriters -- they would record several more Bert Berns songs, and some by Ritchie Barrett, but the song that would become their most well-known legacy was actually written by Jeff Barry and Ellie Greenwich. Like many of Barry and Greenwich's songs, it was based around a nonsense phrase, but in this case the phrase they used had something of a longer history, though it's not apparent whether they fully realised that. In African-American folklore of the early twentieth century, the imaginary town of Diddy Wah Diddy was something like a synonym for heaven, or for the Big Rock Candy Mountain of the folk song -- a place where people didn't have to work, and where food was free everywhere. This place had been sung about in many songs, like Blind Blake's "Diddie Wah Diddie": [Excerpt: Blind Blake, "Diddie Wah Diddie"] And a song written by Willie Dixon for Bo Diddley: [Excerpt: Bo Diddley, "Diddy Wah Diddy"] And "Diddy" and "Wah" had often been used by other Black artists, in various contexts, like Roy Brown and Dave Bartholomew's "Diddy-Y-Diddy-O": [Excerpt: Roy Brown and Dave Bartholomew, "Diddy-Y-Diddy-O"] And Junior and Marie's "Boom Diddy Wah Wah", a "Ko Ko Mo" knockoff produced by Johnny Otis: [Excerpt: Junior and Marie, "Boom Diddy Wah Wah"]  So when Jeff Barry and Ellie Greenwich wrote "Do-Wah-Diddy", as the song was originally called, they were, wittingly or not, tapping into a rich history of rhythm and blues music. But the song as Greenwich demoed it was one of the first examples of what would become known as "bubblegum pop", and is particularly notable in her demo for its very early use of the fuzz guitar that would be a stylistic hallmark of that subgenre: [Excerpt: Ellie Greenwich, "Do-Wah-Diddy (demo)"] The Exciters' version of the song took it into more conventional girl-group territory, with a strong soulful vocal, but with the group's backing vocal call-and-response chant showing up the song's resemblance to the kind of schoolyard chanting games which were, of course, the basis of the very first girl group records: [Excerpt: The Exciters, "Do-Wah-Diddy"] Sadly, that record only reached number seventy-eight on the charts, and the Exciters would have no more hits in the US, though a later lineup of the group would make the UK top forty in 1975 with a song written and produced by the Northern Soul DJ Ian Levine. But in 1964 Jones had picked up on "Do-Wah-Diddy", and knew it was a potential hit. Most of the group weren't very keen on "Do Wah Diddy Diddy", as the song was renamed. There are relatively few interviews with any of them about it, but from what I can gather the only member of the band who thought anything much of the song was Paul Jones. However, the group did their best with the recording, and were particularly impressed with Manfred's Hammond organ solo -- which they later discovered was cut out of the finished recording by Burgess. The result was an organ-driven stomping pop song which had more in common with the Dave Clark Five than with anything else the group were doing: [Excerpt: Manfred Mann, "Do Wah Diddy Diddy"] The record reached number one in both the UK and the US, and the group immediately went on an American tour, packaged with Peter & Gordon, a British duo who were having some success at the time because Peter Asher's sister was dating Paul McCartney, who'd given them a hit song, "World Without Love": [Excerpt: Peter and Gordon, "World Without Love"] The group found the experience of touring the US a thoroughly miserable one, and decided that they weren't going to bother going back again, so while they would continue to have big hits in Britain for the rest of the decade, they only had a few minor successes in the States. After the success of "Do Wah Diddy Diddy", EMI rushed out an album by the group, The Five Faces of Manfred Mann, which must have caused some confusion for anyone buying it in the hope of more "Do Wah Diddy Diddy" style pop songs. Half the album's fourteen tracks were covers of blues and R&B, mostly by Chess artists -- there were covers of Muddy Waters, Howlin' Wolf, Bo Diddley, Ike & Tina Turner, and more. There were also five originals, written or co-written by Jones, in the same style as those songs, plus a couple of instrumentals, one written by the group and one a cover of Cannonball Adderly's jazz classic "Sack O'Woe", arranged to show off the group's skills at harmonica, saxophone, piano and vibraphone: [Excerpt: Manfred Mann, "Sack O'Woe"] However, the group realised that the formula they'd hit on with "Do  Wah Diddy Diddy" was a useful one, and so for their next single they once again covered a girl-group track with a nonsense-word chorus and title -- their version of "Sha La La" by the Shirelles took them to number three on the UK charts, and number twelve in the US. They followed that with a ballad, "Come Tomorrow", one of the few secular songs ever recorded by Marie Knight, the gospel singer who we discussed briefly way back in episode five, who was Sister Rosetta Tharpe's duet partner, and quite possibly her partner in other senses. They released several more singles and were consistently charting, to the point that they actually managed to get a top ten hit with a self-written song despite their own material not being considered worth putting out as singles. Paul Jones had written "The One in the Middle" for his friends the Yardbirds, but when they turned it down, he rewrote the song to be about Manfred Mann, and especially about himself: [Excerpt: Manfred Mann, "The One in the Middle"] Like much of their material, that was released on an EP, and the EP was so successful that as well as making number one on the EP charts, it also made number ten on the regular charts, with "The One in the Middle" as the lead-off track. But "The One in the Middle" was a clue to something else as well -- Jones was getting increasingly annoyed at the fact that the records the group was making were hits, and he was the frontman, the lead singer, the person picking the cover versions, and the writer of much of the original material, but all the records were getting credited to the group's keyboard player.  But Jones wasn't the next member of the group to leave. That was Mike Vickers, who went off to work in arranging film music and session work, including some work for the Beatles, the music for the film Dracula AD 1972, and the opening and closing themes for This Week in Baseball. The last single the group released while Vickers was a member was the aptly-titled "If You Gotta Go, Go Now". Mann had heard Bob Dylan performing that song live, and had realised that the song had never been released. He'd contacted Dylan's publishers, got hold of a demo, and the group became the first to release a version of the song, making number two in the charts: [Excerpt: Manfred Mann, "If You Gotta Go, Go Now"] Before Vickers' departure, the group had recorded their second album, Mann Made, and that had been even more eclectic than the first album, combining versions of blues classics like "Stormy Monday Blues", Motown songs like "The Way You Do The Things You Do", country covers like "You Don't Know Me", and oddities like "Bare Hugg", an original jazz instrumental for flute and vibraphone: [Excerpt: Manfred Mann, "Bare Hugg"] McGuinness took the opportunity of Vickers leaving the group to switch from bass back to playing guitar, which had always been his preferred instrument. To fill in the gap, on Graham Bond's recommendation they hired away Jack Bruce, who had just been playing in John Mayall's Bluesbreakers with McGuinness' old friend Eric Clapton, and it's Bruce who played bass on the group's next big hit, "Pretty Flamingo", the only UK number one that Bruce ever played on: [Excerpt: Manfred Mann, "Pretty Flamingo"] Bruce stayed with the band for several months, before going off to play in another band who we'll be covering in a future episode. He was replaced in turn by Klaus Voorman. Voorman was an old friend of the Beatles from their Hamburg days, who had been taught the rudiments of bass by Stuart Sutcliffe, and had formed a trio, Paddy, Klaus, and Gibson, with two Merseybeat musicians, Paddy Chambers of the Big Three and Gibson Kemp of Kingsize Taylor and the Dominoes: [Excerpt: Paddy, Klaus, and Gibson, "No Good Without You Baby"] Like Vickers, Voorman could play the flute, and his flute playing would become a regular part of the group's later singles. These lineup changes didn't affect the group as either a chart act or as an act who were playing a huge variety of different styles of music. While the singles were uniformly catchy pop, on album tracks, B-sides or EPs you'd be likely to find versions of folk songs collected by Alan Lomax, like "John Hardy", or things like "Driva Man", a blues song about slavery in 5/4 time, originally by the jazz greats Oscar Brown and Max Roach: [Excerpt: Manfred Mann, "Driva Man"] But by the time that track was released, Paul Jones was out of the group. He actually announced his intention to quit the group at the same time that Mike Vickers left, but the group had persuaded him to stay on for almost a year while they looked for his replacement, auditioning singers like Rod Stewart and Long John Baldry with little success. They eventually decided on Mike d'Abo, who had previously been the lead singer of a group called A Band of Angels: [Excerpt: A Band of Angels, "(Accept My) Invitation"] By the point d'Abo joined, relations  between the rest of the group and Jones were so poor that they didn't tell Jones that they were thinking of d'Abo -- Jones would later recollect that the group decided to stop at a pub on the way to a gig, ostensibly to watch themselves on TV, but actually to watch A Band of Angels on the same show, without explaining to Jones that that was what they were doing – Jones actually mentioned d'Abo to his bandmates as a possible replacement, not realising he was already in the group. Mann has talked about how on the group's last show with Jones, they drove to the gig in silence, and their first single with the new singer, a version of Dylan's "Just Like a Woman", came on the radio. There was a lot of discomfort in the band at this time, because their record label had decided to stick with Jones as a solo performer, and the rest of the group had had to find another label, and were worried that without Jones their career was over. Luckily for everyone involved, "Just Like a Woman" made the top ten, and the group's career was able to continue. Meanwhile, Jones' first single as a solo artist made the top five: [Excerpt: Paul Jones, "High Time"] But after that and his follow-up, "I've Been a Bad, Bad, Boy", which made number five, the best he could do was to barely scrape the top forty. Manfred Mann, on the other hand, continued having hits, though there was a constant struggle to find new material. d'Abo was himself a songwriter, and it shows the limitations of the "no A-sides by group members" rule that while d'Abo was the lead singer of Manfred Mann, he wrote two hit singles which the group never recorded. The first, "Handbags and Gladrags", was a hit for Chris Farlowe: [Excerpt: Chris Farlowe, "Handbags and Gladrags"] That was only a minor hit, but was later recorded successfully by Rod Stewart, with d'Abo arranging, and the Stereophonics. d'Abo also co-wrote, and played piano on, "Build Me Up Buttercup" by the Foundations: [Excerpt: The Foundations, "Build Me Up Buttercup"] But the group continued releasing singles written by other people.  Their second post-Jones single, from the perspective of a spurned lover insulting their ex's new fiancee, had to have its title changed from what the writers intended, as the group felt that a song insulting "semi-detached suburban Mr. Jones" might be taken the wrong way. Lightly retitled, "Semi-Detached Suburban Mr. James" made number two, while the follow-up, "Ha Ha! Said the Clown", made number four. The two singles after that did significantly less well, though, and seemed to be quite bizarre choices -- an instrumental Hammond organ version of Tommy Roe's "Sweet Pea", which made number thirty-six, and a version of Randy Newman's bitterly cynical "So Long, Dad", which didn't make the charts at all. After this lack of success, the group decided to go back to what had worked for them before. They'd already had two hits with Dylan songs, and Mann had got hold of a copy of Dylan's Basement Tapes, a bootleg which we'll be talking about later. He picked up on one song from it, and got permission to release "The Mighty Quinn", which became the group's third number one: [Excerpt: Manfred Mann, "The Mighty Quinn"] The album from which that came, Mighty Garvey, is the closest thing the group came to an actual great album. While the group's earlier albums were mostly blues covers, this was mostly made up of original material by either Hugg or d'Abo, in a pastoral baroque pop style that invites comparisons to the Kinks or the Zombies' material of that period, but with a self-mocking comedy edge in several songs that was closer to the Bonzo Dog Doo-Dah Band. Probably the highlight of the album was the mellotron-driven "It's So Easy Falling": [Excerpt: Manfred Mann, "It's So Easy Falling"] But Mighty Garvey didn't chart, and it was the last gasp of the group as a creative entity. They had three more top-ten hits, all of them good examples of their type, but by January 1969, Tom McGuinness was interviewed saying "It's not a group any more. It's just five people who come together to make hit singles. That's the only aim of the group at the moment -- to make hit singles -- it's the only reason the group exists. Commercial success is very important to the group. It gives us financial freedom to do the things we want." The group split up in 1969, and went their separate ways. d'Abo appeared on the original Jesus Christ Superstar album, and then went into writing advertising jingles, most famously writing "a finger of fudge is just enough" for Cadbury's. McGuinness formed McGuinness Flint, with the songwriters Gallagher and Lyle, and had a big hit with "When I'm Dead and Gone": [Excerpt: McGuinness Flint, "When I'm Dead and Gone"] He later teamed up again with Paul Jones, to form a blues band imaginatively named "the Blues Band", who continue performing to this day: [Excerpt: The Blues Band, "Mean Ol' Frisco"] Jones became a born-again Christian in the eighties, and also starred in a children's TV show, Uncle Jack, and presented the BBC Radio 2 Blues Programme for thirty-two years. Manfred Mann and Mike Hugg formed another group, Manfred Mann Chapter Three, who released two albums before splitting. Hugg went on from that to write for TV and films, most notably writing the theme music to "Whatever Happened to the Likely Lads?": [Excerpt: Highly Likely, "Whatever Happened to the Likely Lads?"] Mann went on to form Manfred Mann's Earth Band, who had a number of hits, the biggest of which was the Bruce Springsteen song "Blinded by the Light": [Excerpt: Manfred Mann's Earth Band, "Blinded by the Light"] Almost uniquely for a band from the early sixties, all the members of the classic lineup of Manfred Mann are still alive. Manfred Mann continues to perform with various lineups of his Earth Band. Hugg, Jones, McGuinness, and d'Abo reunited as The Manfreds in the 1990s, with Vickers also in the band until 1999, and continue to tour together -- I still have a ticket to see them which was originally for a show in April 2020, but has just been rescheduled to 2022. McGuinness and Jones also still tour with the Blues Band. And Mike Vickers now spends his time creating experimental animations.  Manfred Mann were a band with too many musical interests to have a coherent image, and their reliance on outside songwriters and their frequent lineup changes meant that they never had the consistent sound of many of their contemporaries. But partly because of this, they created a catalogue that rewards exploration in a way that several more well-regarded bands' work doesn't, and I wouldn't be at all surprised to see a major critical reassessment of them at some point. But whether that happens or not, almost sixty years on people around the world still respond instantly to the opening bars of their biggest hit, and "Do Wah Diddy Diddy" remains one of the most fondly remembered singles of the early sixties.

Episode 118 of A History of Rock Music in Five Hundred Songs looks at “Do-Wah-Diddy-Diddy” by Manfred Mann, and how a jazz group with a blues singer had one of the biggest bubblegum pop hits of the sixties. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on “Walk on By” by Dionne Warwick. 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/ —-more—- Resources No Mixcloud this week due to the number of tracks by Manfred Mann. Information on the group comes from Mannerisms: The Five Phases of Manfred Mann, by Greg Russo, and from the liner notes of this eleven-CD box set of the group’s work. For a much cheaper collection of the group’s hits — but without the jazz, blues, and baroque pop elements that made them more interesting than the average sixties singles band — this has all the hit singles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript: So far, when we’ve looked at the British blues and R&B scene, we’ve concentrated on the bands who were influenced by Chicago blues, and who kept to a straightforward guitar/bass/drums lineup. But there was another, related, branch of the blues scene in Britain that was more musically sophisticated, and which while its practitioners certainly enjoyed playing songs by Howlin’ Wolf or Muddy Waters, was also rooted in the jazz of people like Mose Allison. Today we’re going to look at one of those bands, and at the intersection of jazz and the British R&B scene, and how a jazz band with a flute player and a vibraphonist briefly became bubblegum pop idols. We’re going to look at “Do Wah Diddy Diddy” by Manfred Mann: [Excerpt: Manfred Mann, “Do Wah Diddy Diddy”] Manfred Mann is, annoyingly when writing about the group, the name of both a band and of one of its members. Manfred Mann the human being, as opposed to Manfred Mann the group, was born Manfred Lubowitz in South Africa, and while he was from a wealthy family, he was very opposed to the vicious South African system of apartheid, and considered himself strongly anti-racist. He was also a lover of jazz music, especially some of the most progressive music being made at the time — musicians like Ornette Coleman, Charles Mingus, and John Coltrane — and he soon became a very competent jazz pianist, playing with musicians like Hugh Masakela at a time when that kind of fraternisation between people of different races was very much frowned upon in South Africa. Manfred desperately wanted to get out of South Africa, and he took his chance in June 1961, at the last point at which he was a Commonwealth citizen. The Commonwealth, for those who don’t know, is a political association of countries that were originally parts of the British Empire, and basically replaced the British Empire when the former colonies gained their independence. These days, the Commonwealth is of mostly symbolic importance, but in the fifties and sixties, as the Empire was breaking up, it was considered a real power in its own right, and in particular, until some changes to immigration law in the mid sixties, Commonwealth citizens had the right to move to the UK.  At that point, South Africa had just voted to become a republic, and there was a rule in the Commonwealth that countries with a head of state other than the Queen could only remain in the Commonwealth with the unanimous agreement of all the other members. And several of the other member states, unsurprisingly, objected to the continued membership of a country whose entire system of government was based on the most virulent racism imaginable. So, as soon as South Africa became a republic, it lost its Commonwealth membership, and that meant that its citizens lost their automatic right to emigrate to the UK. But they were given a year’s grace period, and so Manfred took that chance and moved over to England, where he started playing jazz keyboards, giving piano lessons, and making some money on the side by writing record reviews. For those reviews, rather than credit himself as Manfred Lubowitz, he decided to use a pseudonym taken from the jazz drummer Shelly Manne, and he became Manfred Manne — spelled with a silent e on the end, which he later dropped. Mann was rather desperate for gigs, and he ended up taking a job playing with a band at a Butlin’s holiday camp. Graham Bond, who we’ve seen in several previous episodes as the leader of The Graham Bond Organisation, was at that time playing Hammond organ there, but only wanted to play a few days a week. Mann became the substitute keyboard player for that holiday camp band, and struck up a good musical rapport with the drummer and vibraphone player, Mike Hugg. When Bond went off to form his own band, Mann and Hugg decided to form their own band along the same lines, mixing the modern jazz that they liked with the more commercial R&B that Bond was playing.  They named their group the Mann-Hugg Blues Brothers, and it initially consisted of Mann on keyboards, Hugg on drums and vibraphone, Mike Vickers on guitar, flute, and saxophone, Dave Richmond on bass, Tony Roberts and Don Fay on saxophone and Ian Fenby on trumpet. As their experiences were far more in the jazz field than in blues, they decided that they needed to get in a singer who was more familiar with the blues side of things. The person they chose was a singer who was originally named Paul Pond, and who had been friends for a long time with Brian Jones, before Jones had formed the Rolling Stones. While Jones had been performing under the name Elmo Lewis, his friend had taken on Jones’ surname, as he thought “Paul Pond” didn’t sound like a good name for a singer. He’d first kept his initials, and performed as P.P. Jones, but then he’d presumably realised that “pee-pee” is probably not the best stage name in the world, and so he’d become just Paul Jones, the name by which he’s known to this day. Jones, like his friend Brian, was a fan particularly of Chicago blues, and he had occasionally appeared with Alexis Korner. After auditioning for the group at a ska club called The Roaring 20s, Jones became the group’s lead singer and harmonica player, and the group soon moved in Jones’ musical direction, playing the kind of Chicago blues that was popular at the Marquee club, where they soon got a residency, rather than the soul style that was more popular at the nearby Flamingo club, and which would be more expected from a horn-centric lineup. Unsurprisingly, given this, the horn players soon left, and the group became a five-piece core of Jones, Mann, Hugg, Vickers, and Richmond. This group was signed to HMV records by John Burgess. Burgess was a producer who specialised in music of a very different style from what the Mann-Hugg Blues Brothers played. We’ve already heard some of his production work — he was the producer for Adam Faith from “What Do You Want?” on: [Excerpt: Adam Faith, “What Do You Want?”] And at the time he signed the Mann-Hugg Blues Brothers, he was just starting to work with a new group, Freddie and the Dreamers, for whom he would produce several hits: [Excerpt: Freddie and the Dreamers, “If You Gotta Make a Fool of Somebody”] Burgess liked the group, but he insisted that they had to change their name — and in fact, he insisted that the group change their name to Manfred Mann. None of the group members liked the idea — even Mann himself thought that this seemed a little unreasonable, and Paul Jones in particular disagreed strongly with the idea, but they were all eventually mollified by the idea that all the publicity would emphasise that all five of them were equal members of the group, and that while the group might be named after their keyboard player, there were five members. The group members themselves always referred to themselves as “the Manfreds” rather than as Manfred Mann. The group’s first single showed that despite having become a blues band and then getting produced by a pop producer, they were still at heart a jazz group. “Why Should We Not?” is an instrumental led by Vickers’ saxophone, Mann’s organ, and Jones’ harmonica: [Excerpt: Manfred Mann, “Why Should We Not?”] Unsurprisingly, neither that nor the B-side, a jazz instrumental version of “Frere Jacques”, charted — Britain in 1963 wanted Gerry and the Pacemakers and Freddie and the Dreamers, not jazz instrumentals. The next single, an R&B song called “Cock-A-Hoop” written by Jones, did little better. The group’s big breakthrough came from Ready, Steady, Go!, which at this point was using “Wipe Out!” by the Surfaris as its theme song: [Excerpt: The Surfaris, “Wipe Out”] We’ve mentioned Ready, Steady, Go! in passing in previous episodes, but it was the most important pop music show of the early and mid sixties, just as Oh Boy! had been for the late fifties. Ready, Steady, Go! was, in principle at least, a general pop music programme, but in practice it catered primarily for the emerging mod subculture. “Mod” stood for “modernist”, and the mods emerged from the group of people who liked modern jazz rather than trad, but by this point their primary musical interests were in soul and R&B. Mod was a working-class subculture, based in the South-East of England, especially London, and spurred on by the newfound comparative affluence of the early sixties, when for the first time young working-class people, while still living in poverty, had a small amount of disposable income to spend on clothes, music, and drugs. The Mods had a very particular sense of style, based around sharp Italian suits, pop art and op art, and Black American music or white British imitations of it. For them, music was functional, and primarily existed for the purposes of dancing, and many of them would take large amounts of amphetamines so they could spend the entire weekend at clubs dancing to soul and R&B music. And that entire weekend would kick off on Friday with Ready, Steady, Go!, whose catchphrase was “the weekend starts here!” Ready, Steady, Go! featured almost every important pop act of the early sixties, but while groups like Gerry and the Pacemakers or the Beatles would appear on it, it became known for its promotion of Black artists, and it was the first major British TV exposure for Motown artists like the Supremes, the Temptations, and the Marvelettes, for Stax artists like Otis Redding, and for blues artists like John Lee Hooker and Sonny Boy Williamson. Ready Steady Go! was also the primary TV exposure for British groups who were inspired by those artists, and it’s through Ready Steady Go! that the Animals, the Yardbirds, the Rolling Stones, Them, and the Who, among others reached national popularity — all of them acts that were popular among the Mods in particular. But “Wipe Out” didn’t really fit with this kind of music, and so the producers of Ready Steady Go were looking for something more suitable for their theme music. They’d already tried commissioning the Animals to record something, as we saw a couple of weeks back, but that hadn’t worked out, and instead they turned to Manfred Mann, who came up with a song that not only perfectly fit the style of the show, but also handily promoted the group themselves: [Excerpt: Manfred Mann, “5-4-3-2-1”] That was taken on as Ready, Steady, Go!s theme song, and made the top five in the UK. But by the time it charted, the group had already changed lineup. Dave Richmond was seen by the other members of the group as a problem at this point. Richmond was a great bass player, but he was a great *jazz* bass player — he wanted to be Charles Mingus, and play strange cross-rhythms, and what the group needed at this point was someone who would just play straightforward blues basslines without complaint — they needed someone closer to Willie Dixon than to Mingus. Tom McGuinness, who replaced him, had already had a rather unusual career trajectory. He’d started out as a satirist, writing for the magazine Private Eye and the TV series That Was The Week That Was, one of the most important British comedy shows of the sixties, but he had really wanted to be a blues musician instead. He’d formed a blues band, The Roosters, with a guitarist who went to art school with his girlfriend, and they’d played a few gigs around London before the duo had been poached by the minor Merseybeat band Casey Jones and his Engineers, a group which had been formed by Brian Casser, formerly of Cass & The Cassanovas, the group that had become The Big Three. Casey Jones and his Engineers had just released the single “One Way Ticket”: [Excerpt: Casey Jones and His Engineers, “One-Way Ticket”] However, the two guitarists soon realised, after just a handful of gigs, that they weren’t right for that group, and quit. McGuinness’ friend, Eric Clapton, went on to join the Yardbirds, and we’ll be hearing more about him in a few weeks’ time, but McGuinness was at a loose end, until he discovered that Manfred Mann were looking for a bass player. McGuinness was a guitarist, but bluffed to Paul Jones that he’d switched to bass, and got the job. He said later that the only question he’d been asked when interviewed by the group was “are you willing to play simple parts?” — as he’d never played bass in his life until the day of his first gig with the group, he was more than happy to say yes to that. McGuinness joined only days after the recording of “5-4-3-2-1”, and Richmond was out — though he would have a successful career as a session bass player, playing on, among others, “Je t’Aime” by Serge Gainsbourg and Jane Birkin, “Your Song” by Elton John, Labi Siffre’s “It Must Be Love”, and the music for the long-running sitcoms Only Fools and Horses and Last of the Summer Wine. As soon as McGuinness joined, the group set out on tour, to promote their new hit, but also to act as the backing group for the Crystals, on a tour which also featured Johnny Kidd and the Pirates and Joe Brown and his Bruvvers.  The group’s next single, “Hubble Bubble Toil and Trouble” was another original, and made number eleven on the charts, but the group saw it as a failure anyway, to the extent that they tried their best to forget it ever existed. In researching this episode I got an eleven-CD box set of the group’s work, which contains every studio album or compilation they released in the sixties, a collection of their EPs, and a collection of their BBC sessions. In all eleven CDs, “Hubble Bubble Toil and Trouble” doesn’t appear at all. Which is quite odd, as it’s a perfectly serviceable, if unexceptional, piece of pop R&B: [Excerpt: Manfred Mann, “Hubble Bubble Toil and Trouble”] But it’s not just the group that were unimpressed with the record. John Burgess thought that the record only getting to number eleven was proof of his hypothesis that groups should not put out their own songs as singles. From this point on, with one exception in 1968, everything they released as an A-side would be a cover version or a song brought to them by a professional songwriter. This worried Jones, who didn’t want to be forced to start singing songs he disliked, which he saw as a very likely outcome of this edict. So he made it his role in the group to seek out records that the group could cover, which would be commercial enough that they could get hit singles from them, but which would be something he could sing while keeping his self-respect. His very first selection certainly met the first criterion. The song which would become their biggest hit had very little to do with the R&B or jazz which had inspired the group. Instead, it was a perfect piece of Brill Building pop. The Exciters, who originally recorded it, were one of the great girl groups of the early sixties (though they also had one male member), and had already had quite an influence on pop music. They had been discovered by Leiber and Stoller, who had signed them to Red Bird Records, a label we’ll be looking at in much more detail in an upcoming episode, and they’d had a hit in 1962 with a Bert Berns song, “Tell Him”, which made the top five: [Excerpt: The Exciters, “Tell Him”] That record had so excited a young British folk singer who was in the US at the time to record an album with her group The Springfields that she completely reworked her entire style, went solo, and kickstarted a solo career singing pop-soul songs under the name Dusty Springfield. The Exciters never had another top forty hit, but they became popular enough among British music lovers that the Beatles asked them to open for them on their American tour in summer 1964. Most of the Exciters’ records were of songs written by the more R&B end of the Brill Building songwriters — they would record several more Bert Berns songs, and some by Ritchie Barrett, but the song that would become their most well-known legacy was actually written by Jeff Barry and Ellie Greenwich. Like many of Barry and Greenwich’s songs, it was based around a nonsense phrase, but in this case the phrase they used had something of a longer history, though it’s not apparent whether they fully realised that. In African-American folklore of the early twentieth century, the imaginary town of Diddy Wah Diddy was something like a synonym for heaven, or for the Big Rock Candy Mountain of the folk song — a place where people didn’t have to work, and where food was free everywhere. This place had been sung about in many songs, like Blind Blake’s “Diddie Wah Diddie”: [Excerpt: Blind Blake, “Diddie Wah Diddie”] And a song written by Willie Dixon for Bo Diddley: [Excerpt: Bo Diddley, “Diddy Wah Diddy”] And “Diddy” and “Wah” had often been used by other Black artists, in various contexts, like Roy Brown and Dave Bartholomew’s “Diddy-Y-Diddy-O”: [Excerpt: Roy Brown and Dave Bartholomew, “Diddy-Y-Diddy-O”] And Junior and Marie’s “Boom Diddy Wah Wah”, a “Ko Ko Mo” knockoff produced by Johnny Otis: [Excerpt: Junior and Marie, “Boom Diddy Wah Wah”]  So when Jeff Barry and Ellie Greenwich wrote “Do-Wah-Diddy”, as the song was originally called, they were, wittingly or not, tapping into a rich history of rhythm and blues music. But the song as Greenwich demoed it was one of the first examples of what would become known as “bubblegum pop”, and is particularly notable in her demo for its very early use of the fuzz guitar that would be a stylistic hallmark of that subgenre: [Excerpt: Ellie Greenwich, “Do-Wah-Diddy (demo)”] The Exciters’ version of the song took it into more conventional girl-group territory, with a strong soulful vocal, but with the group’s backing vocal call-and-response chant showing up the song’s resemblance to the kind of schoolyard chanting games which were, of course, the basis of the very first girl group records: [Excerpt: The Exciters, “Do-Wah-Diddy”] Sadly, that record only reached number seventy-eight on the charts, and the Exciters would have no more hits in the US, though a later lineup of the group would make the UK top forty in 1975 with a song written and produced by the Northern Soul DJ Ian Levine. But in 1964 Jones had picked up on “Do-Wah-Diddy”, and knew it was a potential hit. Most of the group weren’t very keen on “Do Wah Diddy Diddy”, as the song was renamed. There are relatively few interviews with any of them about it, but from what I can gather the only member of the band who thought anything much of the song was Paul Jones. However, the group did their best with the recording, and were particularly impressed with Manfred’s Hammond organ solo — which they later discovered was cut out of the finished recording by Burgess. The result was an organ-driven stomping pop song which had more in common with the Dave Clark Five than with anything else the group were doing: [Excerpt: Manfred Mann, “Do Wah Diddy Diddy”] The record reached number one in both the UK and the US, and the group immediately went on an American tour, packaged with Peter & Gordon, a British duo who were having some success at the time because Peter Asher’s sister was dating Paul McCartney, who’d given them a hit song, “World Without Love”: [Excerpt: Peter and Gordon, “World Without Love”] The group found the experience of touring the US a thoroughly miserable one, and decided that they weren’t going to bother going back again, so while they would continue to have big hits in Britain for the rest of the decade, they only had a few minor successes in the States. After the success of “Do Wah Diddy Diddy”, EMI rushed out an album by the group, The Five Faces of Manfred Mann, which must have caused some confusion for anyone buying it in the hope of more “Do Wah Diddy Diddy” style pop songs. Half the album’s fourteen tracks were covers of blues and R&B, mostly by Chess artists — there were covers of Muddy Waters, Howlin’ Wolf, Bo Diddley, Ike & Tina Turner, and more. There were also five originals, written or co-written by Jones, in the same style as those songs, plus a couple of instrumentals, one written by the group and one a cover of Cannonball Adderly’s jazz classic “Sack O’Woe”, arranged to show off the group’s skills at harmonica, saxophone, piano and vibraphone: [Excerpt: Manfred Mann, “Sack O’Woe”] However, the group realised that the formula they’d hit on with “Do  Wah Diddy Diddy” was a useful one, and so for their next single they once again covered a girl-group track with a nonsense-word chorus and title — their version of “Sha La La” by the Shirelles took them to number three on the UK charts, and number twelve in the US. They followed that with a ballad, “Come Tomorrow”, one of the few secular songs ever recorded by Marie Knight, the gospel singer who we discussed briefly way back in episode five, who was Sister Rosetta Tharpe’s duet partner, and quite possibly her partner in other senses. They released several more singles and were consistently charting, to the point that they actually managed to get a top ten hit with a self-written song despite their own material not being considered worth putting out as singles. Paul Jones had written “The One in the Middle” for his friends the Yardbirds, but when they turned it down, he rewrote the song to be about Manfred Mann, and especially about himself: [Excerpt: Manfred Mann, “The One in the Middle”] Like much of their material, that was released on an EP, and the EP was so successful that as well as making number one on the EP charts, it also made number ten on the regular charts, with “The One in the Middle” as the lead-off track. But “The One in the Middle” was a clue to something else as well — Jones was getting increasingly annoyed at the fact that the records the group was making were hits, and he was the frontman, the lead singer, the person picking the cover versions, and the writer of much of the original material, but all the records were getting credited to the group’s keyboard player.  But Jones wasn’t the next member of the group to leave. That was Mike Vickers, who went off to work in arranging film music and session work, including some work for the Beatles, the music for the film Dracula AD 1972, and the opening and closing themes for This Week in Baseball. The last single the group released while Vickers was a member was the aptly-titled “If You Gotta Go, Go Now”. Mann had heard Bob Dylan performing that song live, and had realised that the song had never been released. He’d contacted Dylan’s publishers, got hold of a demo, and the group became the first to release a version of the song, making number two in the charts: [Excerpt: Manfred Mann, “If You Gotta Go, Go Now”] Before Vickers’ departure, the group had recorded their second album, Mann Made, and that had been even more eclectic than the first album, combining versions of blues classics like “Stormy Monday Blues”, Motown songs like “The Way You Do The Things You Do”, country covers like “You Don’t Know Me”, and oddities like “Bare Hugg”, an original jazz instrumental for flute and vibraphone: [Excerpt: Manfred Mann, “Bare Hugg”] McGuinness took the opportunity of Vickers leaving the group to switch from bass back to playing guitar, which had always been his preferred instrument. To fill in the gap, on Graham Bond’s recommendation they hired away Jack Bruce, who had just been playing in John Mayall’s Bluesbreakers with McGuinness’ old friend Eric Clapton, and it’s Bruce who played bass on the group’s next big hit, “Pretty Flamingo”, the only UK number one that Bruce ever played on: [Excerpt: Manfred Mann, “Pretty Flamingo”] Bruce stayed with the band for several months, before going off to play in another band who we’ll be covering in a future episode. He was replaced in turn by Klaus Voorman. Voorman was an old friend of the Beatles from their Hamburg days, who had been taught the rudiments of bass by Stuart Sutcliffe, and had formed a trio, Paddy, Klaus, and Gibson, with two Merseybeat musicians, Paddy Chambers of the Big Three and Gibson Kemp of Kingsize Taylor and the Dominoes: [Excerpt: Paddy, Klaus, and Gibson, “No Good Without You Baby”] Like Vickers, Voorman could play the flute, and his flute playing would become a regular part of the group’s later singles. These lineup changes didn’t affect the group as either a chart act or as an act who were playing a huge variety of different styles of music. While the singles were uniformly catchy pop, on album tracks, B-sides or EPs you’d be likely to find versions of folk songs collected by Alan Lomax, like “John Hardy”, or things like “Driva Man”, a blues song about slavery in 5/4 time, originally by the jazz greats Oscar Brown and Max Roach: [Excerpt: Manfred Mann, “Driva Man”] But by the time that track was released, Paul Jones was out of the group. He actually announced his intention to quit the group at the same time that Mike Vickers left, but the group had persuaded him to stay on for almost a year while they looked for his replacement, auditioning singers like Rod Stewart and Long John Baldry with little success. They eventually decided on Mike d’Abo, who had previously been the lead singer of a group called A Band of Angels: [Excerpt: A Band of Angels, “(Accept My) Invitation”] By the point d’Abo joined, relations  between the rest of the group and Jones were so poor that they didn’t tell Jones that they were thinking of d’Abo — Jones would later recollect that the group decided to stop at a pub on the way to a gig, ostensibly to watch themselves on TV, but actually to watch A Band of Angels on the same show, without explaining to Jones that that was what they were doing – Jones actually mentioned d’Abo to his bandmates as a possible replacement, not realising he was already in the group. Mann has talked about how on the group’s last show with Jones, they drove to the gig in silence, and their first single with the new singer, a version of Dylan’s “Just Like a Woman”, came on the radio. There was a lot of discomfort in the band at this time, because their record label had decided to stick with Jones as a solo performer, and the rest of the group had had to find another label, and were worried that without Jones their career was over. Luckily for everyone involved, “Just Like a Woman” made the top ten, and the group’s career was able to continue. Meanwhile, Jones’ first single as a solo artist made the top five: [Excerpt: Paul Jones, “High Time”] But after that and his follow-up, “I’ve Been a Bad, Bad, Boy”, which made number five, the best he could do was to barely scrape the top forty. Manfred Mann, on the other hand, continued having hits, though there was a constant struggle to find new material. d’Abo was himself a songwriter, and it shows the limitations of the “no A-sides by group members” rule that while d’Abo was the lead singer of Manfred Mann, he wrote two hit singles which the group never recorded. The first, “Handbags and Gladrags”, was a hit for Chris Farlowe: [Excerpt: Chris Farlowe, “Handbags and Gladrags”] That was only a minor hit, but was later recorded successfully by Rod Stewart, with d’Abo arranging, and the Stereophonics. d’Abo also co-wrote, and played piano on, “Build Me Up Buttercup” by the Foundations: [Excerpt: The Foundations, “Build Me Up Buttercup”] But the group continued releasing singles written by other people.  Their second post-Jones single, from the perspective of a spurned lover insulting their ex’s new fiancee, had to have its title changed from what the writers intended, as the group felt that a song insulting “semi-detached suburban Mr. Jones” might be taken the wrong way. Lightly retitled, “Semi-Detached Suburban Mr. James” made number two, while the follow-up, “Ha Ha! Said the Clown”, made number four. The two singles after that did significantly less well, though, and seemed to be quite bizarre choices — an instrumental Hammond organ version of Tommy Roe’s “Sweet Pea”, which made number thirty-six, and a version of Randy Newman’s bitterly cynical “So Long, Dad”, which didn’t make the charts at all. After this lack of success, the group decided to go back to what had worked for them before. They’d already had two hits with Dylan songs, and Mann had got hold of a copy of Dylan’s Basement Tapes, a bootleg which we’ll be talking about later. He picked up on one song from it, and got permission to release “The Mighty Quinn”, which became the group’s third number one: [Excerpt: Manfred Mann, “The Mighty Quinn”] The album from which that came, Mighty Garvey, is the closest thing the group came to an actual great album. While the group’s earlier albums were mostly blues covers, this was mostly made up of original material by either Hugg or d’Abo, in a pastoral baroque pop style that invites comparisons to the Kinks or the Zombies’ material of that period, but with a self-mocking comedy edge in several songs that was closer to the Bonzo Dog Doo-Dah Band. Probably the highlight of the album was the mellotron-driven “It’s So Easy Falling”: [Excerpt: Manfred Mann, “It’s So Easy Falling”] But Mighty Garvey didn’t chart, and it was the last gasp of the group as a creative entity. They had three more top-ten hits, all of them good examples of their type, but by January 1969, Tom McGuinness was interviewed saying “It’s not a group any more. It’s just five people who come together to make hit singles. That’s the only aim of the group at the moment — to make hit singles — it’s the only reason the group exists. Commercial success is very important to the group. It gives us financial freedom to do the things we want.” The group split up in 1969, and went their separate ways. d’Abo appeared on the original Jesus Christ Superstar album, and then went into writing advertising jingles, most famously writing “a finger of fudge is just enough” for Cadbury’s. McGuinness formed McGuinness Flint, with the songwriters Gallagher and Lyle, and had a big hit with “When I’m Dead and Gone”: [Excerpt: McGuinness Flint, “When I’m Dead and Gone”] He later teamed up again with Paul Jones, to form a blues band imaginatively named “the Blues Band”, who continue performing to this day: [Excerpt: The Blues Band, “Mean Ol’ Frisco”] Jones became a born-again Christian in the eighties, and also starred in a children’s TV show, Uncle Jack, and presented the BBC Radio 2 Blues Programme for thirty-two years. Manfred Mann and Mike Hugg formed another group, Manfred Mann Chapter Three, who released two albums before splitting. Hugg went on from that to write for TV and films, most notably writing the theme music to “Whatever Happened to the Likely Lads?”: [Excerpt: Highly Likely, “Whatever Happened to the Likely Lads?”] Mann went on to form Manfred Mann’s Earth Band, who had a number of hits, the biggest of which was the Bruce Springsteen song “Blinded by the Light”: [Excerpt: Manfred Mann’s Earth Band, “Blinded by the Light”] Almost uniquely for a band from the early sixties, all the members of the classic lineup of Manfred Mann are still alive. Manfred Mann continues to perform with various lineups of his Earth Band. Hugg, Jones, McGuinness, and d’Abo reunited as The Manfreds in the 1990s, with Vickers also in the band until 1999, and continue to tour together — I still have a ticket to see them which was originally for a show in April 2020, but has just been rescheduled to 2022. McGuinness and Jones also still tour with the Blues Band. And Mike Vickers now spends his time creating experimental animations.  Manfred Mann were a band with too many musical interests to have a coherent image, and their reliance on outside songwriters and their frequent lineup changes meant that they never had the consistent sound of many of their contemporaries. But partly because of this, they created a catalogue that rewards exploration in a way that several more well-regarded bands’ work doesn’t, and I wouldn’t be at all surprised to see a major critical reassessment of them at some point. But whether that happens or not, almost sixty years on people around the world still respond instantly to the opening bars of their biggest hit, and “Do Wah Diddy Diddy” remains one of the most fondly remembered singles of the early sixties.

Family and an old friend bring trouble for Dante Montana.  Could this be our farewell to Starhunter Redux?  Kenneth and Eugene discuss Goodbye, So Long. Synopsis: There’s a saboteur aboard the Trans-Utopian and her name is Percy. She’s sabotaged Dante’s air handler in his cabin to force him to take her shopping.  With little choice, ... Read more

On March 7th, 1970 Simon and Garfunkel’s fifth studio album 'Bridge Over Troubled Water' started a ten week run at number one on the US chart. The title track was in the middle of a six week run at the top of the US singles chart. It would also reach #1 in the UK in March of ’70. It topped the charts in ten countries total. By the time the album had been released, the duo of Paul Simon and Art Garfunkel had split up; making this the last Simon & Garfunkel studio album to be released. What a way to go out. Two Grammy awards went to the album with another four for the title track. The album went on to sell in the ballpark of 25 million copies and has since been considered one of the greatest albums of all time. In this episode we’ll get into the story of the making of the album thanks to clips from an amazing documentary from 2011 called "The Harmony Game". Interview clips from both Paul Simon and Art Garfunkel included along with some of the various collaborators who played an important role in the success of the album. Also, hear the three songs that could have made the album but were ultimately left off. TRACKLISTING:SIDE ONE:1. "Bridge over Troubled Water" 2. "El Cóndor Pasa (If I Could)"3. "Cecilia"4. "Keep the Customer Satisfied"5. "So Long, Frank Lloyd Wright"SIDE TWO:1. "The Boxer" 2. "Baby Driver" 3. "The Only Living Boy in New York"4. "Why Don't You Write Me" 5. "Bye Bye Love" (Live recording from Ames, Iowa)6. "Song for the Asking"DISCovery on Facebook: www.facebook.com/TheDISCoverypodcasthome DISCovery on Twitter: https://twitter.com/DISCoverySenichThe DISCovery theme song "Woo Hoo" by Reebosound (https://reebosound.bandcamp.com)Please give the show a five-star rating and review wherever you listen to DISCovery!

Welcome to Part 1 of the 92nd episode of the Brains, Braun, & Corbin Podcast. That's right, folks! This week’s recording was SO LONG that we had to split it into two parts. In Part 1 of this episode, we bring back a podcast favorite: random writing prompts. Listen in as the three guys pitch some AAA quality movie concepts based off of random writing prompts found on Reddit. Tune in next week for Part 2 where we review the Movie of the Week, A Silent Voice, and vote on the next episode’s movie. Disclaimer: Explicit content. Don’t take anything seriously, no offense is intended

This week on the podcast, we have guest expert Regan Lumpkins joining us to talk all about sales mindset to signing high ticket clients.    Regan is an Online Business and Money Mindset Coach and she helps women master their money mindset and master their selling strategy, in order to trust themselves, make aligned sales and sign high ticket clients.   This episode was so much fun and informative. Raegan shares how she got into the online space and coaching from a very non-traditional start and how in her first four months, she struggled signing clients and selling them; and how that led her towards a path to change all that and teach others how to change that pattern too.   In this episode Regan and I discuss: Some of the biggest sales obstacles for her clients What empowered selling is and how to use it Why deconstructing what selling means to you now is crucial to reframing your mindset around selling high ticket How to pitch yourself when selling high ticket How your intuition is the most powerful strategy you can have when selling 3 Tips to start having a more aligned sales strategy using your intuition I am SO GRATEFUL for Regan being on our show today, and I can't wait to share this episode with you!    Loved what you heard? Give Regan a follow on IG @reganlumpkins   Send her a DM to say hey on Instagram and watch for So Long, Side Hustle Academy to open this spring.

On this episode: Dave talks snow and headsets....come on he's locked inside and so running out of things to talk about. The new music comes from Long Beach, California and Blake Starkey. Blake is a Los Angeles based musician, producer and visual and performing artist. Playing us out is the song Holder of the Hearts from his brand new album So Long, Babylon! Link to Blake Starkey: https://blakestarkey.bandcamp.com/album/so-long-babylon

Y’all everyone has been on the Virtual School thing for SO LONG now, but just in case you find that your kids are still struggling we thought we would offer up a 5 tips that have helped ease the stress in our home!   LINKS https://www.thestudleys.com/ https://www.patreon.com/m/thestudleys High Performance Coaching: https://www.thestudleys.com/coaching To find a virtual counselor visit http://getfaithful.com/anatomyofmarriage

Chad Nicefield, vocalist of Wilson, returns for this episode of the BREWtally Speaking Podcast!! Chad joins us to talk about the bands upcoming live record, So Long. Goodnight. Live that was recorded at the bands last show and how the album came to be. We also get into what lead to the band coming to an end, how they came to the conclusion to play multiple sets that mirrored the era of the bands career when they played those rooms, as well as what Chad's been going through during this pandemic and more. Intro Music: "Introduction To BREWtality" by Tom Smith "Pretty Lights" by Heartsick Show Sponsor: Rockabilia (www.rockabilia.com) USE OUR CODE BREW AND GET 10% OFF YOUR TOTAL ORDER!! The Bean Bastard (www.thebeanbastard) On Point Pomade (www.onpointpomade) USE OUR CODE BSP15 AND GET 15% OFF YOUR TOTAL ORDER!! Links: Facebook: www.facebook.com/wilsonparties www.facebook.com/rockabiliacom www.facebook.com/onpointpomade www.facebook.com/thebeanbastard www.facebook.com/brewspeakpod Instagram: @wilsonparties, @chadnicefield, @rockabiliacom, @onpointpomade, @beanbastard, @brewspeakpod, @jbeatty616 Twitter: @wilsonparties, @chadnicefield, @rockabiliacom @onpointpomade, @brewspeakpod, @discussmetaldan, @jbeatty616 Website: www.houseoffuckery.com www.brewspeakpod.com Patreon: www.patreon.com/brewspeakpod Email: Brewtallyspeaking@gmail.com RATE/REVIEW/SUBSCRIBE!!!

SO WHAT EVEN HAPPENED THIS MONTH?  December was a very interesting month, with a very strange end to the year. Either way, SO LONG 2020. Completing another trip around the sun doesn't immediately change everything, but I am excited for the symbol of new opportunities the new year brings.    We have some updated news about Legendary and Warner Brothers working out a deal for Godzilla vs Kong and Dune.  Coming in January is the first-ever live-action MCU TV series premiering on Disney+ WandaVisioin. I won't be reviewing that on The Basement Binge, but check out Matt Goes to the Movies where I will be guest appearing every week.    Submit a Question: https://forms.gle/ueSWZfry62MmNXAk7  Submit a creative work  for a shout-out: https://forms.gle/KwGpDizqC3k88Pp96    After all that, there was still room to talk about how I want to be able to give back to you listeners. It isn't much, but you will have the chance to win 1 of 3 Movies Anywhere FREE ScreenPasses from me every month.  Leave a review on Podchaser and share on social media to earn points all month! www.podchaser.com/thebasementbinge https://www.facebook.com/bingebasement  Instagram @thebasementbinge --- I appreciate all the reviews and feedback I get on any platform! To make sure I do see it, comment on or review any episode on Podchaser.com or email me at harrison@thebasementbinge.com  Connect with me on social media, you can also Like on Facebook and follow on Instagram @thebasementbinge and Letterboxd @HARRYPerry13  + Edited by the Amazing Issac Gehring Best of the Best intro music by Anthony P. Soundcloud | Instagram

Good morning and welcome to the ride! The crew is back and today is Georgia election day. Steve tells us what he asked God for and shares with us his motto for 2021. 46 told Georgia voters that a Democratic majority Congress could pass more economic relief. During a call from Deborah, Steve makes a stunning revelation that proves God's grace. Our resident poet Junior has new poetry just for us. Here is his latest poem called "So Long 2020!" Washington D.C. Police Department arrested Enrique Tarrio the leader of The Proud Boys for burning the Black Lives Matter flag. Steve has a story about sandals and Valentino. Today in Closing Remarks, Steve talks about the importance of one vote and what it leads to. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Our resident poet Junior has new poetry just for us. Here is his latest poem called "So Long 2020!" Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

For the first part of 2021, Predict-O-Cast is taking a break from releasing new episodes. While we're away, we're releasing episodes previously available only on Patreon. We'll be back with new episodes sometime in 2021. We promise.  This week, we're dropping our Jan 25, 2019, episode on the Disney classic Bedknobs and Broomsticks. We speculate what would change if this movie was remade today, we question why some things in this movie take SO LONG to get through, and we do some bad English accents.  Rate and review us wherever you find the show!  Follow us on social media:  Twitter: @predictocast Instagram: @predictocast Facebook: https://www.facebook.com/predictocast Check out our entire back catalogue at predictocast.com Drop us a line at predictocast (at) gmail (dot) com  

We have never been more happy to say goodbye to a calendar year. See ya wouldn’t wanna be ya!! SPONSORED BY BLUBLOX discount code JOY www.joyandclaire.com email: thisisjoyandclaire@gmail.com instagram: joyandclaire_ The post 55: So Long, 2020 appeared first on This is Joy & Claire.

So Long 2020!It's the last episode of the year!Join us for Bummer Music, Sweetass Roots, and Us Not Knowing What People Want!Witchy Stuff Starts @ 13:30www.witchbitchamateurhour.com_-_-_-_-_-_-_-_-_-_-_-_-_-BetterHelpbetterhelp.com/witchUse the code witch for 10% off your first month of BetterHelp!_-_-_-_-_-_-_-_-_-_-_-_-_-Advertise With Us :www.advertisecast.com/TheWitchBitchAmateurHourSnag yourself some WBAH Merch!teespring.com/stores/wbah-podcast-storeContact Us (Come Eat With Us)Instagram @WitchBitchAmateurHourTwitter @BitchHourFacebook @WitchAmateurHourwbahpodcast@gmail.comWant to help support the Podcast? Consider becoming a Patron!www.patreon.com/wbahpodcastHandwritten letters are actual magic!PO Box 865Canton, Tx75103Theme music by:www.fiverr.com/master_serviceWe are not doctors, lawyers, or professionals. We are amateurs, and nothing we say should be taken as advice, instruction, or seriously. Any action taken based on what we say or imply can and will lead to illness, existential crisis, injury, your pets no longer loving you, and death. We make no promise or guarantee, expressed or implied, and assume no legal liability or responsibility for any injuries resulting from the use of information contained within our media.

In this episode, we say, "So Long, 2020!" and look ahead to 2021. To do so, host Daniel Raimi talks with two of the smartest energy and environmental thinkers around: Sarah Ladislaw, from the Center for Strategic and International Studies, and Barry Rabe, from the Ford School of Public Policy at the University of Michigan. Ladislaw and Rabe reflect on the crazy year that was 2020—in particular, by noting which developments in energy and environmental policy likely will stay with us; some of the legacies of the Trump presidency; and what climate policy might look like under a Biden administration, which has laid out ambitious climate goals but likely faces a challenging political landscape. References and recommendations: "Trust" by Pete Buttigieg; https://wwnorton.com/books/9781631498770 "Theories of Change" podcast; https://www.csis.org/podcasts/theories-change "Power Grab" by Paasha Mahdavi; https://www.cambridge.org/us/academic/subjects/politics-international-relations/political-economy/power-grab-political-survival-through-extractive-resource-nationalization "Carbon Province, Hydro Province" by Douglas Macdonald; https://utorontopress.com/us/carbon-province-hydro-province-4 "The Wizard and the Prophet" by Charles C. Mann; https://www.penguinrandomhouse.com/books/220698/the-wizard-and-the-prophet-by-charles-c-mann/

We're Sorry, Your Console is in Another Castle. So Long, Long Cat. Higher Risk Of Selfie Death. Drawn and Quartered Armstong. Two Old Men Order An XBox. I don't like flip floppyyyyyyyyyy. No Guatemalans were harmed in the making of this episode. William Shatner is Ruddy! Sandblasting The Fence With The Puppy. Don't take selfies near waterfalls. Nine Minus Three Is STILL Six! A Cross Between Russian and Bad. Pasty British Bodies. It's like a fist pump between his legs Jury Duty and more on this episode of The Morning Stream.