Mailbag

Subject: RE: Mike Vernon Bob, John Mayall never used my service to find musicians but his wife's all female band "Maggie Mayall and the Cadillacs" used me several times.  Anyway, Sammy, Mayall's 10 year old son, (this was in 2005) was on my kid's Little League baseball team. John would attend most every game in Woodland Hills, always sitting by himself in a fold-up chair he brought, never sitting in the bleachers with the rest of us.  Maybe he thought he would be recognized but I doubt if any of the baseball parents knew who he was.  But I did. Sterling Howard, founder/owner  https://www.MusiciansContact.com  ________________________________________ From: Richard Gottehrer Subject: Re: Mike Vernon Hi Bob He was a producer.... he produced records with Peter Green's Fleetwood Mac and Stan Webb's Chicken Shack (the eventual combination of which formed the basis of the legendary Fleetwood Mac), Savoy Brown, 10 Years After, and "Hocus Pocus" by Focus, the first major hit that Seymour and I released on Sire.  Mike's greatness and contribution to the industry stemmed from his understanding of history and his desire to revive an awareness of the music form that had the greatest impact on contemporary rock music......The Blues.  Mike and his brother Richard started a label called, Blue Horizon to find and record legendary blues artists from an earlier time. Some they found were… Victoria Spivey, Otis Spann, Buhhka White and Chapion Jack Dupree. That’s where we come in.  Mike was making a record with Champion Jack at the Decca Studios in London and  Seymour happened to be there. Jack had been promised $200 for the session and wanted to be paid before recording but Mike didn’t have the cash. Seymour volunteered to pay it and that began our relationship with Mike Vernon.  It led to Sire buying half of Blue Horizon and helping the label become a leader in bringing renewed attention to the blues and developing hits with Fleetwood Mac, Chicken Shack and the solo hit by Christine Perfect, “I’d Rather Go Blind,” originally recorded by Etta James on Chess.  Another interesting memory is when Seymour and I received our revenue share from the success of "Albatross." We bought a small Brownstone on Manhattan's Upper West Side, painted it blue and named it Blue Horizon House. That of course became the office of Sire Records as well. Those were great times. Mike Vernon should be remembered and celebrated but that's generally not how it goes once you're gone. Seymour should also be remembered for the great things he did: not just for the music he brought to us but for his love and understanding of what came before.  Each new generation seems to live in the moment, which is good, but those who remember and understand history and value the past become the Great Producers. Final note:  Blue Horizon still exists as part of Fat Possum Records a great contemporary label that understands history and just happens to be distributed by The Orchard. Richard Gottehrer (Founder), The Orchard ________________________________________ From: Harvey Goldsmith Subject: RE: Re-Donald Tarlton Donald was a friend and colleague. One day I arrived in my office to find a young person sitting at reception. I went to my office and phoned reception to see who this person was. He came into my office and gave me a note:   Dear Harvey, This is Norman please look after him. Donald.   Norman was Norman Perry He lived in my house for 6 months and I taught everything about the business. His brother in-law Riley O Connor arrived and duly did the same. When their visas were up, I went to Donald and Michael Cohl and told them to set up Norman/Riley in Vancouver as they did not have a presence in that city. Riley continues to be a great Canadian Promoter. Norman does merchandising after helping to buy my merchandising company Brockum for Michael.   A fun golfer, a raconteur, but most importantly a brilliant promoter with the best sense of humour. They do not make them like that anymore .He will be sorely missed. ________________________________________ From: Stephen Budd Subject: Re: Mike Vernon Hi Bob, I just wanted to drop you a note after reading your beautiful piece about Mike Vernon. I’ve copied Mike’s two daughters here in case they haven’t seen your piece, I’m sure they’ll really appreciate it. I had the privilege of managing Mike as a record producer for over 15 years in his later career, after being introduced to him by Gus Dudgeon, who was Mike’s engineer in those early Decca Studios days before going on to an extraordinary career himself.  Mike really was an extraordinary music man. His love of the blues, his knack for drawing out such special performances, and his ability to blend those British blues savants with psychedelic-tinged rock — along with the huge respect he commanded from the musicians he worked with, will stay with people for a long time. As a kid, I remember buying Hocus Pocus as a 7”, it was thrilling then, and still is now. Mike also played in (with Pete Wingfield) and produced the UK funk band Olympic Runners, another act I loved as a teen, who had a hit with the theme from The Bitch and several others on both sides of the pond, rare for those days. As Mike once said: “Barry Hammond, the engineer, would always keep a 2-track quarter-inch tape running to catch us jamming between takes,  then we’d use that as the basis for the next track. It was painless; we made album after album that way. It only took a couple of weeks out of the year, and we were selling records. For the first few years the band were completely anonymous, people assumed we were a US act…” On a personal level, he was also one of the easiest clients I’ve ever had, always charming, slightly bashful but fun, thoughtful, and incredibly generous with his time and connections. Only recently he called me about Martha Velez, whom he had worked with back in the 70s, as she needed a bit of guidance. Veléz released her debut on the Sire/Blue Horizon label in 1969. The backing musicians included Eric Clapton, Stan Webb (Chicken Shack), and Paul Kossoff (Free) on guitar; Christine McVie (Fleetwood Mac) on keyboards; Jack Bruce on bass; Mitch Mitchell (The Jimi Hendrix Experience) on drums; and Brian Auger on organ, a line-up that speaks as much to Mike’s pulling power as a producer as it does to Martha’s extraordinary voice. That was very Mike, always looking out for people. He was endlessly enthusiastic about new artists too, particularly those coming from the blues, though as you rightly say, his work reached far beyond that. I was also good friends with Seymour, who used to tell me great stories about those early Blue Horizon days with Mike and Richard, and his sharp focus on what was happening across the UK scene at the time. I’ll leave you with the wonderful Bloodstone in The Midnight Special who Mike also found and produced..  https://www.youtube.com/watch?v=lwgGRHgp4nk Regards Stephen Budd ________________________________________ From: Phil Ernst Subject: Nick Lowe Back in 1983 (? it was a long time ago), I was a newly promoted agent at boutique agency ATI struggling with the demands of booking club shows across my sprawling territory (basically every state east of the Mississippi) with more senior agents impatiently and stridently demanding dates for their baby bands at a pace I was failing miserably to keep up with at a time when the then vibrant club circuit was a viable first step for many artists to launch their careers. We had a fantastic roster of acts I loved and a great team of agents I admired and feared equally but the pace was brutal and I lived an ever increasing spiral of fear (of failure, of not getting the right deals for the acts, of getting screamed at - yet again - by one of my more senior colleagues, on and on). One busy day when I was seriously considering packing it in for a more uh sedate way of making a living (like at the insurance company I’d spent a quiet 10 months at during a gap year I’d had between high school and college), the intercom on my desk spat out the dulcet tones of one of my then biggest tormentors, Marsha Vlasic, demanding I come to her office IMMEDIATELY!!! With the sick feeling in my stomach I’d come to know so well churning to life, I got out from behind my desk and made my way down to her office, fearing another verbal beat down. When I got there I saw she wasn’t alone and was amazed and excited when her guest got up, extended his hand, and said with a smile “Hello, Phil. I’m Nick Lowe”. He went on to tell me that having just concluded his club tour he’d insisted to Marsha that he needed to meet me to THANK ME (!!!) for the hard work I’d done on the shows I’d booked for him and the care I’d exhibited in making sure the venues were appropriate, ticket prices correct, and a great experience was going to be had for Nick and his stellar band (had just seen them at The Ritz and they were fantastic!) every night of the tour. I left Marsha’s office with a new sense of purpose and a belief that maybe I actually COULD do the work after all - Nick Lowe’s kind words and thoughtfulness helped propel me to an amazing 40 year career across many facets of the live touring business. Your story about Nick brilliantly captured many of the elements that made him an important figure back in those days; just wanted to add a bit about him as a caring person. And how about Marsha? A dynamic agent then and still one today and a person I admire and respect for her fierce dedication to her artists and relevance across decades - no easy accomplishment. ________________________________________ From: Paul Flattery Subject: Re: Switchboard Susan Re: Nick Lowe.  Back in the 70s, I was part of the then-fledgling music video scene in England - we called them "pop promos." We didn't have a lot of production money in those days and did a lot of "cheap and cheerfuls" where we rented a studio already equipped with lights and (video)  cameras. We rented them for three hours - 2 hours to "set and light" the artist/band, and then one hour to shoot. Editing (on 2" tape back then) was really expensive, so usually we shot it so that the artist walked away with a finished video of the song. One such video was "Little Hitler" for Nick Lowe. We had done Elvis Costello's "Pump It Up" and "Chelsea" for manager Jake Rivieria and Radar Records, and he asked us to do Nick's follow-up to "I Love the Sound of Breaking Glass." It was a very simple, inconsequential shoot, notable only for the fact that when Nick showed up he thought we were shooting a different song - the title of which escapes me. He was bemused but nonchalantly went through the song a few times on camera. It wasn't a hit and I haven't managed to find the video on the vast internet yet.   ________________________________________ From: Marty Walsh Subject: Re: Summer Breeze Hi Bob so glad to see this newsletter. Seals and Crofts got my career started. I got the road gig in 76 and continuing through 77. Getting that gig said something about your skill set. It gave us musicians who got that gig credibility. I owe Jimmy and Dash a lot. My first A list sessions were an their records. Summer kBreeze? You are right, just a wonderful song and certainly timeless. ________________________________________ From: Donny Kutzbach Subject: Re: Summer Breeze Bob, "Summer Breeze" has transcended generations the old fashioned way: licensing for use in film and TV. Although I knew the song from hearing it on AM and oldies radio in the back seat of my parents' cars during the 70s and 80s, it became especially meaningful to me with its use near the end of Linklater's "Dazed and Confused." My wife and our Gen Z  kids have repeatedly watched the 2015 remake of Vacation and it's part of a pretty fun bit with Chris Hemsworth.  It was (oddly) in last year's Tron: Aries which I did not see coming. It has been used perfectly in Freaks and Geeks, Better Call Saul and a few other significant TV series. ________________________________________ Subject: Re: The Rules Right on, Bob.  My son is a first year law student at a nationally recognized law school.  He shared with me that when he went to his first test, he thought something was wrong because the classroom had so many more empty seats than he was used to. He soon found out that the rest of the class was in another room taking their exam. Right at 40% of his law school class had received an accommodation for extended time on all tests. Good grief. Charles Barber ________________________________________ From: Greg McLoughlin Subject: Re: The Route To Modern Success Good one. For quite some time people were telling me I needed to be putting my stuff on TikTok, but I was really uncomfortable with short form. On my YouTube show, I perform for an hour as if I am on stage and it truly feels like I am inside.  Then one week one of my followers in turkey put a short clip of my YouTube show in her social media story and I messaged her asking how she did that, and she told me she used "screen recording" on her iPHone. Voila, the light went off in my head, and I started clipping out short clips of my livestream and putting out one TikTok Video per day, from my livestreams. In time I realized I needed more visual variety, and somehow I easily got comfortable making regular short form videos. I've stayed consistent with this approach, one video per day, and its actually going great, I've got a small army of supporters growing on the platform. Plenty of hateful comments (which I see a good sign). Anyway, yes, not ignoring the medium anymore.  In fact, its been super fun and rewarding. And last night at an open mic in Western Jersey a young kid approached me and said, "While you were on stage I was saying to myself, where do I know that guy from, and then I was like, he's the one who plays solo bass on TikTok!"  Said a friend sent him a video of mine after seeing me do a show in Asbury Park and he'd been following me since. Yes, a million micro-steps, no one big moment.  But I feel it. LIFER.  Gregory McLoughlin ________________________________________ From: Andre' Cholmondeley Subject: Re: Prairie Prince-This Week's Podcast Fantastic this will be a good one  my good buddy prairie  I toured a lot with Todd last year so I had the pleasure of many fun hangs with PP. What a legend. And a wonderful human being. I’m sure you talked a bunch about him drumming on XTC‘s biggest album skylarking but also on about four other XTC albums/EPs. And of course you know all about his excellent new Colours album Fun facts maybe you covered: He’s an old friend of Al Kooper, who of course produced the first Tubes album The Tubes went to Japan on a ship (!!) around 1971 and were there for a couple months playing every day at the world‘s fair. I mean you can’t make this sh*t up. Prairie was the first DRUMMER in Journey. I’m sure you talked about that. He has a great band called THE MISTAKES with Mike Keneally, Henry Kaiser and Andy West, formerly of the Dixie Dregs He plays on the legendary “my life in the bush of ghosts” by Brian Eno and David Byrne Besides being a brilliant visual artist and set designer, who’s done stuff for Bette Midler,  Vegas shows etc. Thank you Andre´Cholmondeley Tech. Production. Tour Support Pat Metheny World Tour 2025 Todd Rundgren US/EU Tour 2025 ________________________________________ From: Hugo Burnham Subject: Re: The Billy Idol Movie I loved Generation X. Saw them a bunch of times back in the day. Then a few years later, I hooked up with Derwood - first as a drummer with a band that went nowhere, then as the first manager for Westworld. He’s a songwriting genius…wrote ‘Dancing With Myself’…never got the credit. We’re still friends after all these years- he sat in with G4 at Pappy And Harriet’s last summer (he lives out there)….a great moment for us both. But Billy did his thing so well….hooking up with Stevens was a stroke of genius….whoever put that together. We’re still alive. Beating the odds, Baby! H xx ________________________________________ Subject: Re: Ticketmaster/Harry Styles/Scalpers Thanks, Bob. As usual, lots of info that many I know refuse to acknowledge. Give me TM any day of the week. The site works. Yes, there will always be outliers and issues, and they've deployed plenty of sharp elbows over the years (especially when they were private), but overall, they're fine now. Oh no, a judge has decided I've been overcharged a whopping $1.72/ticket. I know something was standing between me and a down payment on a house.... Anyway, wanna talk about AXS/AEG, the conglomerate that arguably stands to gain the most from a TM/LN breakup? I've been tracking the cost of my tickets for years, fees included. In general, AXS fees are higher, not to mention they've played along with some venues that seem to be scamming customers. In 2022, I bought a ticket for a show at Minneapolis's famed First Avenue. AXS insisted on adding a $3 "green fee" to the charge because I asked for a physical ticket, on top of the $10 shipping fee to have the ticket sent via First Class mail. (That's, what, $9 worth of cream?) Fees were almost 40% with that green fee (almost 30% without it) and 80% once you factored in shipping. Where did that green fee go? You tell me! I've searched high & low for any mention of this online. Nothing. Of course, I managed to get a ticket. I've tried to purchase a few hot on-sales on AXS this year. AXS has become borderline unusable for such sales. On a laptop? Sometimes, it thinks I'm a bot. On a cell phone? Sometimes, it thinks I'm a bot. I have to have my laptop and cell phone with me, and the cell phone has to bounce between cell data and wifi data. Usually, one combination or another eventually works. Usually. People who whine about TM and have never used AXS are gonna be in for an extremely rude awakening if TM loses significant market share and AXS picks it up. Oh yeah, and a couple of years ago, SeeTickets/Eventim had two Jack White club shows in Texas go on sale at the same time, around 2 PM on a weekday. The site completely sh*t the bed. I lucked out and somehow managed to get a ticket to my preferred show after 30 minutes of non-stop web site failures, including tickets disappearing from my basket. That's just two club shows! Am I supposed to believe Eventim can handle the next pop tart's stadium mega-tour? They can't even handle a couple of hot club shows! So, yeah, careful what you wish for. You might just get it. Douglas Roark ________________________________________ From: Paul Lohr Subject: RE: I Love You Oh man Bob... this made my day.  I am a REALLY big fan of Climax Blues Band!  Whilst living and going to high school in Southeast Pennsylvania, and on summer break, I went to see Uriah Heep in concert at The Spectrum in Philly in August of 1974.  I had never heard of them, but Climax Blues Band was the opening act (and Manfred Mann's Earth Band was the middle act.)  I was blown away, and went out and bought the double album FM/Live shortly thereafter, from Wonderland Records in Newark Delaware, the go-to vinyl/headshop in the Tri-State area... you know, rows and rows of albums, black light Alice in Wonderland and Jimi Hendrix posters on the wall, and the usual array of bongs and rolling papers in the glass-and-aluminum display cases.  I was probably wearing my David Bowie Diamond Dogs T-shirt that day!  In short order I became a fan of Peter Haycock and his slide guitar playing, and was happy and validated to read of Bonnie Raitt singing his praises. I loved his instrumental "Country Hat" and spent hours in my bedroom wearing out the grooves on the album trying to learn that song!  I think WMMR in Philly was playing selections from other albums, and after pretty much memorizing FM/Live, I eagerly awaited the release of Stamp Album, as it has the studio version of "I Am Constant" on it.  Albums cost about three bucks back then.  I went down the rabbit hole and started looking for their import albums from England, and learned that they were originally known as The Climax Chicago Blues Band, but dropped "Chicago" around 1970.  I quickly got caught up on all the back catalog releases and bought each new album for a while.  1976's Gold Plated is perhaps my favorite album of theirs, as it has that funky vibe to it which really resonates with me.  The cover also featured an image of Haycock playing his custom gold plated Veleno guitar, which I still think is a bad-ass axe!  And despite the band having a "Top 40" hit from that album (which can often tarnish a band's image in the eyes of teenage hipsters,) I continued to turn friends on to them, and bought their subsequent albums until about 1979. (My college years were 1976 - 1980, and that's when I became a Deadhead, and a "taper" and cassette trader, and was fortunate enough to have befriended taper Joani Walker; so I went down another rabbit hole for a while and didn't buy a lot of vinyl then, as I was devouring hours and hours of "Joani Boards.")     "I Love You" is indeed a lovely song, but I preferred the bite and swagger and groove and rock of their more upbeat songs... "Hey Mama" from the "Tightly Knit" album, for example, would often be included in my mix tapes… that bad-ass guitar intro just jumps right out of the speakers and grabs you like an electric fence!  Real to Reel was their last album that I bought, so I only new of “I Love You” from the radio.  And I soon enjoyed the convenience of CDs, despite their lack of warmth, but I didn’t own any Climax Blues Band CDs, and then my vinyl collection got ruined in a flooded basement…  And then along came Spotify, where you can go back down Memory Lane any time that you want.  And I wanted to listen to Gold Plated.  And then FM/Live.  And then Sense of Direction.  And everything else CBB.      I didn’t learn of Haycock’s death until a while after the fact.  Something compelled me to do a search… maybe looking to see if they were going on tour… and I distinctly remember exclaiming out loud “Oh No!”  And my wife saying “What’s wrong??”  And me replying “Peter Haycock is dead!”  And Mary saying “Who is Peter Haycock?!”   Sigh… He died from a heart attack in October of 2013 at the much-too-young age of 62.  Pete’s gone, my vinyl collection is gone, but the music is still “Rollin’ Home.”   https://www.youtube.com/watch?v=rDQQi4rypVY   Sincerely,   Paul   Paul Lohr, Owner/Agent New Frontier Touring ________________________________________ From: Simon Napier-Bell Subject: Re: Mike Vernon Bob - re the Yardbirds. "Over Under Sideways Down" was written by the group and the guitar lick was played by Jeff Beck. It was the lead track from the group's only studio album Roger the Engineer. Jimmy Page didn't join the group till later - the first Yardbirds record he played on - together with Jeff - was "Happenings Ten Years Ago". They also both played on the track featured in Blow-Up. Best SIMON ________________________________________ From: Terry Flood Subject: Donald K Donald Hi Bob After reading the replies to your Donald K Donald Tribute as well as the many others from posts and Entertainment outlets I realized that very few people knew about the early years leading up to Donald success. I think that many of your readers will find it quite interesting how he turned his love of music into a successful world wide career  He did it little investment but with his bigger than life personality,his love of music,,his determination to be successful, and most of all his business genius . ?Donald was born to become a major player in the entertainment business  His love of music, his natural ability to get along with anyone, his salesmanship, his love of the spotlight and the microphone and most of all his genius for the business. As a teenager he took over his best friend’s record hop as a DJ Shortly after he had a weekly radio show where he played the hits of the day. That lasted until the Beatles released their first single "I Want to Hold Your Hand." Donald liked the song so much he played it 14 times in a row which ended his radio DJ career. Donald started booking local bands mostly into high schools  This is where I came into the picture. In 1967 I had started a teenage discotheque. Donald came by to sell me on booking  bands in addition to just playing RnB records. No one can say no to a Donald sales pitch so we now had bands at Snoopy’s discotheque which led to him offering to be a partner in the business. Luckily I agreed to what would become the best business decision I would ever make. I was now in for the ride of my life with Donald K Donald  The next move for Donald was to become a promoter so we put a little money into booking a couple of up and coming British groups into small venues. Then Donald received the break he needed to get into the big time The main promoter for major acts that would fill  the Montreal Forum was Sam Gesser who was used to booking act like Frank Sinatra, etc.However with Rock becoming big business Sam was now promoting acts like Janus Joplin. Donald would often help Sam with the shows and was with him at the side of the stage for her Forum show. During the show Janus came to the side where Donald and Sam were and proceeded to throw up splattering Sam’s nice suit and shoes. Sam turned to Donald and said  "This rock business is not for me please take it over." This was all Donald had to hear. However we didn’t have the kind of money necessary for the big time promoting business. But this was not going to stop Donald  He came up with a genius plan. He would approach the three Molson brothers who owned the Forum and the Canadians and sell them on his plan. Donald would perform the duties of a promoter but instead of just paying a fee for the facility he would partner with the Forum on the show’s profits. The Forum would pay the artist advance and put the advertising on their account. After the show settlement the profits would be split 50/50. This brilliant arrangement along with his genius, his salesmanship, his ability to relate to the artist, their management, the agents, and his devoted staff propelled him to the top of the world wide music business . ________________________________________ From: Lawrence Gowan Re: Donald Tarlton In 1999 when Styx decided to look for a new lead singer a number of people suggested a guy named Gowan who we were not familiar with so of course I called the Master of Canada and friend of mine and Tommy and JY the one and only Donald K Donald. I asked who this Gowan guy was and he said that Gowan was the artist he had put on our sold out arena show in  Montreal. We all remembered adding a solo piano player to the bill and also thinking how will that work to 15,000 rock fans. But we trusted Donald explicitly and of course it worked. Donald told me at the time that he always thought Lawrence should be in a band like Styx and he was right. He just knew what worked and how to connect the dots. The World of Donald K Donald was a wonderful place to be a part of. Donald K. Donald had an amazing gift of foresight. To categorize him simply as a “promoter” would be a terrible understatement. Donald was a master at connecting with people and boosting their careers overnight. We met in 1985. "Larger than life" in every aspect, I remember his big wide grin as he popped champagne corks after a successful show. Donald K significantly helped to catapult the close relationship I’ve enjoyed with the Quebecois audience since the 1980’s. Therefore, true to form, in the late 1990’s DKD was the first in a series of dominoes that lead to my joining Styx. After 12 years of promoting the Gowan shows, one morning in 1997 he called me with a suggestion: "Instead of playing the venue you're booked for in June, I’d like you to open for Styx at the new Montréal Forum." (now known as the Bell Centre) My ego spoke first as I declined, sighting the fact that I was touring entirely solo-piano at the time and also hadn’t “opened" for anyone in Canada since early 1985. He kindly reminded me that the last act he’d had me open for (Supertramp) at the old Forum, lead to my headlining at that venue by the end of ‘85. He said, “Now you've got to play the new building” and added, “This will be good for you". Time and again he showed an uncanny knack for being right.     Merci pour tout, tellement beaucoup, DKD! Gowan ________________________________________ From: oko shio Subject: Re: Re-Donald Tarlton Hi Bob,  Thanks for this and always being around. I am/was Donald’s CFO for all these years. Just an FYI that we have change his www.dkd.com site so people can add their tributes there and family will see them then share with the world.  Again, thanks for these memories.  Those were the days! Thank you! ________________________________________ From: Paul Brammer Subject: Re: Bettye LaVette-This Week's Podcast Ive listened to every episode and this one was maybe the best of the best. And the best part is the last 26 minutes, the after interview conversation. I love when guests don’t let you sign off so quickly. Keep up the good work! Mazel! Paul  ________________________________________ From: John Branca Bob thank you for your column on Michael. Your views are well taken and important. One thing you left out. No one has ever had any evidence that Michael did anything inappropriate, only the allegations of people seeking money. Leaving Neverland was not a documentary, it was a well acted, well choreographed fictional hit piece that has objectively verifiable falsehoods stated by the accusers. And the director Dan Reed never bothered to talk to anybody else because he did not want the truth he wanted his 15 minutes. Unlike Harvey Weinstein or Robert Kelly or many others, there were not dozens of accusers and there are no videos or documentary evidence. Those of us who knew Michael know he was incapable of committing the acts these people accuse him of. The laws of defamation do not protect the deceased, and the current accusers defended him throughout his lifetime, they only changed the story when it was safe to do so in an attempt to collect money. -- Visit the archive: http://lefsetz.com/wordpress/ -- Listen to the podcast: -iHeart: https://ihr.fm/2Gi5PFj -Apple: https://apple.co/2ndmpvp -- http://www.twitter.com/lefsetz -- If you would like to subscribe to the LefsetzLetter, http://www.lefsetz.com/lists/?p=subscribe&id=1 If you do not want to receive any more LefsetzLetters, http://lefsetz.com/lists/?p=unsubscribe&uid=0eecea7b60b461717065cbde887c8e25 To change your email address http://lefsetz.com/lists/?p=preferences&uid=0eecea7b60b461717065cbde887c8e25