The Boyz may be celebrating Batman Day, but X-Tember is still in full swing so let's get drunk & talk about X-Men cartoons! Tom is full of knowledge & Sherm is full of booze as Ya Boyz talk about all the animated renditions of Marvels Merry Mutants. Also! Nintendo Direct! State of Play! 2 New Segments!! Intro - 00:26 "Who's in Your Mouth?" - 02:00 Blitzkrieg News - 03:20 Agree to Disagree: Tim Burton Vs DC - 28:18 RudeBoyz CatchUp (Holly, The Venture Bros complete series, Atari 50, Kirby's Tilt n Tumble, Metal Gear Solid 4, The Legend of Zelda Tears of the Kingdom) - 34:55 Topic: X-Men Cartoons!! - 55:00 Outro - 01:19:02 BONUS DUMBOYZ - 01:22:14 For all things RudeBoyz, head to: linktr.ee/rudeboyz Find us on Podbean, YouTube, Apple Podcasts, Google Podcasts, Spotify, Stitcher, and TuneIn! Thanks for listening, leave a comment & join the RudeNation!
The Buffalo Bills (1-1) bounced back after a forgettable week one loss to cruise past the Las Vegas Raiders (1-1), 38-10. The home opener of the 2023 season had the fans leaving the stadium with smiles on their faces. Josh Allen, Stefon Diggs, Gabe Davis, and James Cook led the charge on offense. Allen was nearly flawless passing the ball, completing 31/37 passes for 274 yards and 3 TDs. James Cook accounted for 159 yards from scrimmage en route to his best day as a pro. The Bills defense stymied the Raiders running game all day, holding 2022 NFL rushing leader Josh Jacobs to an astounding -2 yards on 9 attempts. Join Judge and Tilt as they recap all of the happenings from Sunday afternoon's victory in Orchard Park. Share your reactions and thoughts in the comments section!
Congressional redistricting in Alabama, Georgia, Louisiana, Mississippi and New York may give Democrats a chance to win more seats in the House of Representatives & improve their chances to take back the chamber in the 2024 elections. We explore why.Then, bidding farewell to Sen. Mitt Romney (R-Utah), and saying hello to Taylor Swift. This episode: political correspondent Susan Davis, congressional correspondents Deirdre Walsh and Claudia Grisales, WNYC Albany reporter Jon Campbell, and Gulf States Newsroom reporter Stephan Bisaha.This episode was produced by Casey Morell and Elena Moore. Our executive producer is Muthoni Muturi. Unlock access to this and other bonus content by supporting The NPR Politics Podcast+. Sign up via Apple Podcasts or at plus.npr.org. Connect:Email the show at firstname.lastname@example.orgJoin the NPR Politics Podcast Facebook Group.Subscribe to the NPR Politics Newsletter.
When I ask experts in the leadership field what the most important attribute for effective leadership today is, I get some version of adaptability or agility. In other words, what is most important is that we're able to read a context and shift our approach to meet circumstances and challenges with new thinking and behaviors.My guest today, Pam Boney, is so passionate about this that she created an assessment that displays our strengths and helps us know how and where we may need to shift to increase our effectiveness and feeling of fulfillment in life. The assessment is Tilt 365, and Pam is the company's founder. We used this assessment in the leadership program that this podcast series is centered around. The program began with each leader studying themselves because self-awareness is foundational for our ability to manage our emotions and thus take effective, sustainable action. It's also vital to our ability to coordinate well with others. So we take the Tilt assessment at the beginning.Because of the developmental nature of this assessment, each leader was able to define areas where they wanted to grow and then identify practices to help them get there. Rather than using labels, Tilt 365 is clear about our ability to shift, or Tilt, to meet new situations and work best with others. We take a walk around the Tilt model discussing:The four quadrants of the model: Spirit/Resilience and Head/Wisdom on the vertical axis and Heart/Humanity and Gut/Courage on the horizontal axis.Aristotle's Golden Mean: all ‘virtues' lie in the middle way between two extreme states: excess and deficiency. This has been popularized as ‘any strength overused becomes a weakness'.Oftentimes our fear causes us to move into the extreme states.The four profiles that each combine two of the quadrants:Impact/Change Catalyst combines the quadrants Spirit/Resilience and Gut/CourageStructure/MasterMind combines the quadrants Head/Wisdom and Gut/CourageClarity/Quiet Genius combines the quadrants Head/Wisdom and Heart/HumanityConnection/Cross Pollinator combines the quadrants Spirit/Resilience and Heart/HumanityThe model goes deeper and deeper into personas which give further nuance to why a Tilt style will be animated differently by different peoplePam and her team have created offers for individuals and teams and ways to explore more fully how to better understand our strengths and how to develop towards agility.I really encourage you to explore the Tilt 365 website and all the offers. If you're interested in taking the assessment, please contact me!You can find out more by connecting with the following:To discuss executive coaching, leadership development program design, and workshop facilitation, please visit: https://rise-leaders.com/contact-info/To subscribe to Rise Words newsletter, visit: https://mailchi.mp/426e78bc9538/subscribeLearn more about Rise Leaders at www.rise-leaders.comConnect with LeeAnn Mallory on Linked In: https://www.linkedin.com/in/leeannmallory/Follow Rise Leaders on our YouTube Channel: https://bit.ly/47Wk8doTo connect with Pam and Tilt 365, visit:
Elena Nadolinski is a computer scientist and software engineer, and the CEO of the Iron Fish Foundation, the organization supporting the Iron Fish network, a dedicated privacy layer for Web3 with built-in compliance solutions.Prior to founding Iron Fish in 2017, Elena worked as a software engineer at companies including Microsoft, Tilt, and Airbnb. Elena is a Forbes 30 under 30 alum, and has been honored with awards from both the White House and the Central Intelligence Agency for her outstanding achievements.In this conversation, we discuss:- Iron Fish 101 & Iron Fish's recent Mainnet launch- Making crypto accessible (making it easy to run nodes, mine tokens, etc.)- Zero-knowledge proof technology and applications- Proof-of-work vs. Proof-of-stake- The importance of privacy in Web 2.0 + Web3- Merging privacy and compliance in Web3- The world of L2s- Stories from working at Microsoft, Tilt, and Airbnb- Living in SFIron Fish Website: ironfish.networkX: @ironfishcrypto Telegram: t.me/ironfishcryptochatElena NadolinskiX: @leanthebeanLinkedIn: Elena Nadolinski --------------------------------------------------------------------------------- This episode is brought to you by PrimeXBT. PrimeXBT offers a robust trading system for both beginners and professional traders that demand highly reliable market data and performance. Traders of all experience levels can easily design and customize layouts and widgets to best fit their trading style. PrimeXBT is always offering innovative products and professional trading conditions to all customers. PrimeXBT is running an exclusive promotion for listeners of the podcast. After making your first deposit, 50% of that first deposit will be credited to your account as a bonus that can be used as additional collateral to open positions. Code: CRYPTONEWS50 This promotion is available for a month after activation. Click the link below: PrimeXBT x CRYPTONEWS50
Join Premium! Ready for an ad-free meditation experience? Join Premium now and get every episode from ALL of our podcasts completely ad-free now! Just a few clicks makes it easy for you to listen on your favorite podcast player. Become a PREMIUM member today by going to --> https://WomensMeditationNetwork.com/premium ‘The journey of a thousand miles begins with one step' - Lao Tzu PAUSE… To get started, you need to decide, To take one step. PAUSE… This morning, set your feet firmly on the ground, Breath in fully, expanding your belly, filling up your chest. Tilt your head to the sky, close your eyes. PAUSE… Feel where your compass is directing you to today… PAUSE… Sit with this thought of just taking one step, To move forward in your day, in life. LONG PAUSE… Nothing more, nothing less… Just one step to propel you forwards. LONG PAUSE… Don't worry too much on how you'll get there, Forget about thinking it won't happen, Let go of any doubt, worry or fears. PAUSE… Just take one step, One breath, To get yourself started towards The destination you seek. PAUSE… Listen to the wisdom of your breath, Breath into it. PAUSE… ‘The journey of a thousand miles begins with one step' - Lao Tzu Namaste, Beautiful
This week, Joe answers a listener question about how to survive with your content creator business when your audience is still very, very small. Hint: There isn't just one way. Here are a number of survival tips that will help. This episode is sponsored by Lulu.com 37% of creators surveyed by The Tilt this year said that one of the top 3 most profitable ways to monetize their content is with a book. Turning your best performing content into a printed book with Lulu has never been easier. Lulu's ecommerce plugins allow you to sell directly to your fans from your site, while they handle all of the printing and shipping. You keep all of your customer data and 100% of your profits. Create a free account today at Lulu.com to get started. ------- Like this episode? SUBSCRIBE on Apple, Spotify or Google. See all Content Inc episodes at the Content Inc. podcast home. Get my personal newsletter today and receive the first chapter of my new book for free.
This is DJ Samer and you're listening to the 116th episode of the Pangea Podcast. Hope everyone has had a safe and wonderful summer! It's been very busy at the Pangea camp setting up new releases and mixes for you. This month's mix is one that I put together this past June for long time Pangea supporter and friend, Matt Black, for his show 'Housefeelings' on Frisky Radio. Matt's a hell of a producer and even better DJ, so I'm always honored to put something together for him. Also, I've had several releases out this Summer, the most notable my ‘Danya' single out on the amazing Vapour Recordings, one of my favorite labels of all time. And another remix on my Pangea label called ‘Unity' by the stellar Tim French. More details no our website www.pangearecordings.com! And last but not least , be sure to leave a comment about the show on my Instagram page @djsamer_pangea … now on to the mix! Featured Artist: DJ Samer (USA) Tracklist: 1) RY X 'Dark Room Dancing' (Eagles & Butterflies Dub Mix) [BMG] 2) Cioz ‘Do It The Way You Feel' [Stil Vor Talent] 3) Yotto 'Timbre' (Original Mix) [Odd One Out] 4) DJ Samer ‘Danya' (Original Mix) [Vapour] 5) Flemming Bassedow ‘Beteigeuze' [3000Grad] 6) Kasey Taylor & Anthea (AUS) ‘Nightlight Blossom' [Vapour Recordings] 7) Dark But Gray, Pandhora ‘Signs' (Hernan Cattaneo & Marcelo Vasami Extended Remix) [Art Vibes Music] 8) Loco & Jam 'We Touched The Sky' (Original Mix) [There Is A Light] 9) Four Candles & Criss Deeper ‘The Vagabond' (Gareth Cole Remix) [Keep Thinking] 10) Darren Bray ‘Divergent' (Glenn Molloy Remix) [Pro B Tech Music] 11) Trilucid ‘A Moment' (Extended Mix) [Proton Music] Thank you to all the labels and artists for their support. Visit http://www.pangearecordings.com as all episodes are archived in different formats on the website! Pangea Podcast Landing Page (https://hypeddit.com/djsamer/pangearecordingspodcastepisodecollection) For more information. please “Like” our Facebook Pages: Facebook.com/officialdjsamer Facebook.com/pangearecordings Forward thinking electronic music mixed up by America's leading progressive DJ Samer. For more than twenty years, Pangea Recordings has been at the forefront of American Dance Music and breaking through artists year after year, with over 250 individual releases to its name. Our supporters span the globe, and are top DJs and Producers such as Sasha, John Digweed, Danny Tennaglia, Cevin Fisher, Jimmy Van M, Hernan Cattaneo, Nick Warren, Paul Oakenfold, Richie Hawtin, Behrouz, Above & Beyond, Max Graham, Booka Shade, Guy J, Microtrauma, Lonya, Henry Saiz, Issac, Baunder (Soundexile), Silinder, Marcelo Vasami, Tini Tun, Aiden, Denis A, CID Inc., Tilt, Betoko, Dan Mangan, Alex Nemec, Barry Jamieson, D:Fuse, Sonic Union, Luke Porter and more. Hosted by label boss Samer, this podcast will feature up and coming releases from his self and Pangea Recordings, up and coming producers, as well as legends and pioneers of deep and intelligent dance music.
Kim is a mutant who can control the mind of anyone she smells. She's so powerful, she's forced to endure therapy sessions with other mutants in lieu of jail time. Find out what happens when their doctor takes treatment a little too far in “Tilt,” read and written by Leslie What.
Air Raid Hour | The Buffalo Bills will finalize their 53 man roster by Tuesday (Aug 29th). While most of the roster appears to be set, the battles for the last several spots are coming down to the wire. Will the Bills decide to keep 7 wide receivers? The linebacker group still faces a lot of uncertainty after injuries and inconsistent play throughout Training Camp. Join Judge and Tilt as they make their position by position predictions for the Bills final roster ahead of cut down day.
In this eye-opening episode of TCAST, Alexander McCaig and Jason Rigby dive deep—literally—into the consequences of our insatiable thirst for groundwater. Can human activity really impact the tilt of the Earth's axis? The revelation that rampant groundwater pumping has led to measurable shifts in the planet's rotation is more than just groundbreaking—it's a testament to the scale of human influence on our planet. Join us as we explore how and why this is happening and what it means for our future. Show Notes: Introduction A quick recap of the article from Scientific American by Davide Castelvecchi. The astonishing fact: Earth has lost over 2 trillion tons of groundwater between 1993 and 2010. The Earth Wobbles Explanation of how the tilt of Earth's axis is generally stable. How significant shifts can occur when large masses relocate within and on the surface of the planet. A Deeper Dive with Ki-Weon Seo's Insights Discussing Seo's findings and his journey to understand the changes in Earth's water content. Unraveling the mystery: how groundwater was the missing piece in explaining the tilt. Gravitational Surveys & Their Revelations The link between irrigation practices, particularly in northwestern India and western North America, and depletion of underground reservoirs. How this depletion has contributed to global sea-level rise. Consequences & Future Implications Delving into the potential outcomes of the shift in Earth's axis. The direction of the shift: towards Russia's Novaya Zemlya islands. Allegra LeGrande from NASA's take on the impact of this research. Closing Thoughts The broader theme: the undeniable impact of human activities on Earth. How data and technology can help us become more aware and perhaps find solutions. Upcoming on TCAST A sneak peek into future episodes and exciting guests. Recommendations & References: Rampant Groundwater Pumping Has Changed the Tilt of Earth's Axis - Scientific American Research by Ki-Weon Seo, geophysicist at Seoul National University. Insights from Allegra LeGrande, a climate scientist at the NASA Goddard Institute for Space Studies. Connect with TCAST: Follow us on Spotify, Apple Podcasts, and wherever you get your podcasts. Stay updated with the latest trends in big data, AI, and humanity. Dive deep with TCAST.
Do you feel that slight (very slight) breeze in the air? Fall is around the corner, and that can only mean one thing! It's Fair season! TSHE is going back to that well we love so much - Fair Talk! This time we're going beyond food and chatting about the sights and sounds we love. Tilt-a-whirl, the midway, horses, butter sculpture fraud - we discuss it all! Plus, stay tuned for a voice memo FROM the fair! In other news, Hillary goes deep into her current obsession (BRUCE!). And somehow we delve into bra talk - future show topic?? Probably!Connect with the show!This is your show, too. Feel free to drop us a line, send us a voice memo, or fax us a butt to let us know what you think.Facebook group: This Show Has EverythingFax Bobby Your Butt: 617-354-8513 Feedback form: www.throwyourphone.com Email: email@example.comAOL Keyword: TSHE
A special Content Inc. episode with content pioneer Brian Clark. Brian talks about the longevity economy and the special opportunity creators and marketers have by understanding the market changes around aging. For more information on the longevity economy, check out Brian's site LongevityGains.com. Listen to the previous episode with Brian about the creatory economy at Content Inc. episode 297. This episode is sponsored by Lulu.com 37% of creators surveyed by The Tilt this year said that one of the top 3 most profitable ways to monetize their content is with a book. Turning your best performing content into a printed book with Lulu has never been easier. Lulu's ecommerce plugins allow you to sell directly to your fans from your site, while they handle all of the printing and shipping. You keep all of your customer data and 100% of your profits. Create a free account today at Lulu.com to get started. ------- Like this episode? SUBSCRIBE on Apple, Spotify or Google. See all Content Inc episodes at the Content Inc. podcast home. Get my personal newsletter today and receive the first chapter of my new book for free.
I had a chance to catch up with Jeri Ellsworth, co-founder and CEO of Tilt Five again at Augmented World Expo 2023. Be sure to catch my previous conversation in episode #1021 where she gives her full epic backstory in inventing Tilt Five at Valve, getting fire, and eventually being able to re-acquire the IP rights against all odds. At the time of this recording, Tilt Five had been shipping for six months, and I get a bit of an update for how their launch has been going, and their various efforts to promote a physical face-to-face use case for tabletop AR gaming. Ellsworth also shared with me how she used ChatGPT in order to rapidly prototype an AR demo for Tilt Five that they were showing at AWE. She's emphasizes the benefits of being able to quickly discover the fun within AR interactions, and how ChatGPT has been revolutionizing her own rapid prototyping processes by feeding in the Tilt Five API code as an input prompt, and then asking it how a senior Unity developer would go about solving how to visualize a specific data set of live satellite data. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality
Air Raid Hour | Judge and Tilt break down the Bills 27-15 loss to the Steelers. Topics include; the lack of discipline, positive takeaways, the issues at OT and MLB, + the signing of Ty Johnson.
Jen Henderson is the Founder and CEO of Tilt - a SaaS platform and team that provides companies with professional, consistent, and compliant leave management. As with many founding stories, Jen's mission developed from her own experience. A fast-rising manager with Starbucks and later Noodles & Company, she had promotions and trajectories twice interrupted by the birth of her children, and decided to do something about the vagaries she experienced when she shared the news of her expanding family. Tilt has been on a fantastic run of growth in recent years, growing from a core team of four and a dozen clients in early 2020 to a team of over eighty and over two hundred clients at current time. They are approaching a fifth round of funding, have a much-improved platform to build upon, and expectations of continued growth. Jen's journey is an inspiring one, Tilt mixes empathy with technology in a way that helps companies of all sizes excel at making leave not suck. So - please enjoy, as I did, my conversation with Jen Henderson. Episode Sponsor: InMotion, providing next-day delivery for local businesses. Contact InMotion at firstname.lastname@example.org
There have been a slew of AI-generated books being published on Amazon and Goodreads in the names of legitimate authors. In today's podcast, Joe breaks down a horrific example from author Jane Friedman. Simply put, Amazon might have outlived its usefulness as a bookseller for independent authors. Today's link: I Would Rather See My Books Pirated by Jane Friedman This episode is sponsored by Lulu.com 37% of creators surveyed by The Tilt this year said that one of the top 3 most profitable ways to monetize their content is with a book. Turning your best performing content into a printed book with Lulu has never been easier. Lulu's ecommerce plugins allow you to sell directly to your fans from your site, while they handle all of the printing and shipping. You keep all of your customer data and 100% of your profits. Create a free account today at Lulu.com to get started. ------- Like this episode? SUBSCRIBE on Apple, Spotify or Google. See all Content Inc episodes at the Content Inc. podcast home. Get my personal newsletter today and receive the first chapter of my new book for free.
A living legend of MACV-SOG and the Green Berets, John "Tilt" Stryker Meyer shares some of the most daring first-person stories of combat ever told! Inserted by Kingbee helicopter into the dense jungle along the Ho Chi Minh trail in Laos and Cambodia during the height of the Vietnam War, Tilt and the US and indigenous members of Strike Force Idaho deployed on one impossible top-secret mission after another, spying on, harassing and taking it to the North Vietnamese and Vietcong despite a casualty rate of over 100%.Top-secret, all-volunteer SOG teams soon became the bane of the NVA's and Vietcong's existence, and despite overwhelming odds and sometimes having to face battalion-size enemy detachments, Tilt describes how these small US-indigenous units bravely soldiered on achieving a combined kill ratio of 158 to 1 – the highest in US military history.Bravery like that described by Tilt is not only inspiring, it changes the way we perceive the Vietnam War. Heroes Behind HeadlinesExecutive Producer Ralph PezzulloProduced & Engineered by Mike DawsonMusic provided by ExtremeMusic.com
Episode one hundred and sixty-seven of A History of Rock Music in Five Hundred Songs looks at “The Weight" by the Band, the Basement Tapes, and the continuing controversy over Dylan going electric. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode available, on "S.F. Sorrow is Born" by the Pretty Things. 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/ Also, a one-time request here -- Shawn Taylor, who runs the Facebook group for the podcast and is an old and dear friend of mine, has stage-three lung cancer. I will be hugely grateful to anyone who donates to the GoFundMe for her treatment. Errata At one point I say "when Robertson and Helm travelled to the Brill Building". I meant "when Hawkins and Helm". This is fixed in the transcript but not the recording. Resources There are three Mixcloud mixes this time. As there are so many songs by Bob Dylan and the Band excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here — one, two, three. I've used these books for all the episodes involving Dylan: Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties by Elijah Wald, which is recommended, as all Wald's books are. Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. Chronicles Volume 1 by Bob Dylan is a partial, highly inaccurate, but thoroughly readable autobiography. Information on Tiny Tim comes from Eternal Troubadour: The Improbable Life of Tiny Tim by Justin Martell. Information on John Cage comes from The Roaring Silence by David Revill Information on Woodstock comes from Small Town Talk by Barney Hoskyns. For material on the Basement Tapes, I've used Million Dollar Bash by Sid Griffin. And for the Band, I've used This Wheel's on Fire by Levon Helm with Stephen Davis, Testimony by Robbie Robertson, The Band by Craig Harris and Levon by Sandra B Tooze. I've also referred to the documentaries No Direction Home and Once Were Brothers. The complete Basement Tapes can be found on this multi-disc box set, while this double-CD version has the best material from the sessions. All the surviving live recordings by Dylan and the Hawks from 1966 are on this box set. There are various deluxe versions of Music From Big Pink, but still the best way to get the original album is in this twofer CD with the Band's second album. Transcript Just a brief note before I start – literally while I was in the middle of recording this episode, it was announced that Robbie Robertson had died today, aged eighty. Obviously I've not had time to alter the rest of the episode – half of which had already been edited – with that in mind, though I don't believe I say anything disrespectful to his memory. My condolences to those who loved him – he was a huge talent and will be missed. There are people in the world who question the function of criticism. Those people argue that criticism is in many ways parasitic. If critics knew what they were talking about, so the argument goes, they would create themselves, rather than talk about other people's creation. It's a variant of the "those who can't, teach" cliche. And to an extent it's true. Certainly in the world of rock music, which we're talking about in this podcast, most critics are quite staggeringly ignorant of the things they're talking about. Most criticism is ephemeral, published in newspapers, magazines, blogs and podcasts, and forgotten as soon as it has been consumed -- and consumed is the word . But sometimes, just sometimes, a critic will have an effect on the world that is at least as important as that of any of the artists they criticise. One such critic was John Ruskin. Ruskin was one of the preeminent critics of visual art in the Victorian era, particularly specialising in painting and architecture, and he passionately advocated for a form of art that would be truthful, plain, and honest. To Ruskin's mind, many artists of the past, and of his time, drew and painted, not what they saw with their own eyes, but what other people expected them to paint. They replaced true observation of nature with the regurgitation of ever-more-mannered and formalised cliches. His attacks on many great artists were, in essence, the same critiques that are currently brought against AI art apps -- they're just recycling and plagiarising what other people had already done, not seeing with their own eyes and creating from their own vision. Ruskin was an artist himself, but never received much acclaim for his own work. Rather, he advocated for the works of others, like Turner and the pre-Raphaelite school -- the latter of whom were influenced by Ruskin, even as he admired them for seeing with their own vision rather than just repeating influences from others. But those weren't the only people Ruskin influenced. Because any critical project, properly understood, becomes about more than just the art -- as if art is just anything. Ruskin, for example, studied geology, because if you're going to talk about how people should paint landscapes and what those landscapes look like, you need to understand what landscapes really do look like, which means understanding their formation. He understood that art of the kind he wanted could only be produced by certain types of people, and so society had to be organised in a way to produce such people. Some types of societal organisation lead to some kinds of thinking and creation, and to properly, honestly, understand one branch of human thought means at least to attempt to understand all of them. Opinions about art have moral consequences, and morality has political and economic consequences. The inevitable endpoint of any theory of art is, ultimately, a theory of society. And Ruskin had a theory of society, and social organisation. Ruskin's views are too complex to summarise here, but they were a kind of anarcho-primitivist collectivism. He believed that wealth was evil, and that the classical liberal economics of people like Mill was fundamentally anti-human, that the division of labour alienated people from their work. In Ruskin's ideal world, people would gather in communities no bigger than villages, and work as craftspeople, working with nature rather than trying to bend nature to their will. They would be collectives, with none richer or poorer than any other, and working the land without modern technology. in the first half of the twentieth century, in particular, Ruskin's influence was *everywhere*. His writings on art inspired the Impressionist movement, but his political and economic ideas were the most influential, right across the political spectrum. Ruskin's ideas were closest to Christian socialism, and he did indeed inspire many socialist parties -- most of the founders of Britain's Labour Party were admirers of Ruskin and influenced by his ideas, particularly his opposition to the free market. But he inspired many other people -- Gandhi talked about the profound influence that Ruskin had on him, saying in his autobiography that he got three lessons from Ruskin's Unto This Last: "That 1) the good of the individual is contained in the good of all. 2) a lawyer's work has the same value as the barber's in as much as all have the same right of earning their livelihood from their work. 3) a life of labour, i.e., the life of the tiller of the soil and the handicraftsman is the life worth living. The first of these I knew. The second I had dimly realized. The third had never occurred to me. Unto This Last made it clear as daylight for me that the second and third were contained in the first. I arose with the dawn, ready to reduce these principles to practice" Gandhi translated and paraphrased Unto this Last into Gujurati and called the resulting book Sarvodaya (meaning "uplifting all" or "the welfare of all") which he later took as the name of his own political philosophy. But Ruskin also had a more pernicious influence -- it was said in 1930s Germany that he and his friend Thomas Carlyle were "the first National Socialists" -- there's no evidence I know of that Hitler ever read Ruskin, but a *lot* of Nazi rhetoric is implicit in Ruskin's writing, particularly in his opposition to progress (he even opposed the bicycle as being too much inhuman interference with nature), just as much as more admirable philosophies, and he was so widely read in the late nineteenth and early twentieth centuries that there's barely a political movement anywhere that didn't bear his fingerprints. But of course, our focus here is on music. And Ruskin had an influence on that, too. We've talked in several episodes, most recently the one on the Velvet Underground, about John Cage's piece 4'33. What I didn't mention in any of the discussions of that piece -- because I was saving it for here -- is that that piece was premiered at a small concert hall in upstate New York. The hall, the Maverick Concert Hall, was owned and run by the Maverick arts and crafts collective -- a collective that were so called because they were the *second* Ruskinite arts colony in the area, having split off from the Byrdcliffe colony after a dispute between its three founders, all of whom were disciples of Ruskin, and all of whom disagreed violently about how to implement Ruskin's ideas of pacifist all-for-one and one-for-all community. These arts colonies, and others that grew up around them like the Arts Students League were the thriving centre of a Bohemian community -- close enough to New York that you could get there if you needed to, far enough away that you could live out your pastoral fantasies, and artists of all types flocked there -- Pete Seeger met his wife there, and his father-in-law had been one of the stonemasons who helped build the Maverick concert hall. Dozens of artists in all sorts of areas, from Aaron Copland to Edward G Robinson, spent time in these communities, as did Cage. Of course, while these arts and crafts communities had a reputation for Bohemianism and artistic extremism, even radical utopian artists have their limits, and legend has it that the premiere of 4'33 was met with horror and derision, and eventually led to one artist in the audience standing up and calling on the residents of the town around which these artistic colonies had agglomerated: “Good people of Woodstock, let's drive these people out of town.” [Excerpt: The Band, "The Weight"] Ronnie Hawkins was almost born to make music. We heard back in the episode on "Suzie Q" in 2019 about his family and their ties to music. Ronnie's uncle Del was, according to most of the sources on the family, a member of the Sons of the Pioneers -- though as I point out in that episode, his name isn't on any of the official lists of group members, but he might well have performed with them at some point in the early years of the group. And he was definitely a country music bass player, even if he *wasn't* in the most popular country and western group of the thirties and forties. And Del had had two sons, Jerry, who made some minor rockabilly records: [Excerpt: Jerry Hawkins, "Swing, Daddy, Swing"] And Del junior, who as we heard in the "Susie Q" episode became known as Dale Hawkins and made one of the most important rock records of the fifties: [Excerpt: Dale Hawkins, "Susie Q"] Ronnie Hawkins was around the same age as his cousins, and was in awe of his country-music star uncle. Hawkins later remembered that after his uncle moved to Califormia to become a star “He'd come home for a week or two, driving a brand new Cadillac and wearing brand new clothes and I knew that's what I wanted to be." Though he also remembered “He spent every penny he made on whiskey, and he was divorced because he was running around with all sorts of women. His wife left Arkansas and went to Louisiana.” Hawkins knew that he wanted to be a music star like his uncle, and he started performing at local fairs and other events from the age of eleven, including one performance where he substituted for Hank Williams -- Williams was so drunk that day he couldn't perform, and so his backing band asked volunteers from the audience to get up and sing with them, and Hawkins sang Burl Ives and minstrel-show songs with the band. He said later “Even back then I knew that every important white cat—Al Jolson, Stephen Foster—they all did it by copying blacks. Even Hank Williams learned all the stuff he had from those black cats in Alabama. Elvis Presley copied black music; that's all that Elvis did.” As well as being a performer from an early age, though, Hawkins was also an entrepreneur with an eye for how to make money. From the age of fourteen he started running liquor -- not moonshine, he would always point out, but something far safer. He lived only a few miles from the border between Missouri and Arkansas, and alcohol and tobacco were about half the price in Missouri that they were in Arkansas, so he'd drive across the border, load up on whisky and cigarettes, and drive back and sell them at a profit, which he then used to buy shares in several nightclubs, which he and his bands would perform in in later years. Like every man of his generation, Hawkins had to do six months in the Army, and it was there that he joined his first ever full-time band, the Blackhawks -- so called because his name was Hawkins, and the rest of the group were Black, though Hawkins was white. They got together when the other four members were performing at a club in the area where Hawkins was stationed, and he was so impressed with their music that he jumped on stage and started singing with them. He said later “It sounded like something between the blues and rockabilly. It sort of leaned in both directions at the same time, me being a hayseed and those guys playing a lot funkier." As he put it "I wanted to sound like Bobby ‘Blue' Bland but it came out sounding like Ernest Tubb.” Word got around about the Blackhawks, both that they were a great-sounding rock and roll band and that they were an integrated band at a time when that was extremely unpopular in the southern states, and when Hawkins was discharged from the Army he got a call from Sam Phillips at Sun Records. According to Hawkins a group of the regular Sun session musicians were planning on forming a band, and he was asked to front the band for a hundred dollars a week, but by the time he got there the band had fallen apart. This doesn't precisely line up with anything else I know about Sun, though it perhaps makes sense if Hawkins was being asked to front the band who had variously backed Billy Lee Riley and Jerry Lee Lewis after one of Riley's occasional threats to leave the label. More likely though, he told everyone he knew that he had a deal with Sun but Phillips was unimpressed with the demos he cut there, and Hawkins made up the story to stop himself losing face. One of the session players for Sun, though, Luke Paulman, who played in Conway Twitty's band among others, *was* impressed with Hawkins though, and suggested that they form a band together with Paulman's bass player brother George and piano-playing cousin Pop Jones. The Paulman brothers and Jones also came from Arkansas, but they specifically came from Helena, Arkansas, the town from which King Biscuit Time was broadcast. King Biscuit Time was the most important blues radio show in the US at that time -- a short lunchtime programme which featured live performances from a house band which varied over the years, but which in the 1940s had been led by Sonny Boy Williamson II, and featured Robert Jr. Lockwood, Robert Johnson's stepson, on guiitar: [Excerpt: Sonny Boy Williamson II "Eyesight to the Blind (King Biscuit Time)"] The band also included a drummer, "Peck" Curtis, and that drummer was the biggest inspiration for a young white man from the town named Levon Helm. Helm had first been inspired to make music after seeing Bill Monroe and his Blue Grass Boys play live when Helm was eight, and he had soon taken up first the harmonica, then the guitar, then the drums, becoming excellent at all of them. Even as a child he knew that he didn't want to be a farmer like his family, and that music was, as he put it, "the only way to get off that stinking tractor and out of that one hundred and five degree heat.” Sonny Boy Williamson and the King Biscuit Boys would perform in the open air in Marvell, Arkansas, where Helm was growing up, on Saturdays, and Helm watched them regularly as a small child, and became particularly interested in the drumming. “As good as the band sounded,” he said later “it seemed that [Peck] was definitely having the most fun. I locked into the drums at that point. Later, I heard Jack Nance, Conway Twitty's drummer, and all the great drummers in Memphis—Jimmy Van Eaton, Al Jackson, and Willie Hall—the Chicago boys (Fred Belew and Clifton James) and the people at Sun Records and Vee-Jay, but most of my style was based on Peck and Sonny Boy—the Delta blues style with the shuffle. Through the years, I've quickened the pace to a more rock-and-roll meter and time frame, but it still bases itself back to Peck, Sonny Boy Williamson, and the King Biscuit Boys.” Helm had played with another band that George Paulman had played in, and he was invited to join the fledgling band Hawkins was putting together, called for the moment the Sun Records Quartet. The group played some of the clubs Hawkins had business connections in, but they had other plans -- Conway Twitty had recently played Toronto, and had told Luke Paulman about how desperate the Canadians were for American rock and roll music. Twitty's agent Harold Kudlets booked the group in to a Toronto club, Le Coq D'Or, and soon the group were alternating between residencies in clubs in the Deep South, where they were just another rockabilly band, albeit one of the better ones, and in Canada, where they became the most popular band in Ontario, and became the nucleus of an entire musical scene -- the same scene from which, a few years later, people like Neil Young would emerge. George Paulman didn't remain long in the group -- he was apparently getting drunk, and also he was a double-bass player, at a time when the electric bass was becoming the in thing. And this is the best place to mention this, but there are several discrepancies in the various accounts of which band members were in Hawkins' band at which times, and who played on what session. They all *broadly* follow the same lines, but none of them are fully reconcilable with each other, and nobody was paying enough attention to lineup shifts in a bar band between 1957 and 1964 to be absolutely certain who was right. I've tried to reconcile the various accounts as far as possible and make a coherent narrative, but some of the details of what follows may be wrong, though the broad strokes are correct. For much of their first period in Ontario, the group had no bass player at all, relying on Jones' piano to fill in the bass parts, and on their first recording, a version of "Bo Diddley", they actually got the club's manager to play bass with them: [Excerpt: Ronnie Hawkins, "Hey Bo Diddley"] That is claimed to be the first rock and roll record made in Canada, though as everyone who has listened to this podcast knows, there's no first anything. It wasn't released as by the Sun Records Quartet though -- the band had presumably realised that that name would make them much less attractive to other labels, and so by this point the Sun Records Quartet had become Ronnie Hawkins and the Hawks. "Hey Bo Diddley" was released on a small Canadian label and didn't have any success, but the group carried on performing live, travelling back down to Arkansas for a while and getting a new bass player, Lefty Evans, who had been playing in the same pool of musicians as them, having been another Sun session player who had been in Conway Twitty's band, and had written Twitty's "Why Can't I Get Through to You": [Excerpt: Conway Twitty, "Why Can't I Get Through to You"] The band were now popular enough in Canada that they were starting to get heard of in America, and through Kudlets they got a contract with Joe Glaser, a Mafia-connected booking agent who booked them into gigs on the Jersey Shore. As Helm said “Ronnie Hawkins had molded us into the wildest, fiercest, speed-driven bar band in America," and the group were apparently getting larger audiences in New Jersey than Sammy Davis Jr was, even though they hadn't released any records in the US. Or at least, they hadn't released any records in their own name in the US. There's a record on End Records by Rockin' Ronald and the Rebels which is very strongly rumoured to have been the Hawks under another name, though Hawkins always denied that. Have a listen for yourself and see what you think: [Excerpt: Rockin' Ronald and the Rebels, "Kansas City"] End Records, the label that was on, was one of the many record labels set up by George Goldner and distributed by Morris Levy, and when the group did release a record in their home country under their own name, it was on Levy's Roulette Records. An audition for Levy had been set up by Glaser's booking company, and Levy decided that given that Elvis was in the Army, there was a vacancy to be filled and Ronnie Hawkins might just fit the bill. Hawkins signed a contract with Levy, and it doesn't sound like he had much choice in the matter. Helm asked him “How long did you have to sign for?” and Hawkins replied "Life with an option" That said, unlike almost every other artist who interacted with Levy, Hawkins never had a bad word to say about him, at least in public, saying later “I don't care what Morris was supposed to have done, he looked after me and he believed in me. I even lived with him in his million-dollar apartment on the Upper East Side." The first single the group recorded for Roulette, a remake of Chuck Berry's "Thirty Days" retitled "Forty Days", didn't chart, but the follow-up, a version of Young Jessie's "Mary Lou", made number twenty-six on the charts: [Excerpt: Ronnie Hawkins and the Hawks, "Mary Lou"] While that was a cover of a Young Jessie record, the songwriting credits read Hawkins and Magill -- Magill was a pseudonym used by Morris Levy. Levy hoped to make Ronnie Hawkins into a really big star, but hit a snag. This was just the point where the payola scandal had hit and record companies were under criminal investigation for bribing DJs to play their records. This was the main method of promotion that Levy used, and this was so well known that Levy was, for a time, under more scrutiny than anyone. He couldn't risk paying anyone off, and so Hawkins' records didn't get the expected airplay. The group went through some lineup changes, too, bringing in guitarist Fred Carter (with Luke Paulman moving to rhythm and soon leaving altogether) from Hawkins' cousin Dale's band, and bass player Jimmy Evans. Some sources say that Jones quit around this time, too, though others say he was in the band for a while longer, and they had two keyboards (the other keyboard being supplied by Stan Szelest. As well as recording Ronnie Hawkins singles, the new lineup of the group also recorded one single with Carter on lead vocals, "My Heart Cries": [Excerpt: Fred Carter, "My Heart Cries"] While the group were now playing more shows in the USA, they were still playing regularly in Canada, and they had developed a huge fanbase there. One of these was a teenage guitarist called Robbie Robertson, who had become fascinated with the band after playing a support slot for them, and had started hanging round, trying to ingratiate himself with the band in the hope of being allowed to join. As he was a teenager, Hawkins thought he might have his finger on the pulse of the youth market, and when Hawkins and Helm travelled to the Brill Building to hear new songs for consideration for their next album, they brought Robertson along to listen to them and give his opinion. Robertson himself ended up contributing two songs to the album, titled Mr. Dynamo. According to Hawkins "we had a little time after the session, so I thought, Well, I'm just gonna put 'em down and see what happens. And they were released. Robbie was the songwriter for words, and Levon was good for arranging, making things fit in and all that stuff. He knew what to do, but he didn't write anything." The two songs in question were "Someone Like You" and "Hey Boba Lou": [Excerpt: Ronnie Hawkins and the Hawks, "Hey Boba Lou"] While Robertson was the sole writer of the songs, they were credited to Robertson, Hawkins, and Magill -- Morris Levy. As Robertson told the story later, “It's funny, when those songs came out and I got a copy of the album, it had another name on there besides my name for some writer like Morris Levy. So, I said to Ronnie, “There was nobody there writing these songs when I wrote these songs. Who is Morris Levy?” Ronnie just kinda tapped me on the head and said, “There are certain things about this business that you just let go and you don't question.” That was one of my early music industry lessons right there" Robertson desperately wanted to join the Hawks, but initially it was Robertson's bandmate Scott Cushnie who became the first Canadian to join the Hawks. But then when they were in Arkansas, Jimmy Evans decided he wasn't going to go back to Canada. So Hawkins called Robbie Robertson up and made him an offer. Robertson had to come down to Arkansas and get a couple of quick bass lessons from Helm (who could play pretty much every instrument to an acceptable standard, and so was by this point acting as the group's musical director, working out arrangements and leading them in rehearsals). Then Hawkins and Helm had to be elsewhere for a few weeks. If, when they got back, Robertson was good enough on bass, he had the job. If not, he didn't. Robertson accepted, but he nearly didn't get the gig after all. The place Hawkins and Helm had to be was Britain, where they were going to be promoting their latest single on Boy Meets Girls, the Jack Good TV series with Marty Wilde, which featured guitarist Joe Brown in the backing band: [Excerpt: Joe Brown, “Savage”] This was the same series that Eddie Cochran and Gene Vincent were regularly appearing on, and while they didn't appear on the episodes that Hawkins and Helm appeared on, they did appear on the episodes immediately before Hawkins and Helm's two appearances, and again a couple of weeks after, and were friendly with the musicians who did play with Hawkins and Helm, and apparently they all jammed together a few times. Hawkins was impressed enough with Joe Brown -- who at the time was considered the best guitarist on the British scene -- that he invited Brown to become a Hawk. Presumably if Brown had taken him up on the offer, he would have taken the spot that ended up being Robertson's, but Brown turned him down -- a decision he apparently later regretted. Robbie Robertson was now a Hawk, and he and Helm formed an immediate bond. As Helm much later put it, "It was me and Robbie against the world. Our mission, as we saw it, was to put together the best band in history". As rockabilly was by this point passe, Levy tried converting Hawkins into a folk artist, to see if he could get some of the Kingston Trio's audience. He recorded a protest song, "The Ballad of Caryl Chessman", protesting the then-forthcoming execution of Chessman (one of only a handful of people to be executed in the US in recent decades for non-lethal offences), and he made an album of folk tunes, The Folk Ballads of Ronnie Hawkins, which largely consisted of solo acoustic recordings, plus a handful of left-over Hawks recordings from a year or so earlier. That wasn't a success, but they also tried a follow-up, having Hawkins go country and do an album of Hank Williams songs, recorded in Nashville at Owen Bradley's Quonset hut. While many of the musicians on the album were Nashville A-Team players, Hawkins also insisted on having his own band members perform, much to the disgust of the producer, and so it's likely (not certain, because there seem to be various disagreements about what was recorded when) that that album features the first studio recordings with Levon Helm and Robbie Robertson playing together: [Excerpt: Ronnie Hawkins and the Hawks, "Your Cheatin' Heart"] Other sources claim that the only Hawk allowed to play on the album sessions was Helm, and that the rest of the musicians on the album were Harold Bradley and Hank Garland on guitar, Owen Bradley and Floyd Cramer on piano, Bob Moore on bass, and the Anita Kerr singers. I tend to trust Helm's recollection that the Hawks played at least some of the instruments though, because the source claiming that also seems to confuse the Hank Williams and Folk Ballads albums, and because I don't hear two pianos on the album. On the other hand, that *does* sound like Floyd Cramer on piano, and the tik-tok bass sound you'd get from having Harold Bradley play a baritone guitar while Bob Moore played a bass. So my best guess is that these sessions were like the Elvis sessions around the same time and with several of the same musicians, where Elvis' own backing musicians played rhythm parts but left the prominent instruments to the A-team players. Helm was singularly unimpressed with the experience of recording in Nashville. His strongest memory of the sessions was of another session going on in the same studio complex at the time -- Bobby "Blue" Bland was recording his classic single "Turn On Your Love Light", with the great drummer Jabo Starks on drums, and Helm was more interested in listening to that than he was in the music they were playing: [Excerpt: Bobby "Blue" Bland, "Turn On Your Love Light"] Incidentally, Helm talks about that recording being made "downstairs" from where the Hawks were recording, but also says that they were recording in Bradley's Quonset hut. Now, my understanding here *could* be very wrong -- I've been unable to find a plan or schematic anywhere -- but my understanding is that the Quonset hut was a single-level structure, not a multi-level structure. BUT the original recording facilities run by the Bradley brothers were in Owen Bradley's basement, before they moved into the larger Quonset hut facility in the back, so it's possible that Bland was recording that in the old basement studio. If so, that won't be the last recording made in a basement we hear this episode... Fred Carter decided during the Nashville sessions that he was going to leave the Hawks. As his son told the story: "Dad had discovered the session musicians there. He had no idea that you could play and make a living playing in studios and sleep in your own bed every night. By that point in his life, he'd already been gone from home and constantly on the road and in the service playing music for ten years so that appealed to him greatly. And Levon asked him, he said, “If you're gonna leave, Fred, I'd like you to get young Robbie over here up to speed on guitar”…[Robbie] got kind of aggravated with him—and Dad didn't say this with any malice—but by the end of that week, or whatever it was, Robbie made some kind of comment about “One day I'm gonna cut you.” And Dad said, “Well, if that's how you think about it, the lessons are over.” " (For those who don't know, a musician "cutting" another one is playing better than them, so much better that the worse musician has to concede defeat. For the remainder of Carter's notice in the Hawks, he played with his back to Robertson, refusing to look at him. Carter leaving the group caused some more shuffling of roles. For a while, Levon Helm -- who Hawkins always said was the best lead guitar player he ever worked with as well as the best drummer -- tried playing lead guitar while Robertson played rhythm and another member, Rebel Payne, played bass, but they couldn't find a drummer to replace Helm, who moved back onto the drums. Then they brought in Roy Buchanan, another guitarist who had been playing with Dale Hawkins, having started out playing with Johnny Otis' band. But Buchanan didn't fit with Hawkins' personality, and he quit after a few months, going off to record his own first solo record: [Excerpt: Roy Buchanan, "Mule Train Stomp"] Eventually they solved the lineup problem by having Robertson -- by this point an accomplished lead player --- move to lead guitar and bringing in a new rhythm player, another Canadian teenager named Rick Danko, who had originally been a lead player (and who also played mandolin and fiddle). Danko wasn't expected to stay on rhythm long though -- Rebel Payne was drinking a lot and missing being at home when he was out on the road, so Danko was brought in on the understanding that he was to learn Payne's bass parts and switch to bass when Payne quit. Helm and Robertson were unsure about Danko, and Robertson expressed that doubt, saying "He only knows four chords," to which Hawkins replied, "That's all right son. You can teach him four more the way we had to teach you." He proved himself by sheer hard work. As Hawkins put it “He practiced so much that his arms swoll up. He was hurting.” By the time Danko switched to bass, the group also had a baritone sax player, Jerry Penfound, which allowed the group to play more of the soul and R&B material that Helm and Robertson favoured, though Hawkins wasn't keen. This new lineup of the group (which also had Stan Szelest on piano) recorded Hawkins' next album. This one was produced by Henry Glover, the great record producer, songwriter, and trumpet player who had played with Lucky Millinder, produced Wynonie Harris, Hank Ballard, and Moon Mullican, and wrote "Drowning in My Own Tears", "The Peppermint Twist", and "California Sun". Glover was massively impressed with the band, especially Helm (with whom he would remain friends for the rest of his life) and set aside some studio time for them to cut some tracks without Hawkins, to be used as album filler, including a version of the Bobby "Blue" Bland song "Farther On Up the Road" with Helm on lead vocals: [Excerpt: Levon Helm and the Hawks, "Farther On Up the Road"] There were more changes on the way though. Stan Szelest was about to leave the band, and Jones had already left, so the group had no keyboard player. Hawkins had just the replacement for Szelest -- yet another Canadian teenager. This one was Richard Manuel, who played piano and sang in a band called The Rockin' Revols. Manuel was not the greatest piano player around -- he was an adequate player for simple rockabilly and R&B stuff, but hardly a virtuoso -- but he was an incredible singer, able to do a version of "Georgia on My Mind" which rivalled Ray Charles, and Hawkins had booked the Revols into his own small circuit of clubs around Arkanasas after being impressed with them on the same bill as the Hawks a couple of times. Hawkins wanted someone with a good voice because he was increasingly taking a back seat in performances. Hawkins was the bandleader and frontman, but he'd often given Helm a song or two to sing in the show, and as they were often playing for several hours a night, the more singers the band had the better. Soon, with Helm, Danko, and Manuel all in the group and able to take lead vocals, Hawkins would start missing entire shows, though he still got more money than any of his backing group. Hawkins was also a hard taskmaster, and wanted to have the best band around. He already had great musicians, but he wanted them to be *the best*. And all the musicians in his band were now much younger than him, with tons of natural talent, but untrained. What he needed was someone with proper training, someone who knew theory and technique. He'd been trying for a long time to get someone like that, but Garth Hudson had kept turning him down. Hudson was older than any of the Hawks, though younger than Hawkins, and he was a multi-instrumentalist who was far better than any other musician on the circuit, having trained in a conservatory and learned how to play Bach and Chopin before switching to rock and roll. He thought the Hawks were too loud sounding and played too hard for him, but Helm kept on at Hawkins to meet any demands Hudson had, and Hawkins eventually agreed to give Hudson a higher wage than any of the other band members, buy him a new Lowry organ, and give him an extra ten dollars a week to give the rest of the band music lessons. Hudson agreed, and the Hawks now had a lineup of Helm on drums, Robertson on guitar, Manuel on piano, Danko on bass, Hudson on organ and alto sax, and Penfound on baritone sax. But these new young musicians were beginning to wonder why they actually needed a frontman who didn't turn up to many of the gigs, kept most of the money, and fined them whenever they broke one of his increasingly stringent set of rules. Indeed, they wondered why they needed a frontman at all. They already had three singers -- and sometimes a fourth, a singer called Bruce Bruno who would sometimes sit in with them when Penfound was unable to make a gig. They went to see Harold Kudlets, who Hawkins had recently sacked as his manager, and asked him if he could get them gigs for the same amount of money as they'd been getting with Hawkins. Kudlets was astonished to find how little Hawkins had been paying them, and told them that would be no problem at all. They had no frontman any more -- and made it a rule in all their contracts that the word "sideman" would never be used -- but Helm had been the leader for contractual purposes, as the musical director and longest-serving member (Hawkins, as a non-playing singer, had never joined the Musicians' Union so couldn't be the leader on contracts). So the band that had been Ronnie Hawkins and the Hawks became the Levon Helm Sextet briefly -- but Penfound soon quit, and they became Levon and the Hawks. The Hawks really started to find their identity as their own band in 1964. They were already far more interested in playing soul than Hawkins had been, but they were also starting to get into playing soul *jazz*, especially after seeing the Cannonball Adderley Sextet play live: [Excerpt: Cannonball Adderley, "This Here"] What the group admired about the Adderley group more than anything else was a sense of restraint. Helm was particularly impressed with their drummer, Louie Hayes, and said of him "I got to see some great musicians over the years, and you see somebody like that play and you can tell, y' know, that the thing not to do is to just get it down on the floor and stomp the hell out of it!" The other influence they had, and one which would shape their sound even more, was a negative one. The two biggest bands on the charts at the time were the Beatles and the Beach Boys, and as Helm described it in his autobiography, the Hawks thought both bands' harmonies were "a blend of pale, homogenised, voices". He said "We felt we were better than the Beatles and the Beach Boys. We considered them our rivals, even though they'd never heard of us", and they decided to make their own harmonies sound as different as possible as a result. Where those groups emphasised a vocal blend, the Hawks were going to emphasise the *difference* in their voices in their own harmonies. The group were playing prestigious venues like the Peppermint Lounge, and while playing there they met up with John Hammond Jr, who they'd met previously in Canada. As you might remember from the first episode on Bob Dylan, Hammond Jr was the son of the John Hammond who we've talked about in many episodes, and was a blues musician in his own right. He invited Helm, Robertson, and Hudson to join the musicians, including Michael Bloomfield, who were playing on his new album, So Many Roads: [Excerpt: John P. Hammond, "Who Do You Love?"] That album was one of the inspirations that led Bob Dylan to start making electric rock music and to hire Bloomfield as his guitarist, decisions that would have profound implications for the Hawks. The first single the Hawks recorded for themselves after leaving Hawkins was produced by Henry Glover, and both sides were written by Robbie Robertson. "uh Uh Uh" shows the influence of the R&B bands they were listening to. What it reminds me most of is the material Ike and Tina Turner were playing at the time, but at points I think I can also hear the influence of Curtis Mayfield and Steve Cropper, who were rapidly becoming Robertson's favourite songwriters: [Excerpt: The Canadian Squires, "Uh Uh Uh"] None of the band were happy with that record, though. They'd played in the studio the same way they played live, trying to get a strong bass presence, but it just sounded bottom-heavy to them when they heard the record on a jukebox. That record was released as by The Canadian Squires -- according to Robertson, that was a name that the label imposed on them for the record, while according to Helm it was an alternative name they used so they could get bookings in places they'd only recently played, which didn't want the same band to play too often. One wonders if there was any confusion with the band Neil Young played in a year or so before that single... Around this time, the group also met up with Helm's old musical inspiration Sonny Boy Williamson II, who was impressed enough with them that there was some talk of them being his backing band (and it was in this meeting that Williamson apparently told Robertson "those English boys want to play the blues so bad, and they play the blues *so bad*", speaking of the bands who'd backed him in the UK, like the Yardbirds and the Animals). But sadly, Williamson died in May 1965 before any of these plans had time to come to fruition. Every opportunity for the group seemed to be closing up, even as they knew they were as good as any band around them. They had an offer from Aaron Schroeder, who ran Musicor Records but was more importantly a songwriter and publisher who had written for Elvis Presley and published Gene Pitney. Schroeder wanted to sign the Hawks as a band and Robertson as a songwriter, but Henry Glover looked over the contracts for them, and told them "If you sign this you'd better be able to pay each other, because nobody else is going to be paying you". What happened next is the subject of some controversy, because as these things tend to go, several people became aware of the Hawks at the same time, but it's generally considered that nothing would have happened the same way were it not for Mary Martin. Martin is a pivotal figure in music business history -- among other things she discovered Leonard Cohen and Gordon Lightfoot, managed Van Morrison, and signed Emmylou Harris to Warner Brothers records -- but a somewhat unknown one who doesn't even have a Wikipedia page. Martin was from Toronto, but had moved to New York, where she was working in Albert Grossman's office, but she still had many connections to Canadian musicians and kept an eye out for them. The group had sent demo tapes to Grossman's offices, and Grossman had had no interest in them, but Martin was a fan and kept pushing the group on Grossman and his associates. One of those associates, of course, was Grossman's client Bob Dylan. As we heard in the episode on "Like a Rolling Stone", Dylan had started making records with electric backing, with musicians who included Mike Bloomfield, who had played with several of the Hawks on the Hammond album, and Al Kooper, who was a friend of the band. Martin gave Richard Manuel a copy of Dylan's new electric album Highway 61 Revisited, and he enjoyed it, though the rest of the group were less impressed: [Excerpt: Bob Dylan, "Highway 61 Revisited"] Dylan had played the Newport Folk Festival with some of the same musicians as played on his records, but Bloomfield in particular was more interested in continuing to play with the Paul Butterfield Blues Band than continuing with Dylan long-term. Mary Martin kept telling Dylan about this Canadian band she knew who would be perfect for him, and various people associated with the Grossman organisation, including Hammond, have claimed to have been sent down to New Jersey where the Hawks were playing to check them out in their live setting. The group have also mentioned that someone who looked a lot like Dylan was seen at some of their shows. Eventually, Dylan phoned Helm up and made an offer. He didn't need a full band at the moment -- he had Harvey Brooks on bass and Al Kooper on keyboards -- but he did need a lead guitar player and drummer for a couple of gigs he'd already booked, one in Forest Hills, New York, and a bigger gig at the Hollywood Bowl. Helm, unfamiliar with Dylan's work, actually asked Howard Kudlets if Dylan was capable of filling the Hollywood Bowl. The musicians rehearsed together and got a set together for the shows. Robertson and Helm thought the band sounded terrible, but Dylan liked the sound they were getting a lot. The audience in Forest Hills agreed with the Hawks, rather than Dylan, or so it would appear. As we heard in the "Like a Rolling Stone" episode, Dylan's turn towards rock music was *hated* by the folk purists who saw him as some sort of traitor to the movement, a movement whose figurehead he had become without wanting to. There were fifteen thousand people in the audience, and they listened politely enough to the first set, which Dylan played acoustically, But before the second set -- his first ever full electric set, rather than the very abridged one at Newport -- he told the musicians “I don't know what it will be like out there It's going to be some kind of carnival and I want you to all know that up front. So go out there and keep playing no matter how weird it gets!” There's a terrible-quality audience recording of that show in circulation, and you can hear the crowd's reaction to the band and to the new material: [Excerpt: Bob Dylan, "Ballad of a Thin Man" (live Forest Hills 1965, audience noise only)] The audience also threw things at the musicians, knocking Al Kooper off his organ stool at one point. While Robertson remembered the Hollywood Bowl show as being an equally bad reaction, Helm remembered the audience there as being much more friendly, and the better-quality recording of that show seems to side with Helm: [Excerpt: Bob Dylan, "Maggie's Farm (live at the Hollywood Bowl 1965)"] After those two shows, Helm and Robertson went back to their regular gig. and in September they made another record. This one, again produced by Glover, was for Atlantic's Atco subsidiary, and was released as by Levon and the Hawks. Manuel took lead, and again both songs were written by Robertson: [Excerpt: Levon and the Hawks, "He Don't Love You (And He'll Break Your Heart)"] But again that record did nothing. Dylan was about to start his first full electric tour, and while Helm and Robertson had not thought the shows they'd played sounded particularly good, Dylan had, and he wanted the two of them to continue with him. But Robertson and, especially, Helm, were not interested in being someone's sidemen. They explained to Dylan that they already had a band -- Levon and the Hawks -- and he would take all of them or he would take none of them. Helm in particular had not been impressed with Dylan's music -- Helm was fundamentally an R&B fan, while Dylan's music was rooted in genres he had little time for -- but he was OK with doing it, so long as the entire band got to. As Mary Martin put it “I think that the wonderful and the splendid heart of the band, if you will, was Levon, and I think he really sort of said, ‘If it's just myself as drummer and Robbie…we're out. We don't want that. It's either us, the band, or nothing.' And you know what? Good for him.” Rather amazingly, Dylan agreed. When the band's residency in New Jersey finished, they headed back to Toronto to play some shows there, and Dylan flew up and rehearsed with them after each show. When the tour started, the billing was "Bob Dylan with Levon and the Hawks". That billing wasn't to last long. Dylan had been booked in for nine months of touring, and was also starting work on what would become widely considered the first double album in rock music history, Blonde on Blonde, and the original plan was that Levon and the Hawks would play with him throughout that time. The initial recording sessions for the album produced nothing suitable for release -- the closest was "I Wanna Be Your Lover", a semi-parody of the Beatles' "I Want to be Your Man": [Excerpt: Bob Dylan with Levon and the Hawks, "I Wanna Be Your Lover"] But shortly into the tour, Helm quit. The booing had continued, and had even got worse, and Helm simply wasn't in the business to be booed at every night. Also, his whole conception of music was that you dance to it, and nobody was dancing to any of this. Helm quit the band, only telling Robertson of his plans, and first went off to LA, where he met up with some musicians from Oklahoma who had enjoyed seeing the Hawks when they'd played that state and had since moved out West -- people like Leon Russell, J.J. Cale (not John Cale of the Velvet Underground, but the one who wrote "Cocaine" which Eric Clapton later had a hit with), and John Ware (who would later go on to join the West Coast Pop Art Experimental Band). They started loosely jamming with each other, sometimes also involving a young singer named Linda Ronstadt, but Helm eventually decided to give up music and go and work on an oil rig in New Orleans. Levon and the Hawks were now just the Hawks. The rest of the group soldiered on, replacing Helm with session drummer Bobby Gregg (who had played on Dylan's previous couple of albums, and had previously played with Sun Ra), and played on the initial sessions for Blonde on Blonde. But of those sessions, Dylan said a few weeks later "Oh, I was really down. I mean, in ten recording sessions, man, we didn't get one song ... It was the band. But you see, I didn't know that. I didn't want to think that" One track from the sessions did get released -- the non-album single "Can You Please Crawl Out Your Window?" [Excerpt: Bob Dylan, "Can You Please Crawl Out Your Window?"] There's some debate as to exactly who's playing drums on that -- Helm says in his autobiography that it's him, while the credits in the official CD releases tend to say it's Gregg. Either way, the track was an unexpected flop, not making the top forty in the US, though it made the top twenty in the UK. But the rest of the recordings with the now Helmless Hawks were less successful. Dylan was trying to get his new songs across, but this was a band who were used to playing raucous music for dancing, and so the attempts at more subtle songs didn't come off the way he wanted: [Excerpt: Bob Dylan and the Hawks, "Visions of Johanna (take 5, 11-30-1965)"] Only one track from those initial New York sessions made the album -- "One Of Us Must Know (Sooner or Later)" -- but even that only featured Robertson and Danko of the Hawks, with the rest of the instruments being played by session players: [Excerpt: Bob Dylan (One of Us Must Know (Sooner or Later)"] The Hawks were a great live band, but great live bands are not necessarily the same thing as a great studio band. And that's especially the case with someone like Dylan. Dylan was someone who was used to recording entirely on his own, and to making records *quickly*. In total, for his fifteen studio albums up to 1974's Blood on the Tracks, Dylan spent a total of eighty-six days in the studio -- by comparison, the Beatles spent over a hundred days in the studio just on the Sgt Pepper album. It's not that the Hawks weren't a good band -- very far from it -- but that studio recording requires a different type of discipline, and that's doubly the case when you're playing with an idiosyncratic player like Dylan. The Hawks would remain Dylan's live backing band, but he wouldn't put out a studio recording with them backing him until 1974. Instead, Bob Johnston, the producer Dylan was working with, suggested a different plan. On his previous album, the Nashville session player Charlie McCoy had guested on "Desolation Row" and Dylan had found him easy to work with. Johnston lived in Nashville, and suggested that they could get the album completed more quickly and to Dylan's liking by using Nashville A-Team musicians. Dylan agreed to try it, and for the rest of the album he had Robertson on lead guitar and Al Kooper on keyboards, but every other musician was a Nashville session player, and they managed to get Dylan's songs recorded quickly and the way he heard them in his head: [Excerpt: Bob Dylan, "Most Likely You Go Your Way and I'll Go Mine"] Though Dylan being Dylan he did try to introduce an element of randomness to the recordings by having the Nashville musicians swap their instruments around and play each other's parts on "Rainy Day Women #12 & 35", though the Nashville players were still competent enough that they managed to get a usable, if shambolic, track recorded that way in a single take: [Excerpt: Bob Dylan, "Rainy Day Women #12 & 35"] Dylan said later of the album "The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It's that thin, that wild mercury sound. It's metallic and bright gold, with whatever that conjures up." The album was released in late June 1966, a week before Freak Out! by the Mothers of Invention, another double album, produced by Dylan's old producer Tom Wilson, and a few weeks after Pet Sounds by the Beach Boys. Dylan was at the forefront of a new progressive movement in rock music, a movement that was tying thoughtful, intelligent lyrics to studio experimentation and yet somehow managing to have commercial success. And a month after Blonde on Blonde came out, he stepped away from that position, and would never fully return to it. The first half of 1966 was taken up with near-constant touring, with Dylan backed by the Hawks and a succession of fill-in drummers -- first Bobby Gregg, then Sandy Konikoff, then Mickey Jones. This tour started in the US and Canada, with breaks for recording the album, and then moved on to Australia and Europe. The shows always followed the same pattern. First Dylan would perform an acoustic set, solo, with just an acoustic guitar and harmonica, which would generally go down well with the audience -- though sometimes they would get restless, prompting a certain amount of resistance from the performer: [Excerpt: Bob Dylan, "Just Like a Woman (live Paris 1966)"] But the second half of each show was electric, and that was where the problems would arise. The Hawks were playing at the top of their game -- some truly stunning performances: [Excerpt: Bob Dylan and the Hawks, "Just Like Tom Thumb's Blues (live in Liverpool 1966)"] But while the majority of the audience was happy to hear the music, there was a vocal portion that were utterly furious at the change in Dylan's musical style. Most notoriously, there was the performance at Manchester Free Trade Hall where this happened: [Excerpt: Bob Dylan, "Like a Rolling Stone (live Manchester 1966)"] That kind of aggression from the audience had the effect of pushing the band on to greater heights a lot of the time -- and a bootleg of that show, mislabelled as the Royal Albert Hall, became one of the most legendary bootlegs in rock music history. Jimmy Page would apparently buy a copy of the bootleg every time he saw one, thinking it was the best album ever made. But while Dylan and the Hawks played defiantly, that kind of audience reaction gets wearing. As Dylan later said, “Judas, the most hated name in human history, and for what—for playing an electric guitar. As if that is in some kind of way equitable to betraying our Lord, and delivering him up to be crucified; all those evil mothers can rot in hell.” And this wasn't the only stress Dylan, in particular, was under. D.A. Pennebaker was making a documentary of the tour -- a follow-up to his documentary of the 1965 tour, which had not yet come out. Dylan talked about the 1965 documentary, Don't Look Back, as being Pennebaker's film of Dylan, but this was going to be Dylan's film, with him directing the director. That footage shows Dylan as nervy and anxious, and covering for the anxiety with a veneer of flippancy. Some of Dylan's behaviour on both tours is unpleasant in ways that can't easily be justified (and which he has later publicly regretted), but there's also a seeming cruelty to some of his interactions with the press and public that actually reads more as frustration. Over and over again he's asked questions -- about being the voice of a generation or the leader of a protest movement -- which are simply based on incorrect premises. When someone asks you a question like this, there are only a few options you can take, none of them good. You can dissect the question, revealing the incorrect premises, and then answer a different question that isn't what they asked, which isn't really an option at all given the kind of rapid-fire situation Dylan was in. You can answer the question as asked, which ends up being dishonest. Or you can be flip and dismissive, which is the tactic Dylan chose. Dylan wasn't the only one -- this is basically what the Beatles did at press conferences. But where the Beatles were a gang and so came off as being fun, Dylan doing the same thing came off as arrogant and aggressive. One of the most famous artifacts of the whole tour is a long piece of footage recorded for the documentary, with Dylan and John Lennon riding in the back of a taxi, both clearly deeply uncomfortable, trying to be funny and impress the other, but neither actually wanting to be there: [Excerpt Dylan and Lennon conversation] 33) Part of the reason Dylan wanted to go home was that he had a whole new lifestyle. Up until 1964 he had been very much a city person, but as he had grown more famous, he'd found New York stifling. Peter Yarrow of Peter, Paul, and Mary had a cabin in Woodstock, where he'd grown up, and after Dylan had spent a month there in summer 1964, he'd fallen in love with the area. Albert Grossman had also bought a home there, on Yarrow's advice, and had given Dylan free run of the place, and Dylan had decided he wanted to move there permanently and bought his own home there. He had also married, to Sara Lowndes (whose name is, as far as I can tell, pronounced "Sarah" even though it's spelled "Sara"), and she had given birth to his first child (and he had adopted her child from her previous marriage). Very little is actually known about Sara, who unlike many other partners of rock stars at this point seemed positively to detest the limelight, and whose privacy Dylan has continued to respect even after the end of their marriage in the late seventies, but it's apparent that the two were very much in love, and that Dylan wanted to be back with his wife and kids, in the country, not going from one strange city to another being asked insipid questions and having abuse screamed at him. He was also tired of the pressure to produce work constantly. He'd signed a contract for a novel, called Tarantula, which he'd written a draft of but was unhappy with, and he'd put out two single albums and a double-album in a little over a year -- all of them considered among the greatest albums ever made. He could only keep up this rate of production and performance with a large intake of speed, and he was sometimes staying up for four days straight to do so. After the European leg of the tour, Dylan was meant to take some time to finish overdubs on Blonde on Blonde, edit the film of the tour for a TV special, with his friend Howard Alk, and proof the galleys for Tarantula, before going on a second world tour in the autumn. That world tour never happened. Dylan was in a motorcycle accident near his home, and had to take time out to recover. There has been a lot of discussion as to how serious the accident actually was, because Dylan's manager Albert Grossman was known to threaten to break contracts by claiming his performers were sick, and because Dylan essentially disappeared from public view for the next eighteen months. Every possible interpretation of the events has been put about by someone, from Dylan having been close to death, to the entire story being put up as a fake. As Dylan is someone who is far more protective of his privacy than most rock stars, it's doubtful we'll ever know the precise truth, but putting together the various accounts Dylan's injuries were bad but not life-threatening, but they acted as a wake-up call -- if he carried on living like he had been, how much longer could he continue? in his sort-of autobiography, Chronicles, Dylan described this period, saying "I had been in a motorcycle accident and I'd been hurt, but I recovered. Truth was that I wanted to get out of the rat race. Having children changed my life and segregated me from just about everybody and everything that was going on. Outside of my family, nothing held any real interest for me and I was seeing everything through different glasses." All his forthcoming studio and tour dates were cancelled, and Dylan took the time out to recover, and to work on his film, Eat the Document. But it's clear that nobody was sure at first exactly how long Dylan's hiatus from touring was going to last. As it turned out, he wouldn't do another tour until the mid-seventies, and would barely even play any one-off gigs in the intervening time. But nobody knew that at the time, and so to be on the safe side the Hawks were being kept on a retainer. They'd always intended to work on their own music anyway -- they didn't just want to be anyone's backing band -- so they took this time to kick a few ideas around, but they were hamstrung by the fact that it was difficult to find rehearsal space in New York City, and they didn't have any gigs. Their main musical work in the few months between summer 1966 and spring 1967 was some recordings for the soundtrack of a film Peter Yarrow was making. You Are What You Eat is a bizarre hippie collage of a film, documenting the counterculture between 1966 when Yarrow started making it and 1968 when it came out. Carl Franzoni, one of the leaders of the LA freak movement that we've talked about in episodes on the Byrds, Love, and the Mothers of Invention, said of the film “If you ever see this movie you'll understand what ‘freaks' are. It'll let you see the L.A. freaks, the San Francisco freaks, and the New York freaks. It was like a documentary and it was about the makings of what freaks were about. And it had a philosophy, a very definite philosophy: that you are free-spirited, artistic." It's now most known for introducing the song "My Name is Jack" by John Simon, the film's music supervisor: [Excerpt: John Simon, "My Name is Jack"] That song would go on to be a top ten hit in the UK for Manfred Mann: [Excerpt: Manfred Mann, "My Name is Jack"] The Hawks contributed backing music for several songs for the film, in which they acted as backing band for another old Greenwich Village folkie who had been friends with Yarrow and Dylan but who was not yet the star he would soon become, Tiny Tim: [Excerpt: Tiny Tim, "Sonny Boy"] This was their first time playing together properly since the end of the European tour, and Sid Griffin has noted that these Tiny Tim sessions are the first time you can really hear the sound that the group would develop over the next year, and which would characterise them for their whole career. Robertson, Danko, and Manuel also did a session, not for the film with another of Grossman's discoveries, Carly Simon, playing a version of "Baby Let Me Follow You Down", a song they'd played a lot with Dylan on the tour that spring. That recording has never been released, and I've only managed to track down a brief clip of it from a BBC documentary, with Simon and an interviewer talking over most of the clip (so this won't be in the Mixcloud I put together of songs): [Excerpt: Carly Simon, "Baby Let Me Follow You Down"] That recording is notable though because as well as Robertson, Danko, and Manuel, and Dylan's regular studio keyboard players Al Kooper and Paul Griffin, it also features Levon Helm on drums, even though Helm had still not rejoined the band and was at the time mostly working in New Orleans. But his name's on the session log, so he must have m
I know...another podcast about exit strategies. Don't worry. This one goes through a very easy three-step process that every entrepreneur should be employing. Make this one worth your time! This episode is sponsored by Lulu.com 37% of creators surveyed by The Tilt this year said that one of the top 3 most profitable ways to monetize their content is with a book. Turning your best performing content into a printed book with Lulu has never been easier. Lulu's ecommerce plugins allow you to sell directly to your fans from your site, while they handle all of the printing and shipping. You keep all of your customer data and 100% of your profits. Create a free account today at Lulu.com to get started. ------- Like this episode? SUBSCRIBE on Apple, Spotify or Google. See all Content Inc episodes at the Content Inc. podcast home. Get my personal newsletter today and receive the first chapter of my new book for free.
A living legend of MACV-SOG and the Green Berets, John "Tilt" Stryker Meyer shares some of the most daring first-person stories of combat ever told! Inserted by Kingbee helicopter into the dense jungle along the Ho Chi Minh trail in Laos and Cambodia during the height of the Vietnam War, Tilt and the US and indigenous members of Strike Force Idaho deployed on one impossible top-secret mission after another, spying on, harassing and taking it to the North Vietnamese and Vietcong despite a casualty rate of over 100%.Top-secret, all-volunteer SOG teams soon became the bane of the NVA's and Vietcong's existence, and despite overwhelming odds and sometimes having to face battalion-size enemy detachments, Tilt describes how these small US-indigenous units bravely soldiered on achieving a combined kill ratio of 158 to 1 – the highest in US military history.Bravery like that described by Tilt is not only inspiring, it changes the way we perceive the Vietnam War. Heroes Behind HeadlinesExecutive Producer Ralph PezzulloProduced & Engineered by Mike DawsonMusic provided by ExtremeMusic.com
We're back with the second part of Dr. Claudia Miller's talk on Toxicant-Induced Loss of Tolerance (TILT). Go back to part 1 to listen to more of an explanation, but TILT seeks to explain the mystifying range of symptoms suffered by people with chemical intolerances. To listen to the full talk with presentation slides, I have linked the youtube video by Beyond Pesticides below as well as anything that is mentioned in this talk. Contact and connect with Dr. Claudia Miller: email@example.com Watch the full presentation from Beyond Pesticides: https://www.youtube.com/watch?v=G8sjxyOZ-Ew TILT Website: https://tiltresearch.org/ Chemical Exposures: Low Levels and High Stakes, 2nd edition 1998: https://tiltresearch.org/provider-resources/publications/ Microbiome video: https://tiltresearch.org/2022/06/20/toxicant-induced-loss-of-tolerance-for-chemicals-foods-and-drugs-a-global-phenomenon/ Full Papers attached: Mast cells article: https://tiltresearch.org/2021/12/02/overlooked-for-decades-mast-cells-may-explain-chemical-intolerance/ TILT Connection article: https://tiltresearch.org/2021/06/28/new-study-provides-a-link-between-common-chemicals-and-unexplained-chronic-illnesses/
Rip answers questions live from Starting Strength Network subscribers and fans. 02:16 Comments from the Haters! 10:10 Does ChatGPT know Rip? 22:25 The plate spoof 27:49 TRT and can't stop eating 33:55 Rip vs. Nick on washing cast iron cookware 40:10 Playing rugby and training 47:30 Quad tendinitis 56:51 Rehabbing a back injury 1:06:25 Torn adductor 1:25:32 Squatting with pelvic tilt
Sharply higher insurance premiums are affecting property owners nationwide. It's especially bad in: CA, LA, FL, TX and CO. This is due to erratic weather (climate) and higher rebuilding costs. Phenomena like an increasing intensity and frequency of hurricanes, tornadoes, wildfires, and floods are sending some insurers out of business. State Farm and AllState completely stopped issuing new homeowner policies in California. Some areas are on the brink of becoming completely UNinsurable. In that case, the only sales that could occur with all cash buyers. Learn three techniques to keep your skyrocketing insurance costs lower. As you'll learn today, landlords have more options than homeowners for navigating spiking insurance rates. Then, listen to a CNBC clip along with me about how the end of ZIRP (zero interest rate policy) affects your life and investments. Resources mentioned: Show Notes: www.GetRichEducation.com/461 Get mortgage loans for investment property: RidgeLendingGroup.com or call 855-74-RIDGE or e-mail: info@RidgeLendingGroup.com Find cash-flowing Jacksonville property at: www.JWBrealestate.com/GRE Invest with Freedom Family Investments. You get paid first: Text ‘FAMILY' to 66866 Will you please leave a review for the show? I'd be grateful. Search “how to leave an Apple Podcasts review” Top Properties & Providers: GREmarketplace.com GRE Free Investment Coaching: GREmarketplace.com/Coach Best Financial Education: GetRichEducation.com Get our wealth-building newsletter free— text ‘GRE' to 66866 Our YouTube Channel: www.youtube.com/c/GetRichEducation Follow us on Instagram: @getricheducation Keith's personal Instagram: @keithweinhold Complete episode transcript: Welcome to GRE! I'm your host, Keith Weinhold. First, I'm going to help you make your real estate more profitable in the near term as I discuss how to deal with skyrocketing property insurance costs. Later, I'll inform your strategy about your long-term, overall personal finance as we talk about what the end of free money means in this new era of higher interest rates. Today, on Get Rich Education. ____________ Welcome to GRE! From Tirana, Albania to Albany, New York and across 188 nations worldwide, I'm Keith Weinhold and you're listening to Get Rich Education. This is how real wealth is built in the real world with real estate. We aren't day traders. We are DECADE traders. And we do that with the right mission. Let's invest directly in America - own real property in American neighborhoods, and provide housing that's clean, safe, affordable and functional. And when we all do that, we can abolish the term “slumlord”. Conversely, what do some people think about first? Themselves. [RIC FLAIR CLIP] Ha ha ha! Over the top with some vintage Ric Flair. There's nothing wrong with living well. But that best comes as a byproduct of serving OTHERS first. Let's talk about the SKYROCKETING cost of property insurance. Why it's happening, what MY experience is, and what you can do to manage it. First of all, and I hope that none of my insurance agents are listening, but why would you ever work in the insurance industry? And I kid. But that's got to be one of the most boring industries to work in. What 15-year-old ever says that when they grow up, they want to be an insurance broker? Nobody. But, in any case, it is a STABLE industry because there will long be a need for insurance. But, I mean, even your customers - the policyholders like us - we don't really want insurance. Insurance ads all say the same thing: “Switch and save.” No one has seen an advertisement from this industry that says, “Upgrade for better coverage.” That's because so many people just want the minimum coverage and want to get on with their lives… until a calamity occurs. But now, the insurance industry has gotten SOMEWHAT more interesting lately, the effects of which center around erratic weather… maybe you like calling it climate change, maybe you don't. But suffice to say, if erratic weather persists, then it's no longer erratic, rather, it is, in fact, a pattern, and then, a change in a region's climate. The intensity & frequency of storms is increasing. I'm talking about weather phenomena like hurricanes, floods, wildfires, tornadoes, and even high snowfall. Inflation also means that there are rising COSTS to rebuild. And RE-insurance costs are higher. Yes, your insurance company gets insurance from insurers themselves, called re-insurance. Re-insurance companies insure insurers. Everyone knows State Farm's jingle. “Like a good neighbor, State Farm is there.” No, State Farm is gone. State Farm is the largest home insurer in CA. So they're the largest home insurer in the most populous state. Well, you might have heard a few months ago that they're completely stopping issuance of new home insurance policies in all of CA. And AllState followed shortly afterward. Persistent wildfires are a culprit there. Insurance companies can't make any money so it's hard to blame them. Well, why don't they just, say, double their premiums? Some sure have. Others can't because of competition for lower rates from other companies. But a lot of SMALLER insurance companies - including many in Florida - have done just that. They've gone out of business… and when there are fewer companies in business - less competition - that's when rates can get jacked up high. Insurance rates are up the most in many of the states that have the greatest incidence of hurricanes, floods, and wildfires. What are the states where rates are rising most? CA, LA, and FL. And after that, TX and CO too, and some other states. TX is one state that's subject to both hurricanes and tornadoes - hurricanes in SE Texas - Galveston, Houston and Corpus Christi. And tornadoes in NE Texas, like Dallas-Fort Worth. So, when hazards happen, losses can occur. That's why your lienholder - your mortgage holder - forces you to have insurance. They require you to have it because they're not willing to take that risk. Louisiana's problems with insurers REALLY compounded a few years ago when Hurricanes Delta, Ida, and Laura hit the state. That created a true crisis in Louisiana's insurance market. A lot of insurers just left with $24B in insurance claims during that period. Others in Louisiana stopped issuing new policies and increased the premiums on the existing insured homeowners. Now, I'm going to center on the homeowner's insurance problem in Florida soon, because Florida is a popular investor state, I own a lot of rental properties in Florida and I'll tell you about my personal insurance experience there shortly. When it comes to wildfires - which are often spurred by hot, dry, and windy weather conditions, some areas are on the brink of becoming completely UNinsurable. California has a bunch of regions like that. And other places like Bend, Oregon and Boulder, CO are in danger of insurance denial because the homes are surrounded by forest. If that happens there, the only resale market for the properties would be to all-cash buyers, unless the state ever comes in to buy them out since people were ALLOWED to build there in the first place. Now, notice that I haven't mentioned earthquakes yet. Earthquakes aren't related to the surface weather like hurricanes and wildfires and these other things are. Earthquake insurance, which many people have in places like CA, WA, OR and AK is often a completely SEPARATE policy from your standard homeowner's policy and EQ insurance is prohibitively expensive. Besides that, their deductibles can be high, like 10 or 20%. If an earthquake completely destroys your $500K home and you have a 20% deductible… … then to even make a claim, you'd need to come out of pocket $100K first - plus you'd be paying high premiums all that time just to have that condition! Anchorage, AK had a big magnitude 7.1 earthquake back in 2018. I was in Anchorage when it happened and I told you about that here on the show back then. I was pretty shaken up. At the time, I owned dozens of apartment units in Anchorage. I don't anymore. I had, maybe $40,000 of out-of-pocket cosmetic damage that I had to pay from that one earthquake. Lienholders DO not make EQ coverage a necessity, and 25% of Anchorage homeowners had coverage before the quake. It went up to 35% afterward. Fortunately, the top cash flow REI areas don't tend to be in the west coast of the United States. So, how high have some of these insurance premiums gotten in states known for disasters? Well, the average is about $225 per month in LA. In TX, it's $250 per month on their average $300K home, and in Florida it's about $325 monthly on a $300K home. Of course, that's going to vary by what region of the state you're in and distance from the coast and such. One weather phenomena that I haven't seen any evidence of in contributing to higher insurance costs is heat itself. This summer, Phoenix hit a new record for consecutive days that exceeded 110 degrees Fahrenheit. That went on for weeks on end. But heat in itself, and its resultant air conditioner use and power load - is not something directly attributable to escalating insurance costs, unless power load problems start a fire. Now, you keep hearing about climate migrants moving to more northerly places with access to a lot of fresh water like Minnesota, Michigan, and Wisconsin. But these stories seem to be largely anecdotal and of little impact. The faster-growing areas continue to be in the Mojave and Sonoran deserts - that's Las Vegas and Phoenix - places with lots of heat, rising heat, and dry conditions. And despite what you might think, they're not going to run out of water anytime soon. Those deserts actually have a lower incidence of natural disasters too, which is one reason why they've built new microchip plants in Phoenix. Climate migrants moving north might be a thing at some point - but it still is not. Well, speaking of hot in-migration states, Florida has had a LIGHT hurricane season so far. But that's not the kind of thing that we can count on for long. Rates have gone up more than 50% throughout the state of Florida, with ALL insurance carriers. Carriers are either pulling out of the state (because its not profitable for them), or they're increasing rates across the board, or they're not renewing policyholders. Now, I've had my rates hiked up on my Florida properties more than once. There, it's often because an insurance company goes out of business due to too many claims, and then I have to switch to another landlord's policy carrier that always has higher rates. So here's what happens. I get a notice in the US mail that my current insurer on a Florida rental SFH - call them Insurer A - is going out of business in 5 months and that I have 5 months to find a new insurer - call them Insurer B. So I take a photo of that notice and forward it over to my Florida insurance agent and ask them to give me quotes for my new prospective Insurer B. Now, say that if you don't do that. If you don't ask your insurance broker or agent to get you a new policy, if you don't act, here's what happens. Say that the 5-month deadline approaches and you still don't have new coverage lined up. Your mortgage holder, call them Wells Fargo or Chase, they'll send you a notice in the mail and remind you that it's required that you have insurance in place – because Wells Fargo or Chase doesn't want to be on the hook for the risk… and if you don't get a new insurer - Wells Fargo, say, will buy a policy FOR you & make you pay it. And the insurance that they buy for you will have lesser coverage and cost way more. It seems like, whoever the bank is, they always tell me that they're going to buy me an ultra-pricey policy with Lloyd's of London. So again, it doesn't entail too much work on your part. If your insurer is going out of business or just doesn't want to issue you a new policy, share that notice with your insurance person and ask them for new quotes. That's a quick, easy thing to do. And then, when you switch insurance companies, your PM must submit photos of your rental home to the new insurer within something like 15 days. Over the past few years, I think I've had Florida properties where the premiums have been hiked up steeply twice. I seem to remember a complete doubling a year or two ago. More recently, I had 30% rate increases on some of my Florida rental properties. So how much am I paying now? Well, on one Florida rental SFH that has a market value of about $300K, I'm paying $330 per month. Of course, for your long-term rental properties, your landlord insurance contract should provide what's called “loss of rents,” coverage. That's something that OO homeowner's policies don't have. That means that if your property is damaged and your tenants are displaced, your insurer pays the fair market rent to you since the tenant won't. That's typically capped at 12 months. On your STRs - like AirBnBs and VRBOs, the coverage that you want is called “lost business income” with no time limit. And that might take an upgrade to a commercial insurance policy for STRs. Alright, so let's get to something actionable. We are real estate investors for the production of income. So amidst what are perhaps UNPRECEDENTED increases in insurance premiums these last few years, how do you navigate this, and what do you do to stay profitable? Well, whether you're an OO or a rental property owner, you can do things like make sure that your coverage is appropriate. You can raise your deductible amount to reduce your annual premium, of course. The more financially strong that you are, the higher you can make your deductible because the less a claim is going to impact you. But as a rental property owner, you have a FEW LEVERS that you can pull that OOs cannot. The big one - is that this is your cue to RAISE THE RENT. Yes, higher insurance premiums point to raising the rent. Really, this is like a game of hot potato… and it is your job to pass along the potato. That's all that you're doing here. See, the reinsurer raised rates on your property insurer. Your property insurer is raising the rate premium on you, the property owner. Now it's your job to pass along the hot potato to the tenant in the form of a rent increase. Then your tenant has to pass along the hot potato by asking their employer for a raise or finding new employment. And it keeps going, now your tenant's employer needs to pass along the higher labor cost in the form of raising consumer prices on the goods or services that they produce… and it continues throughout the economy. That's how inflation works. It's your job to pass along the hot potato. What if the tenant leaves? Well, there's always that possibility. But if they go to rent or buy a “like” property, it's still going to have the same higher insurance cost that they'd have to pay. For help with that, and this is the second time that I referred back to this recently, in Episode 449, just twelve weeks ago, I provided you with 12 ways to raise the rent. Again, that's Episode 449. You always want to provide a REASON to the tenant about why their rent is increasing, say 5% in this case for example. Nothing beats the truth. Your insurance costs are higher. That's the reason. Now, you might be wondering, if, say, insurance costs just rose 30%, like they did on one of my own properties recently, then how is a 5% rent increase going to offset that? That's because your rent amount is multiples more than your monthly insurance amount. If your rent on a property goes from $2,000 to $2,100, that's just 5%, but it's a $100 increase in your income. If your monthly insurance cost goes from $200 up 30% to $260. That's a $60 decrease in your income. You have a $100 gain from rent and just a $60 deduction from your insurance increase, and you've more than offset it. It's THAT effect. Now, what if your numbers don't work for raising the rent though? As an income property owner, you have other levers that you can pull that are less palatable as an OO. That is, can you sell the property? If you're in SFRs, there is a big buyer appetite for them. And in just the past three years, there's been so much appreciation that you might have a lot of equity such that you can trade it up for 2 SFRs. Now, new-build properties in a place like Florida have substantially lower insurance costs than older properties, because new-build properties are built to more stringent wind resistance requirements. So you might trade up your older, existing Florida property in this case for a new-build property that has lower insurance deductibles. Insurance costs ALONE rarely drive investment decisions. But it's the fact that you'd get to reposition dollars at a higher leverage ratio at the same time. But now, if you've owned the property for, say 2 years or more, you might lose your ultra-low rate mortgage that you got a few years ago. You need to run some numbers and see if it's worth giving up your low mortgage rate in order to get more leverage and lower insurance premiums. That's the trade-off. See what works best for you. So, your first lever is clearly to just raise the rent on your existing properties that have higher insurance rates. To summarize what you can do to meet higher insurance premiums is: #1 - Raise the rent. #2 - Tilt your portfolio into more NEW-BUILD properties in some markets, and #3 - Increase your deductibles. They are the actionable takeaways that I really wanted to share with you today. Keep investing. Tweak your strategy where you need to. Be sure that your tenants are taken care of. And after that, remember, that it's common that when you have an insurance CLAIM, that you often profit from the event when your claim pays more than your actual losses were. Coming up shortly, the 15-year Era of Money for Nothing is Over. How does this new era look and how do you adjust to it? There is more real estate news and more that impacts your personal finances every week that we can cover in one big, weekly show here. Strip Malls are Hot (yes, really) Strip malls are hot, Old Houses are Now as Valuable as New Houses, and Zillow predicts 6.3% HPA from June of this year to June of next year. More details on stories like that, as well as my breakdowns of developments like that are in our Don't Quit Your Daydream Letter. You can get it free. Just text “GRE” to “66866”. Actionable real estate guidance, breaking news, and a dose of my dorky, cornball humor are all in the letter. Get it free by texting “GRE” to 66866. More next. I'm Keith Weinhold. You're listening to Get Rich Education. _____________ Welcome back to Get Rich Education. This is Episode 461. I'm your host, Keith Weinhold. The United States is entering a new economic era. 15 years of access to nearly FREE MONEY has come to an end. Let's listen in to this terrific CNBC compilation where you'll hear the voices of a number of economists, reporters, and directly from people that used to work at the Fed… on what this all means with the end of Fed Funds Rates at zero - the good and the bad. Some familiar voices that you'll hear include CNBC's Steve Leisman. And, near the end, Former Fed Chair Ben Bernanke. This is about 12 minutes in length and then I will come back to comment. [CNBC Clip] Let's remember that economies work slowly. There are lag effects. The Fed began hiking rates in March of 2022. And higher rates are only starting their job, not finishing. Today, higher insurance premiums and a higher cost of MONEY (which is what interest rates are) are trends to navigate. With both, if you're a landlord, you can raise the rent. Longer-term, have that 30-year FIRD. Just that plain, vanilla loan in most cases. Nothing fancy. That's because, living in the US has many benefits, like stunning national parks, seedless watermelon, and pizza with cheese baked into the crust. But it's got something even better, even better than fixing your rate for 30 years. It's that ability for you to refinance as soon as rates drop. You get to alter the deal whenever it's best for you whenever you're in residential real estate. Well, at the end of the show, I've learned that you're often thinking “I want more. How can I get more content like this without having to wait until next week?” I often like to leave you with something actionable at the end. Get our Don't Quit Your Daydream Letter. I write every word myself. You can get it free right now. Just text “GRE” to “66866”. Until next week, I'm your host, Keith Weinhold. DQYD!
Big news this week as we have sold The Tilt and Creator Economy Expo to our partners at Lulu. My role is changing a bit, and I'm excited to announce a new book services business that's important for content creators. Listen in for the details! This episode is sponsored by Lulu.com 37% of creators surveyed by The Tilt this year said that one of the top 3 most profitable ways to monetize their content is with a book. Turning your best performing content into a printed book with Lulu has never been easier. Lulu's ecommerce plugins allow you to sell directly to your fans from your site, while they handle all of the printing and shipping. You keep all of your customer data and 100% of your profits. Create a free account today at Lulu.com to get started. ------- Like this episode? SUBSCRIBE on Apple, Spotify or Google. See all Content Inc episodes at the Content Inc. podcast home. Get my personal newsletter today and receive the first chapter of my new book for free.
Anterior Pelvic Tilt - is it a bad thing? Is it causing your pain? What should you do about it? On this episode, Dr. Hannah talks about the research surrounding anterior pelvic tilt, when it matters, and how to address it with a self assessment and specific exercises. Links:Herrington L. Assessment of the degree of pelvic tilt within a normal asymptomatic population. Man Ther. 2011 Dec;16(6):646-8. doi: 10.1016/j.math.2011.04.006. Epub 2011 Jun 11. PMID: 21658988Welcome to the "Healthy Charleston Podcast," your ultimate guide to taking charge of your health and wellness journey. In a world where health information can be overwhelming and confusing, we strive to be your trusted source of accurate, evidence-based knowledge. Our goal is to equip you with the tools and resources you need to lead a healthier lifestyle. Tune in to each episode as we connect with inspirational community leaders in Charleston and Summerville, SC. These individuals are dedicated to creating a healthier community and they share their perspective on what health means to them. Join us as we embark on an exploration into the realms of health, well-being, and community empowerment!@healthycharleston@made2movept DON'T spend another day in pain! Request an appointment at https://www.made2movept.com/contact and get 10% off your Initial Evaluation when you mention the podcast.
Rocco's SPORTS Mission: Season 1, Podcast 10 is available for your listening pleasure. I will cover the RB landscape currently going on in the NFL, then we will recap our Podcast Play from last weekend, as well as go over my Podcast Play this weekend. End it a "Reflect with Rocco" segment, going over how I do NOT go on TILT. Would you like all of my Premium Plays? Head over to theoddsbreakers.com and look at all of my available packages. My monthly one gives you access to every sport's premium plays. If you're looking for action and content all the time, that's personally my favorite. It gives you every sport for a small amount daily. Just use the promocode Football2023 to receive 50% off! I've done extremely well with football in the last few years. If you followed me on Twitter @TrustRocco the last few seasons, you have seen the damage I can do. We had some unbelievable weeks! My football package is UP and available, just use the promocode Football2023 to receive 20% off! Be sure to sign up early and don't miss any of the action for this upcoming season. I just finished the NBA season up over 17 units, all plays documented on Twitter and BetStamp. I also finished the NCAAB season up 16 units as well. Put your trust in Rocco.
Wardo continues his myth busting by covering a very commonly diagnosed problem for people with chronic low-back pain: anterior pelvic tilt. Although it's true that anterior pelvic tilt can be a total pain in the ass, it likely isn't the root cause of your pain. If you have been told that this is the cause of your back pain you have been lied to. Similar to the last episode, control of the muscles that support and change the position of your back is the most important factor. Listen up to get some tips and insights that will actually help you manage this issue. @drmattwarddc @hardyardsperformance ------------------------- Check out Wardo's new VIDEO TUTORIALS and support his show. Join the BTK Mountain Hunter training program and build the strength, durability, grit, and endurance you need to take on the mountains this season.
Air Raid Hour | Judge and Tilt break down all things Buffalo Bills training camp through the first five days. Topics include position battle updates, the new-look offense, Stefon Diggs on a mission, and a more aggressive defense.
Episode 354 features Joe Pulizzi, founder of multiple startups including content creator education site, The Tilt, the content entrepreneur event Creator Economy Expo (CEX), and is the bestselling author of seven books including Content Inc. and Epic Content Marketing, which was named a “Must-Read Business Book” by Fortune Magazine.Find Joe Online:Website: https://www.joepulizzi.com/The Tilt: https://www.thetilt.com/Linkedin: https://www.linkedin.com/in/joepulizzi/Twitter: https://twitter.com/joepulizzi=============================Connect with Brian:=============================Website: https://brianondrako.com/Youtube: https://www.youtube.com/@brianondrakoTwitter: https://twitter.com/brianondrakoInstagram: https://www.instagram.com/brianondrako/Linkedin: https://www.linkedin.com/in/brianondrako/Substack: https://brianondrako.substack.com/=============================This episode is brought to you by LMNT, the delicious, sugar-free electrolyte drink mix. As someone who is active with CrossFit and other activities, I take LMNT 1–2 times per day. LMNT is formulated to help anyone with their electrolyte needs as electrolytes are vital to helping relieve hunger, cramps, headaches, tiredness, and dizziness.For a limited time, listeners of the Just Get Started Podcast can get a free LMNT Sample Pack with any purchase. This special offer is available here: DrinkLMNT.com/justgetstarted Hosted on Acast. See acast.com/privacy for more information.
I spent the week listening to AI experts and marketing professionals living in the world of artificial intelligence. I have some thoughts on what we need to do. Be warned! This episode is sponsored by Lulu.com 37% of creators surveyed by The Tilt this year said that one of the top 3 most profitable ways to monetize their content is with a book. Turning your best performing content into a printed book with Lulu has never been easier. Lulu's ecommerce plugins allow you to sell directly to your fans from your site, while they handle all of the printing and shipping. You keep all of your customer data and 100% of your profits. Create a free account today at Lulu.com to get started. ------- Like this episode? SUBSCRIBE on Apple, Spotify or Google. See all Content Inc episodes at the Content Inc. podcast home. Get my personal newsletter today and receive the first chapter of my new book for free.
I'm airing Dr. Claudia Miller's presentation on her theory of TILT. Dr. Miller is a Professor, Allergy/Immunology and Environmental Health at the University of Texas. For decades Dr. Miller has championed a new theory of disease to join the germ theory and the immune theory: Toxicant-Induced Loss of Tolerance (TILT). TILT explains the mystifying range of symptoms suffered by people with chemical intolerances. It is a two-step process. First, initiation involves acute or chronic exposure to environmental agents such as pesticides, solvents, or indoor air contaminants, followed by triggering of multi-system symptoms by exposure to small quantities of previously tolerated substances such as traffic exhaust, cleaning products, fragrances, foods, drugs, or food-drug combinations. Dr. Miller gave me permission to air her presentation where she further explains it along with her research and findings. To listen to the full talk with presentation slides, I have linked the youtube video by Beyond Pesticides below. Contact and connect with Dr. Claudia Miller: firstname.lastname@example.org Watch the full presentation from Beyond Pesticides: https://www.youtube.com/watch?v=G8sjxyOZ-Ew TILT Website: https://tiltresearch.org/ Chemical Exposures: Low Levels and High Stakes, 2nd edition 1998: https://tiltresearch.org/provider-resources/publications/ Microbiome video: https://tiltresearch.org/2022/06/20/toxicant-induced-loss-of-tolerance-for-chemicals-foods-and-drugs-a-global-phenomenon/ Full Papers attached: Mast cells article: https://tiltresearch.org/2021/12/02/overlooked-for-decades-mast-cells-may-explain-chemical-intolerance/ TILT Connection article: https://tiltresearch.org/2021/06/28/new-study-provides-a-link-between-common-chemicals-and-unexplained-chronic-illnesses/