Podcasts about track records

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HR2 - DC candidates Falcons have or will reportedly interview all have successful track records In hour two Tiffany, Mike and Beau continued to react to the news of the Atlanta Falcons interviewing Jeff Ulbrich for their DC opening, and they also react to reports that the Falcons are going to interview Steve Wilks for their DC opening next week as well. The Morning Shift crew also handed out season grades to the Falcons' linebackers. Tiffany, Mike, and Beau continued hour two by reacting to former Falcons Michael Vick and Alex Mack being inducted into the College Football Hall of Fame, and they also talked about some of the other 2025 inductees as well. The Morning Shift crew also continued hour two by reacting to the latest news, rumors, and reports in the NFL as they go In The Huddle. Finally, Tiffany, Mike, and Beau closed out hour two by reacting to the Atlanta Hawks getting a 110-94 road win over the Bulls despite playing without Trae Young, Jalen Johnson, De'Andre Hunter and Zaccharie Risacher, and diving into the life of Mike Johnson and get Mike'd Up!

Today, Paul explains a concept he calls a vortex that shows how dissimilar investments can be over one, three, five, and 10-year periods and what happens to the returns over longer periods. The industry is trained to use five- and 10-year track records to sell investments. Listen along as Paul teaches you why your portfolio should follow Nobel Prize-winning strategies, not investments with great short-term track records.    For more information about what we do or how we can help you, schedule a 15-minute call with us here: paulwinkler.com/call. 

Dave discusses an iconic loss, the upcoming election, and family time. Dr. Tiffany Way, LCSW (@drtiffanyway) joins Dave to discuss her 18 year experience as a psychologist specializing in trauma and more.

Dave discusses an iconic loss, the upcoming election, and family time. Dr. Tiffany Way, LCSW (@drtiffanyway) joins Dave to discuss her 18 year experience as a psychologist specializing in trauma and more.

Nike swooshing lower after reporting a revenues miss. The details out of the company's conference call, and how you should play the retailer. Plus Presidential impact. A look at the economic records under President Biden and Former Presiden Trump, as the two go head-to-head in tonight's presidential debate. Fast Money Disclaimer

Colter Nuanez gives his best of the weekend, including a pair of NBA Finals Game 7s, plus breakdowns of the Montana all-class high school baseball championship game, a record-setting weekend at the Western AA divisional track meet and a pending court settlement that could completely rattle the structure of college athletics. 

Carmen shared a text hack to help track flights that you're loved ones are on. She used it yesterday when several coworkers made their way back from the Dominican Republic.  Bill has a track record for sharing bad jokes. He continued on that track this morning.  Apple's track record may be tarnished after an ad for their new iPad has received some negative feedback.  Some kids in Dave's neighborhood have a track record of misbehaving and it impacted...

Ma$e, Cam'ron & Treasure "Stat Baby" Wilson are back with another one!! ***NEW MERCH** Shop the Come And Talk 2 Me Store....https://comeandtalk2me.com  Please rate, review, and follow the podcast for more content.  Support the show and sign up for Underdog Fantasy HERE with promo code CAM and get a $100 first deposit match, and a Special Pick'em pick. Follow the show and our hosts on social media: It Is What It Is, Cam'Ron, Ma$e, and Treasure "Stat Baby" Wilson , Producer Ayooo Nick Learn more about your ad choices. Visit podcastchoices.com/adchoices

Sting Ray Robb (yes that is his real name) is a race car drive entering year 2 with INDYCAR and driving the No. 41 Chevrolet-powered Indy car with A.J Foyt Racing.  Born and raised in Idaho, he started chasing his dream and began kart racing at age 5. Over the next ten years he garnered several National Titles and was twice ranked the number one US Driver in his age group. He remains the only Triple Crown winner - having won the Florida Winter Tour Championship, the CanAm Championship and the Challenge of the Americas Championship all in the same year. He solid performance continued in 2020 when Sting Ray won theIndy Pro 2000 championship. He finished that Championship season with:  5 Poles, 7 Victories, 11 Podiums, 5 Fastest Laps, 4 Track Records and was the only driver to complete all 485 laps, along with leading the most laps for the entire season. He made his INDYCAR debut in 2023 and is the first driver to have a Bible verse on an INDYCAR. Today on the podcast, we talk to Sting Ray Robb about the unique name he has, lessons in INDYCAR from 2023 and what it means to deny himself and follow Christ. We also talk about leading branded Faith Nights at INDYCAR races and becoming the first driver to have a Bible verse on an INDYCAR. Sign up for our Sports Spectrum Magazine and receive 15% off a 1-year subscription by using the code PODCAST15 ⁠⁠⁠⁠⁠⁠http://SportsSpectrum.com/magazine⁠⁠⁠⁠⁠⁠  Do you know Christ personally? Click ⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠ to learn how you can commit your life to Him.

After this interview, Feras went on to win the Plazamaman Pro-Am Class with a blistering 1:27.0160

Prepara para sair desse episódio com sua cabeça borbulhando ... pois, no episódio de hoje estamos com um Expert em Marketing, nosso convidado com uma lista de Track Records incríveis,  já atuou com um dos maiores player do mercado,  o Joel Jota,  foi Head da Staage BR e também do Performan-C…Ele é  Marcel Moraes, também conhecido como Marcel Roxo, é formado em publicidade e propaganda e especialista em marketing.  Com essa bagagem incrível, Marcel compartilhou “5 dicas para não errar no marketing da sua empresa em 2024”.  O episódio de hoje está incrível e como sempre é patrocinado pela ILUMAC.  A melhor empresa de Sistemas de detecção e alarme de incêndio, com os melhores produtos e suporte. Conheça nossa parceira ILUMAC:

In this conversation, Winter Mead, founder and managing member of CoolWater Capital, about his journey from studying innovation in grad school in England all the way to his work today helping emerging fund managers navigate the VC landscape. He shares insights about the importance of track records, persistence, and understanding the investment world. He also talks about how the market has changed significantly over a span of two years in relation to raising funds, especially for emerging managers, with detailed discussions about Winter's various programs, Explore, Build, and CFO, and much more!Timestamps00:29 Venture Capital Journey: The Beginning01:35 Transition to Private Equity and Venture Capital02:12 Identifying Gaps in the Venture Capital Industry05:16 Skills Acquired as a Limited Partner11:41 The Birth of CoolWater Capital12:06 The Role of Track Records in Fund Management14:55 The Importance of Building a Strong Foundation for Fund Managers18:43 The Evolution of Becoming a Fund Manager23:42 The Significance of Back Office Operations in Fund Management25:42 Scaling Up and Creating Operating Leverage25:48 Understanding the Explore and Build Programs26:12 The Importance of Commitment in the Build Program26:50 The Flexibility of the Explore Program27:39 Taking Team Risk in the Build Program28:43 The Role of the Explore Program in Building Investment Track Records30:06 The Need for Good Fund Managers30:24 Challenges in the Early Stage Ecosystem30:53 Emerging Themes in the Market32:00 The Importance of Investment Thesis35:31 Changes in the Market and Fundraising39:48 The Impact of Market Changes on Fundraising and Investment Dynamics49:36 Recruiting for the Build and Strategic CFO ProgramsWinter's LinksCoolWater Capital - https://www.coolwatercap.com/Twitter – https://twitter.com/wintmeadLinkedIn – https://www.linkedin.com/in/wintermead/My Links Podcast: https://lifeselfmastery.com/itunes YouTube: youtube.com/lifeselfmastery Twitter: https://twitter.com/rohitmal

Il est connu sous le pseudo Beetcoin. Mon invité du jour est un ancien joueur de poker professionnel qui s'est reconverti dans le trading crypto en 2012. Joueurs de poker et traders professionnels partagent d'ailleurs certaines qualités et compétences comme ne pas être result-oriented ou la gestion de son capital. Dans cet épisode, Beetcoin explique sa stratégie de trading mais aussi comment il a scalé son activité de trading en créant un service d'asset management pour d'autres fonds en 2018, en proposant du Trading as a service. Fin 2022, le fonds Galaxy Digital (créé par Michael Novogratz) réalise un benchmark de 200 fonds crypto toujours en activité, celui de Beetcoin se hisse dans les premières places depuis sa création en 2018. Cet épisode n'est pas un conseil en investissement. On ne le dira jamais assez, faites toujours vos propres recherches et n'investissez que ce que vous êtes prêts à perdre, investir comporte des risques ⚠️ Date de tournage : 21 septembre 2023 (1 BTC = 27k$) Liens utiles : https://twitter.com/Beetcoin https://www.amazon.com/How-Made-Million-Stock-Market/dp/8170947731? https://www.fnac.com/ia405271/Alexandre-Elder ____ Si l'épisode vous a plu, je vous encourage à : 1️⃣ Vous abonner sur votre plateforme de podcast préférée et à ma newsletter : ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://danslescoulissesduweb3.kessel.media⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ 2️⃣ Mettre 5⭐  sur Spotify/Apple Podcasts pour donner plus de visibilité à mon podcast

On this episode, Dana and Linda discuss the importance of track records in evaluating trustworthiness. They explain that when assessing individuals, they are categorized as either raw, emerging, or proven talent based on their past experiences. They emphasize how a proven track record provides more evidence and is easier to trust. They also mention the significance of forgiveness in evaluating someone's track record and how it relates to trust. They share personal examples of using these principles in real-life situations. Additionally, they highlight the need for specific evidence when assessing a person's track record and emphasize the importance of investigating answers rather than accepting generalities. They also discuss succession planning and finding people with suitable track records for different roles within an organization. Finally, they caution against making promises without considering whether someone has demonstrated a track record to support those promises.   Get your Episode Guide here Check out our Everything Life and Influence course here

Being [at Work] offers a daily dose of leadership focused on helping you, the leader. During challenging times we need all of the encouragement we can get. Sometimes there's simply no playbook and we just need to do the best we can. Sometimes the best we can is being reminded of the gifts and insight you already have within. Now, if you're in the midst of a challenging time, our goal at HRD is to help remind and encourage you no matter the situation you're in. Be sure to subscribe and get your daily dose. Resources: HRD: https://hrdleadership.com/podcasts/

Underground Feed Back Stereo - Brothers Perspective Magazine - Personal Opinion Database - Black Folk Do for Self vs Euro Proven Track Records [Remix] Black People suffer in a place many are void of Self Awareness and Dignified Liberation. These europeons stole the land by killing the natives of lands but not to share with the original inhabitant or those they enslaved. These tyrants are negative to the core and cant do good.  The fight is to know what an oppressor is and how a system operates from this oppression. The euro colonizers designs all the laws to neglect BLACK People from benefiting from the Land. The Black people are enslaved property on stolen land not able to benefit from the life they live! The payback for such atrocities can never be forgiven. Its the mind you must maintain against colonial genocide. This also happens with the endless rejection letters from art galleries etc. No respect to you! Sound Art? Tune in to these educated brothers as they deliver Personal Opinions for Brothers Perspective Audio Feedback #Reparations #diabetes #75dab  #WilliamFroggieJames #lyching #basketball #nyc #fakereligion #war  #neverapologize #brooklyn #guncontrol #birthcontrol #gentrification #criticalracetheory #tennessee #stopviolence #blackmusic #marshallact #europeanrecoveryprogram #chicago #southsidechicago #blackart #redlining #maumau #biko70 #chicago #soldout #PersonalOpinionDataBase #protest #blackart #africanart #gasprices #undergroundfeedbackstereo #blackpeople #race #womansbasketball #brothersperspectivemagazine ⁠⁠⁠⁠brothersperspective.com⁠⁠⁠⁠ ⁠⁠⁠⁠undergroundfeedbackstereo.com⁠⁠⁠⁠ ⁠⁠⁠⁠joelefthandrecords.com⁠⁠⁠⁠  feat. art by ⁠⁠⁠⁠instagram.com/nappy9folics⁠⁠⁠⁠ ⁠⁠⁠⁠www.nappy9folics.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/brothersperspectivemag/message

NEWSKI sits down with the guys from Records Revisted Podcast to go thru one of his favorite albums "Stunt" by Barenaked Ladies. A funny and in depth look at 90's geek rock.  More on NEWSKI: https://newskimusic.com/ NEWSKI on TOUR: 4/26 - NYC - Bowery Electric (early 6pm) 4/27 - DEWEY BEACH, DL - Fort Ishu House Show 4/28 - WASHINGTON DC - Pearl St Warehouse 4/30 - RICHMOND, VA - Hardywood Brewing (early 3pm) 5/3 - ORLANDO, FL - Will's Pub 5/4 - ST AUGUSTINE - Sarbez 5/5 - WEST DESTIN, FL - Rock by the Sea Fest 5/6 - WEST DESTIN, FL - Rock by the Sea Fest 5/7 - COLUMBUS, MS - Sunstroke House Music (early 6p)   5/20 - HAVANA, IL - Havana Songwriters Fest (solo) 5/23 - SEATTLE, WA - Fun House 5/24 - BEND, OR - Old St Francis School 5/25 - PORTLAND, OR - The White Eagle 5/26 - PORT ANGELES, WA - JFFA Festival  6/2- MARSHFIELD, WI - Hub City Days 6/9 - BERWYN (Chicago), IL - Fitzgeralds Outdoors 6/10 - MILWAUKEE, WI - Polish Fest  6/16 - APPLETON, WI - Fox River House 6/17 - SHEBOYGAN, WI - Three Sheeps 6/23 - CEDAR RAPIDS, IA - Newbo City Market 6/30 - BARABOO, WI - Tumbled Rock Brewing 7/1 - MADISON, WI - Terrace at Memorial Union 7/15 - GRAND RAPIDS, MI - Founders 7/16 - THREE OAKS, MI - Acorn Theatre  8/18 - VIROQUA, WI - Fortney Hotel Street Party 8/31 - NORMAL, IL - Make Music Normal 9/15 - GREEN BAY, WI - Badger State Brewing 9/21 - SPRING GREEN, WI - Shitty Barn   More on FRIEND ROCK:We are nothing without our friends.   “Most of my friends I started with in music have since retired, which makes me feel like the world has turned and left me here. Collaborating with fellow “musician lifers” on this album made me feel less lonely and insane,” explains Newski. “It's been neat to become pals with musical heroes from childhood.”   Some of the connections on Friend Rock were made during NEWSKI's podcast “Dirt from the Road”, where guest musicians would have a laugh about their worst moments on the road.  Social science research shows community and friendship are consistent common denominators in the happiest countries in the world. Belonging to the right tribe is a catalyst to health and longevity. Friend Rock is an ode to the power of community.  A good friend is hard to find. So when you find those rare gems, you gotta keep them in your life.     *The term “Friend Rock” was originally documented in a Sufjan Stevens interview when he was asked what music he was listening to…his friends bands.       

In today's show, we are discussing some great dividend growth stocks from Sweden. Actually, there were enough Swedish dividend stocks to choose from and it shows that the Nordics produce very stable businesses. So, in today's show, we discussed the following topics: Johnson & Johnson's talc powder settlement and our thoughts about it 2 dividend hikes from $STZ and $FDX 7 Sweden dividend growth stocks: $AAK.ST, $ASSA-B.ST, $SWEC-B.ST, $WIHL.ST, $VIT-B.ST, $ABB.ST, $EVO.ST Your listener questions and some of the following stocks were mentioned: $ATCO.ST, $LOOMIS.ST, $AXFO.ST, $HPOL-B.ST, $FRE.DE, $CIBUS.ST, $JM.ST We hope you enjoyed today's show and feel free to join the discussion in the Dividend Talk Facebook group: https://www.facebook.com/groups/dividendtalk

What makes this 1300hp V8 time attack machine tick? Use ‘PODCAST75' for $75 off your first HPA course here: https://hpcdmy.co/hpa-tuned-inWith 780hp at 8psi low boost and 1300hp at 20psi high boost (that's 969kW at 1.38 Bar) options on tap via 2 externally-ish mounted Garrett G35-900 turbochargers and an LME-built, 430ci LSX, Feras Qartoumy's C6 Z06 Chevrolet Corvette is no stranger to a trophy or two as discussed at SEMA.The LSX is a 2000hp spec build using an RHS block, Callies crank, rods, Diamond pistons, Brodix head, a custom-ground camshaft from Comp Cams, and an MSD Atomic Airforce intake manifold. Part of building up to this level over the years involved using a lot of aftermarket parts that would support the required power levels, but were more suited for drag racing and dyno queen runs (no offence intended!), leading to some unexpected development requirements all for the better.The car uses a MoTeC traction control system via the M150 ECU to help keep the full boost from 3500rpm under control, and a Bosch Motorsport ABS system at the other end of the straights which has had the biggest impact on car confidence so far. So what next? One of the biggest future goals is to reduce weight. To get where it is at 2950lbs (1228kg) other than general parts stripping, the car has shed 40lbs thanks to carbon fibre body panels from Anderson Composites and a whopping 60lbs from the removal of the stock wiring harness some years ago. Adding a paddle shift setup to the PPG 6-speed sequential is also high on the list along with suspension data solutions and some tidying up of the impressive Verus Engineering & Feras developed aero package.At the time of filming the car holds at least 22 track records.Want to learn how to tune EFI? Start here instantly, and for free: https://hpcdmy.co/tuneb

Episode one hundred and fifty-seven of A History of Rock Music in Five Hundred Songs looks at “See Emily Play", the birth of the UK underground, and the career of Roger Barrett, known as Syd. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "First Girl I Loved" by the Incredible String Band. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this time, due to the number of Pink Floyd songs. I referred to two biographies of Barrett in this episode -- A Very Irregular Head by Rob Chapman is the one I would recommend, and the one whose narrative I have largely followed. Some of the information has been superseded by newer discoveries, but Chapman is almost unique in people writing about Barrett in that he actually seems to care about the facts and try to get things right rather than make up something more interesting. Crazy Diamond by Mike Watkinson and Pete Anderson is much less reliable, but does have quite a few interview quotes that aren't duplicated by Chapman. Information about Joe Boyd comes from Boyd's book White Bicycles. In this and future episodes on Pink Floyd I'm also relying on Nick Mason's Inside Out: A Personal History of Pink Floyd and Pink Floyd: All the Songs by Jean-Michel Guesdon and Philippe Margotin. The compilation Relics contains many of the most important tracks from Barrett's time with Pink Floyd, while Piper at the Gates of Dawn is his one full album with them. Those who want a fuller history of his time with the group will want to get Piper and also the box set Cambridge St/ation 1965-1967. Barrett only released two solo albums during his career. They're available as a bundle here. Completists will also want the rarities and outtakes collection Opel.  ERRATA: I talk about “Interstellar Overdrive” as if Barrett wrote it solo. The song is credited to all four members, but it was Barrett who came up with the riff I talk about. And annoyingly, given the lengths I went to to deal correctly with Barrett's name, I repeatedly refer to "Dave" Gilmour, when Gilmour prefers David. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A note before I begin -- this episode deals with drug use and mental illness, so anyone who might be upset by those subjects might want to skip this one. But also, there's a rather unique problem in how I deal with the name of the main artist in the story today. The man everyone knows as Syd Barrett was born Roger Barrett, used that name with his family for his whole life, and in later years very strongly disliked being called "Syd", yet everyone other than his family called him that at all times until he left the music industry, and that's the name that appears on record labels, including his solo albums. I don't believe it's right to refer to people by names they choose not to go by themselves, but the name Barrett went by throughout his brief period in the public eye was different from the one he went by later, and by all accounts he was actually distressed by its use in later years. So what I'm going to do in this episode is refer to him as "Roger Barrett" when a full name is necessary for disambiguation or just "Barrett" otherwise, but I'll leave any quotes from other people referring to "Syd" as they were originally phrased. In future episodes on Pink Floyd, I'll refer to him just as Barrett, but in episodes where I discuss his influence on other artists, I will probably have to use "Syd Barrett" because otherwise people who haven't listened to this episode won't know what on Earth I'm talking about. Anyway, on with the show. “It's gone!” sighed the Rat, sinking back in his seat again. “So beautiful and strange and new. Since it was to end so soon, I almost wish I had never heard it. For it has roused a longing in me that is pain, and nothing seems worth while but just to hear that sound once more and go on listening to it for ever. No! There it is again!” he cried, alert once more. Entranced, he was silent for a long space, spellbound. “Now it passes on and I begin to lose it,” he said presently. “O Mole! the beauty of it! The merry bubble and joy, the thin, clear, happy call of the distant piping! Such music I never dreamed of, and the call in it is stronger even than the music is sweet! Row on, Mole, row! For the music and the call must be for us.” That's a quote from a chapter titled "The Piper at the Gates of Dawn" from the classic children's book The Wind in the Willows -- a book which for most of its length is a fairly straightforward story about anthropomorphic animals having jovial adventures, but which in that one chapter has Rat and Mole suddenly encounter the Great God Pan and have a hallucinatory, transcendental experience caused by his music, one so extreme it's wiped from their minds, as they simply cannot process it. The book, and the chapter, was a favourite of Roger Barrett, a young child born in Cambridge in 1946. Barrett came from an intellectual but not especially bookish family. His father, Dr. Arthur Barrett, was a pathologist -- there's a room in Addenbrooke's Hospital named after him -- but he was also an avid watercolour painter, a world-leading authority on fungi, and a member of the Cambridge Philharmonic Society who was apparently an extraordinarily good singer; while his mother Winifred was a stay-at-home mother who was nonetheless very active in the community, organising a local Girl Guide troupe. They never particularly encouraged their family to read, but young Roger did particularly enjoy the more pastoral end of the children's literature of the time. As well as the Wind in the Willows he also loved Alice in Wonderland, and the Little Grey Men books -- a series of stories about tiny gnomes and their adventures in the countryside. But his two big passions were music and painting. He got his first ukulele at age eleven, and by the time his father died, just before Roger's sixteenth birthday, he had graduated to playing a full-sized guitar. At the time his musical tastes were largely the same as those of any other British teenager -- he liked Chubby Checker, for example -- though he did have a tendency to prefer the quirkier end of things, and some of the first songs he tried to play on the guitar were those of Joe Brown: [Excerpt: Joe Brown, "I'm Henry VIII I Am"] Barrett grew up in Cambridge, and for those who don't know it, Cambridge is an incubator of a very particular kind of eccentricity. The university tends to attract rather unworldly intellectual overachievers to the city -- people who might not be able to survive in many other situations but who can thrive in that one -- and every description of Barrett's father suggests he was such a person -- Barrett's sister Rosemary has said that she believes that most of the family were autistic, though whether this is a belief based on popular media portrayals or a deeper understanding I don't know. But certainly Cambridge is full of eccentric people with remarkable achievements, and such people tend to have children with a certain type of personality, who try simultaneously to live up to and rebel against expectations of greatness that come from having parents who are regarded as great, and to do so with rather less awareness of social norms than the typical rebel has. In the case of Roger Barrett, he, like so many others of his generation, was encouraged to go into the sciences -- as indeed his father had, both in his career as a pathologist and in his avocation as a mycologist. The fifties and sixties were a time, much like today, when what we now refer to as the STEM subjects were regarded as new and exciting and modern. But rather than following in his father's professional footsteps, Roger Barrett instead followed his hobbies. Dr. Barrett was a painter and musician in his spare time, and Roger was to turn to those things to earn his living. For much of his teens, it seemed that art would be the direction he would go in. He was, everyone agrees, a hugely talented painter, and he was particularly noted for his mastery of colours. But he was also becoming more and more interested in R&B music, especially the music of Bo Diddley, who became his new biggest influence: [Excerpt: Bo Diddley, "Who Do You Love?"] He would often spend hours with his friend Dave Gilmour, a much more advanced guitarist, trying to learn blues riffs. By this point Barrett had already received the nickname "Syd". Depending on which story you believe, he either got it when he started attending a jazz club where an elderly jazzer named Sid Barrett played, and the people were amused that their youngest attendee, like one of the oldest, was called Barrett; or, more plausibly, he turned up to a Scout meeting once wearing a flat cap rather than the normal scout beret, and he got nicknamed "Sid" because it made him look working-class and "Sid" was a working-class sort of name. In 1962, by the time he was sixteen, Barrett joined a short-lived group called Geoff Mott and the Mottoes, on rhythm guitar. The group's lead singer, Geoff Mottlow, would go on to join a band called the Boston Crabs who would have a minor hit in 1965 with a version of the Coasters song "Down in Mexico": [Excerpt: The Boston Crabs, "Down in Mexico"] The bass player from the Mottoes, Tony Sainty, and the drummer Clive Welham, would go on to form another band, The Jokers Wild, with Barrett's friend Dave Gilmour. Barrett also briefly joined another band, Those Without, but his time with them was similarly brief. Some sources -- though ones I consider generally less reliable -- say that the Mottoes' bass player wasn't Tony Sainty, but was Roger Waters, the son of one of Barrett's teachers, and that one of the reasons the band split up was that Waters had moved down to London to study architecture. I don't think that's the case, but it's definitely true that Barrett knew Waters, and when he moved to London himself the next year to go to Camberwell Art College, he moved into a house where Waters was already living. Two previous tenants at the same house, Nick Mason and Richard Wright, had formed a loose band with Waters and various other amateur musicians like Keith Noble, Shelagh Noble, and Clive Metcalfe. That band was sometimes known as the Screaming Abdabs, The Megadeaths, or The Tea Set -- the latter as a sly reference to slang terms for cannabis -- but was mostly known at first as Sigma 6, named after a manifesto by the novelist Alexander Trocchi for a kind of spontaneous university. They were also sometimes known as Leonard's Lodgers, after the landlord of the home that Barrett was moving into, Mike Leonard, who would occasionally sit in on organ and would later, as the band became more of a coherent unit, act as a roadie and put on light shows behind them -- Leonard was himself very interested in avant-garde and experimental art, and it was his idea to play around with the group's lighting. By the time Barrett moved in with Waters in 1964, the group had settled on the Tea Set name, and consisted of Waters on bass, Mason on drums, Wright on keyboards, singer Chris Dennis, and guitarist Rado Klose. Of the group, Klose was the only one who was a skilled musician -- he was a very good jazz guitarist, while the other members were barely adequate. By this time Barrett's musical interests were expanding to include folk music -- his girlfriend at the time talked later about him taking her to see Bob Dylan on his first UK tour and thinking "My first reaction was seeing all these people like Syd. It was almost as if every town had sent one Syd Barrett there. It was my first time seeing people like him." But the music he was most into was the blues. And as the Tea Set were turning into a blues band, he joined them. He even had a name for the new band that would make them more bluesy. He'd read the back of a record cover which had named two extremely obscure blues musicians -- musicians he may never even have heard. Pink Anderson: [Excerpt: Pink Anderson, "Boll Weevil"] And Floyd Council: [Excerpt: Floyd Council, "Runaway Man Blues"] Barrett suggested that they put together the names of the two bluesmen, and presumably because "Anderson Council" didn't have quite the right ring, they went for The Pink Floyd -- though for a while yet they would sometimes still perform as The Tea Set, and they were sometimes also called The Pink Floyd Sound. Dennis left soon after Barrett joined, and the new five-piece Pink Floyd Sound started trying to get more gigs. They auditioned for Ready Steady Go! and were turned down, but did get some decent support slots, including for a band called the Tridents: [Excerpt: The Tridents, "Tiger in Your Tank"] The members of the group were particularly impressed by the Tridents' guitarist and the way he altered his sound using feedback -- Barrett even sent a letter to his girlfriend with a drawing of the guitarist, one Jeff Beck, raving about how good he was. At this point, the group were mostly performing cover versions, but they did have a handful of originals, and it was these they recorded in their first demo sessions in late 1964 and early 1965. They included "Walk With Me Sydney", a song written by Roger Waters as a parody of "Work With Me Annie" and "Dance With Me Henry" -- and, given the lyrics, possibly also Hank Ballard's follow-up "Henry's Got Flat Feet (Can't Dance No More) and featuring Rick Wright's then-wife Juliette Gale as Etta James to Barrett's Richard Berry: [Excerpt: The Tea Set, "Walk With Me Sydney"] And four songs by Barrett, including one called "Double-O Bo" which was a Bo Diddley rip-off, and "Butterfly", the most interesting of these early recordings: [Excerpt: The Tea Set, "Butterfly"] At this point, Barrett was very unsure of his own vocal abilities, and wrote a letter to his girlfriend saying "Emo says why don't I give up 'cos it sounds horrible, and I would but I can't get Fred to join because he's got a group (p'raps you knew!) so I still have to sing." "Fred" was a nickname for his old friend Dave Gilmour, who was playing in his own band, Joker's Wild, at this point. Summer 1965 saw two important events in the life of the group. The first was that Barrett took LSD for the first time. The rest of the group weren't interested in trying it, and would indeed generally be one of the more sober bands in the rock business, despite the reputation their music got. The other members would for the most part try acid once or twice, around late 1966, but generally steer clear of it. Barrett, by contrast, took it on a very regular basis, and it would influence all the work he did from that point on. The other event was that Rado Klose left the group. Klose was the only really proficient musician in the group, but he had very different tastes to the other members, preferring to play jazz to R&B and pop, and he was also falling behind in his university studies, and decided to put that ahead of remaining in the band. This meant that the group members had to radically rethink the way they were making music. They couldn't rely on instrumental proficiency, so they had to rely on ideas. One of the things they started to do was use echo. They got primitive echo devices and put both Barrett's guitar and Wright's keyboard through them, allowing them to create new sounds that hadn't been heard on stage before. But they were still mostly doing the same Slim Harpo and Bo Diddley numbers everyone else was doing, and weren't able to be particularly interesting while playing them. But for a while they carried on doing the normal gigs, like a birthday party they played in late 1965, where on the same bill was a young American folk singer named Paul Simon, and Joker's Wild, the band Dave Gilmour was in, who backed Simon on a version of "Johnny B. Goode". A couple of weeks after that party, Joker's Wild went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] But The Pink Floyd Sound weren't as musically tight as Joker's Wild, and they couldn't make a living as a cover band even if they wanted to. They had to do something different. Inspiration then came from a very unexpected source. I mentioned earlier that one of the names the group had been performing under had been inspired by a manifesto for a spontaneous university by the writer Alexander Trocchi. Trocchi's ideas had actually been put into practice by an organisation calling itself the London Free School, based in Notting Hill. The London Free School was an interesting mixture of people from what was then known as the New Left, but who were already rapidly aging, the people who had been the cornerstone of radical campaigning in the late fifties and early sixties, who had run the Aldermaston marches against nuclear weapons and so on, and a new breed of countercultural people who in a year or two would be defined as hippies but at the time were not so easy to pigeonhole. These people were mostly politically radical but very privileged people -- one of the founder members of the London Free School was Peter Jenner, who was the son of a vicar and the grandson of a Labour MP -- and they were trying to put their radical ideas into practice. The London Free School was meant to be a collective of people who would help each other and themselves, and who would educate each other. You'd go to the collective wanting to learn how to do something, whether that's how to improve the housing in your area or navigate some particularly difficult piece of bureaucracy, or how to play a musical instrument, and someone who had that skill would teach you how to do it, while you hopefully taught them something else of value. The London Free School, like all such utopian schemes, ended up falling apart, but it had a wider cultural impact than most such schemes. Britain's first underground newspaper, the International Times, was put together by people involved in the Free School, and the annual Notting Hill Carnival, which is now one of the biggest outdoor events in Britain every year with a million attendees, came from the merger of outdoor events organised by the Free School with older community events. A group of musicians called AMM was associated with many of the people involved in the Free School. AMM performed totally improvised music, with no structure and no normal sense of melody and harmony: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] Keith Rowe, the guitarist in AMM, wanted to find his own technique uninfluenced by American jazz guitarists, and thought of that in terms that appealed very strongly to the painterly Barrett, saying "For the Americans to develop an American school of painting, they somehow had to ditch or lose European easel painting techniques. They had to make a break with the past. What did that possibly mean if you were a jazz guitar player? For me, symbolically, it was Pollock laying the canvas on the floor, which immediately abandons European easel technique. I could see that by laying the canvas down, it became inappropriate to apply easel techniques. I thought if I did that with a guitar, I would just lose all those techniques, because they would be physically impossible to do." Rowe's technique-free technique inspired Barrett to make similar noises with his guitar, and to think less in terms of melody and harmony than pure sound. AMM's first record came out in 1966. Four of the Free School people decided to put together their own record label, DNA, and they got an agreement with Elektra Records to distribute its first release -- Joe Boyd, the head of Elektra in the UK, was another London Free School member, and someone who had plenty of experience with disruptive art already, having been on the sound engineering team at the Newport Folk Festival when Dylan went electric. AMM went into the studio and recorded AMMMusic: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] After that came out, though, Peter Jenner, one of the people who'd started the label, came to a realisation. He said later "We'd made this one record with AMM. Great record, very seminal, seriously avant-garde, but I'd started adding up and I'd worked out that the deal we had, we got two percent of retail, out of which we, the label, had to pay for recording costs and pay ourselves. I came to the conclusion that we were going to have to sell a hell of a lot of records just to pay the recording costs, let alone pay ourselves any money and build a label, so I realised we had to have a pop band because pop bands sold a lot of records. It was as simple as that and I was as naive as that." Jenner abandoned DNA records for the moment, and he and his friend Andrew King decided they were going to become pop managers. and they found The Pink Floyd Sound playing at an event at the Marquee, one of a series of events that were variously known as Spontaneous Underground and The Trip. Other participants in those events included Soft Machine; Mose Allison; Donovan, performing improvised songs backed by sitar players; Graham Bond; a performer who played Bach pieces while backed by African drummers; and The Poison Bellows, a poetry duo consisting of Spike Hawkins and Johnny Byrne, who may of all of these performers be the one who other than Pink Floyd themselves has had the most cultural impact in the UK -- after writing the exploitation novel Groupie and co-writing a film adaptation of Spike Milligan's war memoirs, Byrne became a TV screenwriter, writing many episodes of Space: 1999 and Doctor Who before creating the long-running TV series Heartbeat. Jenner and King decided they wanted to sign The Pink Floyd Sound and make records with them, and the group agreed -- but only after their summer holidays. They were all still students, and so they dispersed during the summer. Waters and Wright went on holiday to Greece, where they tried acid for the first of only a small number of occasions and were unimpressed, while Mason went on a trip round America by Greyhound bus. Barrett, meanwhile, stayed behind, and started writing more songs, encouraged by Jenner, who insisted that the band needed to stop relying on blues covers and come up with their own material, and who saw Barrett as the focus of the group. Jenner later described them as "Four not terribly competent musicians who managed between them to create something that was extraordinary. Syd was the main creative drive behind the band - he was the singer and lead guitarist. Roger couldn't tune his bass because he was tone deaf, it had to be tuned by Rick. Rick could write a bit of a tune and Roger could knock out a couple of words if necessary. 'Set the Controls for the Heart of the Sun' was the first song Roger ever wrote, and he only did it because Syd encouraged everyone to write. Syd was very hesitant about his writing, but when he produced these great songs everyone else thought 'Well, it must be easy'" Of course, we know this isn't quite true -- Waters had written "Walk with me Sydney" -- but it is definitely the case that everyone involved thought of Barrett as the main creative force in the group, and that he was the one that Jenner was encouraging to write new material. After the summer holidays, the group reconvened, and one of their first actions was to play a benefit for the London Free School. Jenner said later "Andrew King and myself were both vicars' sons, and we knew that when you want to raise money for the parish you have to have a social. So in a very old-fashioned way we said 'let's put on a social'. Like in the Just William books, like a whist drive. We thought 'You can't have a whist drive. That's not cool. Let's have a band. That would be cool.' And the only band we knew was the band I was starting to get involved with." After a couple of these events went well, Joe Boyd suggested that they make those events a regular club night, and the UFO Club was born. Jenner and King started working on the light shows for the group, and then bringing in other people, and the light show became an integral part of the group's mystique -- rather than standing in a spotlight as other groups would, they worked in shadows, with distorted kaleidoscopic lights playing on them, distancing themselves from the audience. The highlight of their sets was a long piece called "Interstellar Overdrive", and this became one of the group's first professional recordings, when they went into the studio with Joe Boyd to record it for the soundtrack of a film titled Tonite Let's All Make Love in London. There are conflicting stories about the inspiration for the main riff for "Interstellar Overdrive". One apparent source is the riff from Love's version of the Bacharach and David song "My Little Red Book". Depending on who you ask, either Barrett was obsessed with Love's first album and copied the riff, or Peter Jenner tried to hum him the riff and Barrett copied what Jenner was humming: [Excerpt: Love, "My Little Red Book"] More prosaically, Roger Waters has always claimed that the main inspiration was from "Old Ned", Ron Grainer's theme tune for the sitcom Steptoe and Son (which for American listeners was remade over there as Sanford and Son): [Excerpt: Ron Grainer, "Old Ned"] Of course it's entirely possible, and even likely, that Barrett was inspired by both, and if so that would neatly sum up the whole range of Pink Floyd's influences at this point. "My Little Red Book" was a cover by an American garage-psych/folk-rock band of a hit by Manfred Mann, a group who were best known for pop singles but were also serious blues and jazz musicians, while Steptoe and Son was a whimsical but dark and very English sitcom about a way of life that was slowly disappearing. And you can definitely hear both influences in the main riff of the track they recorded with Boyd: [Excerpt: The Pink Floyd, "Interstellar Overdrive"] "Interstellar Overdrive" was one of two types of song that The Pink Floyd were performing at this time -- a long, extended, instrumental psychedelic excuse for freaky sounds, inspired by things like the second disc of Freak Out! by the Mothers of Invention. When they went into the studio again with Boyd later in January 1967, to record what they hoped would be their first single, they recorded two of the other kind of songs -- whimsical story songs inspired equally by the incidents of everyday life and by children's literature. What became the B-side, "Candy and a Currant Bun", was based around the riff from "Smokestack Lightnin'" by Howlin' Wolf: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] That song had become a favourite on the British blues scene, and was thus the inspiration for many songs of the type that get called "quintessentially English". Ray Davies, who was in many ways the major songwriter at this time who was closest to Barrett stylistically, would a year later use the riff for the Kinks song "Last of the Steam-Powered Trains", but in this case Barrett had originally written a song titled "Let's Roll Another One", about sexual longing and cannabis. The lyrics were hastily rewritten in the studio to remove the controversial drug references-- and supposedly this caused some conflict between Barrett and Waters, with Waters pushing for the change, while Barrett argued against it, though like many of the stories from this period this sounds like the kind of thing that gets said by people wanting to push particular images of both men. Either way, the lyric was changed to be about sweet treats rather than drugs, though the lascivious elements remained in. And some people even argue that there was another lyric change -- where Barrett sings "walk with me", there's a slight "f" sound in his vocal. As someone who does a lot of microphone work myself, it sounds to me like just one of those things that happens while recording, but a lot of people are very insistent that Barrett is deliberately singing a different word altogether: [Excerpt: The Pink Floyd, "Candy and a Currant Bun"] The A-side, meanwhile, was inspired by real life. Both Barrett and Waters had mothers who used  to take in female lodgers, and both had regularly had their lodgers' underwear stolen from washing lines. While they didn't know anything else about the thief, he became in Barrett's imagination a man who liked to dress up in the clothing after he stole it: [Excerpt: The Pink Floyd, "Arnold Layne"] After recording the two tracks with Joe Boyd, the natural assumption was that the record would be put out on Elektra, the label which Boyd worked for in the UK, but Jac Holzman, the head of Elektra records, wasn't interested, and so a bidding war began for the single, as by this point the group were the hottest thing in London. For a while it looked like they were going to sign to Track Records, the label owned by the Who's management, but in the end EMI won out. Right as they signed, the News of the World was doing a whole series of articles about pop stars and their drug use, and the last of the articles talked about The Pink Floyd and their association with LSD, even though they hadn't released a record yet. EMI had to put out a press release saying that the group were not psychedelic, insisting"The Pink Floyd are not trying to create hallucinatory effects in their audience." It was only after getting signed that the group became full-time professionals. Waters had by this point graduated from university and was working as a trainee architect, and quit his job to become a pop star. Wright dropped out of university, but Mason and Barrett took sabbaticals. Barrett in particular seems to have seen this very much as a temporary thing, talking about how he was making so much money it would be foolish not to take the opportunity while it lasted, but how he was going to resume his studies in a year. "Arnold Layne" made the top twenty, and it would have gone higher had the pirate radio station Radio London, at the time the single most popular radio station when it came to pop music, not banned the track because of its sexual content. However, it would be the only single Joe Boyd would work on with the group. EMI insisted on only using in-house producers, and so while Joe Boyd would go on to a great career as a producer, and we'll see him again, he was replaced with Norman Smith. Smith had been the chief engineer on the Beatles records up to Rubber Soul, after which he'd been promoted to being a producer in his own right, and Geoff Emerick had taken over. He also had aspirations to pop stardom himself, and a few years later would have a transatlantic hit with "Oh Babe, What Would You Say?" under the name Hurricane Smith: [Excerpt: Hurricane Smith, "Oh Babe, What Would You Say?"] Smith's production of the group would prove controversial among some of the group's longtime fans, who thought that he did too much to curtail their more experimental side, as he would try to get the group to record songs that were more structured and more commercial, and would cut down their improvisations into a more manageable form. Others, notably Peter Jenner, thought that Smith was the perfect producer for the group. They started work on their first album, which was mostly recorded in studio three of Abbey Road, while the Beatles were just finishing off work on Sgt Pepper in studio two. The album was titled The Piper at the Gates of Dawn, after the chapter from The Wind in the Willows, and other than a few extended instrumental showcases, most of the album was made up of short, whimsical, songs by Barrett that were strongly infused with imagery from late-Victorian and Edwardian children's books. This is one of the big differences between the British and American psychedelic scenes. Both the British and American undergrounds were made up of the same type of people -- a mixture of older radical activists, often Communists, who had come up in Britain in the Ban the Bomb campaigns and in America in the Civil Rights movement; and younger people, usually middle-class students with radical politics from a privileged background, who were into experimenting with drugs and alternative lifestyles. But the  social situations were different. In America, the younger members of the underground were angry and scared, as their principal interest was in stopping the war in Vietnam in which so many of them were being killed. And the music of the older generation of the underground, the Civil Rights activists, was shot through with influence from the blues, gospel, and American folk music, with a strong Black influence. So that's what the American psychedelic groups played, for the most part, very bluesy, very angry, music, By contrast, the British younger generation of hippies were not being drafted to go to war, and mostly had little to complain about, other than a feeling of being stifled by their parents' generation's expectations. And while most of them were influenced by the blues, that wasn't the music that had been popular among the older underground people, who had either been listening to experimental European art music or had been influenced by Ewan MacColl and his associates into listening instead to traditional old English ballads, things like the story of Tam Lin or Thomas the Rhymer, where someone is spirited away to the land of the fairies: [Excerpt: Ewan MacColl, "Thomas the Rhymer"] As a result, most British musicians, when exposed to the culture of the underground over here, created music that looked back to an idealised childhood of their grandparents' generation, songs that were nostalgic for a past just before the one they could remember (as opposed to their own childhoods, which had taken place in war or the immediate aftermath of it, dominated by poverty, rationing, and bomb sites (though of course Barrett's childhood in Cambridge had been far closer to this mythic idyll than those of his contemporaries from Liverpool, Birmingham, Newcastle, or London). So almost every British musician who was making music that might be called psychedelic was writing songs that were influenced both by experimental art music and by pre-War popular song, and which conjured up images from older children's books. Most notably of course at this point the Beatles were recording songs like "Strawberry Fields Forever" and "Penny Lane" about places from their childhood, and taking lyrical inspiration from Victorian circus posters and the works of Lewis Carroll, but Barrett was similarly inspired. One of the books he loved most as a child was "The Little Grey Men" by BB, a penname for Denys Watkins-Pitchford. The book told the story of three gnomes,  Baldmoney, Sneezewort, and Dodder, and their adventures on a boat when the fourth member of their little group, Cloudberry, who's a bit of a rebellious loner and more adventurous than the other three, goes exploring on his own and they have to go off and find him. Barrett's song "The Gnome" doesn't use any precise details from the book, but its combination of whimsy about a gnome named Grimble-gromble and a reverence for nature is very much in the mould of BB's work: [Excerpt: The Pink Floyd, "The Gnome"] Another huge influence on Barrett was Hillaire Belloc. Belloc is someone who is not read much any more, as sadly he is mostly known for the intense antisemitism in some of his writing, which stains it just as so much of early twentieth-century literature is stained, but he was one of the most influential writers of the early part of the twentieth century. Like his friend GK Chesterton he was simultaneously an author of Catholic apologia and a political campaigner -- he was a Liberal MP for a few years, and a strong advocate of an economic system known as Distributism, and had a peculiar mixture of very progressive and extremely reactionary ideas which resonated with a lot of the atmosphere in the British underground of the time, even though he would likely have profoundly disapproved of them. But Belloc wrote in a variety of styles, including poems for children, which are the works of his that have aged the best, and were a huge influence on later children's writers like Roald Dahl with their gleeful comic cruelty. Barrett's "Matilda Mother" had lyrics that were, other than the chorus where Barrett begs his mother to read him more of the story, taken verbatim from three poems from Belloc's Cautionary Tales for Children -- "Jim, Who Ran away from his Nurse, and was Eaten by a Lion", "Henry King (Who chewed bits of String, and was cut off in Dreadful Agonies)", and "Matilda (Who Told Lies and Was Burned to Death)" -- the titles of those give some idea of the kind of thing Belloc would write: [Excerpt: The Pink Floyd, "Matilda Mother (early version)"] Sadly for Barrett, Belloc's estate refused to allow permission for his poems to be used, and so he had to rework the lyrics, writing new fairy-tale lyrics for the finished version. Other sources of inspiration for lyrics came from books like the I Ching, which Barrett used for "Chapter 24", having bought a copy from the Indica Bookshop, the same place that John Lennon had bought The Psychedelic Experience, and there's been some suggestion that he was deliberately trying to copy Lennon in taking lyrical ideas from a book of ancient mystic wisdom. During the recording of Piper at the Gates of Dawn, the group continued playing live. As they'd now had a hit single, most of their performances were at Top Rank Ballrooms and other such venues around the country, on bills with other top chart groups, playing to audiences who seemed unimpressed or actively hostile. They also, though made two important appearances. The more well-known of these was at the 14-Hour Technicolor Dream, a benefit for International Times magazine with people including Yoko Ono, their future collaborator Ron Geesin, John's Children, Soft Machine, and The Move also performing. The 14-Hour Technicolor Dream is now largely regarded as *the* pivotal moment in the development of the UK counterculture, though even at the time some participants noted that there seemed to be a rift developing between the performers, who were often fairly straightforward beer-drinking ambitious young men who had latched on to kaftans and talk about enlightenment as the latest gimmick they could use to get ahead in the industry, and the audience who seemed to be true believers. Their other major performance was at an event called "Games for May -- Space Age Relaxation for the Climax of Spring", where they were able to do a full long set in a concert space with a quadrophonic sound system, rather than performing in the utterly sub-par environments most pop bands had to at this point. They came up with a new song written for the event, which became their second single, "See Emily Play". [Excerpt: The Pink Floyd, "See Emily Play"] Emily was apparently always a favourite name of Barrett's, and he even talked with one girlfriend about the possibility of naming their first child Emily, but the Emily of the song seems to have had a specific inspiration. One of the youngest attendees at the London Free School was an actual schoolgirl, Emily Young, who would go along to their events with her schoolfriend Anjelica Huston (who later became a well-known film star). Young is now a world-renowned artist, regarded as arguably Britain's greatest living stone sculptor, but at the time she was very like the other people at the London Free School -- she was from a very privileged background, her father was Wayland Young, 2nd Baron Kennet, a Labour Peer and minister who later joined the SDP. But being younger than the rest of the attendees, and still a little naive, she was still trying to find her own personality, and would take on attributes and attitudes of other people without fully understanding them,  hence the song's opening lines, "Emily tries, but misunderstands/She's often inclined to borrow somebody's dream til tomorrow". The song gets a little darker towards the end though, and the image in the last verse, where she puts on a gown and floats down a river forever *could* be a gentle, pastoral, image of someone going on a boat ride, but it also could be a reference to two rather darker sources. Barrett was known to pick up imagery both from classic literature and from Arthurian legend, and so the lines inevitably conjure up both the idea of Ophelia drowning herself and of the Lady of Shallot in Tennyson's Arthurian poem, who is trapped in a tower but finds a boat, and floats down the river to Camelot but dies before the boat reaches the castle: [Excerpt: The Pink Floyd, "See Emily Play"] The song also evokes very specific memories of Barrett's childhood -- according to Roger Waters, the woods mentioned in the lyrics are meant to be woods in which they had played as children, on the road out of Cambridge towards the Gog and Magog Hills. The song was apparently seven minutes long in its earliest versions, and required a great deal of editing to get down to single length, but it was worth it, as the track made the top ten. And that was where the problems started. There are two different stories told about what happened to Roger Barrett over the next forty years, and both stories are told by people with particular agendas, who want particular versions of him to become the accepted truth. Both stories are, in the extreme versions that have been popularised, utterly incompatible with each other, but both are fairly compatible with the scanty evidence we have. Possibly the truth lies somewhere between them. In one version of the story, around this time Barrett had a total mental breakdown, brought on or exacerbated by his overuse of LSD and Mandrax (a prescription drug consisting of a mixture of the antihistamine diphenhydramine and the sedative methaqualone, which was marketed in the US under the brand-name Quaalude), and that from late summer 1967 on he was unable to lead a normal life, and spent the rest of his life as a burned-out shell. The other version of the story is that Barrett was a little fragile, and did have periods of mental illness, but for the most part was able to function fairly well. In this version of the story, he was neurodivergent, and found celebrity distressing, but more than that he found the whole process of working within commercial restrictions upsetting -- having to appear on TV pop shows and go on package tours was just not something he found himself able to do, but he was responsible for a whole apparatus of people who relied on him and his group for their living. In this telling, he was surrounded by parasites who looked on him as their combination meal-ticket-cum-guru, and was simply not suited for the role and wanted to sabotage it so he could have a private life instead. Either way, *something* seems to have changed in Barrett in a profound way in the early summer of 1967. Joe Boyd talks about meeting him after not having seen him for a few weeks, and all the light being gone from his eyes. The group appeared on Top of the Pops, Britain's top pop TV show, three times to promote "See Emily Play", but by the third time Barrett didn't even pretend to mime along with the single. Towards the end of July, they were meant to record a session for the BBC's Saturday Club radio show, but Barrett walked out of the studio before completing the first song. It's notable that Barrett's non-cooperation or inability to function was very much dependent on circumstance. He was not able to perform for Saturday Club, a mainstream pop show aimed at a mass audience, but gave perfectly good performances on several sessions for John Peel's radio show The Perfumed Garden, a show firmly aimed at Pink Floyd's own underground niche. On the thirty-first of July, three days after the Saturday Club walkout, all the group's performances for the next month were cancelled, due to "nervous exhaustion". But on the eighth of August, they went back into the studio, to record "Scream Thy Last Scream", a song Barrett wrote and which Nick Mason sang: [Excerpt: Pink Floyd, "Scream Thy Last Scream"] That was scheduled as the group's next single, but the record company vetoed it, and it wouldn't see an official release for forty-nine years. Instead they recorded another single, "Apples and Oranges": [Excerpt: Pink Floyd, "Apples and Oranges"] That was the last thing the group released while Barrett was a member. In November 1967 they went on a tour of the US, making appearances on American Bandstand and the Pat Boone Show, as well as playing several gigs. According to legend, Barrett was almost catatonic on the Pat Boone show, though no footage of that appears to be available anywhere -- and the same things were said about their performance on Bandstand, and when that turned up, it turned out Barrett seemed no more uncomfortable miming to their new single than any of the rest of the band, and was no less polite when Dick Clark asked them questions about hamburgers. But on shows on the US tour, Barrett would do things like detune his guitar so it just made clanging sounds, or just play a single note throughout the show. These are, again, things that could be taken in two different ways, and I have no way to judge which is the more correct. On one level, they could be a sign of a chaotic, disordered, mind, someone dealing with severe mental health difficulties. On the other, they're the kind of thing that Barrett was applauded and praised for in the confines of the kind of avant-garde underground audience that would pay to hear AMM or Yoko Ono, the kind of people they'd been performing for less than a year earlier, but which were absolutely not appropriate for a pop group trying to promote their latest hit single. It could be that Barrett was severely unwell, or it could just be that he wanted to be an experimental artist and his bandmates wanted to be pop stars -- and one thing absolutely everyone agrees is that the rest of the group were more ambitious than Barrett was. Whichever was the case, though, something had to give. They cut the US tour short, but immediately started another British package tour, with the Jimi Hendrix Experience, the Move, Amen Corner and the Nice. After that tour they started work on their next album, A Saucerful of Secrets. Where Barrett was the lead singer and principal songwriter on Piper at the Gates of Dawn, he only sings and writes one song on A Saucerful of Secrets, which is otherwise written by Waters and Wright, and only appears at all on two more of the tracks -- by the time it was released he was out of the group. The last song he tried to get the group to record was called "Have You Got it Yet?" and it was only after spending some time rehearsing it that the rest of the band realised that the song was a practical joke on them -- every time they played it, he would change the song around so they would mess up, and pretend they just hadn't learned the song yet. They brought in Barrett's old friend Dave Gilmour, initially to be a fifth member on stage to give the band some stability in their performances, but after five shows with the five-man lineup they decided just not to bother picking Barrett up, but didn't mention he was out of the group, to avoid awkwardness. At the time, Barrett and Rick Wright were flatmates, and Wright would actually lie to Barrett and say he was just going out to buy a packet of cigarettes, and then go and play gigs without him. After a couple of months of this, it was officially announced that Barrett was leaving the group. Jenner and King went with him, convinced that he was the real talent in the group and would have a solo career, and the group carried on with new management. We'll be looking at them more in future episodes. Barrett made a start at recording a solo album in mid-1968, but didn't get very far. Jenner produced those sessions, and later said "It seemed a good idea to go into the studio because I knew he had the songs. And he would sometimes play bits and pieces and you would think 'Oh that's great.' It was a 'he's got a bit of a cold today and it might get better' approach. It wasn't a cold -- and you knew it wasn't a cold -- but I kept thinking if he did the right things he'd come back to join us. He'd gone out and maybe he'd come back. That was always the analogy in my head. I wanted to make it feel friendly for him, and that where we were was a comfortable place and that he could come back and find himself again. I obviously didn't succeed." A handful of tracks from those sessions have since been released, including a version of “Golden Hair”, a setting by Barrett of a poem by James Joyce that he would later revisit: [Excerpt: Syd Barrett, “Golden Hair (first version)”] Eleven months later, he went back into the studio again, this time with producer Malcolm Jones, to record an album that later became The Madcap Laughs, his first solo album. The recording process for the album has been the source of some controversy, as initially Jones was producing the whole album, and they were working in a way that Barrett never worked before. Where previously he had cut backing tracks first and only later overdubbed his vocals, this time he started by recording acoustic guitar and vocals, and then overdubbed on top of that. But after several sessions, Jones was pulled off the album, and Gilmour and Waters were asked to produce the rest of the sessions. This may seem a bit of a callous decision, since Gilmour was the person who had replaced Barrett in his group, but apparently the two of them had remained friends, and indeed Gilmour thought that Barrett had only got better as a songwriter since leaving the band. Where Malcolm Jones had been trying, by his account, to put out something that sounded like a serious, professional, record, Gilmour and Waters seemed to regard what they were doing more as producing a piece of audio verite documentary, including false starts and studio chatter. Jones believed that this put Barrett in a bad light, saying the outtakes "show Syd, at best as out of tune, which he rarely was, and at worst as out of control (which, again, he never was)." Gilmour and Waters, on the other hand, thought that material was necessary to provide some context for why the album wasn't as slick and professional as some might have hoped. The eventual record was a hodge-podge of different styles from different sessions, with bits from the Jenner sessions, the Jones sessions, and the Waters and Gilmour sessions all mixed together, with some tracks just Barrett badly double-tracking himself with an acoustic guitar, while other tracks feature full backing by Soft Machine. However, despite Jones' accusations that the album was more-or-less sabotaged by Gilmour and Waters, the fact remains that the best tracks on the album are the ones Barrett's former bandmates produced, and there are some magnificent moments on there. But it's a disturbing album to listen to, in the same way other albums by people with clear talent but clear mental illness are, like Skip Spence's Oar, Roky Erickson's later work, or the Beach Boys Love You. In each case, the pleasure one gets is a real pleasure from real aesthetic appreciation of the work, but entangled with an awareness that the work would not exist in that form were the creator not suffering. The pleasure doesn't come from the suffering -- these are real artists creating real art, not the kind of outsider art that is really just a modern-day freak-show -- but it's still inextricable from it: [Excerpt: Syd Barrett, "Dark Globe"] The Madcap Laughs did well enough that Barrett got to record a follow-up, titled simply Barrett. This one was recorded over a period of only a handful of months, with Gilmour and Rick Wright producing, and a band consisting of Gilmour, Wright, and drummer Jerry Shirley. The album is generally considered both more consistent and less interesting than The Madcap Laughs, with less really interesting material, though there are some enjoyable moments on it: [Excerpt: Syd Barrett, "Effervescing Elephant"] But the album is a little aimless, and people who knew him at the time seem agreed that that was a reflection of his life. He had nothing he *needed* to be doing -- no  tour dates, no deadlines, no pressure at all, and he had a bit of money from record royalties -- so he just did nothing at all. The one solo gig he ever played, with the band who backed him on Barrett, lasted four songs, and he walked off half-way through the fourth. He moved back to Cambridge for a while in the early seventies, and he tried putting together a new band with Twink, the drummer of the Pink Fairies and Pretty Things, Fred Frith, and Jack Monck, but Frith left after one gig. The other three performed a handful of shows either as "Stars" or as "Barrett, Adler, and Monck", just in the Cambridge area, but soon Barrett got bored again. He moved back to London, and in 1974 he made one final attempt to make a record, going into the studio with Peter Jenner, where he recorded a handful of tracks that were never released. But given that the titles of those tracks were things like "Boogie #1", "Boogie #2", "Slow Boogie", "Fast Boogie", "Chooka-Chooka Chug Chug" and "John Lee Hooker", I suspect we're not missing out on a lost masterpiece. Around this time there was a general resurgence in interest in Barrett, prompted by David Bowie having recorded a version of "See Emily Play" on his covers album Pin-Ups, which came out in late 1973: [Excerpt: David Bowie, "See Emily Play"] At the same time, the journalist Nick Kent wrote a long profile of Barrett, The Cracked Ballad of Syd Barrett, which like Kent's piece on Brian Wilson a year later, managed to be a remarkable piece of writing with a sense of sympathy for its subject and understanding of his music, but also a less-than-accurate piece of journalism which led to a lot of myths and disinformation being propagated. Barrett briefly visited his old bandmates in the studio in 1975 while they were recording the album Wish You Were Here -- some say even during the recording of the song "Shine On, You Crazy Diamond", which was written specifically about Barrett, though Nick Mason claims otherwise -- and they didn't recognise him at first, because by this point he had a shaved head and had put on a great deal of weight. He seemed rather sad, and that was the last time any of them saw him, apart from Roger Waters, who saw him in Harrod's a few years later. That time, as soon as Barrett recognised Waters, he dropped his bag and ran out of the shop. For the next thirty-one years, Barrett made no public appearances. The last time he ever voluntarily spoke to a journalist, other than telling them to go away, was in 1982, just after he'd moved back to Cambridge, when someone doorstopped him and he answered a few questions and posed for a photo before saying "OK! That's enough, this is distressing for me, thank you." He had the reputation for the rest of his life of being a shut-in, a recluse, an acid casualty. His family, on the other hand, have always claimed that while he was never particularly mentally or physically healthy, he wasn't a shut-in, and would go to the pub, meet up with his mother a couple of times a week to go shopping, and chat to the women behind the counter at Sainsbury's and at the pharmacy. He was also apparently very good with children who lived in the neighbourhood. Whatever the truth of his final decades, though, however mentally well or unwell he actually was, one thing is very clear, which is that he was an extremely private man, who did not want attention, and who was greatly distressed by the constant stream of people coming and looking through his letterbox, trying to take photos of him, trying to interview him, and so on. Everyone on his street knew that when people came asking which was Syd Barrett's house, they were meant to say that no-one of that name lived there -- and they were telling the truth. By the time he moved back, he had stopped answering to "Syd" altogether, and according to his sister "He came to hate the name latterly, and what it meant." He did, in 2001, go round to his sister's house to watch a documentary about himself on the TV -- he didn't own a TV himself -- but he didn't enjoy it and his only comment was that the music was too noisy. By this point he never listened to rock music, just to jazz and classical music, usually on the radio. He was financially secure -- Dave Gilmour made sure that when compilations came out they always included some music from Barrett's period in the group so he would receive royalties, even though Gilmour had no contact with him after 1975 -- and he spent most of his time painting -- he would take photos of the paintings when they were completed, and then burn the originals. There are many stories about those last few decades, but given how much he valued his privacy, it wouldn't be right to share them. This is a history of rock music, and 1975 was the last time Roger Keith Barrett ever had anything to do with rock music voluntarily. He died of cancer in 2006, and at his funeral there was a reading from The Little Grey Men, which was also quoted in the Order of Service -- "The wonder of the world, the beauty and the power, the shapes of things, their colours lights and shades; these I saw. Look ye also while life lasts.” There was no rock music played at Barrett's funeral -- instead there were a selection of pieces by Handel, Haydn, and Bach, ending with Bach's Allemande from the Partita No. IV in D major, one of his favourite pieces: [Excerpt: Glenn Gould, "Allemande from the Partita No. IV in D major"]  As they stared blankly in dumb misery deepening as they slowly realised all they had seen and all they had lost, a capricious little breeze, dancing up from the surface of the water, tossed the aspens, shook the dewy roses and blew lightly and caressingly in their faces; and with its soft touch came instant oblivion. For this is the last best gift that the kindly demi-god is careful to bestow on those to whom he has revealed himself in their helping: the gift of forgetfulness. Lest the awful remembrance should remain and grow, and overshadow mirth and pleasure, and the great haunting memory should spoil all the after-lives of little animals helped out of difficulties, in order that they should be happy and lighthearted as before. Mole rubbed his eyes and stared at Rat, who was looking about him in a puzzled sort of way. “I beg your pardon; what did you say, Rat?” he asked. “I think I was only remarking,” said Rat slowly, “that this was the right sort of place, and that here, if anywhere, we should find him. And look! Why, there he is, the little fellow!” And with a cry of delight he ran towards the slumbering Portly. But Mole stood still a moment, held in thought. As one wakened suddenly from a beautiful dream, who struggles to recall it, and can re-capture nothing but a dim sense of the beauty of it, the beauty! Till that, too, fades away in its turn, and the dreamer bitterly accepts the hard, cold waking and all its penalties; so Mole, after struggling with his memory for a brief space, shook his head sadly and followed the Rat.

In Ep. 240, Dave & Jessica discuss twining on higher ed tenure, legal strategies + legal bills of Donald Trump, and leaked recordings in an era of ‘You should have known better.' Plus, the district attorney who claimed the ‘Mule of the Week' title.

Zacks Earnings Consistent Portfolio ETF (ZECP) seeks to provide long-term total returns and minimize capital loss. Companies that exhibit track records of moving through recessionary periods are included. The ETF is composed of 50 to 120 U.S. exchange-listed companies with highest histories of stability and forecasted EPS. Sal Esposito weighs in on Zacks being focused on research primarily.

Jetzt, wo der Ball wieder rollt, verfolgen uns unsere Pappenheimer also auch wieder ins Wochenende. Die Mercedes-Benz Bank auf den Trikots des VfB Stuttgart. Das Fintech Wefox auf der Brust von Union Berlin. Und natürlich FlatexDegiro – inzwischen schon die dritte Spielzeit Hauptsponsor von Borussia Mönchengladbach. Dazu muss man nun wissen (wobei es keine Bildungslücke ist, wenn man's nicht weiß): Der letztgenannte Verein ist in der Finanz-Szene-Redaktion eher weniger gut gelitten. Weshalb wir, als das Flatex-Sponsoring damals publik wurde, spontan allen Flatex-Wettbewerbern scherzhaft einen Rabatt von 10% auf unsere Anzeigenpreise einräumten. Fanden wir witzig. Kam bei Flatex aber gar nicht gut an. Zumal wir die Frankfurter kurz zuvor erst ordentlich rangenommen hatten (siehe -> "Inside Flatex – Die Wahrheit über den schillernden Online-Broker"). Jedenfalls: Es hat angesichts dieses Track Records ein bisschen gedauert, bis wir uns jetzt getraut haben, den durchaus wuchtigen FlatexDegiro-Chef Frank Niehage endlich mal in unseren Podcast einzuladen. Umso mehr haben wir uns gefreut, dass er sofort zugesagt hat. Zu besprechen gibt es ja durchaus einiges. Da ist einerseits die Geschichte, wie aus einem operativen Trümmerhaufen in wenigen Jahren ein hochprofitabler Player mit inzwischen 2,2 Mio. Kunden wurde. Und andererseits? Ist da die Frage, ob Flatex angesichts des abflauenden Trading-Booms nicht langsam mal seine überaus ehrgeizigen Neukundenziele revidieren müsste. Und natürlich haben wir (erinnert sei in dem Kontext auch an Beispiele wie N26/Rapid Wien, Naga/FC Sevilla oder eToro/AS Monaco) auch konkret angefragt: Bringt das millionenschwere Fußball-Sponsoring wirklich was – oder ist das eher Folklore? Sponsor der heutigen Episode ist Sopra Steria – der führende IT Services Provider im Bankensektor. Mehr Informationen unter: https://www.soprasteria.de/branchen/banking === Fragen und Feedback zum Podcast: redaktion@finanz-szene.de oder (auch anonym) über Threema: TKUYV5Z6 Redaktion und Host: Christian Kirchner/Finanz-Szene.de Coverdesign: Elida Atelier, Hamburg Postproduction: Podstars Hamburg Musik: Liturgy of the street / Shane Ivers - www.silvermansound.com

In this episode of the podcast I speak to Robbie Britton  Robbie is an international ultra-runner focusing on track 24 hour events. After a long lay-off from injury he made his return to racing last weekend to try to break the British 24 hour record at the Gloucester 24.He didn't achieve this goal but in the process he did break his own 100 mile PB with a time of 13hours 55 minutes!  We spoke about his short lived career as an American football player, his coaching business, and his love of Italian pizza!  He speaks about his recent decision to become vegetarian and we dive into his book 1001 running tips. Robbie is a genuinely hilarious guy and I absolutely loved interviewing him. So give it a watch/listen asap!  Don't forget to like and subscribe!  UU

Welcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: Future Matters #3: digital sentience, AGI ruin, and forecasting track records, published by Pablo on July 4, 2022 on The Effective Altruism Forum. We could thus imagine, as an extreme case, a technologically highly advanced society, containing many complex structures, some of them far more intricate and intelligent than anything that exists on the planet today — a society which nevertheless lacks any type of being that is conscious or whose welfare has moral significance. In a sense, this would be an uninhabited society. It would be a society of economic miracles and technological awesomeness, with nobody there to benefit. A Disneyland without children. Nick Bostrom Future Matters is a newsletter about longtermism. Each month we collect and summarize longtermism-relevant research, share news from the longtermism community, and feature a conversation with a prominent longtermist. You can also subscribe on Substack, listen on your favorite podcast platform and follow on Twitter. Research Google engineer Blake Lemoine believes that one of the company's powerful language models, LaMDA, should be considered a person. He formed this impression from extensive dialogue with the model (see transcript). Lemoine has gone public, having been placed on leave after raising concerns internally at the company (see his interviews in Washington Post and WIRED). Robert Long's Lots of links on LaMDA provides an excellent summary of the saga and the ensuing discussion. We concur with Nick Bostrom's assessment: “With recent advances in AI (and much more to come before too long, presumably) it is astonishing how neglected this issue still is.” Garrison Lovely's Do we need a better understanding of 'progress'? examines progress studies, a nascent intellectual movement focused on understanding the roots of technological progress in order to speed it up. The piece includes some interesting discussion of the points of disagreement between progress studies and longtermism, which mostly center around attitudes to risk. Ollie Base notes that Things usually end slowly when it comes to mass extinction events (~millions of years) and the collapse of empires (decades to centuries). On this basis, he updates slightly towards existential risks happening over long timescales. As Base and several commenters point out, this isn't a great reference class for risks from new technologies (AI, engineered pandemics, nuclear war), which constitute most of the total existential risk. Nevertheless, this sort of reference class forecasting is an important input for reasoning about unprecedented events like existential catastrophes. Eliezer Yudkowsky's AGI ruin: a list of lethalities has caused quite a stir. He recently announced that MIRI had pretty much given up on solving AI alignment, and in this (very long) post, he states his reasons for thinking that humanity is therefore doomed. His “list of lethalities” is structured into three sections: a first section on general worries about AGI (such as that humans must solve alignment on the first try, or that they must solve this problem within a time limit); a second section on technical difficulties related to the current deep learning paradigm; and a third section on the state of the field of AI safety. Yudkowsky's pessimistic conclusion, very succinctly, is that everyone else fundamentally misunderstands the challenge of AI alignment and that none of the existing AI safety approaches have any hope of working. Paul Christiano responds to Yudkowsky's piece in Where I agree and disagree with Eliezer. There is agreement over much of the high-level picture of things: catastrophically risky AI systems could exist soon and without any warning; many current safety approaches are not aimed at the important problems; no current approaches would work without significant it...

Sat, 21 May 2022 05:45:00 +0000 https://jungeanleger.podigee.io/213-sportwoche-podcast-s107 abf3b45e5a4b0dfb3121fe655a5f1e96 Christoph Sander ist Top-Läufer (4 Österreichische Meistertitel), war mal „Rookie of the Year“ beim Business Athlete Award und sein Business Talent hat sich in der Folge toll weiterentwickelt. Mitte Mai hat er bereits zum 6. Mal seine Mid Summer Track Night organisiert, erstmals war der Event zweitägig. Wir sprechen über den Event, die Vor-Ort-Stars Julia Mayer, Victoria Hudson und Andreas Vojta, viele HobbysportlerInnen, weiters über Christophs Marathon-Erlebnis, 3000m Hindernis, über seinen Vater, über Henry Rono, den börsenotierten Schweizer Schuhhersteller On und den AC/DC-Hit „ThunderStröck“ (mit absichtlichem Tippfehler). About: Die Marke, Patent, Rechte und das Archiv der SportWoche wurden 2017 von Christian Drastil Comm. erworben, Mehr unter http://www.sportgeschichte.at . Der neue SportWoche Podcast ist eingebettet in „Wiener Börse, Sport, Musik (und mehr)" und erscheint künftig, wie es in Name SportWoche auch drinsteckt, wöchentlich. Dank geht an den Sponsor der Mai-Folgen: Matejka & Partner. 213 full no Christian Drastil Comm.

Welcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: Beware boasting about non-existent forecasting track records, published by Jotto999 on May 20, 2022 on LessWrong. Imagine if there was a financial pundit who kept saying "Something really bad is brewing in the markets and we may be headed for a recession. But we can't know when recessions will come, nobody can predict them". And then every time there was a selloff in the market, they tell everyone "I've been saying we were headed for trouble", taking credit. This doesn't work as a forecasting track record, and it shouldn't be thought of that way. If they want forecaster prestige, their forecasts must be: Pre-registered, So unambiguous that people actually agree whether the event "happened", With probabilities and numbers so we can gauge calibration, And include enough forecasts that it's not just a fluke or cherry-picking. When Eliezer Yudkowsky talks about forecasting AI, he has several times claimed to have a great forecasting track record. But a meaningful "forecasting track record" has well-known and very specific requirements, and Eliezer doesn't show these. Here he dunks on Metaculus predictors as "excruciatingly predictable" about a weak-AGI question, saying that he is a sane person with self-respect (implying the Metaculus predictors aren't): To be a slightly better Bayesian is to spend your entire life watching others slowly update in excruciatingly predictable directions that you jumped ahead of 6 years earlier so that your remaining life could be a random epistemic walk like a sane person with self-respect. I wonder if a Metaculus forecast of "what this forecast will look like in 3 more years" would be saner. Is Metaculus reflective, does it know what it's doing wrong? He clearly believes he could be placing forecasts showing whether or not he is better. Yet he doesn't. Some have argued "but he may not have time to keep up with the trends, forecasting is demanding". But he's the one making a claim about relative accuracy! And this is in the domain he says is the most important one of our era. And he seems to already be keeping up with trends -- just submit the distribution then. And here he dunks on Metaculus predictors again: What strange inputs other people require instead of the empty string, to arrive at conclusions that they could have figured out for themselves earlier; if they hadn't waited around for an obvious whack on the head that would predictably arrive later. I didn't update off this. But still without being transparent about his own forecasts, preventing a fair comparison. In another context, Paul Christiano offered to bet Eliezer about AI timelines. This is great, a bet is a tax on bullshit. While it doesn't show a nice calibration chart like on Metaculus, it does give information about performance. You would be right to be fearful of betting against Bryan Caplan. And to Eliezer's great credit, he has actually made a related bet with Bryan! But in responding to Paul, Eliezer mentions some nebulous, unscorable debates and claims: I claim that I came off better than Robin Hanson in our FOOM debate compared to the way that history went. I'd claim that my early judgments of the probable importance of AGI, at all, stood up generally better than early non-Yudkowskian EA talking about that. Nothing about this is a forecasting track record. These are post-hoc opinions. There are unavoidable reasons we require pre-registering of the forecasts, removal of definitional wiggle room, explicit numbers, and a decent sample. This response sounds like the financial pundit, saying he called the recession. Eliezer declines to bet Paul Christiano, and says Paul is...lacking a forecasting track record. I think Paul doesn't need to bet against me to start producing a track record like this; I think he can already start to accumulate reputation by saying what he ...

Link to original articleWelcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: Beware boasting about non-existent forecasting track records, published by Jotto999 on May 20, 2022 on LessWrong. Imagine if there was a financial pundit who kept saying "Something really bad is brewing in the markets and we may be headed for a recession. But we can't know when recessions will come, nobody can predict them". And then every time there was a selloff in the market, they tell everyone "I've been saying we were headed for trouble", taking credit. This doesn't work as a forecasting track record, and it shouldn't be thought of that way. If they want forecaster prestige, their forecasts must be: Pre-registered, So unambiguous that people actually agree whether the event "happened", With probabilities and numbers so we can gauge calibration, And include enough forecasts that it's not just a fluke or cherry-picking. When Eliezer Yudkowsky talks about forecasting AI, he has several times claimed to have a great forecasting track record. But a meaningful "forecasting track record" has well-known and very specific requirements, and Eliezer doesn't show these. Here he dunks on Metaculus predictors as "excruciatingly predictable" about a weak-AGI question, saying that he is a sane person with self-respect (implying the Metaculus predictors aren't): To be a slightly better Bayesian is to spend your entire life watching others slowly update in excruciatingly predictable directions that you jumped ahead of 6 years earlier so that your remaining life could be a random epistemic walk like a sane person with self-respect. I wonder if a Metaculus forecast of "what this forecast will look like in 3 more years" would be saner. Is Metaculus reflective, does it know what it's doing wrong? He clearly believes he could be placing forecasts showing whether or not he is better. Yet he doesn't. Some have argued "but he may not have time to keep up with the trends, forecasting is demanding". But he's the one making a claim about relative accuracy! And this is in the domain he says is the most important one of our era. And he seems to already be keeping up with trends -- just submit the distribution then. And here he dunks on Metaculus predictors again: What strange inputs other people require instead of the empty string, to arrive at conclusions that they could have figured out for themselves earlier; if they hadn't waited around for an obvious whack on the head that would predictably arrive later. I didn't update off this. But still without being transparent about his own forecasts, preventing a fair comparison. In another context, Paul Christiano offered to bet Eliezer about AI timelines. This is great, a bet is a tax on bullshit. While it doesn't show a nice calibration chart like on Metaculus, it does give information about performance. You would be right to be fearful of betting against Bryan Caplan. And to Eliezer's great credit, he has actually made a related bet with Bryan! But in responding to Paul, Eliezer mentions some nebulous, unscorable debates and claims: I claim that I came off better than Robin Hanson in our FOOM debate compared to the way that history went. I'd claim that my early judgments of the probable importance of AGI, at all, stood up generally better than early non-Yudkowskian EA talking about that. Nothing about this is a forecasting track record. These are post-hoc opinions. There are unavoidable reasons we require pre-registering of the forecasts, removal of definitional wiggle room, explicit numbers, and a decent sample. This response sounds like the financial pundit, saying he called the recession. Eliezer declines to bet Paul Christiano, and says Paul is...lacking a forecasting track record. I think Paul doesn't need to bet against me to start producing a track record like this; I think he can already start to accumulate reputation by saying what he ...

Pennsylvania has two Progressive and Dynamic Democratic Candidates running for High Office in 2022. Both John Fetterman, running for U.S. Senator and Josh Shapiro, running for Governor have interesting and extensive Track Records by which they can be judged by the voters in this years Elections.

Episode one hundred and forty-seven of A History of Rock Music in Five Hundred Songs looks at “Hey Joe" by the Jimi Hendrix Experience, and is the longest episode to date, at over two hours. Patreon backers also have a twenty-two-minute bonus episode available, on "Making Time" by The Creation. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud mix containing all the music excerpted in this episode. For information on the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. Information on Arthur Lee and Love came from Forever Changes: Arthur Lee and the Book of Love by John Einarson, and Arthur Lee: Alone Again Or by Barney Hoskyns. Information on Gary Usher's work with the Surfaris and the Sons of Adam came from The California Sound by Stephen McParland, which can be found at https://payhip.com/CMusicBooks Information on Jimi Hendrix came from Room Full of Mirrors by Charles R. Cross, Crosstown Traffic by Charles Shaar Murray, and Wild Thing by Philip Norman. Information on the history of "Hey Joe" itself came from all these sources plus Hey Joe: The Unauthorised Biography of a Rock Classic by Marc Shapiro, though note that most of that book is about post-1967 cover versions. Most of the pre-Experience session work by Jimi Hendrix I excerpt in this episode is on this box set of alternate takes and live recordings. And "Hey Joe" can be found on Are You Experienced? Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just a quick note before we start – this episode deals with a song whose basic subject is a man murdering a woman, and that song also contains references to guns, and in some versions to cocaine use. Some versions excerpted also contain misogynistic slurs. If those things are likely to upset you, please skip this episode, as the whole episode focusses on that song. I would hope it goes without saying that I don't approve of misogyny, intimate partner violence, or murder, and my discussing a song does not mean I condone acts depicted in its lyrics, and the episode itself deals with the writing and recording of the song rather than its subject matter, but it would be impossible to talk about the record without excerpting the song. The normalisation of violence against women in rock music lyrics is a subject I will come back to, but did not have room for in what is already a very long episode. Anyway, on with the show. Let's talk about the folk process, shall we? We've talked before, like in the episodes on "Stagger Lee" and "Ida Red", about how there are some songs that aren't really individual songs in themselves, but are instead collections of related songs that might happen to share a name, or a title, or a story, or a melody, but which might be different in other ways. There are probably more songs that are like this than songs that aren't, and it doesn't just apply to folk songs, although that's where we see it most notably. You only have to look at the way a song like "Hound Dog" changed from the Willie Mae Thornton version to the version by Elvis, which only shared a handful of words with the original. Songs change, and recombine, and everyone who sings them brings something different to them, until they change in ways that nobody could have predicted, like a game of telephone. But there usually remains a core, an archetypal story or idea which remains constant no matter how much the song changes. Like Stagger Lee shooting Billy in a bar over a hat, or Frankie killing her man -- sometimes the man is Al, sometimes he's Johnny, but he always done her wrong. And one of those stories is about a man who shoots his cheating woman with a forty-four, and tries to escape -- sometimes to a town called Jericho, and sometimes to Juarez, Mexico. The first version of this song we have a recording of is by Clarence Ashley, in 1929, a recording of an older folk song that was called, in his version, "Little Sadie": [Excerpt: Clarence Ashley, "Little Sadie"] At some point, somebody seems to have noticed that that song has a slight melodic similarity to another family of songs, the family known as "Cocaine Blues" or "Take a Whiff on Me", which was popular around the same time: [Excerpt: The Memphis Jug Band, "Cocaine Habit Blues"] And so the two songs became combined, and the protagonist of "Little Sadie" now had a reason to kill his woman -- a reason other than her cheating, that is. He had taken a shot of cocaine before shooting her. The first recording of this version, under the name "Cocaine Blues" seems to have been a Western Swing version by W. A. Nichol's Western Aces: [Excerpt: W.A. Nichol's Western Aces, "Cocaine Blues"] Woody Guthrie recorded a version around the same time -- I've seen different dates and so don't know for sure if it was before or after Nichol's version -- and his version had himself credited as songwriter, and included this last verse which doesn't seem to appear on any earlier recordings of the song: [Excerpt: Woody Guthrie, "Cocaine Blues"] That doesn't appear on many later recordings either, but it did clearly influence yet another song -- Mose Allison's classic jazz number "Parchman Farm": [Excerpt: Mose Allison, "Parchman Farm"] The most famous recordings of the song, though, were by Johnny Cash, who recorded it as both "Cocaine Blues" and as "Transfusion Blues". In Cash's version of the song, the murderer gets sentenced to "ninety-nine years in the Folsom pen", so it made sense that Cash would perform that on his most famous album, the live album of his January 1968 concerts at Folsom Prison, which revitalised his career after several years of limited success: [Excerpt: Johnny Cash, "Cocaine Blues (live at Folsom Prison)"] While that was Cash's first live recording at a prison, though, it wasn't the first show he played at a prison -- ever since the success of his single "Folsom Prison Blues" he'd been something of a hero to prisoners, and he had been doing shows in prisons for eleven years by the time of that recording. And on one of those shows he had as his support act a man named Billy Roberts, who performed his own song which followed the same broad outlines as "Cocaine Blues" -- a man with a forty-four who goes out to shoot his woman and then escapes to Mexico. Roberts was an obscure folk singer, who never had much success, but who was good with people. He'd been part of the Greenwich Village folk scene in the 1950s, and at a gig at Gerde's Folk City he'd met a woman named Niela Miller, an aspiring songwriter, and had struck up a relationship with her. Miller only ever wrote one song that got recorded by anyone else, a song called "Mean World Blues" that was recorded by Dave Van Ronk: [Excerpt: Dave Van Ronk, "Mean World Blues"] Now, that's an original song, but it does bear a certain melodic resemblance to another old folk song, one known as "Where Did You Sleep Last Night?" or "In the Pines", or sometimes "Black Girl": [Excerpt: Lead Belly, "Where Did You Sleep Last Night?"] Miller was clearly familiar with the tradition from which "Where Did You Sleep Last Night?" comes -- it's a type of folk song where someone asks a question and then someone else answers it, and this repeats, building up a story. This is a very old folk song format, and you hear it for example in "Lord Randall", the song on which Bob Dylan based "A Hard Rain's A-Gonna Fall": [Excerpt: Ewan MacColl, "Lord Randall"] I say she was clearly familiar with it, because the other song she wrote that anyone's heard was based very much around that idea. "Baby Please Don't Go To Town" is a question-and-answer song in precisely that form, but with an unusual chord progression for a folk song. You may remember back in the episode on "Eight Miles High" I talked about the circle of fifths -- a chord progression which either increases or decreases by a fifth for every chord, so it might go C-G-D-A-E [demonstrates] That's a common progression in pop and jazz, but not really so much in folk, but it's the one that Miller had used for "Baby, Please Don't Go to Town", and she'd taught Roberts that song, which she only recorded much later: [Excerpt: Niela Miller, "Baby, Please Don't Go To Town"] After Roberts and Miller broke up, Miller kept playing that melody, but he changed the lyrics. The lyrics he added had several influences. There was that question-and-answer folk-song format, there's the story of "Cocaine Blues" with its protagonist getting a forty-four to shoot his woman down before heading to Mexico, and there's also a country hit from 1953. "Hey, Joe!" was originally recorded by Carl Smith, one of the most popular country singers of the early fifties: [Excerpt: Carl Smith, "Hey Joe!"] That was written by Boudleaux Bryant, a few years before the songs he co-wrote for the Everly Brothers, and became a country number one, staying at the top for eight weeks. It didn't make the pop chart, but a pop cover version of it by Frankie Laine made the top ten in the US: [Excerpt: Frankie Laine, "Hey Joe"] Laine's record did even better in the UK, where it made number one, at a point where Laine was the biggest star in music in Britain -- at the time the UK charts only had a top twelve, and at one point four of the singles in the top twelve were by Laine, including that one. There was also an answer record by Kitty Wells which made the country top ten later that year: [Excerpt: Kitty Wells, "Hey Joe"] Oddly, despite it being a very big hit, that "Hey Joe" had almost no further cover versions for twenty years, though it did become part of the Searchers' setlist, and was included on their Live at the Star Club album in 1963, in an arrangement that owed a lot to "What'd I Say": [Excerpt: The Searchers, "Hey Joe"] But that song was clearly on Roberts' mind when, as so many American folk musicians did, he travelled to the UK in the late fifties and became briefly involved in the burgeoning UK folk movement. In particular, he spent some time with a twelve-string guitar player from Edinburgh called Len Partridge, who was also a mentor to Bert Jansch, and who was apparently an extraordinary musician, though I know of no recordings of his work. Partridge helped Roberts finish up the song, though Partridge is about the only person in this story who *didn't* claim a writing credit for it at one time or another, saying that he just helped Roberts out and that Roberts deserved all the credit. The first known recording of the completed song is from 1962, a few years after Roberts had returned to the US, though it didn't surface until decades later: [Excerpt: Billy Roberts, "Hey Joe"] Roberts was performing this song regularly on the folk circuit, and around the time of that recording he also finally got round to registering the copyright, several years after it was written. When Miller heard the song, she was furious, and she later said "Imagine my surprise when I heard Hey Joe by Billy Roberts. There was my tune, my chord progression, my question/answer format. He dropped the bridge that was in my song and changed it enough so that the copyright did not protect me from his plagiarism... I decided not to go through with all the complications of dealing with him. He never contacted me about it or gave me any credit. He knows he committed a morally reprehensible act. He never was man enough to make amends and apologize to me, or to give credit for the inspiration. Dealing with all that was also why I made the decision not to become a professional songwriter. It left a bad taste in my mouth.” Pete Seeger, a friend of Miller's, was outraged by the injustice and offered to testify on her behalf should she decide to take Roberts to court, but she never did. Some time around this point, Roberts also played on that prison bill with Johnny Cash, and what happened next is hard to pin down. I've read several different versions of the story, which change the date and which prison this was in, and none of the details in any story hang together properly -- everything introduces weird inconsistencies and things which just make no sense at all. Something like this basic outline of the story seems to have happened, but the outline itself is weird, and we'll probably never know the truth. Roberts played his set, and one of the songs he played was "Hey Joe", and at some point he got talking to one of the prisoners in the audience, Dino Valenti. We've met Valenti before, in the episode on "Mr. Tambourine Man" -- he was a singer/songwriter himself, and would later be the lead singer of Quicksilver Messenger Service, but he's probably best known for having written "Get Together": [Excerpt: Dino Valenti, "Get Together"] As we heard in the "Mr. Tambourine Man" episode, Valenti actually sold off his rights to that song to pay for his bail at one point, but he was in and out of prison several times because of drug busts. At this point, or so the story goes, he was eligible for parole, but he needed to prove he had a possible income when he got out, and one way he wanted to do that was to show that he had written a song that could be a hit he could make money off, but he didn't have such a song. He talked about his predicament with Roberts, who agreed to let him claim to have written "Hey Joe" so he could get out of prison. He did make that claim, and when he got out of prison he continued making the claim, and registered the copyright to "Hey Joe" in his own name -- even though Roberts had already registered it -- and signed a publishing deal for it with Third Story Music, a company owned by Herb Cohen, the future manager of the Mothers of Invention, and Cohen's brother Mutt. Valenti was a popular face on the folk scene, and he played "his" song to many people, but two in particular would influence the way the song would develop, both of them people we've seen relatively recently in episodes of the podcast. One of them, Vince Martin, we'll come back to later, but the other was David Crosby, and so let's talk about him and the Byrds a bit more. Crosby and Valenti had been friends long before the Byrds formed, and indeed we heard in the "Mr. Tambourine Man" episode how the group had named themselves after Valenti's song "Birdses": [Excerpt: Dino Valenti, "Birdses"] And Crosby *loved* "Hey Joe", which he believed was another of Valenti's songs. He'd perform it every chance he got, playing it solo on guitar in an arrangement that other people have compared to Mose Allison. He'd tried to get it on the first two Byrds albums, but had been turned down, mostly because of their manager and uncredited co-producer Jim Dickson, who had strong opinions about it, saying later "Some of the songs that David would bring in from the outside were perfectly valid songs for other people, but did not seem to be compatible with the Byrds' myth. And he may not have liked the Byrds' myth. He fought for 'Hey Joe' and he did it. As long as I could say 'No!' I did, and when I couldn't any more they did it. You had to give him something somewhere. I just wish it was something else... 'Hey Joe' I was bitterly opposed to. A song about a guy who murders his girlfriend in a jealous rage and is on the way to Mexico with a gun in his hand. It was not what I saw as a Byrds song." Indeed, Dickson was so opposed to the song that he would later say “One of the reasons David engineered my getting thrown out was because I would not let Hey Joe be on the Turn! Turn! Turn! album.” Dickson was, though, still working with the band when they got round to recording it. That came during the recording of their Fifth Dimension album, the album which included "Eight Miles High". That album was mostly recorded after the departure of Gene Clark, which was where we left the group at the end of the "Eight Miles High" episode, and the loss of their main songwriter meant that they were struggling for material -- doubly so since they also decided they were going to move away from Dylan covers. This meant that they had to rely on original material from the group's less commercial songwriters, and on a few folk songs, mostly learned from Pete Seeger The album ended up with only eleven songs on it, compared to the twelve that was normal for American albums at that time, and the singles on it after "Eight Miles High" weren't particularly promising as to the group's ability to come up with commercial material. The next single, "5D", a song by Roger McGuinn about the fifth dimension, was a waltz-time song that both Crosby and Chris Hillman were enthused by. It featured organ by Van Dyke Parks, and McGuinn said of the organ part "When he came into the studio I told him to think Bach. He was already thinking Bach before that anyway.": [Excerpt: The Byrds, "5D"] While the group liked it, though, that didn't make the top forty. The next single did, just about -- a song that McGuinn had written as an attempt at communicating with alien life. He hoped that it would be played on the radio, and that the radio waves would eventually reach aliens, who would hear it and respond: [Excerpt: The Byrds, "Mr. Spaceman"] The "Fifth Dimension" album did significantly worse, both critically and commercially, than their previous albums, and the group would soon drop Allen Stanton, the producer, in favour of Gary Usher, Brian Wilson's old songwriting partner. But the desperation for material meant that the group agreed to record the song which they still thought at that time had been written by Crosby's friend, though nobody other than Crosby was happy with it, and even Crosby later said "It was a mistake. I shouldn't have done it. Everybody makes mistakes." McGuinn said later "The reason Crosby did lead on 'Hey Joe' was because it was *his* song. He didn't write it but he was responsible for finding it. He'd wanted to do it for years but we would never let him.": [Excerpt: The Byrds, "Hey Joe"] Of course, that arrangement is very far from the Mose Allison style version Crosby had been doing previously. And the reason for that can be found in the full version of that McGuinn quote, because the full version continues "He'd wanted to do it for years but we would never let him. Then both Love and The Leaves had a minor hit with it and David got so angry that we had to let him do it. His version wasn't that hot because he wasn't a strong lead vocalist." The arrangement we just heard was the arrangement that by this point almost every group on the Sunset Strip scene was playing. And the reason for that was because of another friend of Crosby's, someone who had been a roadie for the Byrds -- Bryan MacLean. MacLean and Crosby had been very close because they were both from very similar backgrounds -- they were both Hollywood brats with huge egos. MacLean later said "Crosby and I got on perfectly. I didn't understand what everybody was complaining about, because he was just like me!" MacLean was, if anything, from an even more privileged background than Crosby. His father was an architect who'd designed houses for Elizabeth Taylor and Dean Martin, his neighbour when growing up was Frederick Loewe, the composer of My Fair Lady. He learned to swim in Elizabeth Taylor's private pool, and his first girlfriend was Liza Minelli. Another early girlfriend was Jackie DeShannon, the singer-songwriter who did the original version of "Needles and Pins", who he was introduced to by Sharon Sheeley, whose name you will remember from many previous episodes. MacLean had wanted to be an artist until his late teens, when he walked into a shop in Westwood which sometimes sold his paintings, the Sandal Shop, and heard some people singing folk songs there. He decided he wanted to be a folk singer, and soon started performing at the Balladeer, a club which would later be renamed the Troubadour, playing songs like Robert Johnson's "Cross Roads Blues", which had recently become a staple of the folk repertoire after John Hammond put out the King of the Delta Blues Singers album: [Excerpt: Robert Johnson, "Cross Roads Blues"] Reading interviews with people who knew MacLean at the time, the same phrase keeps coming up. John Kay, later the lead singer of Steppenwolf, said "There was a young kid, Bryan MacLean, kind of cocky but nonetheless a nice kid, who hung around Crosby and McGuinn" while Chris Hillman said "He was a pretty good kid but a wee bit cocky." He was a fan of the various musicians who later formed the Byrds, and was also an admirer of a young guitarist on the scene named Ryland Cooder, and of a blues singer on the scene named Taj Mahal. He apparently was briefly in a band with Taj Mahal, called Summer's Children, who as far as I can tell had no connection to the duo that Curt Boettcher later formed of the same name, before Taj Mahal and Cooder formed The Rising Sons, a multi-racial blues band who were for a while the main rivals to the Byrds on the scene. MacLean, though, firmly hitched himself to the Byrds, and particularly to Crosby. He became a roadie on their first tour, and Hillman said "He was a hard-working guy on our behalf. As I recall, he pretty much answered to Crosby and was David's assistant, to put it diplomatically – more like his gofer, in fact." But MacLean wasn't cut out for the hard work that being a roadie required, and after being the Byrds' roadie for about thirty shows, he started making mistakes, and when they went off on their UK tour they decided not to keep employing him. He was heartbroken, but got back into trying his own musical career. He auditioned for the Monkees, unsuccessfully, but shortly after that -- some sources say even the same day as the audition, though that seems a little too neat -- he went to Ben Frank's -- the LA hangout that had actually been namechecked in the open call for Monkees auditions, which said they wanted "Ben Franks types", and there he met Arthur Lee and Johnny Echols. Echols would later remember "He was this gadfly kind of character who knew everybody and was flitting from table to table. He wore striped pants and a scarf, and he had this long, strawberry hair. All the girls loved him. For whatever reason, he came and sat at our table. Of course, Arthur and I were the only two black people there at the time." Lee and Echols were both Black musicians who had been born in Memphis. Lee's birth father, Chester Taylor, had been a cornet player with Jimmie Lunceford, whose Delta Rhythm Boys had had a hit with "The Honeydripper", as we heard way back in the episode on "Rocket '88": [Excerpt: Jimmie Lunceford and the Delta Rhythm Boys, "The Honeydripper"] However, Taylor soon split from Lee's mother, a schoolteacher, and she married Clinton Lee, a stonemason, who doted on his adopted son, and they moved to California. They lived in a relatively prosperous area of LA, a neighbourhood that was almost all white, with a few Asian families, though the boxer Sugar Ray Robinson lived nearby. A year or so after Arthur and his mother moved to LA, so did the Echols family, who had known them in Memphis, and they happened to move only a couple of streets away. Eight year old Arthur Lee reconnected with seven-year-old Johnny Echols, and the two became close friends from that point on. Arthur Lee first started out playing music when his parents were talked into buying him an accordion by a salesman who would go around with a donkey, give kids free donkey rides, and give the parents a sales pitch while they were riding the donkey, He soon gave up on the accordion and persuaded his parents to buy him an organ instead -- he was a spoiled child, by all accounts, with a TV in his bedroom, which was almost unheard of in the late fifties. Johnny Echols had a similar experience which led to his parents buying him a guitar, and the two were growing up in a musical environment generally. They attended Dorsey High School at the same time as both Billy Preston and Mike Love of the Beach Boys, and Ella Fitzgerald and her then-husband, the great jazz bass player Ray Brown, lived in the same apartment building as the Echols family for a while. Ornette Coleman, the free-jazz saxophone player, lived next door to Echols, and Adolphus Jacobs, the guitarist with the Coasters, gave him guitar lessons. Arthur Lee also knew Johnny Otis, who ran a pigeon-breeding club for local children which Arthur would attend. Echols was the one who first suggested that he and Arthur should form a band, and they put together a group to play at a school talent show, performing "Last Night", the instrumental that had been a hit for the Mar-Keys on Stax records: [Excerpt: The Mar-Keys, "Last Night"] They soon became a regular group, naming themselves Arthur Lee and the LAGs -- the LA Group, in imitation of Booker T and the MGs – the Memphis Group. At some point around this time, Lee decided to switch from playing organ to playing guitar. He would say later that this was inspired by seeing Johnny "Guitar" Watson get out of a gold Cadillac, wearing a gold suit, and with gold teeth in his mouth. The LAGs started playing as support acts and backing bands for any blues and soul acts that came through LA, performing with Big Mama Thornton, Johnny Otis, the O'Jays, and more. Arthur and Johnny were both still under-age, and they would pencil in fake moustaches to play the clubs so they'd appear older. In the fifties and early sixties, there were a number of great electric guitar players playing blues on the West Coast -- Johnny "Guitar" Watson, T-Bone Walker, Guitar Slim, and others -- and they would compete with each other not only to play well, but to put on a show, and so there was a whole bag of stage tricks that West Coast R&B guitarists picked up, and Echols learned all of them -- playing his guitar behind his back, playing his guitar with his teeth, playing with his guitar between his legs. As well as playing their own shows, the LAGs also played gigs under other names -- they had a corrupt agent who would book them under the name of whatever Black group had a hit at the time, in the belief that almost nobody knew what popular groups looked like anyway, so they would go out and perform as the Drifters or the Coasters or half a dozen other bands. But Arthur Lee in particular wanted to have success in his own right. He would later say "When I was a little boy I would listen to Nat 'King' Cole and I would look at that purple Capitol Records logo. I wanted to be on Capitol, that was my goal. Later on I used to walk from Dorsey High School all the way up to the Capitol building in Hollywood -- did that many times. I was determined to get a record deal with Capitol, and I did, without the help of a fancy manager or anyone else. I talked to Adam Ross and Jack Levy at Ardmore-Beechwood. I talked to Kim Fowley, and then I talked to Capitol". The record that the LAGs released, though, was not very good, a track called "Rumble-Still-Skins": [Excerpt: The LAGs, "Rumble-Still-Skins"] Lee later said "I was young and very inexperienced and I was testing the record company. I figured if I gave them my worst stuff and they ripped me off I wouldn't get hurt. But it didn't work, and after that I started giving my best, and I've been doing that ever since." The LAGs were dropped by Capitol after one single, and for the next little while Arthur and Johnny did work for smaller labels, usually labels owned by Bob Keane, with Arthur writing and producing and Johnny playing guitar -- though Echols has said more recently that a lot of the songs that were credited to Arthur as sole writer were actually joint compositions. Most of these records were attempts at copying the style of other people. There was "I Been Trying", a Phil Spector soundalike released by Little Ray: [Excerpt: Little Ray, "I Been Trying"] And there were a few attempts at sounding like Curtis Mayfield, like "Slow Jerk" by Ronnie and the Pomona Casuals: [Excerpt: Ronnie and the Pomona Casuals, "Slow Jerk"] and "My Diary" by Rosa Lee Brooks: [Excerpt: Rosa Lee Brooks, "My Diary"] Echols was also playing with a lot of other people, and one of the musicians he was playing with, his old school friend Billy Preston, told him about a recent European tour he'd been on with Little Richard, and the band from Liverpool he'd befriended while he was there who idolised Richard, so when the Beatles hit America, Arthur and Johnny had some small amount of context for them. They soon broke up the LAGs and formed another group, the American Four, with two white musicians, bass player John Fleckenstein and drummer Don Costa. Lee had them wear wigs so they seemed like they had longer hair, and started dressing more eccentrically -- he would soon become known for wearing glasses with one blue lens and one red one, and, as he put it "wearing forty pounds of beads, two coats, three shirts, and wearing two pairs of shoes on one foot". As well as the Beatles, the American Four were inspired by the other British Invasion bands -- Arthur was in the audience for the TAMI show, and quite impressed by Mick Jagger -- and also by the Valentinos, Bobby Womack's group. They tried to get signed to SAR Records, the label owned by Sam Cooke for which the Valentinos recorded, but SAR weren't interested, and they ended up recording for Bob Keane's Del-Fi records, where they cut "Luci Baines", a "Twist and Shout" knock-off with lyrics referencing the daughter of new US President Lyndon Johnson: [Excerpt: The American Four, "Luci Baines"] But that didn't take off any more than the earlier records had. Another American Four track, "Stay Away", was recorded but went unreleased until 2006: [Excerpt: Arthur Lee and the American Four, "Stay Away"] Soon the American Four were changing their sound and name again. This time it was because of two bands who were becoming successful on the Sunset Strip. One was the Byrds, who to Lee's mind were making music like the stuff he heard in his head, and the other was their rivals the Rising Sons, the blues band we mentioned earlier with Taj Mahal and Ry Cooder. Lee was very impressed by them as an multiracial band making aggressive, loud, guitar music, though he would always make the point when talking about them that they were a blues band, not a rock band, and *he* had the first multiracial rock band. Whatever they were like live though, in their recordings, produced by the Byrds' first producer Terry Melcher, the Rising Sons often had the same garage band folk-punk sound that Lee and Echols would soon make their own: [Excerpt: The Rising Sons, "Take a Giant Step"] But while the Rising Sons recorded a full album's worth of material, only one single was released before they split up, and so the way was clear for Lee and Echols' band, now renamed once again to The Grass Roots, to become the Byrds' new challengers. Lee later said "I named the group The Grass Roots behind a trip, or an album I heard that Malcolm X did, where he said 'the grass roots of the people are out in the street doing something about their problems instead of sitting around talking about it'". After seeing the Rolling Stones and the Byrds live, Lee wanted to get up front and move like Mick Jagger, and not be hindered by playing a guitar he wasn't especially good at -- both the Stones and the Byrds had two guitarists and a frontman who just sang and played hand percussion, and these were the models that Lee was following for the group. He also thought it would be a good idea commercially to get a good-looking white boy up front. So the group got in another guitarist, a white pretty boy who Lee soon fell out with and gave the nickname "Bummer Bob" because he was unpleasant to be around. Those of you who know exactly why Bobby Beausoleil later became famous will probably agree that this was a more than reasonable nickname to give him (and those of you who don't, I'll be dealing with him when we get to 1969). So when Bryan MacLean introduced himself to Lee and Echols, and they found out that not only was he also a good-looking white guitarist, but he was also friends with the entire circle of hipsters who'd been going to Byrds gigs, people like Vito and Franzoni, and he could get a massive crowd of them to come along to gigs for any band he was in and make them the talk of the Sunset Strip scene, he was soon in the Grass Roots, and Bummer Bob was out. The Grass Roots soon had to change their name again, though. In 1965, Jan and Dean recorded their "Folk and Roll" album, which featured "The Universal Coward"... Which I am not going to excerpt again. I only put that pause in to terrify Tilt, who edits these podcasts, and has very strong opinions about that song. But P. F. Sloan and Steve Barri, the songwriters who also performed as the Fantastic Baggies, had come up with a song for that album called "Where Where You When I Needed You?": [Excerpt: Jan and Dean, "Where Were You When I Needed You?"] Sloan and Barri decided to cut their own version of that song under a fake band name, and then put together a group of other musicians to tour as that band. They just needed a name, and Lou Adler, the head of Dunhill Records, suggested they call themselves The Grass Roots, and so that's what they did: [Excerpt: The Grass Roots, "Where Were You When I Needed You?"] Echols would later claim that this was deliberate malice on Adler's part -- that Adler had come in to a Grass Roots show drunk, and pretended to be interested in signing them to a contract, mostly to show off to a woman he'd brought with him. Echols and MacLean had spoken to him, not known who he was, and he'd felt disrespected, and Echols claims that he suggested the name to get back at them, and also to capitalise on their local success. The new Grass Roots soon started having hits, and so the old band had to find another name, which they got as a joking reference to a day job Lee had had at one point -- he'd apparently worked in a specialist bra shop, Luv Brassieres, which the rest of the band found hilarious. The Grass Roots became Love. While Arthur Lee was the group's lead singer, Bryan MacLean would often sing harmonies, and would get a song or two to sing live himself. And very early in the group's career, when they were playing a club called Bido Lito's, he started making his big lead spot a version of "Hey Joe", which he'd learned from his old friend David Crosby, and which soon became the highlight of the group's set. Their version was sped up, and included the riff which the Searchers had popularised in their cover version of  "Needles and Pins", the song originally recorded by MacLean's old girlfriend Jackie DeShannon: [Excerpt: The Searchers, "Needles and Pins"] That riff is a very simple one to play, and variants of it became very, very, common among the LA bands, most notably on the Byrds' "I'll Feel a Whole Lot Better": [Excerpt: The Byrds, "I'll Feel a Whole Lot Better"] The riff was so ubiquitous in the LA scene that in the late eighties Frank Zappa would still cite it as one of his main memories of the scene. I'm going to quote from his autobiography, where he's talking about the differences between the LA scene he was part of and the San Francisco scene he had no time for: "The Byrds were the be-all and end-all of Los Angeles rock then. They were 'It' -- and then a group called Love was 'It.' There were a few 'psychedelic' groups that never really got to be 'It,' but they could still find work and get record deals, including the West Coast Pop Art Experimental Band, Sky Saxon and the Seeds, and the Leaves (noted for their cover version of "Hey, Joe"). When we first went to San Francisco, in the early days of the Family Dog, it seemed that everybody was wearing the same costume, a mixture of Barbary Coast and Old West -- guys with handlebar mustaches, girls in big bustle dresses with feathers in their hair, etc. By contrast, the L.A. costumery was more random and outlandish. Musically, the northern bands had a little more country style. In L.A., it was folk-rock to death. Everything had that" [and here Zappa uses the adjectival form of a four-letter word beginning with 'f' that the main podcast providers don't like you saying on non-adult-rated shows] "D chord down at the bottom of the neck where you wiggle your finger around -- like 'Needles and Pins.'" The reason Zappa describes it that way, and the reason it became so popular, is that if you play that riff in D, the chords are D, Dsus2, and Dsus4 which means you literally only wiggle one finger on your left hand: [demonstrates] And so you get that on just a ton of records from that period, though Love, the Byrds, and the Searchers all actually play the riff on A rather than D: [demonstrates] So that riff became the Big Thing in LA after the Byrds popularised the Searchers sound there, and Love added it to their arrangement of "Hey Joe". In January 1966, the group would record their arrangement of it for their first album, which would come out in March: [Excerpt: Love, "Hey Joe"] But that wouldn't be the first recording of the song, or of Love's arrangement of it – although other than the Byrds' version, it would be the only one to come out of LA with the original Billy Roberts lyrics. Love's performances of the song at Bido Lito's had become the talk of the Sunset Strip scene, and soon every band worth its salt was copying it, and it became one of those songs like "Louie Louie" before it that everyone would play. The first record ever made with the "Hey Joe" melody actually had totally different lyrics. Kim Fowley had the idea of writing a sequel to "Hey Joe", titled "Wanted Dead or Alive", about what happened after Joe shot his woman and went off. He produced the track for The Rogues, a group consisting of Michael Lloyd and Shaun Harris, who later went on to form the West Coast Pop Art Experimental Band, and Lloyd and Harris were the credited writers: [Excerpt: The Rogues, "Wanted Dead or Alive"] The next version of the song to come out was the first by anyone to be released as "Hey Joe", or at least as "Hey Joe, Where You Gonna Go?", which was how it was titled on its initial release. This was by a band called The Leaves, who were friends of Love, and had picked up on "Hey Joe", and was produced by Nik Venet. It was also the first to have the now-familiar opening line "Hey Joe, where you going with that gun in your hand?": [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] Roberts' original lyric, as sung by both Love and the Byrds, had been "where you going with that money in your hand?", and had Joe headed off to *buy* the gun. But as Echols later said “What happened was Bob Lee from The Leaves, who were friends of ours, asked me for the words to 'Hey Joe'. I told him I would have the words the next day. I decided to write totally different lyrics. The words you hear on their record are ones I wrote as a joke. The original words to Hey Joe are ‘Hey Joe, where you going with that money in your hand? Well I'm going downtown to buy me a blue steel .44. When I catch up with that woman, she won't be running round no more.' It never says ‘Hey Joe where you goin' with that gun in your hand.' Those were the words I wrote just because I knew they were going to try and cover the song before we released it. That was kind of a dirty trick that I played on The Leaves, which turned out to be the words that everybody uses.” That first release by the Leaves also contained an extra verse -- a nod to Love's previous name: [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] That original recording credited the song as public domain -- apparently Bryan MacLean had refused to tell the Leaves who had written the song, and so they assumed it was traditional. It came out in November 1965, but only as a promo single. Even before the Leaves, though, another band had recorded "Hey Joe", but it didn't get released. The Sons of Adam had started out as a surf group called the Fender IV, who made records like "Malibu Run": [Excerpt: The Fender IV, "Malibu Run"] Kim Fowley had suggested they change their name to the Sons of Adam, and they were another group who were friends with Love -- their drummer, Michael Stuart-Ware, would later go on to join Love, and Arthur Lee wrote the song "Feathered Fish" for them: [Excerpt: Sons of Adam, "Feathered Fish"] But while they were the first to record "Hey Joe", their version has still to this day not been released. Their version was recorded for Decca, with producer Gary Usher, but before it was released, another Decca artist also recorded the song, and the label weren't sure which one to release. And then the label decided to press Usher to record a version with yet another act -- this time with the Surfaris, the surf group who had had a hit with "Wipe Out". Coincidentally, the Surfaris had just changed bass players -- their most recent bass player, Ken Forssi, had quit and joined Love, whose own bass player, John Fleckenstein, had gone off to join the Standells, who would also record a version of “Hey Joe” in 1966. Usher thought that the Sons of Adam were much better musicians than the Surfaris, who he was recording with more or less under protest, but their version, using Love's arrangement and the "gun in your hand" lyrics, became the first version to come out on a major label: [Excerpt: The Surfaris, "Hey Joe"] They believed the song was in the public domain, and so the songwriting credits on the record are split between Gary Usher, a W. Hale who nobody has been able to identify, and Tony Cost, a pseudonym for Nik Venet. Usher said later "I got writer's credit on it because I was told, or I assumed at the time, the song was Public Domain; meaning a non-copyrighted song. It had already been cut two or three times, and on each occasion the writing credit had been different. On a traditional song, whoever arranges it, takes the songwriting credit. I may have changed a few words and arranged and produced it, but I certainly did not co-write it." The public domain credit also appeared on the Leaves' second attempt to cut the song, which was actually given a general release, but flopped. But when the Leaves cut the song for a *third* time, still for the same tiny label, Mira, the track became a hit in May 1966, reaching number thirty-one: [Excerpt: The Leaves, "Hey Joe"] And *that* version had what they thought was the correct songwriting credit, to Dino Valenti. Which came as news to Billy Roberts, who had registered the copyright to the song back in 1962 and had no idea that it had become a staple of LA garage rock until he heard his song in the top forty with someone else's name on the credits. He angrily confronted Third Story Music, who agreed to a compromise -- they would stop giving Valenti songwriting royalties and start giving them to Roberts instead, so long as he didn't sue them and let them keep the publishing rights. Roberts was indignant about this -- he deserved all the money, not just half of it -- but he went along with it to avoid a lawsuit he might not win. So Roberts was now the credited songwriter on the versions coming out of the LA scene. But of course, Dino Valenti had been playing "his" song to other people, too. One of those other people was Vince Martin. Martin had been a member of a folk-pop group called the Tarriers, whose members also included the future film star Alan Arkin, and who had had a hit in the 1950s with "Cindy, Oh Cindy": [Excerpt: The Tarriers, "Cindy, Oh Cindy"] But as we heard in the episode on the Lovin' Spoonful, he had become a Greenwich Village folkie, in a duo with Fred Neil, and recorded an album with him, "Tear Down the Walls": [Excerpt: Fred Neil and Vince Martin, "Morning Dew"] That song we just heard, "Morning Dew", was another question-and-answer folk song. It was written by the Canadian folk-singer Bonnie Dobson, but after Martin and Neil recorded it, it was picked up on by Martin's friend Tim Rose who stuck his own name on the credits as well, without Dobson's permission, for a version which made the song into a rock standard for which he continued to collect royalties: [Excerpt: Tim Rose, "Morning Dew"] This was something that Rose seems to have made a habit of doing, though to be fair to him it went both ways. We heard about him in the Lovin' Spoonful episode too, when he was in a band named the Big Three with Cass Elliot and her coincidentally-named future husband Jim Hendricks, who recorded this song, with Rose putting new music to the lyrics of the old public domain song "Oh! Susanna": [Excerpt: The Big Three, "The Banjo Song"] The band Shocking Blue used that melody for their 1969 number-one hit "Venus", and didn't give Rose any credit: [Excerpt: Shocking Blue, "Venus"] But another song that Rose picked up from Vince Martin was "Hey Joe". Martin had picked the song up from Valenti, but didn't know who had written it, or who was claiming to have written it, and told Rose he thought it might be an old Appalchian murder ballad or something. Rose took the song and claimed writing credit in his own name -- he would always, for the rest of his life, claim it was an old folk tune he'd heard in Florida, and that he'd rewritten it substantially himself, but no evidence of the song has ever shown up from prior to Roberts' copyright registration, and Rose's version is basically identical to Roberts' in melody and lyrics. But Rose takes his version at a much slower pace, and his version would be the model for the most successful versions going forward, though those other versions would use the lyrics Johnny Echols had rewritten, rather than the ones Rose used: [Excerpt: Tim Rose, "Hey Joe"] Rose's version got heard across the Atlantic as well. And in particular it was heard by Chas Chandler, the bass player of the Animals. Some sources seem to suggest that Chandler first heard the song performed by a group called the Creation, but in a biography I've read of that group they clearly state that they didn't start playing the song until 1967. But however he came across it, when Chandler heard Rose's recording, he knew that the song could be a big hit for someone, but he didn't know who. And then he bumped into Linda Keith, Keith Richards' girlfriend,  who took him to see someone whose guitar we've already heard in this episode: [Excerpt: Rosa Lee Brooks, "My Diary"] The Curtis Mayfield impression on guitar there was, at least according to many sources the first recording session ever played on by a guitarist then calling himself Maurice (or possibly Mo-rees) James. We'll see later in the story that it possibly wasn't his first -- there are conflicting accounts, as there are about a lot of things, and it was recorded either in very early 1964, in which case it was his first, or (as seems more likely, and as I tell the story later) a year later, in which case he'd played on maybe half a dozen tracks in the studio by that point. But it was still a very early one. And by late 1966 that guitarist had reverted to the name by which he was brought up, and was calling himself Jimi Hendrix. Hendrix and Arthur Lee had become close, and Lee would later claim that Hendrix had copied much of Lee's dress style and attitude -- though many of Hendrix's other colleagues and employers, including Little Richard, would make similar claims -- and most of them had an element of truth, as Lee's did. Hendrix was a sponge. But Lee did influence him. Indeed, one of Hendrix's *last* sessions, in March 1970, was guesting on an album by Love: [Excerpt: Love with Jimi Hendrix, "Everlasting First"] Hendrix's name at birth was Johnny Allen Hendrix, which made his father, James Allen Hendrix, known as Al, who was away at war when his son was born, worry that he'd been named after another man who might possibly be the real father, so the family just referred to the child as "Buster" to avoid the issue. When Al Hendrix came back from the war the child was renamed James Marshall Hendrix -- James after Al's first name, Marshall after Al's dead brother -- though the family continued calling him "Buster". Little James Hendrix Junior didn't have anything like a stable home life. Both his parents were alcoholics, and Al Hendrix was frequently convinced that Jimi's mother Lucille was having affairs and became abusive about it. They had six children, four of whom were born disabled, and Jimi was the only one to remain with his parents -- the rest were either fostered or adopted at birth, fostered later on because the parents weren't providing a decent home life, or in one case made a ward of state because the Hendrixes couldn't afford to pay for a life-saving operation for him. The only one that Jimi had any kind of regular contact with was the second brother, Leon, his parents' favourite, who stayed with them for several years before being fostered by a family only a few blocks away. Al and Lucille Hendrix frequently split and reconciled, and while they were ostensibly raising Jimi (and for a  few years Leon), he was shuttled between them and various family members and friends, living sometimes in Seattle where his parents lived and sometimes in Vancouver with his paternal grandmother. He was frequently malnourished, and often survived because friends' families fed him. Al Hendrix was also often physically and emotionally abusive of the son he wasn't sure was his. Jimi grew up introverted, and stuttering, and only a couple of things seemed to bring him out of his shell. One was science fiction -- he always thought that his nickname, Buster, came from Buster Crabbe, the star of the Flash Gordon serials he loved to watch, though in fact he got the nickname even before that interest developed, and he was fascinated with ideas about aliens and UFOs -- and the other was music. Growing up in Seattle in the forties and fifties, most of the music he was exposed to as a child and in his early teens was music made by and for white people -- there wasn't a very large Black community in the area at the time compared to most major American cities, and so there were no prominent R&B stations. As a kid he loved the music of Bob Wills and the Texas Playboys, and when he was thirteen Jimi's favourite record was Dean Martin's "Memories are Made of This": [Excerpt: Dean Martin, "Memories are Made of This"] He also, like every teenager, became a fan of rock and roll music. When Elvis played at a local stadium when Jimi was fifteen, he couldn't afford a ticket, but he went and sat on top of a nearby hill and watched the show from the distance. Jimi's first exposure to the blues also came around this time, when his father briefly took in lodgers, Cornell and Ernestine Benson, and Ernestine had a record collection that included records by Lightnin' Hopkins, Howlin' Wolf, and Muddy Waters, all of whom Jimi became a big fan of, especially Muddy Waters. The Bensons' most vivid memory of Jimi in later years was him picking up a broom and pretending to play guitar along with these records: [Excerpt: Muddy Waters, "Baby Please Don't Go"] Shortly after this, it would be Ernestine Benson who would get Jimi his very first guitar. By this time Jimi and Al had lost their home and moved into a boarding house, and the owner's son had an acoustic guitar with only one string that he was planning to throw out. When Jimi asked if he could have it instead of it being thrown out, the owner told him he could have it for five dollars. Al Hendrix refused to pay that much for it, but Ernestine Benson bought Jimi the guitar. She said later “He only had one string, but he could really make that string talk.” He started carrying the guitar on his back everywhere he went, in imitation of Sterling Hayden in the western Johnny Guitar, and eventually got some more strings for it and learned to play. He would play it left-handed -- until his father came in. His father had forced him to write with his right hand, and was convinced that left-handedness was the work of the devil, so Jimi would play left-handed while his father was somewhere else, but as soon as Al came in he would flip the guitar the other way up and continue playing the song he had been playing, now right-handed. Jimi's mother died when he was fifteen, after having been ill for a long time with drink-related problems, and Jimi and his brother didn't get to go to the funeral -- depending on who you believe, either Al gave Jimi the bus fare and told him to go by himself and Jimi was too embarrassed to go to the funeral alone on the bus, or Al actually forbade Jimi and Leon from going.  After this, he became even more introverted than he was before, and he also developed a fascination with the idea of angels, convinced his mother now was one. Jimi started to hang around with a friend called Pernell Alexander, who also had a guitar, and they would play along together with Elmore James records. The two also went to see Little Richard and Bill Doggett perform live, and while Jimi was hugely introverted, he did start to build more friendships in the small Seattle music scene, including with Ron Holden, the man we talked about in the episode on "Louie Louie" who introduced that song to Seattle, and who would go on to record with Bruce Johnston for Bob Keane: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] Eventually Ernestine Benson persuaded Al Hendrix to buy Jimi a decent electric guitar on credit -- Al also bought himself a saxophone at the same time, thinking he might play music with his son, but sent it back once the next payment became due. As well as blues and R&B, Jimi was soaking up the guitar instrumentals and garage rock that would soon turn into surf music. The first song he learned to play was "Tall Cool One" by the Fabulous Wailers, the local group who popularised a version of "Louie Louie" based on Holden's one: [Excerpt: The Fabulous Wailers, "Tall Cool One"] As we talked about in the "Louie Louie" episode, the Fabulous Wailers used to play at a venue called the Spanish Castle, and Jimi was a regular in the audience, later writing his song "Spanish Castle Magic" about those shows: [Excerpt: The Jimi Hendrix Experience, "Spanish Castle Magic"] He was also a big fan of Duane Eddy, and soon learned Eddy's big hits "Forty Miles of Bad Road", "Because They're Young", and "Peter Gunn" -- a song he would return to much later in his life: [Excerpt: Jimi Hendrix, "Peter Gunn/Catastrophe"] His career as a guitarist didn't get off to a great start -- the first night he played with his first band, he was meant to play two sets, but he was fired after the first set, because he was playing in too flashy a manner and showing off too much on stage. His girlfriend suggested that he might want to tone it down a little, but he said "That's not my style".  This would be a common story for the next several years. After that false start, the first real band he was in was the Velvetones, with his friend Pernell Alexander. There were four guitarists, two piano players, horns and drums, and they dressed up with glitter stuck to their pants. They played Duane Eddy songs, old jazz numbers, and "Honky Tonk" by Bill Doggett, which became Hendrix's signature song with the band. [Excerpt: Bill Doggett, "Honky Tonk"] His father was unsupportive of his music career, and he left his guitar at Alexander's house because he was scared that his dad would smash it if he took it home. At the same time he was with the Velvetones, he was also playing with another band called the Rocking Kings, who got gigs around the Seattle area, including at the Spanish Castle. But as they left school, most of Hendrix's friends were joining the Army, in order to make a steady living, and so did he -- although not entirely by choice. He was arrested, twice, for riding in stolen cars, and he was given a choice -- either go to prison, or sign up for the Army for three years. He chose the latter. At first, the Army seemed to suit him. He was accepted into the 101st Airborne Division, the famous "Screaming Eagles", whose actions at D-Day made them legendary in the US, and he was proud to be a member of the Division. They were based out of Fort Campbell, the base near Clarksville we talked about a couple of episodes ago, and while he was there he met a bass player, Billy Cox, who he started playing with. As Cox and Hendrix were Black, and as Fort Campbell straddled the border between Kentucky and Tennessee, they had to deal with segregation and play to only Black audiences. And Hendrix quickly discovered that Black audiences in the Southern states weren't interested in "Louie Louie", Duane Eddy, and surf music, the stuff he'd been playing in Seattle. He had to instead switch to playing Albert King and Slim Harpo songs, but luckily he loved that music too. He also started singing at this point -- when Hendrix and Cox started playing together, in a trio called the Kasuals, they had no singer, and while Hendrix never liked his own voice, Cox was worse, and so Hendrix was stuck as the singer. The Kasuals started gigging around Clarksville, and occasionally further afield, places like Nashville, where Arthur Alexander would occasionally sit in with them. But Cox was about to leave the Army, and Hendrix had another two and a bit years to go, having enlisted for three years. They couldn't play any further away unless Hendrix got out of the Army, which he was increasingly unhappy in anyway, and so he did the only thing he could -- he pretended to be gay, and got discharged on medical grounds for homosexuality. In later years he would always pretend he'd broken his ankle parachuting from a plane. For the next few years, he would be a full-time guitarist, and spend the periods when he wasn't earning enough money from that leeching off women he lived with, moving from one to another as they got sick of him or ran out of money. The Kasuals expanded their lineup, adding a second guitarist, Alphonso Young, who would show off on stage by playing guitar with his teeth. Hendrix didn't like being upstaged by another guitarist, and quickly learned to do the same. One biography I've used as a source for this says that at this point, Billy Cox played on a session for King Records, for Frank Howard and the Commanders, and brought Hendrix along, but the producer thought that Hendrix's guitar was too frantic and turned his mic off. But other sources say the session Hendrix and Cox played on for the Commanders wasn't until three years later, and the record *sounds* like a 1965 record, not a 1962 one, and his guitar is very audible – and the record isn't on King. But we've not had any music to break up the narration for a little while, and it's a good track (which later became a Northern Soul favourite) so I'll play a section here, as either way it was certainly an early Hendrix session: [Excerpt: Frank Howard and the Commanders, "I'm So Glad"] This illustrates a general problem with Hendrix's life at this point -- he would flit between bands, playing with the same people at multiple points, nobody was taking detailed notes, and later, once he became famous, everyone wanted to exaggerate their own importance in his life, meaning that while the broad outlines of his life are fairly clear, any detail before late 1966 might be hopelessly wrong. But all the time, Hendrix was learning his craft. One story from around this time  sums up both Hendrix's attitude to his playing -- he saw himself almost as much as a scientist as a musician -- and his slightly formal manner of speech.  He challenged the best blues guitarist in Nashville to a guitar duel, and the audience actually laughed at Hendrix's playing, as he was totally outclassed. When asked what he was doing, he replied “I was simply trying to get that B.B. King tone down and my experiment failed.” Bookings for the King Kasuals dried up, and he went to Vancouver, where he spent a couple of months playing in a covers band, Bobby Taylor and the Vancouvers, whose lead guitarist was Tommy Chong, later to find fame as one half of Cheech and Chong. But he got depressed at how white Vancouver was, and travelled back down south to join a reconfigured King Kasuals, who now had a horn section. The new lineup of King Kasuals were playing the chitlin circuit and had to put on a proper show, and so Hendrix started using all the techniques he'd seen other guitarists on the circuit use -- playing with his teeth like Alphonso Young, the other guitarist in the band, playing with his guitar behind his back like T-Bone Walker, and playing with a fifty-foot cord that allowed him to walk into the crowd and out of the venue, still playing, like Guitar Slim used to. As well as playing with the King Kasuals, he started playing the circuit as a sideman. He got short stints with many of the second-tier acts on the circuit -- people who had had one or two hits, or were crowd-pleasers, but weren't massive stars, like Carla Thomas or Jerry Butler or Slim Harpo. The first really big name he played with was Solomon Burke, who when Hendrix joined his band had just released "Just Out of Reach (Of My Two Empty Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (Of My Two Empty Arms)"] But he lacked discipline. “Five dates would go beautifully,” Burke later said, “and then at the next show, he'd go into this wild stuff that wasn't part of the song. I just couldn't handle it anymore.” Burke traded him to Otis Redding, who was on the same tour, for two horn players, but then Redding fired him a week later and they left him on the side of the road. He played in the backing band for the Marvelettes, on a tour with Curtis Mayfield, who would be another of Hendrix's biggest influences, but he accidentally blew up Mayfield's amp and got sacked. On another tour, Cecil Womack threw Hendrix's guitar off the bus while he slept. In February 1964 he joined the band of the Isley Brothers, and he would watch the Beatles on Ed Sullivan with them during his first days with the group. Assuming he hadn't already played the Rosa Lee Brooks session (and I think there's good reason to believe he hadn't), then the first record Hendrix played on was their single "Testify": [Excerpt: The Isley Brothers, "Testify"] While he was with them, he also moonlighted on Don Covay's big hit "Mercy, Mercy": [Excerpt: Don Covay and the Goodtimers, "Mercy Mercy"] After leaving the Isleys, Hendrix joined the minor soul singer Gorgeous George, and on a break from Gorgeous George's tour, in Memphis, he went to Stax studios in the hope of meeting Steve Cropper, one of his idols. When he was told that Cropper was busy in the studio, he waited around all day until Cropper finished, and introduced himself. Hendrix was amazed to discover that Cropper was white -- he'd assumed that he must be Black -- and Cropper was delighted to meet the guitarist who had played on "Mercy Mercy", one of his favourite records. The two spent hours showing each other guitar licks -- Hendrix playing Cropper's right-handed guitar, as he hadn't brought along his own. Shortly after this, he joined Little Richard's band, and once again came into conflict with the star of the show by trying to upstage him. For one show he wore a satin shirt, and after the show Richard screamed at him “I am the only Little Richard! I am the King of Rock and Roll, and I am the only one allowed to be pretty. Take that shirt off!” While he was with Richard, Hendrix played on his "I Don't Know What You've Got, But It's Got Me", which like "Mercy Mercy" was written by Don Covay, who had started out as Richard's chauffeur: [Excerpt: Little Richard, "I Don't Know What You've Got, But It's Got Me"] According to the most likely version of events I've read, it was while he was working for Richard that Hendrix met Rosa Lee Brooks, on New Year's Eve 1964. At this point he was using the name Maurice James, apparently in tribute to the blues guitarist Elmore James, and he used various names, including Jimmy James, for most of his pre-fame performances. Rosa Lee Brooks was an R&B singer who had been mentored by Johnny "Guitar" Watson, and when she met Hendrix she was singing in a girl group who were one of the support acts for Ike & Tina Turner, who Hendrix went to see on his night off. Hendrix met Brooks afterwards, and told her she looked like his mother -- a line he used on a lot of women, but which was true in her case if photos are anything to go by. The two got into a relationship, and were soon talking about becoming a duo like Ike and Tina or Mickey and Sylvia -- "Love is Strange" was one of Hendrix's favourite records. But the only recording they made together was the "My Diary" single. Brooks always claimed that she actually wrote that song, but the label credit is for Arthur Lee, and it sounds like his work to me, albeit him trying hard to write like Curtis Mayfield, just as Hendrix is trying to play like him: [Excerpt: Rosa Lee Brooks, "My Diary"] Brooks and Hendrix had a very intense relationship for a short period. Brooks would later recall Little

We're back in our usual-ish Thursday night time slot (sponsored as always by the wonderful folks at Homefield Apparel), talking these and other Houston Cougar-related topics: Marcus Sasser doing something noteworthy, but not surprising with regards to his professional future Cougar football loses Alton McCaskill for 2022, but gains USC transfer/local product Brandon Campbell Another track record bites the dust Conference series wins for the bat & ball sports!

Richard Saunders (of The Skeptic Zone podcast) and Rob Palmer (Skeptical Inquirer contributor) joined others in the ambitious Great Australian Psychic Prediction Project. They join the podcast to discuss their results.SI Article: https://skepticalinquirer.org/exclusive/pondering-the-published-predictions-of-prominent-psychics

J'ai ramené dans mon micro des sons de nos vacances en famille mais pas que... J'ai aussi demandé aux personnes rencontrées ce que l'été leur évoque, tout en gardant une oreille sur l'actualité estivale. Voici le résultat : Musiques : - chanson "Voilà l'été" par "Les négresses vertes". Album : "Mlah". 1989. Label : Off   The Track Records. - chanson "L'été s'ra chaud" par  "Éric Charden". 45T single. 1979. Label : Charles Talar Records. - chanson de fin : "Une mouche sur la bouche" par "Jacques Higelin". Album : BBH75. 1975. Label : Disques Capitol-EMI. Extraits des journaux de 8h de France Culture du 23/06. 24/06. 13/07. 16/07. 22/07. 02/08. 03/08. 05/08. 06/08. 07/08. 08/08. 11/08. Extrait de l'intervention télévisée d'Emmanuel Macron du 12/07/2021. Extrait de "Message aux personnels de l'éducation nationale" de Jean-Michel Blanquer.

Join us for a spirited debate about the men of Ted Lasso, Colorado absurdity, John's matchmaking success, and some stupid expensive camping adventures. Photo credit: REI

From Kira Ciliberto: With drugs, crime, and the do-or-die means of artistry in all its ghastly and authentic brilliance, no other LP presents mid-70s NYC like Johnny Thunders and the Heartbreakers sole full-length release ‘L.A.M.F.', a sonic spew of raw, searing rock and roll with an encapsulation of influence from early 60s girl group pulp essentials to late 50s mastery of Chuck Berry, Bo Diddley, and even a curl of Ventures snaked in around the edges.Drummer Jerry Nolan and guitarist Johnny Thunders split with the New York Dolls' punk's glam-trash roots at the same time that Richard Hell left Television, recruiting straight guy-by day Demon's guitarist Walter Lure with two priorities, scoring smack around Hell's Alphabet City appt and playing rock and roll with the desperate grit, street savvy, and experience all over every NYC dive there was.  They wanted a record deal, but this didn't come with their growing reputation for heroin use, so they took the advice of their manager Leee Black Childers to join Malcom McLaren's offer to play with the Sex Pistols in England. Once there, they were offered a deal to record an album with Track Records.  Preceded by several favorably received singles, L.A.M.F., released in 77 was widely condemned for its muddy mix, which was remixed multiple times, only to find that the problem lay in a mastering fault. With the original masters missing, multiple attempts to rerelease this in improved form from 1977-2021 occurred until the masters were finally found in sparkling clarity and as the Heartbreakers intended!

RockerMike and Rob discuss The Making of The Who's Quadrophenia Quadrophenia is the sixth studio album by the English rock band the Who, released as a double album on 26 October 1973 by Track Records. It is the group's second rock opera. Set in London and Brighton in 1965, the story follows a young mod named Jimmy and his search for self-worth and importance. Quadrophenia is the only Who album entirely composed by Pete Townshend. Released 26 October 1973[1] Recorded May–June 1972 May–September 1973 using 16-track recording Studio Olympic, London; Ramport in Battersea, London with Ronnie Lane's Mobile Studio Genre Hard rock Length 81:42 Label Track, MCA Producer The Who Executive producers: Kit Lambert Chris Stamp Pete Kameron Associate producer: Glyn Johns (on "Is It in My Head?" and "Love Reign o'er Me") Please follow us on Youtube,Facebook,Instagram,Twitter,Patreon and at www.gettinglumpedup.com https://linktr.ee/RobRossi Get your T-shirt at https://www.prowrestlingtees.com/gettinglumpedup And https://www.bonfire.com/store/getting-lumped-up/ https://app.hashtag.expert/?fpr=roberto-rossi80 https://dc2bfnt-peyeewd4slt50d2x1b.hop.clickbank.net https://8bcded2xph1jdsb8mqp8th3y0n.hop.clickbank.net/?cbpage=nb Subscribe to the channel and hit the like button --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/rob-rossi/support https://itunes.apple.com/us/podcast/getting-lumped-up-with-rob-rossi/id1448899708 https://open.spotify.com/show/00ZWLZaYqQlJji1QSoEz7a https://www.patreon.com/Gettinglumpedup #musician #musicproduction #musiclover #musicvideos #musicindustry #musicphotography #musicproducers #musicvideo #musicproducer #musically #musicstudio #musicians #musiclife #musicproducerlife #musicislife #musicismylife #music --- Support this podcast: https://anchor.fm/rob-rossi/support

This episode is also available as a blog post: http://yeahthepunt.com/2021/08/12/sydney-metropolitan-tracks-track-records/

Already this week Banksy and Pinky have Kicked Off the campaign for CQ Healthy Families Looked at the track record of the phrase "she'll be right mate" and found what personal incentives you would enjoy to get a Covid Jab...Enjoy!! See omnystudio.com/listener for privacy information.

Padres radio broadcaster Jesse Agler joined Ben & Woods on Tuesday morning!  Listen here as Jesse makes his weekly appearance with the guys, talks about the team's struggling offense, we give him his incorporator word for tonight, and MUCH more! See omnystudio.com/listener for privacy information.

#gfbs #local #grandforksnd #RaiseTheForks #SimplyGraND #GFisCooler #grandforksbestsource #visitgreatergrandforks #berkshirehathaway @Jon Broden Berkshire Hathaway HomeServices Family Realty

Colin and Brent discuss opportunity in niche SaaS companies, avoiding analysis paralysis, and tactics to be present in life.Reach out to Colin Keeley and Brent Sanders on Twitter with any feedback. Sell your SaaS at VerneHQ.com 

In this episode, our guest is Elizabeth McIntyre, Group CEO of Think Brick on Eclectic Track Records, Creative Partnerships And Victory Through Tenacity.   chiefmaker.com/196   Want to accelerate your next promotion? Complete your FREE Career Scorecard: www.chiefmaker.com/score-card   We talk all about: How she has built a stellar track record despite an eclectic career path; Why a lack of resources was vital for stimulating creativity and innovation; Brainstorming your dream C-Suite role; and Lessons from Harvard and how being tenacious will get you heard as a marketing executive.   Connecting with Elizabeth McIntyre You can connect with Elizabeth via LinkedIn. You can also find out more about Think Brick. Books and resources The Alchemist - by Paulo Coelho Talking to Strangers - by Malcolm Gladwell The Art of War - Sun Tzu Bill Gates' reading list

Donavan Brazier (800), Bryce Hoppel (1,000), & Elle Purrier (2-Mile) All Break American Records At 2021 New Balance Indoor Grand Prix https://www.letsrun.com/news/2021/02/... ​#DonavanBrazier​ #BryceHoppel​ #EllePurrier​ Congratulations to our ladies 2021 Black Canyon Ultras presented by @HOKAONEONE champion, Brittany Peterson! She finished in an impressive time of 8:48:23. Brittany already received a Golden Ticket to the 2021 Western States prior to today’s win. Congratulations to our 2021 #BlackCanyon100k​ presented by @HOKAONEONE overall champion and Golden Ticket winner, Tyler Green! Tyler finished in a blazing, 8:06:33. In March of 2020, I slipped on the illegally dumped cooking grease in front of John’s Burger and couldn’t walk for 6 weeks. This was my first injury since I started Endurance Training in 1979. Then in late April of 2020, I ended up in the hospital for the first time in my life. The diagnosis was Congestive Heart Failure. This Vlog documents my Sixth Decade of Endurance Training. The past Decade was about HOW FAR I could go. This Decade will be about HOW FAST can I go post Congestive Heart Failure. https://linktr.ee/AND3RSON --- Send in a voice message: https://anchor.fm/andy-noise/message Support this podcast: https://anchor.fm/andy-noise/support

What is the best practice when meeting new clients in your country? What are some steps you take to meet these clients? In this podcast, I will unpack the different ways you can prepare for meeting new clients, as well as having a proven track record, which is a controversial topic. Ten years ago, it was all about resumés and references. In the present day, it's about testimonials and demos. 5 years ago I would have to do teaching demos to showcase my teaching skills. However, if you ask me to do a demo this year, I would say ABSOLUTELY NOT. Because if I have to prove to you my track record, which is all over google, Spotify, YouTube and websites around the world...it's already a done deal that you won't accept my services. Because I have this podcast that reaches tens of thousands around the world, people already know what I'm truly capable of. So, if new business comes and a Thai language center asks me "could you do a demo?" I would say, "here, I have numerous videos of me training at these companies, as well as the best podcast in the world. After you're done viewing that, best of luck in your future search for a trainer."My capabilities and record speak for itself, so keep that in mind, people. Now, let's dive in!Patreon: https://www.patreon.com/arseniosesllearningPodcast on Spotify: https://open.spotify.com/show/7hdzplWx6xB8mhwDJYiP6fPodcast on ListenNote: https://www.listennotes.com/c/778cf3cfd2564ba5b01f693bfebc96de/arsenio-s-esl-podcast/Podcast on CastBox: https://castbox.fm/channel/Arsenio's-ESL-Podcast-id1251433?country=usCalendar (Consultation)- https://calendly.com/arseniobuck/teaching-coaching-for-1-hourCalendar (Patreon Badge Consultation) - https://calendly.com/arseniobuck/teaching-coaching-for-2-5-hourFacebook: https://www.facebook.com/Arseniobuck/?ref=bookmarksYoutube: https://www.youtube.com/channel/UCIzp4EdbJVMhhSnq_0u4ntAWebsite: https://thearseniobuckshow.com/Q & A: ArsenioBuck@icloud.comLinkedIn: https://www.linkedin.com/in/arsenio-buck-9692a6119/Instagram: https://www.instagram.com/thearseniobuckshow/?hl=enBuzz sprout: https://www.buzzsprout.com/165390Twitter: https://twitter.com/ArseniosESLPodSupport the show (https://www.patreon.com/arseniosesllearning)

Primera col·lecció de perversions a Col·leccionable en forma de parelles de versions, fetes des de les Balears i que, des de la diferència, tenen en comú el bon gust per la tria i l’encert per part dels grups mallorquins a qui dedicam aquesta nova col·lecció. Continuarà... 1. Extraños juegos, de Trance (Maldición, Solo Para Punks, Metadona, 2013) 2. Extraños juegos, de Zombies (Extraños juegos, RCA Victor, 1980) 3. Accidental colors, de The Outnumbered (Why Are All the Good People Going Crazy, Homestead, 1985) 4. Accidental colors, d’El Primer Tercio (Apuesta otra vez, DRO 1990) 5. Red Rubber Ball, The Cyrkle (Columbia, 1966) 6. La Pelota de goma, Los Pops (Regal, 1967) 7. Out of Time, The Rolling Stones (Aftermath, Decca, 1966) 8. Has pasado a la historia, de Los Javaloyas (Buenas vibraciones, 1967) 9. I Can See For Miles, de The Who (The Who Sell Out, Track Records, 1967) 10. I Can See For Miles, de Cerebros Exprimidos (Kill The Pope, Munster Records, 1992) 11. Comunication Breakdown, de Led Zeppelin (Led Zeppelin, Atlantic, 1969) 12. Comunication Breakdown, de Los Crudos (Maqueta, 1992) 13. Man of Mystery, de The Shadows (The Shadows To The Fore, Columbia EMI, 1960) 14. Man of Mystery, The Frankenbooties (In Your Mouth: Te Subterfuge Compilation, Vol. 11, Subterfuge, 1994) 15. Ellaine, de Trance (Vivir mata, Cero en conducta Records, 2018) 16. Tell Me That You Care, d’Elaine & The Shardells (Music Forum, 1965)

The California International Marathon (originally scheduled for Dec. 6) has been CANCELED after consulting with health officials Stewart McSweyn, runs 3:30.51 in Doha to break Ryan Gregson's 10-year-old Australian 1500m record. It is the process and not the outcome that is within your control. An INCREDIBLY deep women's 3000 in Doha is won by world champ Hellen Obiri as Kenyans sweep the top five places. Seven women under 8:27, which is the most in any race in history. PBs for five of the top six, and yet another Australian record for Jessica Hull. Endurance Noise & Random Musings Please Subscribe to my YouTube Channel! Stay Healthy. Be Boring. Not Epic. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/andy-noise/message Support this podcast: https://anchor.fm/andy-noise/support

In one minute I share why track records are important. People often rely on track records to make informed decisions about their expectations of you and whether or not they should trust you. Have you built a track record deserving of trust? Find out. --- Send in a voice message: https://anchor.fm/blessingabeng/message

In this week's episode, Mark and Jasper are joined by the fabulous Vicki Wickham to chat all things pop and beyond, starting with her experiences as producer of TV show Ready, Steady, Go! in swinging sixties London, when Vicki became good friends with Dusty Springfield, through writing for Fabulous and Melody Maker to managing Labelle in the 70s and much else besides.Vicki talks about how she got her foot in the door of television and reminisces about writing lyrics for Dusty, then tells the story of moving to New York to open a US office for Track Records. We then find out how she masterminded the metamorphosis of Patti Labelle and the Blue Belles into groundbreaking pop trio Labelle, who Mark reckons paved the way for TLC and even the Spice Girls.Vicki, Mark and Jasper then listen to clips from an audio interview with Morrissey, in which the seeds of his later racism are occasionally audible, and Vicki admits that although she was nominally his manager for a short while, he was mostly interested in hearing the stories she had to tell. (In any case, he turned out to be unmanageable.)The trio then pay tribute to the Heartbreakers' Walter Lure, singer-songwriter Justin Townes Earle, Jack Sherman of the Red Hot Chili Peppers and R&B singer D. J. Rogers before Mark and Jasper present some of their highlights from the new pieces going into the RBP library. Mark selects pieces on pop television, Led Zep IV and Patti Smith, and Jasper rounds things out with the Scissor Sisters and Merzbow.Pieces discussed: Vicki Wickham, Ready, Vicki, Go!, Labelle's Nona Hendryx audio, Vicki Wickham's Pop Guide to London, Graham Nash, Ashford & Simpson, Morrissey audio, Jon Savage with the Heartbreakers, Pete Makowski on the Heartbreakers, Justin Townes Earle, Red Hot Chili Peppers, D. J. Rogers, TV pop, Led Zeppelin IV, David Bowie, Patti Smith's Horses, The Germs, Morrissey, Scissor Sisters, Richard Pinhas & Merzbow and Echo & the Bunnymen.This show is part of Pantheon Podcasts

In this week's episode, Mark and Jasper are joined by the fabulous Vicki Wickham to chat all things pop and beyond, starting with her experiences as producer of TV show Ready, Steady, Go! in swinging sixties London, when Vicki became good friends with Dusty Springfield, through writing for Fabulous and Melody Maker to managing Labelle in the 70s and much else besides. Vicki talks about how she got her foot in the door of television and reminisces about writing lyrics for Dusty, then tells the story of moving to New York to open a US office for Track Records. We then find out how she masterminded the metamorphosis of Patti Labelle and the Blue Belles into groundbreaking pop trio Labelle, who Mark reckons paved the way for TLC and even the Spice Girls. Vicki, Mark and Jasper then listen to clips from an audio interview with Morrissey, in which the seeds of his later racism are occasionally audible, and Vicki admits that although she was nominally his manager for a short while, he was mostly interested in hearing the stories she had to tell. (In any case, he turned out to be unmanageable.) The trio then pay tribute to the Heartbreakers' Walter Lure, singer-songwriter Justin Townes Earle, Jack Sherman of the Red Hot Chili Peppers and R&B singer D. J. Rogers before Mark and Jasper present some of their highlights from the new pieces going into the RBP library. Mark selects pieces on pop television, Led Zep IV and Patti Smith, and Jasper rounds things out with the Scissor Sisters and Merzbow. Pieces discussed: Vicki Wickham, Ready, Vicki, Go!, Labelle's Nona Hendryx audio, Vicki Wickham's Pop Guide to London, Graham Nash, Ashford & Simpson, Morrissey audio, Jon Savage with the Heartbreakers, Pete Makowski on the Heartbreakers, Justin Townes Earle, Red Hot Chili Peppers, D. J. Rogers, TV pop, Led Zeppelin IV, David Bowie, Patti Smith's Horses, The Germs, Morrissey, Scissor Sisters, Richard Pinhas & Merzbow and Echo & the Bunnymen. This show is part of Pantheon Podcasts

In this week's episode, Mark and Jasper are joined by the fabulous Vicki Wickham to chat all things pop and beyond, starting with her experiences as producer of TV show Ready, Steady, Go! in swinging sixties London, when Vicki became good friends with Dusty Springfield, through writing for Fabulous and Melody Maker to managing Labelle in the 70s and much else besides.Vicki talks about how she got her foot in the door of television and reminisces about writing lyrics for Dusty, then tells the story of moving to New York to open a US office for Track Records. We then find out how she masterminded the metamorphosis of Patti Labelle and the Blue Belles into groundbreaking pop trio Labelle, who Mark reckons paved the way for TLC and even the Spice Girls.Vicki, Mark and Jasper then listen to clips from an audio interview with Morrissey, in which the seeds of his later racism are occasionally audible, and Vicki admits that although she was nominally his manager for a short while, he was mostly interested in hearing the stories she had to tell. (In any case, he turned out to be unmanageable.)The trio then pay tribute to the Heartbreakers' Walter Lure, singer-songwriter Justin Townes Earle, Jack Sherman of the Red Hot Chili Peppers and R&B singer D. J. Rogers before Mark and Jasper present some of their highlights from the new pieces going into the RBP library. Mark selects pieces on pop television, Led Zep IV and Patti Smith, and Jasper rounds things out with the Scissor Sisters and Merzbow.Pieces discussed: Vicki Wickham, Ready, Vicki, Go!, Labelle's Nona Hendryx audio, Vicki Wickham's Pop Guide to London, Graham Nash, Ashford & Simpson, Morrissey audio, Jon Savage with the Heartbreakers, Pete Makowski on the Heartbreakers, Justin Townes Earle, Red Hot Chili Peppers, D. J. Rogers, TV pop, Led Zeppelin IV, David Bowie, Patti Smith's Horses, The Germs, Morrissey, Scissor Sisters, Richard Pinhas & Merzbow and Echo & the Bunnymen.Rock's Backpages is proud to be part of the Pantheon Podcast Network.

In this week's episode, Mark and Jasper are joined by the fabulous Vicki Wickham to chat all things pop and beyond, starting with her experiences as producer of TV show Ready, Steady, Go! in swinging sixties London, when Vicki became good friends with Dusty Springfield, through writing for Fabulous and Melody Maker to managing Labelle in the 70s and much else besides. Vicki talks about how she got her foot in the door of television and reminisces about writing lyrics for Dusty, then tells the story of moving to New York to open a US office for Track Records. We then find out how she masterminded the metamorphosis of Patti Labelle and the Blue Belles into groundbreaking pop trio Labelle, who Mark reckons paved the way for TLC and even the Spice Girls. Vicki, Mark and Jasper then listen to clips from an audio interview with Morrissey, in which the seeds of his later racism are occasionally audible, and Vicki admits that although she was nominally his manager for a short while, he was mostly interested in hearing the stories she had to tell. (In any case, he turned out to be unmanageable.) The trio then pay tribute to the Heartbreakers' Walter Lure, singer-songwriter Justin Townes Earle, Jack Sherman of the Red Hot Chili Peppers and R&B singer D. J. Rogers before Mark and Jasper present some of their highlights from the new pieces going into the RBP library. Mark selects pieces on pop television, Led Zep IV and Patti Smith, and Jasper rounds things out with the Scissor Sisters and Merzbow. Pieces discussed: Vicki Wickham, Ready, Vicki, Go!, Labelle's Nona Hendryx audio, Vicki Wickham's Pop Guide to London, Graham Nash, Ashford & Simpson, Morrissey audio, Jon Savage with the Heartbreakers, Pete Makowski on the Heartbreakers, Justin Townes Earle, Red Hot Chili Peppers, D. J. Rogers, TV pop, Led Zeppelin IV, David Bowie, Patti Smith's Horses, The Germs, Morrissey, Scissor Sisters, Richard Pinhas & Merzbow and Echo & the Bunnymen.

Produit par Chas Chandler et Michael Jeffery, enregistré dans 3 studios londoniens : CBS, De Lane Lea et Olympic, ''Are you Experienced ?'' est publié par Track Records. Jimi Hendrix y déploie toute sa créativité de compositeur, de parolier, mais également d’arrangeur aux nouvelles idées traduites en sons par Eddie Kramer. De janvier à avril 67, le trio alterne concerts et séances de studio. Les musiciens réalisent la prouesse d’enregistrer de la matière pour 3 singles ainsi qu'un album complet durant ce temps. Sorti le 12 mai 1967 en Grande-Bretagne, le premier album du Jimi Hendrix Experience restera 33 semaines dans les charts en grimpant jusqu’à la seconde place. Aux États-Unis, suite à la performance époustouflante du groupe au festival de Monterey, l’album sortira en août pour atteindre la 5e place du Billboard. Il demeurera dans les charts pendant plus de 106 semaines. ---Tous les jours de la semaine à 19h, dans ''On The Road Again'', Marc Ysaye retrace pour vous les meilleurs moments du ''Making Of'' : l’histoire de la création de grands albums de l’Histoire du Rock.

Produit par Chas Chandler et Michael Jeffery, enregistré dans 3 studios londoniens : CBS, De Lane Lea et Olympic, ''Are you Experienced ?'' est publié par Track Records. Jimi Hendrix y déploie toute sa créativité de compositeur, de parolier, mais également d’arrangeur aux nouvelles idées traduites en sons par Eddie Kramer. De janvier à avril 67, le trio alterne concerts et séances de studio. Les musiciens réalisent la prouesse d’enregistrer de la matière pour 3 singles ainsi qu'un album complet durant ce temps. Sorti le 12 mai 1967 en Grande-Bretagne, le premier album du Jimi Hendrix Experience restera 33 semaines dans les charts en grimpant jusqu’à la seconde place. Aux États-Unis, suite à la performance époustouflante du groupe au festival de Monterey, l’album sortira en août pour atteindre la 5e place du Billboard. Il demeurera dans les charts pendant plus de 106 semaines. ---Tous les jours de la semaine à 19h, dans ''On The Road Again'', Marc Ysaye retrace pour vous les meilleurs moments du ''Making Of'' : l’histoire de la création de grands albums de l’Histoire du Rock.

Produit par Chas Chandler et Michael Jeffery, enregistré dans 3 studios londoniens : CBS, De Lane Lea et Olympic, ''Are you Experienced ?'' est publié par Track Records. Jimi Hendrix y déploie toute sa créativité de compositeur, de parolier, mais également d’arrangeur aux nouvelles idées traduites en sons par Eddie Kramer. De janvier à avril 67, le trio alterne concerts et séances de studio. Les musiciens réalisent la prouesse d’enregistrer de la matière pour 3 singles ainsi qu'un album complet durant ce temps. Sorti le 12 mai 1967 en Grande-Bretagne, le premier album du Jimi Hendrix Experience restera 33 semaines dans les charts en grimpant jusqu’à la seconde place. Aux États-Unis, suite à la performance époustouflante du groupe au festival de Monterey, l’album sortira en août pour atteindre la 5e place du Billboard. Il demeurera dans les charts pendant plus de 106 semaines. ---Tous les jours de la semaine à 19h, dans ''On The Road Again'', Marc Ysaye retrace pour vous les meilleurs moments du ''Making Of'' : l’histoire de la création de grands albums de l’Histoire du Rock.

Produit par Chas Chandler et Michael Jeffery, enregistré dans 3 studios londoniens : CBS, De Lane Lea et Olympic, ''Are you Experienced ?'' est publié par Track Records. Jimi Hendrix y déploie toute sa créativité de compositeur, de parolier, mais également d’arrangeur aux nouvelles idées traduites en sons par Eddie Kramer. De janvier à avril 67, le trio alterne concerts et séances de studio. Les musiciens réalisent la prouesse d’enregistrer de la matière pour 3 singles ainsi qu'un album complet durant ce temps. Sorti le 12 mai 1967 en Grande-Bretagne, le premier album du Jimi Hendrix Experience restera 33 semaines dans les charts en grimpant jusqu’à la seconde place. Aux États-Unis, suite à la performance époustouflante du groupe au festival de Monterey, l’album sortira en août pour atteindre la 5e place du Billboard. Il demeurera dans les charts pendant plus de 106 semaines. ---Tous les jours de la semaine à 19h, dans ''On The Road Again'', Marc Ysaye retrace pour vous les meilleurs moments du ''Making Of'' : l’histoire de la création de grands albums de l’Histoire du Rock.

Produit par Chas Chandler et Michael Jeffery, enregistré dans 3 studios londoniens : CBS, De Lane Lea et Olympic, ''Are you Experienced ?'' est publié par Track Records. Jimi Hendrix y déploie toute sa créativité de compositeur, de parolier, mais également d’arrangeur aux nouvelles idées traduites en sons par Eddie Kramer. De janvier à avril 67, le trio alterne concerts et séances de studio. Les musiciens réalisent la prouesse d’enregistrer de la matière pour 3 singles ainsi qu'un album complet durant ce temps. Sorti le 12 mai 1967 en Grande-Bretagne, le premier album du Jimi Hendrix Experience restera 33 semaines dans les charts en grimpant jusqu’à la seconde place. Aux États-Unis, suite à la performance époustouflante du groupe au festival de Monterey, l’album sortira en août pour atteindre la 5e place du Billboard. Il demeurera dans les charts pendant plus de 106 semaines. ---Tous les jours de la semaine à 19h, dans ''On The Road Again'', Marc Ysaye retrace pour vous les meilleurs moments du ''Making Of'' : l’histoire de la création de grands albums de l’Histoire du Rock.

Produit par Chas Chandler et Michael Jeffery, enregistré dans 3 studios londoniens : CBS, De Lane Lea et Olympic, ''Are you Experienced ?'' est publié par Track Records. Jimi Hendrix y déploie toute sa créativité de compositeur, de parolier, mais également d’arrangeur aux nouvelles idées traduites en sons par Eddie Kramer. De janvier à avril 67, le trio alterne concerts et séances de studio. Les musiciens réalisent la prouesse d’enregistrer de la matière pour 3 singles ainsi qu'un album complet durant ce temps. Sorti le 12 mai 1967 en Grande-Bretagne, le premier album du Jimi Hendrix Experience restera 33 semaines dans les charts en grimpant jusqu’à la seconde place. Aux États-Unis, suite à la performance époustouflante du groupe au festival de Monterey, l’album sortira en août pour atteindre la 5e place du Billboard. Il demeurera dans les charts pendant plus de 106 semaines. ---Tous les jours de la semaine à 19h, dans ''On The Road Again'', Marc Ysaye retrace pour vous les meilleurs moments du ''Making Of'' : l’histoire de la création de grands albums de l’Histoire du Rock.

Arthur Godsil Former Headmaster of St. Andrew College Dublin and Director of Godsil Education joins us to discuss  Gaelcholáiste and grind school pupils have strong track records in progressing to higher education, but they are less likely to finish or to get a 2:1 or higher” Listen and subscribe to Newstalk Breakfast on Apple Podcasts or Spotify.     Download, listen and subscribe on the Newstalk App.    You can also listen to Newstalk live on newstalk.com or on Alexa, by adding the Newstalk skill and asking: 'Alexa, play Newstalk'.

Today on the Cycling Time trial podcast we welcome back Dan Bigham, and for the first time Jonny Wale. Track records fall like water and British Cycling. I am at cyclingtimetrialpodcast@gmail.com @markflorence11 Thanks for downloading the show!

What is the optimal time frame when analysing a track record & why can seemingly correlated strategies have very different returns? IT'S TRUE

By 1970, the Who had obtained significant critical and commercial success branching out to one of the first rock opera’s Tommy but they had started to become detached from their original youthful mod/rocker audience with their heady ambitions projects. The group had also started to drift apart from manager Kit Lambert, owing to his preoccupation with their label, Track Records. After they had been touted as one if not the best live band and releasing a live album to back it up, Pete Townshend in particular recognized that they needed to do something new.

Show #821 Beardo's Birthday Bash 2019 A Bandana Blues episode dedicated to Beardo, founder of Bandana Blues, and filled with some interesting contributions from a couple of faithful listeners to the podcast. It turned out to be an intriguing and eclectic show. So go get it! 01. Matty T Wall - Quicksand (3:12) (Transpacific Blues Vol. 1, Hipsterdumpster Records, 2019) 02. Jim Roberts And The Resonants - Miss Her Love (2:46) (A Month Of Sundays, self-release, 2019) 03. Nightlosers - Hoochie Coochie Man (4:59) 04. R.L. Burnside - Chain Of Fools (Wish I Was in Heaven Sitting Down, Fat Possum Records, 2000) 05. Delbert McClinton & Dick 50 - Until then (4:58) (Acquired Taste, New West Records, 2009) 06. Jimi Hendrix - All Along The Watchtower (3:58) (Electric Ladyland, Track Records, 1968) 07. The Reverend Shawn Amos - Moved (4:00) (The Reverend Shawn Amos Breaks It Down, Put Together, 2018) 08. Big Mike & the R&B Kings - Save Some Funk For Sunday (4:09) (This Song's For You, Red Tint Records, 2019) 09. Black Cat Bones - The Race (4:34) (Tattered And Torn, self-release, 2019) 10. Bad Livers - Falling Down The Stairs (With A Pistol In My Hand) (6:33) (Hogs On The Highway, Sugar Hill Records, 1997) 11. Larry Coryell - Right On Y'all (4:16) (Introducing The Eleventh House, Vanguard Records, 1974) 12. Alejandro Escovedo - I Was Drunk (4:53) (Bourbonitis Blues, Bloodshot Records, 1999) 13. Bob Turpin Band - Playing The Blues (4:43) (preview from forthcoming album out early next year) 14. Wes Race - Shot Time (7:26) (Cryptic Whalin'!, Cool Groove Records, 2008) 15. Jef Lee Johnson - Highway 61 Revisited (8:17) (The Zimmerman Shadow, Nato Records, 2010) 16. CW Ayon - Messing With Me (2:41) (What They Say, self-release, 2019) 17. Ramon Taranco - The New York Shuffle (6:22) (Cuban Blues Man, self-release, 2019) 18. Triumph - Little Boy Blues (3:35) (Thunder Seven, MCA Records, 1984) 19. Big Brother and the Holding Company - Summertime (4:01) (Cheap Thrills, Columbia Records, 1968) 20. Charlie Parker - Summertime (2:46) (Charlie Parker With Strings, Clef Records, 1955) 21. Maria Daines - One Good Man (6:36) (Treebone, Nowrecordings/Maison Alas, 2005) 22. Two Ton Heavy Thing - Johnny (6:03) (Two Ton Heavy Thing, self-release, 2005) 23. Oz Noy - Steroids (9:01) (Asian Twistz, Abstract Logix, 2015) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

#Ep 45. Israel - A Startup Nation neste episódio apresentamos a Tamires Poleti, Diretora de novos  negócios do governo de Israel aqui no Brasil. Ela é responsável por aproximar as startups, conectar as oportunidades de negócios entre os dois países. Curso Online Fluência Digital na Saúde! O melhor investimento e com maior grau de retorno para aqueles que estão no mercado de trabalho é investir em conhecimento profissional. Investir em aprimoramento da carreira. É verdade que conhecimento ninguém te tira. Entretanto é verdade também que ele não vem por osmose, passivamente. É preciso conquistá-lo. Agora é a hora de você acrescentar novas camadas de conhecimento com quem tem Track Records, com quem já provou entender e praticar a saúde digital. Venha ser fluente digital na saúde!  USE O CÓDIGO DE DESCONTO    para receber um desconto especial de 15% OFF  Clique aqui e saiba mais!   Fique por dentro do Podcast, Israel - A Startup Nation A Tamires Poleti trabalha junto ao governo de Israel para fomentar inovação e empreendedorismo entre Brasil e Israel. Ela é diretora de desenvolvimento de negócios do Israel Trade, que é um escritório comercial do governo de Israel no Brasil, parte do departamento de Comércio Exterior do Ministério de Economia de Israel. Esse escritório pertence a uma rede de mais de 40 centros, localizados nos principais centros comerciais ao redor do mundo. Atualmente a Tamires é responsável por conectar empresas brasileiras e israelenses em projetos de inovação e P&D,  principalmente focado em saúde, abrangendo saúde digital e telemedicina. O objetivo é fornecer um serviço personalizado de desenvolvimento comercial, fazer a introdução ao mercado das empresas israelenses além de fomentar o ecossistema empreendedor de Israel. Quer saber por que Israel é apelidada de Startup Nation ? E por que o seu governo tem investido muito em saúde digital? Ouça o episódio do podcast! Cadastre - se gratuitamente no Saúde Digital On Demand Conheça por dentro a nossa comunidade de early adopters da saúde! Lá você pode se atualizar com as tendências e inovações do setor da saúde e além disso você vai aprender na prática com quem está fazendo a diferença e protagonizando a transformação digital da saúde. Clique aqui para conhecer o Saúde Digital On Demand. Não fique para trás! Fique Up To Date no SDOD! Participe do Saúde Digital Podcast Deixe-nos saber o que você achou desse episódio! Você tem alguma dica para dar para o Saúde Digital podcast? Quer sugerir um tema? Sua participação é muito importante! Clique aqui para falar conosco. Você pode falar também diretamente com o host Lorenzo Tomé pelo Instagram, Linkedln ou Telegram no @lorenzotome Música usada no episódio: Breeze by MBB https://soundcloud.com/mbbofficial Creative Commons — Attribution-ShareAlike 3.0 Unported — CC BY-SA 3.0 Free Download / Stream: http://bit.ly/2PFncFB Music promoted by Audio Library https://youtu.be/YqRO_qgBB1c

On the July 4th edition of the podcast, Andre and Zac discuss Kareem Hunt, the NBA spending frenzy, Kawhi Leonard and the death of Angels pitcher Tyler Skaggs. 

In episode number 36 of The Classic Rock Album-By-Album Podcast, hosts Chris Karson and Lee Bowie's continue their epic journey of self-discovery.  The failed attempt to bring Pete Townshend's Lifehouse project to vinyl is tested to seaworthiness.  Can songs about living in an electronic grid of computers with senses coming via lifesuits fly?  in 1971?  Can Engineer Glyn Johns pick up the bits of tape from the studio floor and cobble something decent together?  How will the new boss be now that Kit Lambert and Chris Stamp of Track Records have been deposed?  The hosts Spin up some epic Who and ask themselves "Is It a Classic?".  In this episode, Horatio Caine himself is brought in to examine the scene of the crime for The Who's Who's Next.  Will a vintage Lowrey organ save rock and roll?  Find out this episode of The Classic Rock Album-By-Album Podcast!

For those of us who have been on the manager side for a while, you'll know that investors love to analyse decades of performance data before deciding which manager they are going to invest with, and that makes a lot of sense.  But we also come across investors who subsequently redeem based on just a year or two after they invested, which is usually just down to bad luck and unfortunate timing.  This does not seem logical, but it does relate to the short conversation I want to share with you today, where I discuss the role and importance of track-records & back-tests with Scot Billington.  We also ended up discussing an interesting twist to their research, which led them to abandon taking any Short Trades in their model.  So enjoy these unique insights from Scot, and if you would like to listen to the full conversation, just go to Top Traders Unplugged Episode 25 & Episode 26. The Long side vs the Short side Niels:  Now, track record...we've touched a little bit upon the track record. What I'd love to do is to ask you how one should read your track record because we all know that strategies evolve over time, and, therefore, in a sense, one could say that actually a track record...sure it shows that you survived. It shows that you have had some innovation, but I think sometimes people maybe get fooled to believe that a track record is a great indication of what the future is going to look like because they really don't know what changes have happened along the way in the model. So in some ways one could say that maybe it's better to look at the backtest of the current model when you look at a manager, maybe that would say more about the future, I don't know, but I'd love to hear about what your view and what your observation is about your own track record, because you mentioned the short side of things, and I know there was a period where I think you didn't take any short trades at all, so I'd love to hear your philosophical view about short trades, because I don't think many people realize that there is a big difference between the long side and the short side in terms of success and profitability, but also generally maybe putting that into context about your own track record and why you made the changes along the way? Scot:  Well I think you make an excellent point about track records. I think people look at them as some kind of a one loss record in a sporting event, and they miss the enormous amounts of variance and randomness that happened to have lined up and occurred to produce whatever monthly return is shown, or daily return. I think that most groups don't do enough qualitative analysis of the trading method, and simply crunch performance numbers as though they're the end all be all of what the future is going to be. You make an interesting point. I would probably argue that a backtest of the current running model is probably the best, except that it is also going to...if you are hoping to be a 5 or 10 year investor, there're going to be future changes. And so what I might say is, as we've progressed, our changes have been successful, and therefore perhaps one would conclude that our future changes would also be successful. That's a different discussion. Our first major change to the model was in early 2002, was basically eliminating short trades and using a volatility filter for long trades. 'Niels: So why did you make a change to eliminate Short trades back in 2002? Scot: Well, a Short trade is bounded by zero, so it's going to face several hurdles' Niels:  Were the short trades the cause of your drawdown back in the beginning? Scot:  No, no. Niels:  So why did you make a change to eliminate short trades back in 2002? Scot:  Well, short trades, and this is particularly appropriate in our timeframe, on a shorter timeframe I don't think this would not hold as much. Let's imagine in our timeframe we're trying to hold a good winner for, let's say over a year. A short trade is bounded...

Episode 37: R&B Tendencies and Track Records Guests: @azza_urbanista @siangborie @mrtitocee/@mrtito93 King of R&B, Racism in Football, SPAC Nation, How to get over someone & MORE! Songs of the episode: Intro: J Favs – Sunshine Happiness Outro: TE Dness – Too Cold Trey Songz – Closed Mouths Reem Ekay – Purple Teyana Taylor - Gonna Love Me (Remix) ft. Ghostface Killah, Method Man, Raekwon KNWGD – Stay Inside ft. Hana Dejay – Jennifer's Jam Talib Kweli – In the Mood ft. Kanye West & Roy Avers Ye Ali – Tell Me ft. JAHKOY Twitter / Instagram: @dopersamurai / dopersamurai @souldemischief / @souldemischief @chadthepolymath / @chadthepolymath @jamalcasual / @jamalcasual Any questions or topics for the podcast – kithandkinpodcast@outlook.com Soundcloud – https://soundcloud.com/kithandkinpodcast Spotify & Playlist – Type 'Kith & Kin Podcast' & Playlist https://spoti.fi/2LkJXcj YouTube for Highlight Reels – https://bit.ly/2JhqTuR Hit up YouTube, Soundcloud & iTunes (RATE US!) #KithAndKinPod Thank you for the support! Recorded and Engineered at Cellar Tapes, Bristol *Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended. ALL RIGHTS BELONG TO THEIR RESPECTIVE OWNERS*

Randy and Dean Warren podcast weekly about the latest in the world of cycling.  The Vuelta a Espana has produced exciting racing with more to come.  The Warren brothers talk about the progress of the US Men's track program and look forward to the road World Championships.  Dean and Randy look back at team Rally's retiring riders Danny Pate and Brad Huff and their fine career's.  The Warren's also touch on the Tour of Britain and some rider transfer news.  

H2S2 8/11/2018 The post Hedge Fund Track Records appeared first on Paul Winkler, Inc.

Comparing Lending Track Records in the UK and Continental Europe at LendIt Europe 2016.

This week, Paul dives into another investing illusion. Be sure to check out last week's episode on stock picking and what your typical mutual fund won't tell you. On this episode, Paul discusses why you can not trust the track record of a mutual fund, asking what does your mutual fund have in common with someone flipping a coin? They both have pretty much the same odds. Watch out for this illusion! For full show notes and to download a FREE copy of the transcript for this episode, visit: http://www.sfgwa.com/blog This Material is Intended for General Public Use. By providing this material, we are not undertaking to provide investment advice for any specific individual or situation, or to otherwise act in a fiduciary capacity. Please contact one of our financial professionals for guidance and information specific to your individual situation. Sound Financial Inc. dba Sound Financial Group is a registered investment adviser.  Information presented is for educational purposes only and does not intend to make an offer or solicitation for the sale or purchase of any specific securities, investments, or investment strategies.  Investments involve risk and, unless otherwise stated, are not guaranteed.  Be sure to first consult with a qualified financial adviser and/or tax professional before implementing any strategy discussed herein. Past performance is not indicative of future performance. Insurance products and services are offered and sold through Sound Financial Inc. dba Sound Financial Group and individually licensed and appointed agents in all appropriate jurisdictions. This podcast is meant for general informational purposes and is not to be construed as tax, legal, or investment advice. You should consult a financial professional regarding your individual situation. Guest speakers are not affiliated with Sound Financial Inc. dba Sound Financial Group unless otherwise stated, and their opinions are their own. Opinions, estimates, forecasts, and statements of financial market trends are based on current market conditions and are subject to change without notice. Past performance is not a guarantee of future results. Each week, the Your Business Your Wealth podcast helps you Design and Build a Good Life™. No one has a Good Life by default, only by design. Visit us here for more details: yourbusinessyourwealth.com

Calixte married to Christopher Thomas Stamp, who discovered and co-managed the Who for 10 years & founded the independent "Track Records" label, Calixte has a private practice in New York City and East Hampton, Long island, USA. Calixte lives and works as a healer. Her mission is to be a vehicle of Love in co-creating conscious awareness.  She is experienced in many fields: therapy, psychodrama, trauma repair, addiction, bereavement, family systems, clinical supervision, energy healing, psychic development, editing, production, coaching and life skills. Calixte is a NY State Licensed Mental Health Counselor, Certified Experiential Therapist, Healing Touch Practitioner and former CASAC, Credentialed Alcoholism and Substance Abuse Counselor. Calixte is a non-denominational Reverend of the order " Sanctuary of the Beloved".She is currently writing a book. She facilitates workshops and also offers private and group consulting/teachings on energy clearing and altar building for homes and offices. Calixte has a partnership in music publishing and film, President of "Gowmonk Inc.", music publishing. President/Owner of "Integrated Healing Inc." and "Green Essence" : Natural Energetic Products with high Frequency therapeutic Grade Essential Oils in partnership with Nancy Depietro, healer and licensed aesthetician. Her beloved husband, Chris Stamp, who is in the realm of Spirit, is the subject of the beautiful film " Lambert & Stamp", distributed by Sony Picture Classics. Chris Stamp and Kit Lambert set out to search for a subject for their underground movie, leading them to discover, mentor, and manage the iconic band known as The Who and create rock 'n' roll history.

1. Tempted - Waterlillies 2. World in My Eyes (Safar Mix) - Depeche Mode 3. Neighbors (Extended Version) - Camouflage 4. So in Love (Brand New Extended Mix) - Orchestral Manoeuvers In The Dark 5. In Love with Love (Razormaid! Mix) - Debbie Harry 6. Always on My Mind / In My House - Pet Shop Boys 7. You Spin Me Round (Murder Mix) - Dead Or Alive 8. Witchcraft (Extended Mix) - Book Of Love 9. Don't Stop (Razormaid! Mix) - The Mood 10. Anvil (Night Club School) - Visage 11. Let's Go to Bed - The Cure 12. The Beach - New Order 13. Chorus (Fishes in the Sea) (Aggressive Trance Mix by Youth) - Erasure 14. Cry Wolf (Extended Mix) - a-ha 15. Hold It (Extended Mix) - Tin Tin   Notes and other random things: I don't know about you, but I've had about enough of the triple digit temperatures. In my part of the world, at least, it's so hot that sweat sweats, stadium vendors are selling "luke warm" dogs and Paris Hilton has changed her catch phrase to "That's cold." And August has just begun! I'm afraid it's going to get a lot worse before it gets better. Thankfully the opposite is true for this podcast. This week, CRC continues its new wave hangover from the previous episode with great old tracks from The Mood, Visage, The Cure and New Order among the selections. The Mood were from York over in the UK. They formed in 1980 and, like so many other groups, members John Moore, Mark James Fordyce, Steve Carter, John Dalby and Eric James Logan met in a local music store they frequented. This particular establishment was called Track Records. As it was with Fad Gadget, Depeche Mode appeared as The Mood's supporting act for several early live gigs. (Funny how DM eventually surpassed so many of the groups for whom they opened.) The song here, Don't Stop, was released in 1982 and peaked at number 59 on the UK singles chart, but did reach the top spot on the UK dance chart, which had recently been introduced. Between their formation and dissolution in 1984, the band released 5 singles, but none did well enough for their label RCA to support a full album, though a 5-track mini-album was released in the US. A deal with EMI never materialized after the group left RCA and they split up in 1984.     OMD have appeared several times before on CRC. Though mostly remembered for If You Leave, their bittersweet contribution to the awesome Pretty in Pink soundtrack, Andy McClusky and Paul Humphries strung together an amazing collection of pop hits throughout the 80s. The song here, So in Love, originally appeared on the Crush album, which was released in 1985. The album was the first that producer extraordinaire Stephen Hague (Pet Shop Boys, New Order and others) produced on his own. Though a little nervous, he and the band got along splendidly. The tracks for the album were recorded at Manor Residential studios in Oxford, an isolated locale which led to "long work days and a heroic amount of drinking," according to Stephen. As for the remix that appears here, Andy said that it "... was recorded with some live drums and most of the other instruments were from the Fairlight CMI sequencer, but all put to tape. Therefore, the 12" was made of a series of dub runs of the multi-track onto two track tape, then all spliced together like the good old analogue days." OMD recently released another studio album and have been touring quite liberally over the past year.  It's not often cover songs show up on this podcast, but in the case of Always on My Mind, I made an exception. Here, the Pet Shop Boys do their thing to Brenda Lee's 1972 country music hit, though Willie Nelson's version from ten years later may be fresher in most minds. Neil Tennant and Chris Lowe released this particular mix of the song in 1988 for their six-song album Introspective. They originally recorded the track for an ITV television special in Britain commemorating the 10-year anniversary of Elvis Presley's death (he covered the song as well). The song was such a sensation that the duo released the track as a single. The version here melds the original track with an acid-house track called In My House, which you will hear in its partiality before giving way to Dead Or Alive. A little trivia: In 2004, The Daily Telegraph slotted PSB's version of Always on My Mind at number two on their list of the 50 greatest cover songs of all time. It is a dandy, indeed.  Speaking of cover tunes, one of Visage's earliest demos was a cover of Zagar and Evans' In the Year 2525, a haunting tune about man's inquisitive, yet self-absorbed and self-destructive nature. Formed by Steve Strange, the ubiquitous club kid, Visage were a distinctive zag(ar?) to the zigging of the post-punk movement going on at the end of the 70s. With ex-Rich Kids members vocalist Midge Ure and Rusty Egan already in tow, Ultravox's Billie Currie and bassist Barry Adamson, guitarist John McGeogh and keyboardist Dave Formula from the band Magazine joined forces with the group and released their first single, Tar - probably not the best choice, but it was material leftover from Strange's time in his previous band The Photons. Still, the difference between making your mark or not in the music biz often boils down to timing and for the next release, the group, now on Polydor instead of the tiny Radar Records, released their most successful song, Fade to Grey. It went on to sell massively throughout Europe and the single jump-started what would become the New Romantic movement. A few other notes: In case you hadn't figured it out, The Beach is more or less the instrumental version of New Order's phenomenal dance track Blue Monday; mad props to the guys at Razormaid! for their absolutely killer mix of Debbie Harry's In Love With Love. My advice after hearing this version? Don't ever think about listening to the original on the Rockbird album - it's completely lifeless by comparison; a couple of episodes ago, you heard Snappy, the b-side to the Chorus single from Erasure. Well, here is the actual single, in a trance remix form you may never have heard before; finally, though it's far from my favorite track by Book of Love, band member Ted Ottaviano provides one of the better quotes you'll hear about a song. He said of Witchcraft, "While writing our second album I came up with this unrequited love song. The recipe is pretty clear: 1 part Greek Mythology, 1 part Nick at Night and a dash of JJ Fad." Good stuff! That's it for this episode. Please support the artists, for they make this all possible. Check back very soon for another new episode and thanks to everyone for listening! Cheers!    

For May's first mix we get back to some techno.Deeper, afterhours techno.Recorded some time after the sun came up on Saturday morning...It's spaced out in parts, dubby in parts, even a bit housey in parts, but it's techno overall!01 Emika - Count Backwards (Marcel Dettmann Vocal Edit) - Ninja Tune02 Marcelus - Phenomena - Deeply Rooted House03 Conforce - Spoiled (XDB Reshape 1) - Clone Basement Series04 Francois X - Firewall - Deeply Rooted House05 Marc Romboy Vs Blake Baxter - Muzik (KINK Remix) - Systematic Recordings06 Norman Nodge - Convergence - MDR07 Rod - Malmok Two - Klockworks08 Francesco Tristano - Idiosynkrasia (Ben Klock Remix) - InFine09 Frozen Border - FB07 B1 - Frozen Border10 Harvey McKay - B Class (Original Mix) - Soma11 DJ Hyperactive - Music Box (Original Mix) - 4 Track Records12 Emika - Count Backwards (Marcel Dettmann Dub) - Ninja Tune13 Kontext - Hometown Swamp - Immense Records14 Miles Sagnia - Reticuli (Original Mix) - Applied Rhythmic Technology15 Moderat - Seamonkey (Ellen Allien Remix) - Bpitch Control16 Dimitri Kneppers - The Kick Off (Orlando Voorn Remix) - Planet E