Podcasts about Abbie Hoffman

HUAC's continued targeting of activists spread to Jewish Americans and others at the forefront of the anti-Vietnam War movement. In 1967 - a year that would become one of the deadliest for U.S. military casualties as more than 11,000 American soldiers perished - counterculture activists Abbie Hoffman and Jerry Rubin were among those subpoenaed. In response, Hoffman and Rubin were openly defiant, and their highly visible antics, which included arriving dressed in outrageous costumes and waving toy guns, helped to further erode the public's trust in the committee. Narrated by Rebecca Naomi Jones and featuring Gemma R. Birnbaum, executive director of the American Jewish Historical Society. Episode Image: Yippie activists Abbie Hoffman (left) and Jerry Rubin arrive at the House Un-American Activities Committee (HUAC) hearing October 1, 1968 investigating the clashes at the 1968 Democratic Convention. Photograph by Joseph Silverman. The image is courtesy of the D.C. Public Library Washington Star Collection © Washington Post. The Wreckage is made possible by funding from the Ford Foundation. Additional funding is provided through the American Jewish Education Program, generously supported by Sid and Ruth Lapidus.

Andrew For America opens the show with a clip of 60's activist Abbie Hoffman talking about how education has to be subversive and rebellious in order for people to truly learn anything in this world. Andrew talks about our public education system model and how other models, if implemented, would be more effective and would transform the country for the better. Andrew also talks about what punk rock means to him, how capitalism is still the biggest scapegoat ever because people don't truly understand it, and Andrew shares a post by Joel Rafidi discussing the capitalism vs. socialism argument. Andrew also plays a clip from "Fresh and Fit" podcast host Myron Gaines talking about how feminism is destroying the west, how MAGA has been infiltrated by “tech bros,” and how Zionists control our government! If we are going to save this country people...you've got to rebel!The song selection is the song, "Inside Every Cynic is a Disappointed Idealist" by the band Samuel Caldwell's Revenge.Visit allegedlyrecords.com and check out all of the amazing punk rock artists!Visit soundcloud.com/andrewforamerica1984 to check out Andrew's music!Like and Follow The Politics & Punk Rock Podcast PLAYLIST on Spotify!!!Check it out here: https://open.spotify.com/playlist/1Y4rumioeqvHfaUgRnRxsy...politicsandpunkrockpodcast.comhttps://linktr.ee/andrewforamericaWatch and learn about these awesome offers for your survival needs from former Afghanistan war veteran, police officer, and citizen journalist, Mr. Teddy Daniels:Operation Blackout Survival Guide: ⁠⁠⁠⁠https://internalblackout.com/?a=683&c=434&s1=⁠⁠⁠⁠Famine Fighter Survival Food Supply: ⁠⁠⁠⁠https://foodforthesoul.co/?a=683&c=407&s1=⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠FinalFamine Survival Food Growing Book: ⁠⁠⁠⁠https://finalfoodprepper.com/?a=683&c=433&s1=⁠⁠⁠⁠Devils Dollar Currency Survival Book: ⁠⁠⁠⁠https://dbhtrkg.com/?a=683&c=468&s1=⁠

Nancy Cohen is a “multi-un-disciplinary” filmmaker, artist, and activist. Her candid documentary, My Dinner with Abbie, was filmed with Abbie Hoffman at Sarge's Deli in Manhattan in 1987. She is currently in post-production on a film about love, obsession, and John Lennon. Co-hosts: Jonathan Friedmann & Joey Angel-Field Producer-engineer: Mike Tomren Nancy's IMDbhttps://www.imdb.com/name/nm0169642/?ref_=tt_cst_dr_1 My Dinner with Abbie – previewhttps://www.youtube.com/watch?v=giQ_g__C8uw Amusing Jews Merch Storehttps://www.amusingjews.com/merch#!/ Subscribe to the Amusing Jews podcasthttps://www.spreaker.com/show/amusing-jews Adat Chaverim – Congregation for Humanistic Judaism, Los Angeleshttps://www.humanisticjudaismla.org/ Jewish Museum of the American Westhttps://www.jmaw.org/ Atheists United Studioshttps://www.atheistsunited.org/au-studios

The Adams County Historical Society has recently announced it has assumed ownership and management of the iconic Shriver House Museum, located in downtown Gettysburg. Abbie Hoffman is the new Director of the Shriver House Museum and believes that this will help to tell the story from a civilian perspective of life during the Civil War era. “The Shriver House Museum is dedicated to telling the civilian experience during the Battle of Gettysburg. And what the beauty of the museum is that we take visitors behind the scenes to take them into a home with the family behind the lines during the battle. And we help them view the battle from 1863 through the eyes of just one common family. So, it's kind of a chance for visitors to see things behind the scenes and walk as if a family would have walked. Del and Nancie Gudmestad were the previous owners of the museum. Their journey began in 1984 when they moved to Gettysburg and opened its first Bed-and-Breakfast, the Old Appleford Inn. Realizing the lack of focus on the town’s 2,400 civilians during the battle, they sold the inn and pursued their dream of telling these stories. In 1996, they purchased the long-abandoned Shriver House and painstakingly restored it to its Civil War appearance. According to Abbie, the Adams County Historical Society did not have much of a downtown Gettysburg presence. So, when they were approached by the Gudmestads about taking over, it was an opportunity they could not refuse. “Having a downtown location was of huge interest to us beyond the fact of having this museum which fit perfectly into our mission and things that we're trying to continue on with. So, it was honestly, it was a perfect fit into what we were looking forward to. We weren't really expecting it, but at the same time we were very, very interested and happy to kind of see how that might fit into our plans of expansion over the historical society.” The Shriver House Museum will reopen on March 1, 2025. Support WITF: https://www.witf.org/support/give-now/See omnystudio.com/listener for privacy information.

Welcome to 2025, changelings and changelants! We said that Winterregnum was going to be our hibernation season... but truth be told, there are too many things to do and not enough time to do them, so yes, we're going to continue to put some content out for the coming weeks. The Season proper will launch in February as usual. Whether the episode numbering will tick up to 101 in this intercalary period remains to be seen, but for this week, at least, we'll keep with the convention for giving fractional numbers to minisodes. This time around, Pooka has a chat with Bloodied Porcelain about Hallowed Haven Studios about their upcoming Changeling: the Dreaming actual play, "District of Dreams"! The first live episode will launch on Friday the 10th, so we hope you'll be able to tune in... but if not, audio recordings will be available thereafter on their website and on podcast platforms near you. For more information and other ancillary material—teasers, prologues, etc.—check out the various HHS places around the interwebs: Website: https://hallowedhavenstudios.com/ District of Dreams home page: https://hallowedhavenstudios.com/district-of-dreams/ Hallowed Haven on Twitch (for watching live): https://twitch.tv/hallowedhavenstudios Hallowed Haven on YouTube (for post-viewing): https://www.youtube.com/@hallowedhavenstudios Hallowed Haven on Discord (for community chatting): https://discord.gg/hallowedhaven Their Patreon: https://www.patreon.com/hallowedhavenstudios And our own interweb scramblings can be found at: Discord: https://discord.me/ctp Email: podcast@changelingthepodcast.com Facebook: https://www.facebook.com/profile.php?id=100082973960699 Mastodon: https://dice.camp/@ChangelingPod Patreon: https://www.patreon.com/changelingthepodcast YouTube: https://www.youtube.com/@ChangelingThePodcast your host Pooka G (any pronoun/they) lived in DC for a while, but had to go to Virginia just to find green hair dye, because DC was that kind of town. You measure democracy by the freedom it gives its dissidents, not the freedom it gives its assimilated conformists. —Abbie Hoffman

Artificial intelligence is an actively surging field in today's digital landscape, and as each new AI interface reaches the public it throws into sharper resolution that all the big tech players are getting involved. And quickly. But where are the roots of this rapidly expanding industry's interests? How does AI impact individuals, established industries, and the future of our society if it continues to grow faster than it is critically examined? In his newest book Taming Silicon Valley: How We Can Ensure That AI Works For Us, author and scientist Gary F. Marcus uses his expertise in the field to help readers understand the realities, risks, and responsibilities the public faces as AI gains widespread traction. Taming Silicon Valley aims to compare and critique the potential futures that AI– alongside Big Tech strategies and governmental involvement– could present to our world. Marcus asserts that if used and regulated properly, there are openings for huge advancements in science, medicine, technology, and public prosperity. On the opposite side of the spectrum, there lie vulnerabilities to abuses of power, a lack of effective policy, and dwindling protections for intellectual property and fair democracy. Marcus emphasizes that AI is meant to be a tool, not an unchecked entity and that it is up to the public to choose how it is allowed to shape the paths ahead. His work sets out to provide context to how AI has gotten to its current state, guidance towards understanding what coherent AI policy should look like in the future, and a call to action in pushing for what is needed in real-time. In the tradition of Abbie Hoffman's Steal This Book and Thomas Paine's Common Sense, Taming Silicon Valley urges readers towards awareness, analysis, and activism in this pivotal time of new AI integration. Gary F. Marcus is an author, psychologist, scientist, and prominent voice in the field of artificial intelligence. He is Professor Emeritus of Neural Science and Psychology at NYU and was the founder and original CEO of Geometric.AI. His previous publications include Guitar Zero, Kluge, and Rebooting AI: Building Artificial Intelligence We Can Trust. Ted Chiang is an award-winning science fiction author. His publications include Tower of Babylon, Exhalation: Stories, and Stories of Your Life and Others, which has been translated into twenty-one languages. He is a frequent contributor to The New Yorker, particularly of non-fiction related to the intersections of art and technology. Buy the Book Taming Silicon Valley: How We Can Ensure That AI Works for Us Third Place Books

Send us a textFairfax criminal and DWI lawyer Jonathan Katz heard Abbie Hoffman's lawyer Gerald Lefcourt speak in 1991 about how Abbie had asked Gerry to keep Hoffman out of jail so that he could keep pursuing his agenda. At that moment, Jon wondered whether he had missed the boat on the days of defending activists. Nine years later, Jon teamed with Ramsey Clark to defend the Plowshares 4 at their 2000 criminal jury trial following their action against depleted uranium, and Ramsey mentioned there being plenty of interesting activists to defend when doing so for free. Thanks to Plowshares and Catholic Worker activist Mark Colville of the Amistad Catholic Worker in New Haven for joining Jon in talking about his three Plowshares actions and resulting jury trials for two of them, and his Catholic Worker activities, including with Rosette Village. Plowshares actions include admitting the defendants' actions, while arguing that the action should not be convicted any more than Underground Railroad activists should have been convicted. Mark presents great ideas for beating the prosecution through such approaches as keeping our eyes on the prize of winning no matter the seeming and actual hurdles along the way, pushing the envelope of advocacy as necessary, and working in community / teamwork. Jon recommends donating to the Amistad Catholic Worker or any other Catholic Worker community, and/or the Rosette Village, helping homeless people.  This podcast with Fairfax, Virginia criminal / DUI lawyer Jon Katz is playable on all devices at podcast.BeatTheProsecution.com. For more information, visit https://BeatTheProsecution.com or contact us at info@BeatTheProsecution.com, 703-383-1100 (calling), or 571-406-7268 (text). Hear our prior podcasts, at https://podcast.BeatTheProsecution.com/If you like what you hear on our Beat the Prosecution podcast, please take a moment to post a review at our Apple podcasts page (with stars only, or else also with a comment) at https://podcasts.apple.com/us/podcast/beat-the-prosecution/id1721413675

"Out demons out!" On October 21, 1967, poet, activist, singer and DIY publisher Ed Sanders led an exorcism of the Pentagon in USA's capital city to protest the disaster in Vietnam. Coincidentally on the same day 57 years later, Ed Sanders talks to Marc Eliot Stein from his home in Woodstock about nuclear madness, the deep state, the disasters in Ukraine and Gaza, the absurdities of USA's looming Harris vs. Trump election, and the antiwar inspiration of Allen Ginsberg, Dorothy Day, Phil Ochs, Abbie Hoffman, Lawrence Ferlinghetti and Gregory Corso. Music: "Dover Beach" by the Fugs.

In the shadow of recent turmoil, Join the Conspiracy: How a Brooklyn Eccentric Got Lost on the Right, Infiltrated the Left and Brought Down the Biggest Bombing Network in New York (Fordham University Press, 2024) transports readers to a pivotal moment of division and dissent in American history: the late 1960s. Against the backdrop of the Vietnam War and a nation grappling with internal conflict, this compelling narrative follows the life of George Demmerle, a factory worker whose political odyssey encapsulates the era's tumultuous spirit. From his roots as a concerned citizen wary of his country's leftward tilt, Demmerle's journey takes a dramatic turn as he delves into the heart of radical activism. Participating in iconic protests from the March on Washington to the Democratic National Convention in Chicago, Demmerle's story is a whirlwind of political fervor, embodying the struggle against what was perceived as imperialist war and racial injustice. His transformation is marked by alliances with key figures of the time, including Abbie Hoffman and an eventual leadership role within an East Coast Black Panther affiliate. Yet, beneath his radical veneer lies a secret: Demmerle is an FBI informant. Join the Conspiracy reveals Demmerle's complex role in a society at war with itself, where his deepening involvement with the radical left and a bombing collective forces him to confront his loyalties. The narrative, enriched by a rare trove of period documents, candid photos taken from inside the radical movement, and underground art – more than a hundred of which are included in the book – not only charts Demmerle's saga but also reflects the broader story of a nation struggling to find its moral compass amidst chaos. As Demmerle navigates the dangerous waters of political extremism, readers are invited to ponder the price of ideology, the nature of loyalty, and the fine line between activism and betrayal. This book is not just a recounting of historical events but a vibrant portrait of a man and a movement that sought to reshape America. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In the shadow of recent turmoil, Join the Conspiracy: How a Brooklyn Eccentric Got Lost on the Right, Infiltrated the Left and Brought Down the Biggest Bombing Network in New York (Fordham University Press, 2024) transports readers to a pivotal moment of division and dissent in American history: the late 1960s. Against the backdrop of the Vietnam War and a nation grappling with internal conflict, this compelling narrative follows the life of George Demmerle, a factory worker whose political odyssey encapsulates the era's tumultuous spirit. From his roots as a concerned citizen wary of his country's leftward tilt, Demmerle's journey takes a dramatic turn as he delves into the heart of radical activism. Participating in iconic protests from the March on Washington to the Democratic National Convention in Chicago, Demmerle's story is a whirlwind of political fervor, embodying the struggle against what was perceived as imperialist war and racial injustice. His transformation is marked by alliances with key figures of the time, including Abbie Hoffman and an eventual leadership role within an East Coast Black Panther affiliate. Yet, beneath his radical veneer lies a secret: Demmerle is an FBI informant. Join the Conspiracy reveals Demmerle's complex role in a society at war with itself, where his deepening involvement with the radical left and a bombing collective forces him to confront his loyalties. The narrative, enriched by a rare trove of period documents, candid photos taken from inside the radical movement, and underground art – more than a hundred of which are included in the book – not only charts Demmerle's saga but also reflects the broader story of a nation struggling to find its moral compass amidst chaos. As Demmerle navigates the dangerous waters of political extremism, readers are invited to ponder the price of ideology, the nature of loyalty, and the fine line between activism and betrayal. This book is not just a recounting of historical events but a vibrant portrait of a man and a movement that sought to reshape America. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In the shadow of recent turmoil, Join the Conspiracy: How a Brooklyn Eccentric Got Lost on the Right, Infiltrated the Left and Brought Down the Biggest Bombing Network in New York (Fordham University Press, 2024) transports readers to a pivotal moment of division and dissent in American history: the late 1960s. Against the backdrop of the Vietnam War and a nation grappling with internal conflict, this compelling narrative follows the life of George Demmerle, a factory worker whose political odyssey encapsulates the era's tumultuous spirit. From his roots as a concerned citizen wary of his country's leftward tilt, Demmerle's journey takes a dramatic turn as he delves into the heart of radical activism. Participating in iconic protests from the March on Washington to the Democratic National Convention in Chicago, Demmerle's story is a whirlwind of political fervor, embodying the struggle against what was perceived as imperialist war and racial injustice. His transformation is marked by alliances with key figures of the time, including Abbie Hoffman and an eventual leadership role within an East Coast Black Panther affiliate. Yet, beneath his radical veneer lies a secret: Demmerle is an FBI informant. Join the Conspiracy reveals Demmerle's complex role in a society at war with itself, where his deepening involvement with the radical left and a bombing collective forces him to confront his loyalties. The narrative, enriched by a rare trove of period documents, candid photos taken from inside the radical movement, and underground art – more than a hundred of which are included in the book – not only charts Demmerle's saga but also reflects the broader story of a nation struggling to find its moral compass amidst chaos. As Demmerle navigates the dangerous waters of political extremism, readers are invited to ponder the price of ideology, the nature of loyalty, and the fine line between activism and betrayal. This book is not just a recounting of historical events but a vibrant portrait of a man and a movement that sought to reshape America. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

In the shadow of recent turmoil, Join the Conspiracy: How a Brooklyn Eccentric Got Lost on the Right, Infiltrated the Left and Brought Down the Biggest Bombing Network in New York (Fordham University Press, 2024) transports readers to a pivotal moment of division and dissent in American history: the late 1960s. Against the backdrop of the Vietnam War and a nation grappling with internal conflict, this compelling narrative follows the life of George Demmerle, a factory worker whose political odyssey encapsulates the era's tumultuous spirit. From his roots as a concerned citizen wary of his country's leftward tilt, Demmerle's journey takes a dramatic turn as he delves into the heart of radical activism. Participating in iconic protests from the March on Washington to the Democratic National Convention in Chicago, Demmerle's story is a whirlwind of political fervor, embodying the struggle against what was perceived as imperialist war and racial injustice. His transformation is marked by alliances with key figures of the time, including Abbie Hoffman and an eventual leadership role within an East Coast Black Panther affiliate. Yet, beneath his radical veneer lies a secret: Demmerle is an FBI informant. Join the Conspiracy reveals Demmerle's complex role in a society at war with itself, where his deepening involvement with the radical left and a bombing collective forces him to confront his loyalties. The narrative, enriched by a rare trove of period documents, candid photos taken from inside the radical movement, and underground art – more than a hundred of which are included in the book – not only charts Demmerle's saga but also reflects the broader story of a nation struggling to find its moral compass amidst chaos. As Demmerle navigates the dangerous waters of political extremism, readers are invited to ponder the price of ideology, the nature of loyalty, and the fine line between activism and betrayal. This book is not just a recounting of historical events but a vibrant portrait of a man and a movement that sought to reshape America. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/national-security

In the shadow of recent turmoil, Join the Conspiracy: How a Brooklyn Eccentric Got Lost on the Right, Infiltrated the Left and Brought Down the Biggest Bombing Network in New York (Fordham University Press, 2024) transports readers to a pivotal moment of division and dissent in American history: the late 1960s. Against the backdrop of the Vietnam War and a nation grappling with internal conflict, this compelling narrative follows the life of George Demmerle, a factory worker whose political odyssey encapsulates the era's tumultuous spirit. From his roots as a concerned citizen wary of his country's leftward tilt, Demmerle's journey takes a dramatic turn as he delves into the heart of radical activism. Participating in iconic protests from the March on Washington to the Democratic National Convention in Chicago, Demmerle's story is a whirlwind of political fervor, embodying the struggle against what was perceived as imperialist war and racial injustice. His transformation is marked by alliances with key figures of the time, including Abbie Hoffman and an eventual leadership role within an East Coast Black Panther affiliate. Yet, beneath his radical veneer lies a secret: Demmerle is an FBI informant. Join the Conspiracy reveals Demmerle's complex role in a society at war with itself, where his deepening involvement with the radical left and a bombing collective forces him to confront his loyalties. The narrative, enriched by a rare trove of period documents, candid photos taken from inside the radical movement, and underground art – more than a hundred of which are included in the book – not only charts Demmerle's saga but also reflects the broader story of a nation struggling to find its moral compass amidst chaos. As Demmerle navigates the dangerous waters of political extremism, readers are invited to ponder the price of ideology, the nature of loyalty, and the fine line between activism and betrayal. This book is not just a recounting of historical events but a vibrant portrait of a man and a movement that sought to reshape America. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this special Labor Day edition of RealClearPolitics, Andrew Walworth interviews presidential historian Tevi Troy on his new book, “The Power and the Money,” about the changing relationship between leading corporate CEOs and American presidents. Then, Tom Bevan interviews Andrew Parasiliti from Al-Monitor about the future of the Middle East and America's policy options in the region. Next, Carl Cannon talks to former Congressman Patrick J. Kennedy (D. RI) about his efforts to help American families deal with addiction to prescription medication. And finally, RCP contributor Charlie Stone interviews retired journalist Frank Beaman about his experience covering the 1968 Democratic Convention in Chicago, including his encounter with Abbie Hoffman and the Yippies.

In the shadow of recent turmoil, Join the Conspiracy: How a Brooklyn Eccentric Got Lost on the Right, Infiltrated the Left and Brought Down the Biggest Bombing Network in New York (Fordham University Press, 2024) transports readers to a pivotal moment of division and dissent in American history: the late 1960s. Against the backdrop of the Vietnam War and a nation grappling with internal conflict, this compelling narrative follows the life of George Demmerle, a factory worker whose political odyssey encapsulates the era's tumultuous spirit. From his roots as a concerned citizen wary of his country's leftward tilt, Demmerle's journey takes a dramatic turn as he delves into the heart of radical activism. Participating in iconic protests from the March on Washington to the Democratic National Convention in Chicago, Demmerle's story is a whirlwind of political fervor, embodying the struggle against what was perceived as imperialist war and racial injustice. His transformation is marked by alliances with key figures of the time, including Abbie Hoffman and an eventual leadership role within an East Coast Black Panther affiliate. Yet, beneath his radical veneer lies a secret: Demmerle is an FBI informant. Join the Conspiracy reveals Demmerle's complex role in a society at war with itself, where his deepening involvement with the radical left and a bombing collective forces him to confront his loyalties. The narrative, enriched by a rare trove of period documents, candid photos taken from inside the radical movement, and underground art – more than a hundred of which are included in the book – not only charts Demmerle's saga but also reflects the broader story of a nation struggling to find its moral compass amidst chaos. As Demmerle navigates the dangerous waters of political extremism, readers are invited to ponder the price of ideology, the nature of loyalty, and the fine line between activism and betrayal. This book is not just a recounting of historical events but a vibrant portrait of a man and a movement that sought to reshape America. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Pete Townshend intended the fifth studio album from The Who to be a science fiction rock opera called “Lifehouse,” as a follow up to the rock opera “Tommy” released in 1969.  After conflicts with their band manager and issues just managing the complexity of what Townshend envisioned the project to be, the rock opera was shelved, and the follow-up was made into a more traditional album entitled Who's Next.The group began recording the album at Rolling Stones frontman Mick Jagger's house, using the Stones' mobile recording studio, then moved to a more traditional studio in London.  Most of the album is made up of songs originally intended for the Lifehouse project.  Who's Next would see the Who make significant use of synthesizers and other keyboard sounds on this album, making the synthesizers a more integrated part of the songs than on previous albums.  Drummer Keith Moon's style was also more formalized than before, and the overall album was focused on a good sound where previous albums were perhaps tilted toward a sonic projection of the image of the band.Who's Next would contain some of the most iconic songs that the band produced, and retrospectively is considered by many to be the best album The Who ever produced.  The album would reach number 1 on the UK charts, and number 4 on the US charts.Rob brings us this iconic album for today's podcast, and friend of the show Mike Fernandes sits in for Bruce this week.MobileThis lighter song is a celebration of life on the open road.  Roger Daltrey steps aside as Pete Townshend takes over lead vocal duties.  Daltrey actually was not present at the recording of this song, leaving Keith Moon (drums), John Entwistle (bass), and Townshend (vocals, guitar, keyboards) to record it as a power trio.A BargainOften misconstrued as a love song to a woman, this track actually is about a relationship with God.  It contends that sacrificing everything for a relationship with God is not a sacrifice at all, but a bargain.  Much of Pete Townshend's work is inspired by eastern mysticism.Won't Get Fooled AgainThe last track on the album is an 8 1/2-minute epic.  It was originally intended as a closing number to the "Lifehouse" rock opera.  The lyrics offer a critique of both government and revolutionary change, summarized in the phrase "Meet the new boss, same as the old boss."  Townshend was inspired to write this song after chasing Abbie Hoffman off the stage at Woodstock.Baba O'Riley The title of the lead track to the album is a combination of two of Townshend's mentors, Indian spiritualist Meher Baba and American Composer Terry Riley.  The repeated phrase "teenage wasteland" was inspired by Townshend's observations of youths at Woodstock strung out on acid. ENTERTAINMENT TRACK:The Beat Goes On by Sonny & Cher (from the television variety show “Sonny and Cher Comedy Hour”)The singing duo Sonny and Cher started this sketch comedy and music show in 1971.  It would run for 3 years until their divorce. STAFF PICKS:Sweet City Woman by The StampedersWayne brings us a banjo-laden hit from a Canadian trio.  The lyrics were inspired by an encounter with a girl with wild eyes who came from the prairie to start life in the big city.  It hit number 8 on the US charts and number 1 in Canada.  It also won a number of Juno awards in 1972.  You may remember it from an episode of "Better Call Saul."Take Me Home, Country Roads by John DenverLynch keeps the banjo hits coming with a signature song from John Denver.  It went to number 2 on the Billboard Hot 100, and would become one of four official state songs for West Virginia.  Denver recorded this song in only two hours.Nobody by the Doobie Brothers Mike brings us a lost song from the first album by the Doobie Brothers.  Neither this song nor the album charted when it was released, but it displays a number of riffs and styles which would become staples of Doobie Brothers songs.  It was re-released in 1974 after the group had achieved success, and it reached number 58 on the Billboard Hot 100.Maggie May by Rod Stewart Rob closes out the staff picks with a hit single off Stewart's third solo album "Every Picture Tells a Story."  The lyrics describe the contradictory feelings of a boy in a relationship with an older woman.  The inspiration was a true encounter Stewart had with a woman at the 1961 Beaulieu Jazz Festival.  The song went to number 1 in Australia, the US, the UK, and Canada. INSTRUMENTAL TRACK:Orchid by Black SabbathWe close out with a surprisingly soft instrumental from an ordinarily more heavy hitting band. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Pat Thomas in conversation with David Eastaugh https://allenginsberg.org/2023/11/w-n-29-2/ https://www.amazon.co.uk/Material-Wealth-Personal-Archive-Ginsberg/dp/1648230369 There are hundreds of thousands of items carefully stored and archived at Stanford University's Allen Ginsberg collection. Counterculture historian Pat Thomas, with the full cooperation of the Allen Ginsberg Estate's Peter Hale, has compiled and annotated a remarkable volume of material, unearthing in the process one astounding find after another. The result is a tome of previously unpublished historical paperwork and vintage graphics and photographs and ephemera that promises an unprecedented look inside one of the most prolific poets and agitators of cultural mores of the 20th century. A poster for Patti Smith's first-ever poetry reading. Correspondence from Allen's stint as literary agent for William S. Burroughs and Herbert Huncke. Yippie manifestos from Jerry Rubin, Abbie Hoffman, and John Sinclair of the MC5. A ticket for a 1974 concert by Bob Dylan & The Band (with Yoko Ono's phone number scribbled on the back). Posters documenting early Beat Generation readings in 1950s San Francisco as well as later ones capturing the 1960s Haight-Ashbury Hippie era. 

TVC 640.1: Ed welcomes Josh Mills, son of Edie Adams and the curator of the estates of Ernie Kovacs and Edie Adams, and author Pat Thomas (Invitation to Openness: the Jazz & Soul Photography of Les McCann, Material Wealth: Mining the Personal Archive of Allen Ginsberg, Did It! Jerry Rubin: An American Revolutionary). Josh and Pat are two of the co-authors, along with Ben Model, of Ernie in Kovacsland: Writings, Drawings, and Photographs from Television's Original Genius, a marvelously conceived, non-linear book that gives readers a true glimpse into the mind of Ernie Kovacs. Topics this segment include how, in many ways, Ernie in Kovacsland is an outgrowth of Edie's tireless preservation of all things Ernie Kovacs; how she recognized that Ernie was doing something special before anyone else did; and how Kovacs' influence extends to such counter-cultural figures as Abbie Hoffman, Jerry Rubin, Alice Cooper, and the original writers and performers of Saturday Night Live. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit podcastchoices.com/adchoices

Ben Morea, Black Mask, Up Against the Wall Motherfuckers, the STP Family, STP, LSD, anarchism, 1960s counterculture, Affinity Groups, the Living Theater, Julian Beck, Judith Malina, Mary Pinochet Meyer, Timothy Leary, Kennedy White House, Ford Foundation. Ram Das/Richard Alpert, Woodstock, Abbie Hoffman, Chicago 7, Yippies, Situationist International, Weather Underground, Students for a Democratic Society (SDS), Andy Warhol, The Factory, Ray Johnson, Valerie Solanas, Allan Van Newkirk, Olympic Press, High Times, Dick Motherfucker, Richard Lynch, Tierra Amarilla, Reies Tijerina, Dan Georgakas, Andrei Codrescu, Jim Dunnigan, Marion Zimmer Bradley, CIA, Black Panthers, White Panthers, Patty HearstMusic by: Keith Allen Dennishttps://keithallendennis.bandcamp.com/Additional Music by: ilsahttps://ilsa.bandcamp.com/album/preyer Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Thomas Ian Nicholas Actor and Musician | How to Parlay a Film and TV Career into a Full Life Thomas Nicholas, a long time member of the Screen Actor's Guild and ASCAP, recently joined the Producers Guild of America while producing and acting in his recent film for Lionsgate, Adverse, a Neo-noir suspense/drama. It was released to theaters on February 12th, 2021. It features a large ensemble cast that includes Academy Award® Nominee Mickey Rourke, Academy Award® Nominee Sean Astin, Golden Globe® Nominee Lou Diamond Phillips, Golden Globe® Nominee Penelope Ann Miller, Matt Ryan, Andrew Keegan, Luke Edwards, Shelley Regner and more. In 2018, he produced and starred in, Living Among Us, opposite William Saddler and the late Primetime Emmy® Nominee John Heard which was released by Vision Films, Sony Pictures Home Entertainment (US) and FOX (Asia). Thomas began his acting career on Who's the Boss? playing a young Tony Danza. At age 12, Nicholas embarked on a series of feature films that would shape his young adult career, including Rookie of the Year and A Kid in King Arthur's Court. By 18 he had recurring roles on hit TV shows like Party of Five and the role of "Kevin Myers" in the extremely successful American Pie franchise. Nicholas began to focus on dramatic roles including the Roger Avary-directed, The Rules of Attraction with Faye Dunaway, Jessica Biel and Stealing Sinatra, opposite William H. Macy. In 2009, he landed other exciting roles as a rookie cop in the drama, Life is Hot in Cracktown with Lara Flynn Boyle. He portrayed Abbie Hoffman in the film entitled, The Chicago 8. And as the role of Eugene in Nicole Holofcener's, Please Give, opposite Rebecca Hall and Catherine Keener, in which he and the cast won the 2011 Indie Spirit Robert Altman Award. Recent releases include, Walt Before Mickey, where Nicholas portrays a young Walt Disney during the struggles of his early life and career. He was also a series regular on Steven Spielberg's TV drama series entitled, Red Band Society. Thomas is currently developing a slate of films with his production company. Connect with us on our website for more amazing conversations! www.brettallanshow.com Got some feedback? Let us know! openmicguest@gmail.com Follow us on social media! IG / brettallanshow FB / thebrettallanshow Twitter / brettallanshow Consider giving us a kind rating and review on Apple Podcasts! https://podcasts.apple.com/us/podcast... Learn more about your ad choices. Visit megaphone.fm/adchoices

Explore the gripping events of the Trial of the Chicago 7, where prominent activist leaders faced prison time under a new federal anti-riot law. This trial followed the violent clashes between anti-war demonstrators and police at the 1968 Democratic National Convention. Discover who the Chicago 7 were, including key figures like Abbie Hoffman, Jerry Rubin, Thomas Hayden, Rennie Davis, David Dellinger, Lee Weiner, John Froines, and Bobby Seale, and learn about their respective movements and roles in this historical event. #TrialoftheChicago7 #1968DemocraticNationalConvention #anti-wardemonstrators #federalanti-riotlaw #AbbieHoffman #JerryRubin #YouthInternationalParty #Yippies #ThomasHayden #RennieDavis #StudentsforaDemocraticSociety #DavidDellinger #NationalMobilizationCommittee #VietnamWar #LeeWeiner #JohnFroines #BobbySeale #BlackPanthers #WeirdHistory Learn more about your ad choices. Visit podcastchoices.com/adchoices

Marvin Gaye. Jimi Hendrix. The Beatles. John Denver. The Monkees. All successful musical acts… with FBI files. In this week's episode of Late Edition: Crime Beat Chronicles, the Tulsa World's Randy Krehbil joins show producer/editor Ambre Moton to take a look at how the city of Tulsa was central to The Monkees hitting the FBI's radar as persons of interest. Episode transcript Note: The following transcript was created by Adobe Premiere and may contain misspellings and other inaccuracies as it was generated automatically: Boy bands are pretty popular nowadays, and most people probably credit the Beatles for the creation of the phenomenon. But some people remember the Monkees, a group often referred to as the Pre-Fab Four, a U.S. pop band that was created in 1968 for a television show of the same name that originally aired for two seasons and then went on to become a legitimate pop band in its own right. Welcome to Late Edition Crime Beat Chronicles, a Lee Enterprises Podcast. I'm Ambre Moton, the show's producer and editor. Back with another story that you may not think of as a traditional true crime case. Okay. The band, it consisted of Micky Dolanz, Davy Jones, Michael Nesmith and Peter Tork. The show played well to both fans and critics and performed well in its original run and through syndication and Saturday morning repeats. The show is a scripted comedy, all about the four bandmates struggling to make it in the music business. And of course, the hijinks that ensued while a manufactured band. The music really did catch on, and they eventually toured to sold out crowds on a cool OC. But how did the creators of Daydream Believer and I'm a Believer, a song brought back into the lexicon by the band Smash Mouth for the Shrek soundtrack, Lend themselves the subject of a true crime podcast? Well, would you be surprised to learn that the Monkees were the subject of an FBI investigation? The group's final surviving member, Micky Dolenz, sued the FBI in 2022 to obtain any files on him. The band and his bandmates, after submitting a Freedom of Information Act request in June of that year and failing to receive anything more than an automated response within the 20 days that federal agencies are obligated to respond. Randy Krehbiel, you may remember from the series of episodes we did with the Tulsa World about the Osages during the Reign of Terror, joins me in this episode to explain how the pop band came to the attention of the FBI. And of course, the tie to Tulsa. Randy, it is great to have you back on the podcast, so thank you so much for doing this. It's with you! You wrote an article about The Monkees, the band, and a tie to the FBI. But let's kind of start a little bit with who the Monkees were. I remember them... when I was little, I think around when I was four, MTV was airing reruns of their TV show, which was a sitcom, if I remember correctly, and I absolutely adored it. Can you just kind of talk about the history of The Monkees? Sure. So I was kind of the Monkees target audience when they came out. But in the 1960s, when they you know, we had the British invasion then and sort of pop music and rock music was really exploding onto the scene. Some TV producers got the idea of creating a band and making a television series about the band. And initially the band was not going to be performing their own music. I think the idea was they actually would do the singing but not play the instruments. And the show turned out to be like a lot of music in that era that the band became rapidly popular and almost as rapidly faded from the scene. But at any rate, they they became proficient enough, I guess you would say. Basically, they just insisted that they were going to be the band, that they didn't need all these other people. So they went out on tour. They had at least a couple of them and well, actually they had more than that, I think. But they went out on tour and they were quite successful. Like I found that they they sold something like 75 million records in about a two or three year span. So like they were pretty much a big deal. They because it was put together by these TV producers, they hired some some of the big, big name songwriters in the Brill Building in New York, which was, you know, the place where a lot of the fifties and sixties and on into the seventies. Big hits were written in the Brill Building in New York. And so so they had and they had some very big hits. And so they and they and then you mentioned MTV. They had kind of a second life when MTV came out because they started playing those shows in reruns and they became popular again. And at least some of them started touring again. And then I guess it was in the eighties and even there's one of them still alive, Micky Dolenz And he still does some shows at 78. Where didn't the show actually win an Emmy, I think. Yeah, I think one year the show won an Emmy for best comedy series. It beat out like Andy Griffith and some shows like that. So, I mean, it was legitimately entertaining, it sounds like, and critically acclaimed. So it was different because they as I recall, they they would come out and there were sort of plots, but it was almost kind of an absurdist comedy in that they were kind of goofy and they were just a lot of little series of scenes. And some people have drawn a line from that show to music videos in the you know, in the MTV area, because the you know, it was set up to kind of sell this and sell the music. And and it all revolved around the music. I mean, the the plot such as they were were pretty simple and silly and really silly, I should say. Right, Right. Okay. So let's set up the crime in air quotes here. So the Monkees were in Tulsa. You said they were touring. They were in Tulsa in 1967 to play a concert. Can you kind of set the scene with that? Yeah, they came. It was actually on January the second, 1967. They played at what was then called the Convention Center Arena. It was a downtown venue that had not been open very long at that time. It would hold about 8500 people for a concert like this, and they sold out. It was mainly like young teens. I think you know, probably 11 or 12 to 16, 17, something like that. And their parents said mom would get roped into, bring in, you know, five or six kids from the neighborhood or whatever. And, you know, we know there was no big controversy, I don't think, at the time, except this entertainment writer editor from the Tulsa Tribune, which was an afternoon paper here at the time. And he just he didn't like it. And and one of the criticisms in general of the Monkees was that it was a it was a back then. Some people call them the pre-fab four because they they you know, they were created specifically for television. It wasn't a group of guys who just kind of came together and started making music together. They were they were created and some people didn't like that. And and and their music was not intended to be, for the most part, real, you know, deep and social meaning or anything like that. And so anyway, he didn't like it. He and he wrote a letter to the FBI. Well, it's not clear to me in the in the report is not clear whether he wrote directly to the FBI. You know, apparently he maybe sent this to the television production or the television studio complaining that they were projecting subliminal messages onto a screen behind them during one of the songs, which is one of the things if you weren't around in the sixties, there was all kinds of stuff like that in the sixties and early seventies. You know, if you play Beatles records backwards, they had some kind of acid or, you know, there was that big set, a lot of a lot of radio stations and so forth would be played. Louie, Louie by the Kingsmen, because no one could understand the lyrics, but they were pretty sure they were bad, so they didn't understand. It was just a very poor recording. But so he anyway, he complained to the FBI. I don't know that the FBI really took it that seriously because as I wrote in the story, they had the guy, the guy who complained his name was Bill Donaldson. So they had his name wrong in their report. They had his newspaper wrong and their report and they had the date of the concert wrong and their report. But what happened was they said someone. A few months later, I compiled all of that into a bigger report is like 80 pages long on the influence of communism and subversive groups on Hollywood. And so that that was included in there. And, you know, I don't think anything came out of it. But if I could, I mean, I this is all kind of fun. But on the other hand, it does make people kind of stop and think it should make people kind of stop and think about, well, what does it take to get, you know, to have an FBI file? Apparently not very much writing. What was the political climate like back then? Yeah, it was it was very it was very is a lot of turmoil. And so what? And in this particular case, what they had done, they had a song that did try and it was called I Want to Be Free. We did try and have a little bit of a social message and they were showing that there is nothing subliminal about this. They were showing images of riots and the war in Vietnam and peace marches. And I think they had something on the maybe Well, I think there were scenes from the Selma, Alabama, march which would have actually taken place, you know, several years earlier. But at any rate, was still very much in the news. And so so it was it really subliminal? It was stuff they'd see on on the news every day. But but the bigger picture was that, yes, there was a lot of turmoil. There's a lot of opposition to the war in Vietnam. There was you know, it was the sixties. It was approaching a protest era. There were quite a few violent demonstrations and there was a lot of concern about the communists taking over. So a lot of a lot of this file was there was a radio station in Los Angeles that would from time to time have members of the American Communist Party on the job and they would mention that so-and-so so-and-so, who is now a very well known personality or producer at dinner with so-and-so, and back in 1938, they attended a dinner and known communists, you know, things like that. And for some reason that this it mentioned Robert Vaughn quite a bit. And people may not remember Robert Vaughn, but he was a popular actor in the sixties. He was in he was one of the Magnificent Seven in the movie The Magnificent Seven. And then later he starred in a TV show called The Man from Uncle, which kind of had a cold following. And, you know, he was always popping up at some kind of demonstration or something like that. So it was a very tumultuous time. Also, the FBI was run by J. Edgar Hoover, who liked to get as much dirt as he could on as many people as he could. So that may have had something to do with it. I don't know. And we have to take a quick break, so don't go too far. You said that Donaldson had accused the band of a deliberate manipulation or a preconditioned, immature audience for propaganda dissemination. And you mentioned that it wasn't in any way subliminal like the message they were getting across in their one potentially political song was was pretty obvious. But do you think he was just reading into things because he didn't like the music or… Well, so Bill Donaldson and I didn't know him. He well, he was still at that. So the Tribune closed in 1992 and I started a year before that. And I, I was at the World when he was at the Tribune, but I don't think our paths ever crossed. He was an older he was part of that older generation. He was a World War Two veteran. You know, patriotism was very big. He also he had an English literature degree from Swarthmore. He just you know, he yeah, I think I think first of all, I don't think he cared that he didn't like the music that much. But second of all, he didn't like the idea of this sort of manufactured he called it manufactured hysteria or manufactured emotion. He didn't like that. So I felt I think he he felt like, you know, these young people were being manipulated and, you know, probably to a certain extent they were. I'm not. But nobody after the concert was over, went out and started trying to burn the city down or anything like that. It was it was mostly just fun. And so I think to a large extent it was I can remember my own dad when I was a kid and that show was on. We we were not supposed to watch it. It just because it didn't it wasn't that he was it made him mad or anything. He just it's a stupid show within the category of television program. It's just a stupid show. And so we were we didn't watch it. And I think, you know, so there's that there's that category category. I wonder what Donaldson would think about, you know, like the Swifties and, you know, of course, the boy band fans, you know, like in I think maybe he'd be appalled. He had a background in the theater. He had performed in the theater here in Run a theater in Tulsa for a while. And, you know, I mean, I just think there would be something, although, you know, I mean, he would have gone through the period when he would have gone through the Elvis Presley period, he would have gone through the Frank Sinatra period when, you know, for even someone my age, Frank Sinatra was always kind of the older guy. But there was a period in the fifties and sixties when, you know, girls would swoon over Frank Sinatra. So anyway, you know, he he knew a little bit about that, and that got it. But he just thought this was too too fake, too phony, that these guys had. No they had done nothing to deserve the adoration and attention they were getting and that whoever had, you know, whoever had created this group was using this group to to warp the minds of Americans. You bear enough may not be entirely wrong, but I think it was probably more to sell albums and TV shows and tickets as a party. It was. It was to make money. That's all I care about, you know. And and I have to say that, you know, there maybe was a little bit of anti anti-Semitism involved. The Monkees weren't the Jewish, but the producer. So the one of the producers was the son of the head of one of the studios in in Los Angeles. And they and they seem to have been Jewish. And so, you know, I don't know. But there could have been some anti-Semitism involved in that, too. I mean, you saw that these guys were all all white, but, you know, with some of the black performers of the time, it was it was really evident, you know, and so, yeah, I mean, this is getting a little far afield, but some people think that President Nixon pushed for the criminalization of marijuana because he believed he associated it with black performers and music genres that he didn't understand or didn't approve of. And so he you know, he he wanted to put those guys in jail. Okay. So you said you didn't think that the FBI really gave it much attention. You mentioned like the misspellings and inaccuracies in the report. Did it give you any indication that they actually followed up and looked into it? Well, so I didn't see this report. But the lawyer, Mr. Zaid, is a lawyer for Mickey Bones, said that there was another report where an FBI agent went to one of the concerts, and it's not clear whether he went because of this report or he went because he had a 12 year old daughter. But anyway, she he went in and said more or less the same thing that Bill Donaldson and I fully admit I really wanted to do this because any time I can talk about Daydream Believer, it makes me happy. My mom said I would run around screaming the lyrics to that song when I was little. So that was always fun. But I mean, is the general consensus does not seem to be that the Monkees were some sort of big, subversive group, is that right? Correct. But but I will say and I, you know, I that again, it shows you how, you know, it's easy to get on some on someone's not on the FBI or whoever's list you know you think about we have these terrorism watch lists now where if your name is close enough to somebody else, you can be in trouble. I mean, so the attorney is also representing the actor from Two and a Half Men, John McCain, I think compared with John. Yeah. Yeah. So he he man him and John Pryor and and Jon Cryer said, well, I don't think I've got anything. But my uncle was an anti-war activist and we kind of like to know if he has anything. So the lawyer put in a request for, you know, this man's file. Well, it turned out it was like 3000 pages long. Holy cow. And I don't know that he was a particularly prominent. I mean, it's not like he was Abbie Hoffman or something, but. Right. Yeah. They've got 3000 pages on it. So and it can be kind of a long, protracted thing to get these because according to the lawyer, they will only process 500 pages a month on any one request. Yeah, right. And so and then and then when you get it, it may be all redacted and you've got to go to court to have the redactions removed. So, I mean, I don't want people in a panic or anything like that, but I think they ought to be aware that, you know, there there is a lot of information out there. And, you know, some people don't like that. Yeah, I don't have good answers. But obviously in this you know, in this case, it's it's difficult. It really is. And, you know, this didn't help the average person, but if they are interested in some of these, better known FBI files, they are they are available online. You can go look up. I mentioned Abbie Hoffman. You can go read every file online if you want. That's pretty much everything I had. Is there anything I didn't ask you about that you really want to make sure we get in there? You know, this is kind of one of those deals where we got the email from the lawyer and when we first looked at it was, you know, what the heck is this? And then the more we thought about it and the more we got into it, it was, you know, it's one of those things it's that's fun and people seem to be interested in it. But at the same time, it does sort of illustrate a bigger issue. Mm hmm. You could be on a list and you don't know it's or, you know, like, how easy is it to just suggest something and have it make it on to some FBI agents desk and then and now, with the digitization of everything, once you're in there, there's no telling where it's over. Maybe it's it's not quite as bad as Twitter, but yeah, you know, I completely agree. Well, thank you. That's. That's all I've got. I was just talking to you. It should be noted that there were multiple musical artists in that era who were known to be tracked by the FBI artists that the group interacted with, including the Beatles and Jimi Hendrix. So the Monkees are far from the only musical act to catch the attention of the federal government. But this was still a pretty interesting story. That'll do it for this week's episode of Crime Beat Chronicles. Make sure you hit that subscribe button so you don't miss what we have coming up next. Thanks for listening.  See omnystudio.com/listener for privacy information.

John Candy, John Hughes and Macaulay Culkin. What more do you want from 1989?! Uncle Buck closes out the decade with attitude and heart. Soothe your Thanksgiving hangover with our melodious voices, lulling you into a false sense of security. Until you find yourself wondering if your crazy, out-of-work, bum uncle will shave your head while you sleep. Just click play already! We've done the battle of the wills. The deck's stacked in our favor. You're just gonna lose again.

Binge BBQ with the legendary Mike Gold as we discuss the way his hiring at DC Comics was all Neal Adams' fault, how the guerrilla marketing he learned from Abbie Hoffman helped him quadruple direct market sales, the Steve Ditko Creeper cover which sent a not-so-secret message to publisher Carmine Infantino, why editor Murray Boltinoff compared Marvel Comics to the Beatles (and not in a good way), which staffer was "the most disgusting human being I'd ever met in my life," how First Comics was born, his secret weapon for getting creators to deliver their work on time, our differing contemporaneous exposure to Fantastic Four #1 (and how his related to Merrick Garland), the way an off-hand comment led to a classic John Byrne comic, how the comic book field is like a donut shop, and much more.

This week we're diving into Sidetracks, a compilation of covers, soundtrack songs, and other often overlooked material that contains some real gems. And also some dirt. To the FBI agent assigned to listen to this podcast - hello. “Lay off the needle drugs. The only dope worth shooting is Richard Nixon.” -Abbie Hoffman

Hi film friends, today we're doin a showcase of 1978's the Big Fix, the last film in director Jeremy Kagen's trilogy about 60's and 70's protest movement issues. Katherine 1975 deals with radicals turning to armed struggle, Heroes 1977 deals with broken soldiers back from Vietnam, and today we gots the Big fix which gives us a detective story about a person trying to survive and thrive with his ideals in tact. It's much more than that, and I think that we'll talk all about it. Richard Dreyfuss plays Moses Wine, great, and Susan Anspach plays Lila, also great. But what's super great is F Murray Abraham as Abbie Hoffman, but here he's called Howard Eppis, and Steal this book is called, Rip it off. Annnnnd, OMG Mandy Patinkin plays his stoned pool man. One more character in the movie that I'll mention is the city of Los Angeles. 70's L.A. is constantly on display as they drive all the heck over it tryin to figure shit out. Thanks friends, please subscribe, and write a review if ya can. Also tell your film friends. We claim to be very open to feedback on our Instagram and Facebook pages, but that's because we haven't gotten any really horrid ones yet. 70's movies are definitely about long conversations, and we'd love to keep the convo going so we'd love to hear, from you. So far.

Hi film friends, today we're doin a showcase of 1978's the Big Fix, the last film in director Jeremy Kagen's trilogy about 60's and 70's protest movement issues. Katherine 1975 deals with radicals turning to armed struggle, Heroes 1977 deals with broken soldiers back from Vietnam, and today we gots the Big fix which gives us a detective story about a person trying to survive and thrive with his ideals in tact. It's much more than that, and I think that we'll talk all about it. Richard Dreyfuss plays Moses Wine, great, and Susan Anspach plays Lila, also great. But what's super great is F Murray Abraham as Abbie Hoffman, but here he's called Howard Eppis, and Steal this book is called, Rip it off. Annnnnd, OMG Mandy Patinkin plays his stoned pool man. One more character in the movie that I'll mention is the city of Los Angeles. 70's L.A. is constantly on display as they drive all the heck over it tryin to figure shit out. Thanks friends, please subscribe, and write a review if ya can. Also tell your film friends. We claim to be very open to feedback on our Instagram and Facebook pages, but that's because we haven't gotten any really horrid ones yet. 70's movies are definitely about long conversations, and we'd love to keep the convo going so we'd love to hear, from you. So far.

Join us as we explore one of the most controversial books by one of the greatest revolutionary writers and entertainers of all time, none other than Abbie Hoffman!    Created by: Cristo M. Sanchez Written by: Cristo M. Sanchez and Jason Nemor Harden Hosted by: Jason Nemor Harden Music by: Creature 9, Wood, Cristo M. Sanchez and Jason Nemor Harden Follow us on instagram and facebook for the latest updates and more!

David Oscar Markus interviews legendary Jerry Lefcourt about one of the most important trials in American history, the Chicago 8 case.Jerry Lefcourt had recently been fired as a legal aid lawyer in the late 1960s when he got a call from Abbie Hoffman. They spoke all night at Hoffman's apartment. Hoffman told him “I'll start a revolution; you keep me out of jail.” And Jerry did just that. Take a listen to this fascinating discussion about Jerry's start to an awe-inspiring career. You'll hear about his battles with the judge, including getting sent to jail. Jerry is a wonderful storyteller and he and David have a lot of fun talking about this historic case.

This episode examines The Trial of the Chicago 7 (2020), written and directed by Aaron Sorkin, with an all-star cast, including Sacha Baron Cohen, Jeremy Strong, Joseph Gordon-Levitt, Mark Rylance, and Frank Langella. The film is based on the 1969 trial of Abbie Hoffman, Jerry Rubin, Tom Hayden, and other anti-Vietnam War protestors prosecuted for conspiracy in connection with the mass protests —and brutal crackdown by police—at the 1968 Democratic National Convention in Chicago. (The eighth defendant, Bobby Seale, co-founder of the Black Panther Party, was severed from the case after being bound and gagged in the courtroom on the judge's order). Our guest is Gerald Lefcourt, who not only is a leading criminal defense attorney, but also was part of the original defense team at the trial and represented Abbie Hoffman for over two decades.Timestamps:0:00 Introduction3:33 Meeting Abbie Hoffman 8:06 Nixon targets the Chicago 7 (then Chicago 8)11:58 The defense team13:25 The egregious treatment of Bobby Seale  22:45. Judge Hoffman: off his rocker25:54  The genius of Abbie Hoffman and the art of political theater30:36 David Dellinger and the MOBE31:59  Abbie, Tom Hayden, and dueling strategies on the left37:21  Abbie: “We have to steal the headlines”41:22  Abbie takes on the CIA43:50  Abbie and Jerry Rubin46:04  The celebrity witnesses48:08  What Aaron Sorkin missed51:33  Abbie's excellent tennis game55:37  Losing battles and winning wars in political cases59:53 The Chicago 7 trial's relevance today1:02:31  Abbie's later career1:07:09  Abbie's final speech Further Reading:Hancock, Catherine, “Race and Disorder: The Chicago Eight Trial Judge and Prosecutors Meet the Constitution and Bobby Seale,” 96 Tul. L. Rev. 819 (2022)Levine, Mark L. & Greenberg, Daniel eds., The Trial of the Chicago 7: The Official Transcript (2020)Levenson, Laurie L., “Judicial Ethics: Lessons from the Chicago Eight Trial,” 50 Loy. U. Chi. L.J. 879 (2019)Linder, Douglas O. “The Chicago 8 Conspiracy Trial,” http://law2.umkc.edu/faculty/projects/ftrials/Chicago7/Account.htmlMailer, Norman, Miami and the Siege of Chicago (1968)Sims, David, “Aaron Sorkin's New Film Is the Right Story for This Moment,” The Atlantic (Oct. 16, 2020), https://www.theatlantic.com/culture/archive/2020/10/trial-of-the-chicago-7-aaron-sorkin-netflix/616755/Schultz, John, The Conspiracy Trial of the Chicago Seven (2020)Stevens, Dana, “The Trial of the Chicago 7 Is Timely, a Little Sexist, and a Lot of Fun,” Slate, Oct. 14, 2020, https://slate.com/culture/2020/10/trial-chicago-7-review-aaron-sorkin-movie-netflix.htmlWeiner, Jon, Conspiracy in the Streets: The Extraordinary Trial of the Chicago EightLaw on Film is created and produced by Jonathan Hafetz. Jonathan is a professor at Seton Hall Law School. He has written many books and articles about the law. He has litigated important cases to protect civil liberties and human rights while working at the ACLU and other organizations. Jonathan is a huge film buff and has been watching, studying, and talking about movies for as long as he can remember. For more information about Jonathan, here's a link to his bio: https://law.shu.edu/faculty/full-time/jonathan-hafetz.cfmYou can contact him at jonathanhafetz@gmail.comYou can follow him on X (Twitter) @jonathanhafetz You can follow the podcast on X (Twitter) @LawOnFilm

Sometimes the powers that be need to know of the public's general displeasure, so we take up our signs and we march! It Happened One Year's near-miss scripted episode morphed into this Branson, Missouri recorded dissection of the great Vietnam War protest that gripped Washington D.C. and the Pentagon in October of 1967, replete with discussions of the Yippies, the Student Nonviolent Coordinating Committee, and how comatose inducing Mexican drug trips brought about this historic event! Was the Pentagon really levitated off the ground? Did public opinion of the war change after this march? Was the Pentagon exorcised and demystified from that day forward? Sarah & Joe getting political can be a bit unhinged, but they manage to keep it together, talking the Chicago Democratic Convention in 1968, Abbie Hoffman, Norman Mailer, Pigasus, Peter, Paul, & Mary, International Women's Day, and much more.

Erik Childress and Steve Prokopy have a shortened week of movie reviews focusing on just five for the time being. They include a dark fable starring Adèle Exarchopoulos (The Five Devils) and a documentary on a European rock tour that had implications back home (What the Hell Happened to Blood, Sweat and Tears). Zach Braff directs Florence Pugh in a tale of addition (A Good Person) and Sally Hawkins goes looking for Richard III (The Lost King). Finally, Keanu Reeves is back in the rare franchise that just keeps getting bigger and better (John Wick: Chapter 4). 0:00 - Intro 1:20 - The Five Devils 9:39 – What the Hell Happened to Blood, Sweat and Tears 17:03 - A Good Person 26:20 - The Lost King 37:37 - John Wick: Chapter 4 53:31 - Outro

In episode no. 147 of the Rock's Backpages podcast, we welcome pioneering '60s rock writer Ellen Sander and invite her to discuss her classic 1973 book Trips: Rock Life in the Sixties, reissued in an "augmented" edition in 2019. Ellen recalls her New York upbringing and initiation into the folk scene in Greenwich Village, then explains how Danny Fields (episode 28) steered her towards writing for Sing Out! and Hullabaloo. With references to David Crosby, David Geffen, Abbie Hoffman and the Monterey Pop festival, she talks about the inextricable relationship between '60s music and the decade's political upheavals. We also hear about her 1968 article on groupies; her troubling experiences on the road with Led Zeppelin; and her relationship with Elektra Records founder Jac Holzman (father of her son Marin), all of which led to the writing of Trips. Attention then turns to two clips from the week's new audio interview, in which suave Yorkshire-born rock'n'soul man Robert Palmer talks about his love of bossa nova and the fun he had on the sessions for 1974's Sneakin' Sally through the Alley with Little Feat's Lowell George. After Mark quotes from new library interviews with the Beatles (1963), B.B. King (1968), and Simpsons creator Matt Groening (1993), Barney cites an early Steely Dan piece from 1973 and Jasper recommends articles about emo stars Paramore (2010), Nine Inch Nails' Trent Reznor (2014) and – from 2016 – jazz hybridiser Jacob Collier. Many thanks to special guest Ellen Sander. Trips: Rock Life in the Sixties is published by Dover and available now. Pieces discussed: Crosby, Stills & Nash, Robert Palmer audio, Roxy Music, For Your Pleasure, Roxy in retrospect, Chuck Jackson, Chuck Jacksoner, Chuck Jacksonest, The Strokes, B.B. King, The Beatles, Beach Boys, Matt Groening, Steely Dan, Paramore, Trent Reznor and Jacob Collier. Learn more about your ad choices. Visit megaphone.fm/adchoices

Paul Williams, the director (not the songwriter or the rock critic or the architect…) shares excerpts and outtakes from his memoir “Harvard, Hollywood, Hitmen & Holy Men” currently available as part of the Screen Classics collection from the University Press Of Kentucky. Williams is the director of “The November Men” which World is Wrong listeners will already be familiar with, as well as films like “Out Of It” (1969) and “The Revolutionary” (1970) both starring a young Jon Voight. Williams, with his production partner Edward Pressman, was a producer of films like Brian DePalma's “Sisters” & “The Phantom Of The Paradise” as well as Terrence Malick's “Badlands”. Beyond the movies, Paul rode the many of the movements of 1960's, 70's & 80's, both political and cultural, with characters as varied as Julie Christie and Huey P. Newton, Fidel Castro and most of the “important” directors associated with New Hollywood If you're interested in the story of New Hollywood, Paul's memoir fills in some major gaps. And if you're too lazy to read the book, this podcast will give you a taste of what you're missing. EPISODE FIVE - HUEYPaul's relationship with The Black Panthers began on the streets of New Haven, Connecticut and led him to Algiers where he shot a film about the party with Eldridge Cleaver as plans were being laid for a guerilla attack on New York City which ultimately never happened. Years later, in California, Paul became friends with Huey P. Newton which in a roundabout way led him to Cuba and a basketball game with Francis Ford Coppola, Terrence Malick and Fidel Castro.Find all of our episodes at www.theworldiswrongpodcast.comFollow us on Instagram @theworldiswrongpodcast Follow us on Twitter @worldiswrongpodFollow us on YouTube: https://www.youtube.com/channel/UCKE5tmbr-I_hLe_W9pUqXagFind all things Andras Jones at https://previouslyyours.com/ The World Is Wrong theme song written, produced and performed by Andras JonesCheck out: The Radio8Ball Show hosted by Andras JonesSee omnystudio.com/listener for privacy information.

The sound of John Sinclair giving his poetry to a room is a deep motion, a rumble from some planetary layer. The sound of John Sinclair giving this interview is a hurricane motion, a gale force communication from a past and present that cannot be ignored. His is a story that includes great artists of our time, of his time — the 1960s especially — of a time that feels long ago until you hear the voices again ... huge, urgent, howling. Poet, activist, ally, cause celebre, White Panther, prisoner, a free man — and all the complications that come with all those things — this is John Sinclair on 'All Your Days.'Clips in this episode: My Buddy (John Sinclair & His Boston Blues Scholars, ‘Steady Rollin' Man' - 2001)Sentimental Journey (Les Brown, 'Best of the Big Bands' - c.1944)Maybellene (Chuck Berry, 'The Definitive Collection' - 1955)Rebel Without A Cause (d. Nicholas Ray, 1955)(I Can't Get No) Satisfaction (The Rolling Stones, 'Hot Rocks 1964–1971' - 1965)I Am Not Your Negro (d. Raoul Peck, 2017)Kick Out the Jams (Uncensored Version) (MC5, 'The Big Bang!' - c.1969)WPP Central Committee - Music is a Revolutionary Force (p. Cary Loren, field recording - c.1968–69)D. C. B. A. 25 (Jefferson Airplane, 'Surrealistic Pillow' - 1967)Abbie Hoffman incident - Woodstock (field recording - 1969)John Sinclair (John Lennon, 'Some Time in New York City' - 1972)Do It (John Sinclair, 'Beatnik Youth' - 2017)Ain't Nobody's Business (John Sinclair, 'Beatnik Youth' - 2017)

In this episode we welcome pioneering '60s rock writer Ellen Sander and invite her to discuss her classic 1973 book Trips: Rock Life in the Sixties, reissued in an "augmented" edition in 2019. Ellen recalls her New York upbringing and initiation into the folk scene in Greenwich Village, then explains how Danny Fields (episode 28) steered her towards writing for Sing Out! and Hullabaloo. With references to David Crosby, David Geffen, Abbie Hoffman and the Monterey Pop festival, she talks about the inextricable relationship between '60s music and the decade's political upheavals. We also hear about her 1968 article on groupies; her troubling experiences on the road with Led Zeppelin; and her relationship with Elektra Records founder Jac Holzman (father of her son Marin), all of which led to the writing of Trips. Attention then turns to two clips from the week's new audio interview, in which suave Yorkshire-born rock'n'soul man Robert Palmer talks about his love of bossa nova and the fun he had on the sessions for 1974's Sneakin' Sally through the Alley with Little Feat's Lowell George. After Mark quotes from new library interviews with the Beatles (1963), B.B. King (1968), and Simpsons creator Matt Groening (1993), Barney cites an early Steely Dan piece from 1973 and Jasper recommends articles about emo stars Paramore (2010), Nine Inch Nails' Trent Reznor (2014) and – from 2016 – jazz hybridiser Jacob Collier.

Today we salute the actions of the progressive activists who paved the way, focusing on one who was in the thick of it all. David Fenton's new book is "The Activist's Media Handbook: Lessons from Fifty Years as a Progressive Agitator". We'll discuss the history he was part of, and try to get to the bottom of why things are as they are now... David Fenton was there, working on the No Nukes concerts, in the campaign to free Nelson Mandela and end apartheid, legalize marijuana and end racist drug laws. He worked at High Times and Rolling Stone Magazine, and hung out with Abbie Hoffman and other legendary activists. I'm thinking our conversation will be part memories and reminiscences, and part primer to light a fire under the people who should carry the torch today and going forward.

Episode one hundred and fifty-eight of A History of Rock Music in Five Hundred Songs looks at “White Rabbit”, Jefferson Airplane, and the rise of the San Francisco sound. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three-minute bonus episode available, on "Omaha" by Moby Grape. 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/ Erratum I refer to Back to Methuselah by Robert Heinlein. This is of course a play by George Bernard Shaw. What I meant to say was Methuselah's Children. Resources I hope to upload a Mixcloud tomorrow, and will edit it in, but have had some problems with the site today. Jefferson Airplane's first four studio albums, plus a 1968 live album, can be found in this box set. I've referred to three main books here. Got a Revolution!: The Turbulent Flight of Jefferson Airplane by Jeff Tamarkin is written with the co-operation of the band members, but still finds room to criticise them. Jefferson Airplane On Track by Richard Molesworth is a song-by-song guide to the band's music. And Been So Long: My Life and Music by Jorma Kaukonen is Kaukonen's autobiography. Some information on Skip Spence and Matthew Katz also comes from What's Big and Purple and Lives in the Ocean?: The Moby Grape Story, by Cam Cobb, which I also used for this week's bonus. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, I need to confess an important and hugely embarrassing error in this episode. I've only ever seen Marty Balin's name written down, never heard it spoken, and only after recording the episode, during the editing process, did I discover I mispronounce it throughout. It's usually an advantage for the podcast that I get my information from books rather than TV documentaries and the like, because they contain far more information, but occasionally it causes problems like that. My apologies. Also a brief note that this episode contains some mentions of racism, antisemitism, drug and alcohol abuse, and gun violence. One of the themes we've looked at in recent episodes is the way the centre of the musical world -- at least the musical world as it was regarded by the people who thought of themselves as hip in the mid-sixties -- was changing in 1967. Up to this point, for a few years there had been two clear centres of the rock and pop music worlds. In the UK, there was London, and any British band who meant anything had to base themselves there. And in the US, at some point around 1963, the centre of the music industry had moved West. Up to then it had largely been based in New York, and there was still a thriving industry there as of the mid sixties. But increasingly the records that mattered, that everyone in the country had been listening to, had come out of LA Soul music was, of course, still coming primarily from Detroit and from the Country-Soul triangle in Tennessee and Alabama, but when it came to the new brand of electric-guitar rock that was taking over the airwaves, LA was, up until the first few months of 1967, the only city that was competing with London, and was the place to be. But as we heard in the episode on "San Francisco", with the Monterey Pop Festival all that started to change. While the business part of the music business remained centred in LA, and would largely remain so, LA was no longer the hip place to be. Almost overnight, jangly guitars, harmonies, and Brian Jones hairstyles were out, and feedback, extended solos, and droopy moustaches were in. The place to be was no longer LA, but a few hundred miles North, in San Francisco -- something that the LA bands were not all entirely happy about: [Excerpt: The Mothers of Invention, "Who Needs the Peace Corps?"] In truth, the San Francisco music scene, unlike many of the scenes we've looked at so far in this series, had rather a limited impact on the wider world of music. Bands like Jefferson Airplane, the Grateful Dead, and Big Brother and the Holding Company were all both massively commercially successful and highly regarded by critics, but unlike many of the other bands we've looked at before and will look at in future, they didn't have much of an influence on the bands that would come after them, musically at least. Possibly this is because the music from the San Francisco scene was always primarily that -- music created by and for a specific group of people, and inextricable from its context. The San Francisco musicians were defining themselves by their geographical location, their peers, and the situation they were in, and their music was so specifically of the place and time that to attempt to copy it outside of that context would appear ridiculous, so while many of those bands remain much loved to this day, and many made some great music, it's very hard to point to ways in which that music influenced later bands. But what they did influence was the whole of rock music culture. For at least the next thirty years, and arguably to this day, the parameters in which rock musicians worked if they wanted to be taken seriously – their aesthetic and political ideals, their methods of collaboration, the cultural norms around drug use and sexual promiscuity, ideas of artistic freedom and authenticity, the choice of acceptable instruments – in short, what it meant to be a rock musician rather than a pop, jazz, country, or soul artist – all those things were defined by the cultural and behavioural norms of the San Francisco scene between about 1966 and 68. Without the San Francisco scene there's no Woodstock, no Rolling Stone magazine, no Rock and Roll Hall of Fame, no hippies, no groupies, no rock stars. So over the next few months we're going to take several trips to the Bay Area, and look at the bands which, for a brief time, defined the counterculture in America. The story of Jefferson Airplane -- and unlike other bands we've looked at recently, like The Pink Floyd and The Buffalo Springfield, they never had a definite article at the start of their name to wither away like a vestigial organ in subsequent years -- starts with Marty Balin. Balin was born in Ohio, but was a relatively sickly child -- he later talked about being autistic, and seems to have had the chronic illnesses that so often go with neurodivergence -- so in the hope that the dry air would be good for his chest his family moved to Arizona. Then when his father couldn't find work there, they moved further west to San Francisco, in the Haight-Ashbury area, long before that area became the byword for the hippie movement. But it was in LA that he started his music career, and got his surname. Balin had been named Marty Buchwald as a kid, but when he was nineteen he had accompanied a friend to LA to visit a music publisher, and had ended up singing backing vocals on her demos. While he was there, he had encountered the arranger Jimmy Haskell. Haskell was on his way to becoming one of the most prominent arrangers in the music industry, and in his long career he would go on to do arrangements for Bobby Gentry, Blondie, Steely Dan, Simon and Garfunkel, and many others. But at the time he was best known for his work on Ricky Nelson's hits: [Excerpt: Ricky Nelson, "Hello Mary Lou"] Haskell thought that Marty had the makings of a Ricky Nelson style star, as he was a good-looking young man with a decent voice, and he became a mentor for the young man. Making the kind of records that Haskell arranged was expensive, and so Haskell suggested a deal to him -- if Marty's father would pay for studio time and musicians, Haskell would make a record with him and find him a label to put it out. Marty's father did indeed pay for the studio time and the musicians -- some of the finest working in LA at the time. The record, released under the name Marty Balin, featured Jack Nitzsche on keyboards, Earl Palmer on drums, Milt Jackson on vibraphone, Red Callender on bass, and Glen Campbell and Barney Kessell on guitars, and came out on Challenge Records, a label owned by Gene Autry: [Excerpt: Marty Balin, "Nobody But You"] Neither that, nor Balin's follow-up single, sold a noticeable amount of copies, and his career as a teen idol was over before it had begun. Instead, as many musicians of his age did, he decided to get into folk music, joining a vocal harmony group called the Town Criers, who patterned themselves after the Weavers, and performed the same kind of material that every other clean-cut folk vocal group was performing at the time -- the kind of songs that John Phillips and Steve Stills and Cass Elliot and Van Dyke Parks and the rest were all performing in their own groups at the same time. The Town Criers never made any records while they were together, but some archival recordings of them have been released over the decades: [Excerpt: The Town Criers, "900 Miles"] The Town Criers split up, and Balin started performing as a solo folkie again. But like all those other then-folk musicians, Balin realised that he had to adapt to the K/T-event level folk music extinction that happened when the Beatles hit America like a meteorite. He had to form a folk-rock group if he wanted to survive -- and given that there were no venues for such a group to play in San Francisco, he also had to start a nightclub for them to play in. He started hanging around the hootenannies in the area, looking for musicians who might form an electric band. The first person he decided on was a performer called Paul Kantner, mainly because he liked his attitude. Kantner had got on stage in front of a particularly drunk, loud, crowd, and performed precisely half a song before deciding he wasn't going to perform in front of people like that and walking off stage. Kantner was the only member of the new group to be a San Franciscan -- he'd been born and brought up in the city. He'd got into folk music at university, where he'd also met a guitar player named Jorma Kaukonen, who had turned him on to cannabis, and the two had started giving music lessons at a music shop in San Jose. There Kantner had also been responsible for booking acts at a local folk club, where he'd first encountered acts like Mother McCree's Uptown Jug Champions, a jug band which included Jerry Garcia, Pigpen McKernan, and Bob Weir, who would later go on to be the core members of the Grateful Dead: [Excerpt: Mother McCree's Uptown Jug Champions, "In the Jailhouse Now"] Kantner had moved around a bit between Northern and Southern California, and had been friendly with two other musicians on the Californian folk scene, David Crosby and Roger McGuinn. When their new group, the Byrds, suddenly became huge, Kantner became aware of the possibility of doing something similar himself, and so when Marty Balin approached him to form a band, he agreed. On bass, they got in a musician called Bob Harvey, who actually played double bass rather than electric, and who stuck to that for the first few gigs the group played -- he had previously been in a band called the Slippery Rock String Band. On drums, they brought in Jerry Peloquin, who had formerly worked for the police, but now had a day job as an optician. And on vocals, they brought in Signe Toley -- who would soon marry and change her name to Signe Anderson, so that's how I'll talk about her to avoid confusion. The group also needed a lead guitarist though -- both Balin and Kantner were decent rhythm players and singers, but they needed someone who was a better instrumentalist. They decided to ask Kantner's old friend Jorma Kaukonen. Kaukonen was someone who was seriously into what would now be called Americana or roots music. He'd started playing the guitar as a teenager, not like most people of his generation inspired by Elvis or Buddy Holly, but rather after a friend of his had shown him how to play an old Carter Family song, "Jimmy Brown the Newsboy": [Excerpt: The Carter Family, "Jimmy Brown the Newsboy"] Kaukonen had had a far more interesting life than most of the rest of the group. His father had worked for the State Department -- and there's some suggestion he'd worked for the CIA -- and the family had travelled all over the world, staying in Pakistan, the Philippines, and Finland. For most of his childhood, he'd gone by the name Jerry, because other kids beat him up for having a foreign name and called him a Nazi, but by the time he turned twenty he was happy enough using his birth name. Kaukonen wasn't completely immune to the appeal of rock and roll -- he'd formed a rock band, The Triumphs, with his friend Jack Casady when he was a teenager, and he loved Ricky Nelson's records -- but his fate as a folkie had been pretty much sealed when he went to Antioch College. There he met up with a blues guitarist called Ian Buchanan. Buchanan never had much of a career as a professional, but he had supposedly spent nine years studying with the blues and ragtime guitar legend Rev. Gary Davis, and he was certainly a fine guitarist, as can be heard on his contribution to The Blues Project, the album Elektra put out of white Greenwich Village musicians like John Sebastian and Dave Van Ronk playing old blues songs: [Excerpt: Ian Buchanan, "The Winding Boy"] Kaukonen became something of a disciple of Buchanan -- he said later that Buchanan probably taught him how to play because he was such a terrible player and Buchanan couldn't stand to listen to it -- as did John Hammond Jr, another student at Antioch at the same time. After studying at Antioch, Kaukonen started to travel around, including spells in Greenwich Village and in the Philippines, before settling in Santa Clara, where he studied for a sociology degree and became part of a social circle that included Dino Valenti, Jerry Garcia, and Billy Roberts, the credited writer of "Hey Joe". He also started performing as a duo with a singer called Janis Joplin. Various of their recordings from this period circulate, mostly recorded at Kaukonen's home with the sound of his wife typing in the background while the duo rehearse, as on this performance of an old Bessie Smith song: [Excerpt: Jorma Kaukonen and Janis Joplin, "Nobody Loves You When You're Down and Out"] By 1965 Kaukonen saw himself firmly as a folk-blues purist, who would not even think of playing rock and roll music, which he viewed with more than a little contempt. But he allowed himself to be brought along to audition for the new group, and Ken Kesey happened to be there. Kesey was a novelist who had written two best-selling books, One Flew Over The Cuckoo's Nest and Sometimes A Great Notion, and used the financial independence that gave him to organise a group of friends who called themselves the Merry Pranksters, who drove from coast to coast and back again in a psychedelic-painted bus, before starting a series of events that became known as Acid Tests, parties at which everyone was on LSD, immortalised in Tom Wolfe's book The Electric Kool-Aid Acid Test. Nobody has ever said why Kesey was there, but he had brought along an Echoplex, a reverb unit one could put a guitar through -- and nobody has explained why Kesey, who wasn't a musician, had an Echoplex to hand. But Kaukonen loved the sound that he could get by putting his guitar through the device, and so for that reason more than any other he decided to become an electric player and join the band, going out and buying a Rickenbacker twelve-string and Vox Treble Booster because that was what Roger McGuinn used. He would later also get a Guild Thunderbird six-string guitar and a Standel Super Imperial amp, following the same principle of buying the equipment used by other guitarists he liked, as they were what Zal Yanovsky of the Lovin' Spoonful used. He would use them for all his six-string playing for the next couple of years, only later to discover that the Lovin' Spoonful despised them and only used them because they had an endorsement deal with the manufacturers. Kaukonen was also the one who came up with the new group's name. He and his friends had a running joke where they had "Bluesman names", things like "Blind Outrage" and "Little Sun Goldfarb". Kaukonen's bluesman name, given to him by his friend Steve Talbot, had been Blind Thomas Jefferson Airplane, a reference to the 1920s blues guitarist Blind Lemon Jefferson: [Excerpt: Blind Lemon Jefferson, "Match Box Blues"] At the band meeting where they were trying to decide on a name, Kaukonen got frustrated at the ridiculous suggestions that were being made, and said "You want a stupid name? Howzabout this... Jefferson Airplane?" He said in his autobiography "It was one of those rare moments when everyone in the band agreed, and that was that. I think it was the only band meeting that ever allowed me to come away smiling." The newly-named Jefferson Airplane started to rehearse at the Matrix Club, the club that Balin had decided to open. This was run with three sound engineer friends, who put in the seed capital for the club. Balin had stock options in the club, which he got by trading a share of the band's future earnings to his partners, though as the group became bigger he eventually sold his stock in the club back to his business partners. Before their first public performance, they started working with a manager, Matthew Katz, mostly because Katz had access to a recording of a then-unreleased Bob Dylan song, "Lay Down Your Weary Tune": [Excerpt: Bob Dylan, "Lay Down Your Weary Tune"] The group knew that the best way for a folk-rock band to make a name for themselves was to perform a Dylan song nobody else had yet heard, and so they agreed to be managed by Katz. Katz started a pre-publicity blitz, giving out posters, badges, and bumper stickers saying "Jefferson Airplane Loves You" all over San Francisco -- and insisting that none of the band members were allowed to say "Hello" when they answered the phone any more, they had to say "Jefferson Airplane Loves You!" For their early rehearsals and gigs, they were performing almost entirely cover versions of blues and folk songs, things like Fred Neil's "The Other Side of This Life" and Dino Valenti's "Get Together" which were the common currency of the early folk-rock movement, and songs by their friends, like one called "Flower Bomb" by David Crosby, which Crosby now denies ever having written. They did start writing the odd song, but at this point they were more focused on performance than on writing. They also hired a press agent, their friend Bill Thompson. Thompson was friends with the two main music writers at the San Francisco Chronicle, Ralph Gleason, the famous jazz critic, who had recently started also reviewing rock music, and John Wasserman. Thompson got both men to come to the opening night of the Matrix, and both gave the group glowing reviews in the Chronicle. Record labels started sniffing around the group immediately as a result of this coverage, and according to Katz he managed to get a bidding war started by making sure that when A&R men came to the club there were always two of them from different labels, so they would see the other person and realise they weren't the only ones interested. But before signing a record deal they needed to make some personnel changes. The first member to go was Jerry Peloquin, for both musical and personal reasons. Peloquin was used to keeping strict time and the other musicians had a more free-flowing idea of what tempo they should be playing at, but also he had worked for the police while the other members were all taking tons of illegal drugs. The final break with Peloquin came when he did the rest of the group a favour -- Paul Kantner's glasses broke during a rehearsal, and as Peloquin was an optician he offered to take them back to his shop and fix them. When he got back, he found them auditioning replacements for him. He beat Kantner up, and that was the end of Jerry Peloquin in Jefferson Airplane. His replacement was Skip Spence, who the group had met when he had accompanied three friends to the Matrix, which they were using as a rehearsal room. Spence's friends went on to be the core members of Quicksilver Messenger Service along with Dino Valenti: [Excerpt: Quicksilver Messenger Service, "Dino's Song"] But Balin decided that Spence looked like a rock star, and told him that he was now Jefferson Airplane's drummer, despite Spence being a guitarist and singer, not a drummer. But Spence was game, and learned to play the drums. Next they needed to get rid of Bob Harvey. According to Harvey, the decision to sack him came after David Crosby saw the band rehearsing and said "Nice song, but get rid of the bass player" (along with an expletive before the word bass which I can't say without incurring the wrath of Apple). Crosby denies ever having said this. Harvey had started out in the group on double bass, but to show willing he'd switched in his last few gigs to playing an electric bass. When he was sacked by the group, he returned to double bass, and to the Slippery Rock String Band, who released one single in 1967: [Excerpt: The Slippery Rock String Band, "Tule Fog"] Harvey's replacement was Kaukonen's old friend Jack Casady, who Kaukonen knew was now playing bass, though he'd only ever heard him playing guitar when they'd played together. Casady was rather cautious about joining a rock band, but then Kaukonen told him that the band were getting fifty dollars a week salary each from Katz, and Casady flew over from Washington DC to San Francisco to join the band. For the first few gigs, he used Bob Harvey's bass, which Harvey was good enough to lend him despite having been sacked from the band. Unfortunately, right from the start Casady and Kantner didn't get on. When Casady flew in from Washington, he had a much more clean-cut appearance than the rest of the band -- one they've described as being nerdy, with short, slicked-back, side-parted hair and a handlebar moustache. Kantner insisted that Casady shave the moustache off, and he responded by shaving only one side, so in profile on one side he looked clean-shaven, while from the other side he looked like he had a full moustache. Kantner also didn't like Casady's general attitude, or his playing style, at all -- though most critics since this point have pointed to Casady's bass playing as being the most interesting and distinctive thing about Jefferson Airplane's style. This lineup seems to have been the one that travelled to LA to audition for various record companies -- a move that immediately brought the group a certain amount of criticism for selling out, both for auditioning for record companies and for going to LA at all, two things that were already anathema on the San Francisco scene. The only audition anyone remembers them having specifically is one for Phil Spector, who according to Kaukonen was waving a gun around during the audition, so he and Casady walked out. Around this time as well, the group performed at an event billed as "A Tribute to Dr. Strange", organised by the radical hippie collective Family Dog. Marvel Comics, rather than being the multi-billion-dollar Disney-owned corporate juggernaut it is now, was regarded as a hip, almost underground, company -- and around this time they briefly started billing their comics not as comics but as "Marvel Pop Art Productions". The magical adventures of Dr. Strange, Master of the Mystic Arts, and in particular the art by far-right libertarian artist Steve Ditko, were regarded as clear parallels to both the occult dabblings and hallucinogen use popular among the hippies, though Ditko had no time for either, following as he did an extreme version of Ayn Rand's Objectivism. It was at the Tribute to Dr. Strange that Jefferson Airplane performed for the first time with a band named The Great Society, whose lead singer, Grace Slick, would later become very important in Jefferson Airplane's story: [Excerpt: The Great Society, "Someone to Love"] That gig was also the first one where the band and their friends noticed that large chunks of the audience were now dressing up in costumes that were reminiscent of the Old West. Up to this point, while Katz had been managing the group and paying them fifty dollars a week even on weeks when they didn't perform, he'd been doing so without a formal contract, in part because the group didn't trust him much. But now they were starting to get interest from record labels, and in particular RCA Records desperately wanted them. While RCA had been the label who had signed Elvis Presley, they had otherwise largely ignored rock and roll, considering that since they had the biggest rock star in the world they didn't need other ones, and concentrating largely on middle-of-the-road acts. But by the mid-sixties Elvis' star had faded somewhat, and they were desperate to get some of the action for the new music -- and unlike the other major American labels, they didn't have a reciprocal arrangement with a British label that allowed them to release anything by any of the new British stars. The group were introduced to RCA by Rod McKuen, a songwriter and poet who later became America's best-selling poet and wrote songs that sold over a hundred million copies. At this point McKuen was in his Jacques Brel phase, recording loose translations of the Belgian songwriter's songs with McKuen translating the lyrics: [Excerpt: Rod McKuen, "Seasons in the Sun"] McKuen thought that Jefferson Airplane might be a useful market for his own songs, and brought the group to RCA. RCA offered Jefferson Airplane twenty-five thousand dollars to sign with them, and Katz convinced the group that RCA wouldn't give them this money without them having signed a management contract with him. Kaukonen, Kantner, Spence, and Balin all signed without much hesitation, but Jack Casady didn't yet sign, as he was the new boy and nobody knew if he was going to be in the band for the long haul. The other person who refused to sign was Signe Anderson. In her case, she had a much better reason for refusing to sign, as unlike the rest of the band she had actually read the contract, and she found it to be extremely worrying. She did eventually back down on the day of the group's first recording session, but she later had the contract renegotiated. Jack Casady also signed the contract right at the start of the first session -- or at least, he thought he'd signed the contract then. He certainly signed *something*, without having read it. But much later, during a court case involving the band's longstanding legal disputes with Katz, it was revealed that the signature on the contract wasn't Casady's, and was badly forged. What he actually *did* sign that day has never been revealed, to him or to anyone else. Katz also signed all the group as songwriters to his own publishing company, telling them that they legally needed to sign with him if they wanted to make records, and also claimed to RCA that he had power of attorney for the band, which they say they never gave him -- though to be fair to Katz, given the band members' habit of signing things without reading or understanding them, it doesn't seem beyond the realms of possibility that they did. The producer chosen for the group's first album was Tommy Oliver, a friend of Katz's who had previously been an arranger on some of Doris Day's records, and whose next major act after finishing the Jefferson Airplane album was Trombones Unlimited, who released records like "Holiday for Trombones": [Excerpt: Trombones Unlimited, "Holiday For Trombones"] The group weren't particularly thrilled with this choice, but were happier with their engineer, Dave Hassinger, who had worked on records like "Satisfaction" by the Rolling Stones, and had a far better understanding of the kind of music the group were making. They spent about three months recording their first album, even while continually being attacked as sellouts. The album is not considered their best work, though it does contain "Blues From an Airplane", a collaboration between Spence and Balin: [Excerpt: Jefferson Airplane, "Blues From an Airplane"] Even before the album came out, though, things were starting to change for the group. Firstly, they started playing bigger venues -- their home base went from being the Matrix club to the Fillmore, a large auditorium run by the promoter Bill Graham. They also started to get an international reputation. The British singer-songwriter Donovan released a track called "The Fat Angel" which namechecked the group: [Excerpt: Donovan, "The Fat Angel"] The group also needed a new drummer. Skip Spence decided to go on holiday to Mexico without telling the rest of the band. There had already been some friction with Spence, as he was very eager to become a guitarist and songwriter, and the band already had three songwriting guitarists and didn't really see why they needed a fourth. They sacked Spence, who went on to form Moby Grape, who were also managed by Katz: [Excerpt: Moby Grape, "Omaha"] For his replacement they brought in Spencer Dryden, who was a Hollywood brat like their friend David Crosby -- in Dryden's case he was Charlie Chaplin's nephew, and his father worked as Chaplin's assistant. The story normally goes that the great session drummer Earl Palmer recommended Dryden to the group, but it's also the case that Dryden had been in a band, the Heartbeats, with Tommy Oliver and the great blues guitarist Roy Buchanan, so it may well be that Oliver had recommended him. Dryden had been primarily a jazz musician, playing with people like the West Coast jazz legend Charles Lloyd, though like most jazzers he would slum it on occasion by playing rock and roll music to pay the bills. But then he'd seen an early performance by the Mothers of Invention, and realised that rock music could have a serious artistic purpose too. He'd joined a band called The Ashes, who had released one single, the Jackie DeShannon song "Is There Anything I Can Do?" in December 1965: [Excerpt: The Ashes, "Is There Anything I Can Do?"] The Ashes split up once Dryden left the group to join Jefferson Airplane, but they soon reformed without him as The Peanut Butter Conspiracy, who hooked up with Gary Usher and released several albums of psychedelic sunshine pop. Dryden played his first gig with the group at a Republican Party event on June the sixth, 1966. But by the time Dryden had joined, other problems had become apparent. The group were already feeling like it had been a big mistake to accede to Katz's demands to sign a formal contract with him, and Balin in particular was getting annoyed that he wouldn't let the band see their finances. All the money was getting paid to Katz, who then doled out money to the band when they asked for it, and they had no idea if he was actually paying them what they were owed or not. The group's first album, Jefferson Airplane Takes Off, finally came out in September, and it was a comparative flop. It sold well in San Francisco itself, selling around ten thousand copies in the area, but sold basically nothing anywhere else in the country -- the group's local reputation hadn't extended outside their own immediate scene. It didn't help that the album was pulled and reissued, as RCA censored the initial version of the album because of objections to the lyrics. The song "Runnin' Round This World" was pulled off the album altogether for containing the word "trips", while in "Let Me In" they had to rerecord two lines -- “I gotta get in, you know where" was altered to "You shut the door now it ain't fair" and "Don't tell me you want money" became "Don't tell me it's so funny". Similarly in "Run Around" the phrase "as you lay under me" became "as you stay here by me". Things were also becoming difficult for Anderson. She had had a baby in May and was not only unhappy with having to tour while she had a small child, she was also the band member who was most vocally opposed to Katz. Added to that, her husband did not get on well at all with the group, and she felt trapped between her marriage and her bandmates. Reports differ as to whether she quit the band or was fired, but after a disastrous appearance at the Monterey Jazz Festival, one way or another she was out of the band. Her replacement was already waiting in the wings. Grace Slick, the lead singer of the Great Society, had been inspired by going to one of the early Jefferson Airplane gigs. She later said "I went to see Jefferson Airplane at the Matrix, and they were making more money in a day than I made in a week. They only worked for two or three hours a night, and they got to hang out. I thought 'This looks a lot better than what I'm doing.' I knew I could more or less carry a tune, and I figured if they could do it I could." She was married at the time to a film student named Jerry Slick, and indeed she had done the music for his final project at film school, a film called "Everybody Hits Their Brother Once", which sadly I can't find online. She was also having an affair with Jerry's brother Darby, though as the Slicks were in an open marriage this wasn't particularly untoward. The three of them, with a couple of other musicians, had formed The Great Society, named as a joke about President Johnson's programme of the same name. The Great Society was the name Johnson had given to his whole programme of domestic reforms, including civil rights for Black people, the creation of Medicare and Medicaid, the creation of the National Endowment for the Arts, and more. While those projects were broadly popular among the younger generation, Johnson's escalation of the war in Vietnam had made him so personally unpopular that even his progressive domestic programme was regarded with suspicion and contempt. The Great Society had set themselves up as local rivals to Jefferson Airplane -- where Jefferson Airplane had buttons saying "Jefferson Airplane Loves You!" the Great Society put out buttons saying "The Great Society Really Doesn't Like You Much At All". They signed to Autumn Records, and recorded a song that Darby Slick had written, titled "Someone to Love" -- though the song would later be retitled "Somebody to Love": [Excerpt: The Great Society, "Someone to Love"] That track was produced by Sly Stone, who at the time was working as a producer for Autumn Records. The Great Society, though, didn't like working with Stone, because he insisted on them doing forty-five takes to try to sound professional, as none of them were particularly competent musicians. Grace Slick later said "Sly could play any instrument known to man. He could have just made the record himself, except for the singers. It was kind of degrading in a way" -- and on another occasion she said that he *did* end up playing all the instruments on the finished record. "Someone to Love" was put out as a promo record, but never released to the general public, and nor were any of the Great Society's other recordings for Autumn Records released. Their contract expired and they were let go, at which point they were about to sign to Mercury Records, but then Darby Slick and another member decided to go off to India for a while. Grace's marriage to Jerry was falling apart, though they would stay legally married for several years, and the Great Society looked like it was at an end, so when Grace got the offer to join Jefferson Airplane to replace Signe Anderson, she jumped at the chance. At first, she was purely a harmony singer -- she didn't take over any of the lead vocal parts that Anderson had previously sung, as she had a very different vocal style, and instead she just sang the harmony parts that Anderson had sung on songs with other lead vocalists. But two months after the album they were back in the studio again, recording their second album, and Slick sang lead on several songs there. As well as the new lineup, there was another important change in the studio. They were still working with Dave Hassinger, but they had a new producer, Rick Jarrard. Jarrard was at one point a member of the folk group The Wellingtons, who did the theme tune for "Gilligan's Island", though I can't find anything to say whether or not he was in the group when they recorded that track: [Excerpt: The Wellingtons, "The Ballad of Gilligan's Island"] Jarrard had also been in the similar folk group The Greenwood County Singers, where as we heard in the episode on "Heroes and Villains" he replaced Van Dyke Parks. He'd also released a few singles under his own name, including a version of Parks' "High Coin": [Excerpt: Rick Jarrard, "High Coin"] While Jarrard had similar musical roots to those of Jefferson Airplane's members, and would go on to produce records by people like Harry Nilsson and The Family Tree, he wasn't any more liked by the band than their previous producer had been. So much so, that a few of the band members have claimed that while Jarrard is the credited producer, much of the work that one would normally expect to be done by a producer was actually done by their friend Jerry Garcia, who according to the band members gave them a lot of arranging and structural advice, and was present in the studio and played guitar on several tracks. Jarrard, on the other hand, said categorically "I never met Jerry Garcia. I produced that album from start to finish, never heard from Jerry Garcia, never talked to Jerry Garcia. He was not involved creatively on that album at all." According to the band, though, it was Garcia who had the idea of almost doubling the speed of the retitled "Somebody to Love", turning it into an uptempo rocker: [Excerpt: Jefferson Airplane, "Somebody to Love"] And one thing everyone is agreed on is that it was Garcia who came up with the album title, when after listening to some of the recordings he said "That's as surrealistic as a pillow!" It was while they were working on the album that was eventually titled Surrealistic Pillow that they finally broke with Katz as their manager, bringing Bill Thompson in as a temporary replacement. Or at least, it was then that they tried to break with Katz. Katz sued the group over their contract, and won. Then they appealed, and they won. Then Katz appealed the appeal, and the Superior Court insisted that if he wanted to appeal the ruling, he had to put up a bond for the fifty thousand dollars the group said he owed them. He didn't, so in 1970, four years after they sacked him as their manager, the appeal was dismissed. Katz appealed the dismissal, and won that appeal, and the case dragged on for another three years, at which point Katz dragged RCA Records into the lawsuit. As a result of being dragged into the mess, RCA decided to stop paying the group their songwriting royalties from record sales directly, and instead put the money into an escrow account. The claims and counterclaims and appeals *finally* ended in 1987, twenty years after the lawsuits had started and fourteen years after the band had stopped receiving their songwriting royalties. In the end, the group won on almost every point, and finally received one point three million dollars in back royalties and seven hundred thousand dollars in interest that had accrued, while Katz got a small token payment. Early in 1967, when the sessions for Surrealistic Pillow had finished, but before the album was released, Newsweek did a big story on the San Francisco scene, which drew national attention to the bands there, and the first big event of what would come to be called the hippie scene, the Human Be-In, happened in Golden Gate Park in January. As the group's audience was expanding rapidly, they asked Bill Graham to be their manager, as he was the most business-minded of the people around the group. The first single from the album, "My Best Friend", a song written by Skip Spence before he quit the band, came out in January 1967 and had no more success than their earlier recordings had, and didn't make the Hot 100. The album came out in February, and was still no higher than number 137 on the charts in March, when the second single, "Somebody to Love", was released: [Excerpt: Jefferson Airplane, "Somebody to Love"] That entered the charts at the start of April, and by June it had made number five. The single's success also pushed its parent album up to number three by August, just behind the Beatles' Sgt Pepper's Lonely Hearts Club Band and the Monkees' Headquarters. The success of the single also led to the group being asked to do commercials for Levis jeans: [Excerpt: Jefferson Airplane, "Levis commercial"] That once again got them accused of selling out. Abbie Hoffman, the leader of the Yippies, wrote to the Village Voice about the commercials, saying "It summarized for me all the doubts I have about the hippie philosophy. I realise they are just doing their 'thing', but while the Jefferson Airplane grooves with its thing, over 100 workers in the Levi Strauss plant on the Tennessee-Georgia border are doing their thing, which consists of being on strike to protest deplorable working conditions." The third single from the album, "White Rabbit", came out on the twenty-fourth of June, the day before the Beatles recorded "All You Need is Love", nine days after the release of "See Emily Play", and a week after the group played the Monterey Pop Festival, to give you some idea of how compressed a time period we've been in recently. We talked in the last episode about how there's a big difference between American and British psychedelia at this point in time, because the political nature of the American counterculture was determined by the fact that so many people were being sent off to die in Vietnam. Of all the San Francisco bands, though, Jefferson Airplane were by far the least political -- they were into the culture part of the counterculture, but would often and repeatedly disavow any deeper political meaning in their songs. In early 1968, for example, in a press conference, they said “Don't ask us anything about politics. We don't know anything about it. And what we did know, we just forgot.” So it's perhaps not surprising that of all the American groups, they were the one that was most similar to the British psychedelic groups in their influences, and in particular their frequent references to children's fantasy literature. "White Rabbit" was a perfect example of this. It had started out as "White Rabbit Blues", a song that Slick had written influenced by Alice in Wonderland, and originally performed by the Great Society: [Excerpt: The Great Society, "White Rabbit"] Slick explained the lyrics, and their association between childhood fantasy stories and drugs, later by saying "It's an interesting song but it didn't do what I wanted it to. What I was trying to say was that between the ages of zero and five the information and the input you get is almost indelible. In other words, once a Catholic, always a Catholic. And the parents read us these books, like Alice in Wonderland where she gets high, tall, and she takes mushrooms, a hookah, pills, alcohol. And then there's The Wizard of Oz, where they fall into a field of poppies and when they wake up they see Oz. And then there's Peter Pan, where if you sprinkle white dust on you, you could fly. And then you wonder why we do it? Well, what did you read to me?" While the lyrical inspiration for the track was from Alice in Wonderland, the musical inspiration is less obvious. Slick has on multiple occasions said that the idea for the music came from listening to Miles Davis' album "Sketches of Spain", and in particular to Davis' version of -- and I apologise for almost certainly mangling the Spanish pronunciation badly here -- "Concierto de Aranjuez", though I see little musical resemblance to it myself. [Excerpt: Miles Davis, "Concierto de Aranjuez"] She has also, though, talked about how the song was influenced by Ravel's "Bolero", and in particular the way the piece keeps building in intensity, starting softly and slowly building up, rather than having the dynamic peaks and troughs of most music. And that is definitely a connection I can hear in the music: [Excerpt: Ravel, "Bolero"] Jefferson Airplane's version of "White Rabbit", like their version of "Somebody to Love", was far more professional, far -- and apologies for the pun -- slicker than The Great Society's version. It's also much shorter. The version by The Great Society has a four and a half minute instrumental intro before Slick's vocal enters. By contrast, the version on Surrealistic Pillow comes in at under two and a half minutes in total, and is a tight pop song: [Excerpt: Jefferson Airplane, "White Rabbit"] Jack Casady has more recently said that the group originally recorded the song more or less as a lark, because they assumed that all the drug references would mean that RCA would make them remove the song from the album -- after all, they'd cut a song from the earlier album because it had a reference to a trip, so how could they possibly allow a song like "White Rabbit" with its lyrics about pills and mushrooms? But it was left on the album, and ended up making the top ten on the pop charts, peaking at number eight: [Excerpt: Jefferson Airplane, "White Rabbit"] In an interview last year, Slick said she still largely lives off the royalties from writing that one song. It would be the last hit single Jefferson Airplane would ever have. Marty Balin later said "Fame changes your life. It's a bit like prison. It ruined the band. Everybody became rich and selfish and self-centred and couldn't care about the band. That was pretty much the end of it all. After that it was just working and living the high life and watching the band destroy itself, living on its laurels." They started work on their third album, After Bathing at Baxter's, in May 1967, while "Somebody to Love" was still climbing the charts. This time, the album was produced by Al Schmitt. Unlike the two previous producers, Schmitt was a fan of the band, and decided the best thing to do was to just let them do their own thing without interfering. The album took months to record, rather than the weeks that Surrealistic Pillow had taken, and cost almost ten times as much money to record. In part the time it took was because of the promotional work the band had to do. Bill Graham was sending them all over the country to perform, which they didn't appreciate. The group complained to Graham in business meetings, saying they wanted to only play in big cities where there were lots of hippies. Graham pointed out in turn that if they wanted to keep having any kind of success, they needed to play places other than San Francisco, LA, New York, and Chicago, because in fact most of the population of the US didn't live in those four cities. They grudgingly took his point. But there were other arguments all the time as well. They argued about whether Graham should be taking his cut from the net or the gross. They argued about Graham trying to push for the next single to be another Grace Slick lead vocal -- they felt like he was trying to make them into just Grace Slick's backing band, while he thought it made sense to follow up two big hits with more singles with the same vocalist. There was also a lawsuit from Balin's former partners in the Matrix, who remembered that bit in the contract about having a share in the group's income and sued for six hundred thousand dollars -- that was settled out of court three years later. And there were interpersonal squabbles too. Some of these were about the music -- Dryden didn't like the fact that Kaukonen's guitar solos were getting longer and longer, and Balin only contributed one song to the new album because all the other band members made fun of him for writing short, poppy, love songs rather than extended psychedelic jams -- but also the group had become basically two rival factions. On one side were Kaukonen and Casady, the old friends and virtuoso instrumentalists, who wanted to extend the instrumental sections of the songs more to show off their playing. On the other side were Grace Slick and Spencer Dryden, the two oldest members of the group by age, but the most recent people to join. They were also unusual in the San Francisco scene for having alcohol as their drug of choice -- drinking was thought of by most of the hippies as being a bit classless, but they were both alcoholics. They were also sleeping together, and generally on the side of shorter, less exploratory, songs. Kantner, who was attracted to Slick, usually ended up siding with her and Dryden, and this left Balin the odd man out in the middle. He later said "I got disgusted with all the ego trips, and the band was so stoned that I couldn't even talk to them. Everybody was in their little shell". While they were still working on the album, they released the first single from it, Kantner's "The Ballad of You and Me and Pooneil". The "Pooneil" in the song was a figure that combined two of Kantner's influences: the Greenwich Village singer-songwriter Fred Neil, the writer of "Everybody's Talkin'" and "Dolphins"; and Winnie the Pooh. The song contained several lines taken from A.A. Milne's children's stories: [Excerpt: Jefferson Airplane, "The Ballad of You and Me and Pooneil"] That only made number forty-two on the charts. It was the last Jefferson Airplane single to make the top fifty. At a gig in Bakersfield they got arrested for inciting a riot, because they encouraged the crowd to dance, even though local by-laws said that nobody under sixteen was allowed to dance, and then they nearly got arrested again after Kantner's behaviour on the private plane they'd chartered to get them back to San Francisco that night. Kantner had been chain-smoking, and this annoyed the pilot, who asked Kantner to put his cigarette out, so Kantner opened the door of the plane mid-flight and threw the lit cigarette out. They'd chartered that plane because they wanted to make sure they got to see a new group, Cream, who were playing the Fillmore: [Excerpt: Cream, "Strange Brew"] After seeing that, the divisions in the band were even wider -- Kaukonen and Casady now *knew* that what the band needed was to do long, extended, instrumental jams. Cream were the future, two-minute pop songs were the past. Though they weren't completely averse to two-minute pop songs. The group were recording at RCA studios at the same time as the Monkees, and members of the two groups would often jam together. The idea of selling out might have been anathema to their *audience*, but the band members themselves didn't care about things like that. Indeed, at one point the group returned from a gig to the mansion they were renting and found squatters had moved in and were using their private pool -- so they shot at the water. The squatters quickly moved on. As Dryden put it "We all -- Paul, Jorma, Grace, and myself -- had guns. We weren't hippies. Hippies were the people that lived on the streets down in Haight-Ashbury. We were basically musicians and art school kids. We were into guns and machinery" After Bathing at Baxter's only went to number seventeen on the charts, not a bad position but a flop compared to their previous album, and Bill Graham in particular took this as more proof that he had been right when for the last few months he'd been attacking the group as self-indulgent. Eventually, Slick and Dryden decided that either Bill Graham was going as their manager, or they were going. Slick even went so far as to try to negotiate a solo deal with Elektra Records -- as the voice on the hits, everyone was telling her she was the only one who mattered anyway. David Anderle, who was working for the label, agreed a deal with her, but Jac Holzman refused to authorise the deal, saying "Judy Collins doesn't get that much money, why should Grace Slick?" The group did fire Graham, and went one further and tried to become his competitors. They teamed up with the Grateful Dead to open a new venue, the Carousel Ballroom, to compete with the Fillmore, but after a few months they realised they were no good at running a venue and sold it to Graham. Graham, who was apparently unhappy with the fact that the people living around the Fillmore were largely Black given that the bands he booked appealed to mostly white audiences, closed the original Fillmore, renamed the Carousel the Fillmore West, and opened up a second venue in New York, the Fillmore East. The divisions in the band were getting worse -- Kaukonen and Casady were taking more and more speed, which was making them play longer and faster instrumental solos whether or not the rest of the band wanted them to, and Dryden, whose hands often bled from trying to play along with them, definitely did not want them to. But the group soldiered on and recorded their fourth album, Crown of Creation. This album contained several songs that were influenced by science fiction novels. The most famous of these was inspired by the right-libertarian author Robert Heinlein, who was hugely influential on the counterculture. Jefferson Airplane's friends the Monkees had already recorded a song based on Heinlein's The Door Into Summer, an unintentionally disturbing novel about a thirty-year-old man who falls in love with a twelve-year-old girl, and who uses a combination of time travel and cryogenic freezing to make their ages closer together so he can marry her: [Excerpt: The Monkees, "The Door Into Summer"] Now Jefferson Airplane were recording a song based on Heinlein's most famous novel, Stranger in a Strange Land. Stranger in a Strange Land has dated badly, thanks to its casual homophobia and rape-apologia, but at the time it was hugely popular in hippie circles for its advocacy of free love and group marriages -- so popular that a religion, the Church of All Worlds, based itself on the book. David Crosby had taken inspiration from it and written "Triad", a song asking two women if they'll enter into a polygamous relationship with him, and recorded it with the Byrds: [Excerpt: The Byrds, "Triad"] But the other members of the Byrds disliked the song, and it was left unreleased for decades. As Crosby was friendly with Jefferson Airplane, and as members of the band were themselves advocates of open relationships, they recorded their own version with Slick singing lead: [Excerpt: Jefferson Airplane, "Triad"] The other song on the album influenced by science fiction was the title track, Paul Kantner's "Crown of Creation". This song was inspired by The Chrysalids, a novel by the British writer John Wyndham. The Chrysalids is one of Wyndham's most influential novels, a post-apocalyptic story about young children who are born with mutant superpowers and have to hide them from their parents as they will be killed if they're discovered. The novel is often thought to have inspired Marvel Comics' X-Men, and while there's an unpleasant eugenic taste to its ending, with the idea that two species can't survive in the same ecological niche and the younger, "superior", species must outcompete the old, that idea also had a lot of influence in the counterculture, as well as being a popular one in science fiction. Kantner's song took whole lines from The Chrysalids, much as he had earlier done with A.A. Milne: [Excerpt: Jefferson Airplane, "Crown of Creation"] The Crown of Creation album was in some ways a return to the more focused songwriting of Surrealistic Pillow, although the sessions weren't without their experiments. Slick and Dryden collaborated with Frank Zappa and members of the Mothers of Invention on an avant-garde track called "Would You Like a Snack?" (not the same song as the later Zappa song of the same name) which was intended for the album, though went unreleased until a CD box set decades later: [Excerpt: Grace Slick and Frank Zappa, "Would You Like a Snack?"] But the finished album was generally considered less self-indulgent than After Bathing at Baxter's, and did better on the charts as a result. It reached number six, becoming their second and last top ten album, helped by the group's appearance on the Ed Sullivan Show in September 1968, a month after it came out. That appearance was actually organised by Colonel Tom Parker, who suggested them to Sullivan as a favour to RCA Records. But another TV appearance at the time was less successful. They appeared on the Smothers Brothers Comedy Hour, one of the most popular TV shows among the young, hip, audience that the group needed to appeal to, but Slick appeared in blackface. She's later said that there was no political intent behind this, and that she was just trying the different makeup she found in the dressing room as a purely aesthetic thing, but that doesn't really explain the Black power salute she gives at one point. Slick was increasingly obnoxious on stage, as her drinking was getting worse and her relationship with Dryden was starting to break down. Just before the Smothers Brothers appearance she was accused at a benefit for the Whitney Museum of having called the audience "filthy Jews", though she has always said that what she actually said was "filthy jewels", and she was talking about the ostentatious jewellery some of the audience were wearing. The group struggled through a performance at Altamont -- an event we will talk about in a future episode, so I won't go into it here, except to say that it was a horrifying experience for everyone involved -- and performed at Woodstock, before releasing their fifth studio album, Volunteers, in 1969: [Excerpt: Jefferson Airplane, "Volunteers"] That album made the top twenty, but was the last album by the classic lineup of the band. By this point Spencer Dryden and Grace Slick had broken up, with Slick starting to date Kantner, and Dryden was also disappointed at the group's musical direction, and left. Balin also left, feeling sidelined in the group. They released several more albums with varying lineups, including at various points their old friend David Frieberg of Quicksilver Messenger Service, the violinist Papa John Creach, and the former drummer of the Turtles, Johnny Barbata. But as of 1970 the group's members had already started working on two side projects -- an acoustic band called Hot Tuna, led by Kaukonen and Casady, which sometimes also featured Balin, and a project called Paul Kantner's Jefferson Starship, which also featured Slick and had recorded an album, Blows Against the Empire, the second side of which was based on the Robert Heinlein novel Back to Methuselah, and which became one of the first albums ever nominated for science fiction's Hugo Awards: [Excerpt: Jefferson Starship, "Have You Seen The Stars Tonite"] That album featured contributions from David Crosby and members of the Grateful Dead, as well as Casady on two tracks, but  in 1974 when Kaukonen and Casady quit Jefferson Airplane to make Hot Tuna their full-time band, Kantner, Slick, and Frieberg turned Jefferson Starship into a full band. Over the next decade, Jefferson Starship had a lot of moderate-sized hits, with a varying lineup that at one time or another saw several members, including Slick, go and return, and saw Marty Balin back with them for a while. In 1984, Kantner left the group, and sued them to stop them using the Jefferson Starship name. A settlement was reached in which none of Kantner, Slick, Kaukonen, or Casady could use the words "Jefferson" or "Airplane" in their band-names without the permission of all the others, and the remaining members of Jefferson Starship renamed their band just Starship -- and had three number one singles in the late eighties with Slick on lead, becoming far more commercially successful than their precursor bands had ever been: [Excerpt: Starship, "We Built This City on Rock & Roll"] Slick left Starship in 1989, and there was a brief Jefferson Airplane reunion tour, with all the classic members but Dryden, but then Slick decided that she was getting too old to perform rock and roll music, and decided to retire from music and become a painter, something she's stuck to for more than thirty years. Kantner and Balin formed a new Jefferson Starship, called Jefferson Starship: The Next Generation, but Kantner died in January 2016, coincidentally on the same day as Signe Anderson, who had occasionally guested with her old bandmates in the new version of the band. Balin, who had quit the reunited Jefferson Starship due to health reasons, died two years later. Dryden had died in 2005. Currently, there are three bands touring that descend directly from Jefferson Airplane. Hot Tuna still continue to perform, there's a version of Starship that tours featuring one original member, Mickey Thomas, and the reunited Jefferson Starship still tour, led by David Frieberg. Grace Slick has given the latter group her blessing, and even co-wrote one song on their most recent album, released in 2020, though she still doesn't perform any more. Jefferson Airplane's period in the commercial spotlight was brief -- they had charting singles for only a matter of months, and while they had top twenty albums for a few years after their peak, they really only mattered to the wider world during that brief period of the Summer of Love. But precisely because their period of success was so short, their music is indelibly associated with that time. To this day there's nothing as evocative of summer 1967 as "White Rabbit", even for those of us who weren't born then. And while Grace Slick had her problems, as I've made very clear in this episode, she inspired a whole generation of women who went on to be singers themselves, as one of the first prominent women to sing lead with an electric rock band. And when she got tired of doing that, she stopped, and got on with her other artistic pursuits, without feeling the need to go back and revisit the past for ever diminishing returns. One might only wish that some of her male peers had followed her example.

Phoenix front man Thomas Mars joins me to talk about his Spark, It Was Twenty Years Ago Today is a 1987 British-made television documentary about the 1967 Summer of Love.We talked about the beginnings of Phoenix and how they drew inspiration from the Beatles' process and sound. We touched on the singular nature of The Beatles influence and they're lasting impact on culture at large. And most importantly, I hung out with one of my favorite musicians!Links:PhoenixIt Was Twenty Years Ago Today

Gonzo Wall Street: RIOTS,RADICALS,RACISM AND REVOLUTION: How the Go-Go Bankers of the 1960s Crashed the Financial System and Bamboozled Washington by Richard E. Farley The long-hidden history of how the corrupt Wall Street investment banks of the 1960s held Congress over a barrel and got an outrageous taxpayer-funded bailout of what they owed their customers—and how little Congress and the SEC got from Wall Street in return. This set the precedent for the bailouts of the 2008 Financial Crisis—and the next Wall Street bailout. A story of corruption and financial malfeasance, it unfolds throughout the tumultuous 1960s, during the administrations of Kennedy, Johnson, and Nixon with a surprising cast of famous and infamous characters playing roles: Abbie Hoffman, Roy Cohn, Ross Perot, Donald Regan, Michael Bloomberg, Felix Rohaytn, Sandy Weill, Ken Langone, and many others. In the 1960s, the fabric of American society was torn apart by deep divisions over the Vietnam War, violence in our cities, and the senseless assassinations of President John F. Kennedy, Martin Luther King Jr., and Senator Robert Kennedy. Civil rights, as well as women's and gay liberation movements, were challenging America. Music, literature, fashion, and “substances” were transforming the culture and upending conventional morality and manners. The public, the media, and politicians, preoccupied with these dramatic changes, paid little attention to Wall Street, where a crisis was brewing that would cause more investment banks to fail than during the Great Depression. The year 1968 should have been the best of times on Wall Street. It was the greatest bull market since the Roaring '20s. The Dow was breaking records. Trading volume was exploding. A hot IPO market for high-flying technology companies was defying gravity. And a swashbuckling mergers and acquisitions wave was generating enormous profits. Despite how flush Wall Street firms looked to outsiders, in truth, they were not a thundering herd but one in need of culling. Hidden from view was the fact that many of the best-known firms on Wall Street were in very precarious financial positions. Rather than investing in desperately needed state-of-the-art computer systems, the executives of these firms overpaid themselves, leaving them overextended and overleveraged. When business exploded in 1968, they were so overwhelmed by the stacks of stock certificates piled from floor to ceiling that their antiquated back offices were unable to process them. The New York Stock Exchange (NYSE), under the oversight of the Securities and Exchange Commission (SEC), was the principal regulator of the Wall Street firms at the time. The NYSE still had many of the vestiges of the private club it was prior to the Depression-era laws that created the SEC and brought Wall Street under the control of the federal government. The NYSE even referred to itself as the “Club,” controlled by an old guard of firms that were among the most overleveraged. Through means legal, and likely illegal, this old guard kept many insolvent firms open while keeping the SEC and Congress in the dark until it was too late. With a systemic financial crisis at hand, the boom turned to bust and they went, hat in hand, to Washington for a bailout. This is the long-hidden history of how the Wall Street investment banks held Congress over a barrel and got a taxpayer-funded guarantee of what they owed their customers—and how little Congress and the SEC got from Wall Street in return. More than anything else, this set the precedent for the bailouts of the 2008 Financial Crisis—and the next Wall Street bailout. In a story that unfolds throughout the tumultuous 1960s, during the administrations of Kennedy, Johnson, and Nixon, a surprising cast of famous and infamous characters play roles: Abbie Hoffman, Roy Cohn, Ross Perot, Donald Regan, Michael Bloomberg, Felix Rohaytn, Sandy Weill, Ken Langone, and many others.

Parshat Nitzavim - Join Geoffrey Stern and Rabbi Adam Mintz recorded on Clubhouse on September 22nd 2022. The Book of Deuteronomy, also known as Mishna Torah, or the second; Reviewed Torah is drawing to an end and provides us with an opportunity to review some of the Rabbinic Principles that have guided us in the reading of the Five Books of Moses. Starting with the iconic statement that "The Torah is not in Heaven" we realize how the Rabbis began a process of humanizing, maybe even secularizing the Torah in a very radical way…. Almost as though they took the Torah from Heaven. With no apologies to Abbie Hoffman, join us for - Steal this Book. Sefaria Source Sheet: www.sefaria.org/sheets/433106 Transcript on episode web page: https://madlik.com/2022/09/21/steal-this-book/ 

Today on Too Opinionated we chat with actor/singer Thomas Ian Nicholas! Thomas began his acting career on Who's the Boss? playing a young Tony Danza. At age 12, Nicholas embarked on a series of feature films that would shape his young adult career, including Rookie of the Year, A Kid in King Arthur's Court. By 18 he had recurring roles on hit TV shows like Party of Five and the role of "Kevin Myers" in the extremely successful "American Pie" franchise. Nicholas began to focus on dramatic roles including the Roger Avary-directed The Rules of Attraction with Faye Dunaway, Jessica Biel and Stealing Sinatra, opposite William H. Macy. In 2009, he landed other exciting roles as a rookie cop in the drama Life is Hot in Cracktown with Lara Flynn Boyle. He portrayed Abbie Hoffman in the film entitled The Chicago 8. And as the role of Eugene in Nicole Holofcener's Please Give, opposite Rebecca Hall and Catherine Keener, in which he and the cast won the 2011 Indie Spirit Robert Altman Award. Recent releases include Walt Before Mickey, where Nicholas portrays a young Walt Disney during the struggles of his early life and career. He was also a series regular on Steven Spielberg's TV drama series entitled, Red Band Society. Thomas is also an accomplished singer/songwriter. His new release 1999 featuring Bowling for Soup is available on all streaming platforms! Want to watch: YouTube Meisterkhan Pod (Please Subscribe) Check out the Website: Meisterkhan.com

On this episode of Murder Dice The Slayers are docked and ready to venture into the spooky spookiness as they try to make contact with The Architect. Will Calcifer find a handful of new accessories? Will Ubu sink the party? Will Brent find that broom he was looking for? Will Nia listen to Abbie Hoffman and Steal This Book? Will David ever stop ripping on Ben? Find out NOW! On this episode of Murder Dice! Welcome to the Realm!  Murder Dice is a 5e, actual play, Dungeons & Dragons podcast with some 2e flair - dnd D&D dnd5e  Hit up our PATREON PAGE!  https://www.patreon.com/MurderDice  Fun rewards await! Early Episodes, dope stickers, access to our discord server, special surprises, and you can bug us about whatever you want!   Also be sure to hit us up on social media too! We love to hear from you all.  https://itunes.apple.com/us/podcast/murder-dice/id1233020920?mt=2 https://twitter.com/MurderDice https://www.instagram.com/murderdice/ https://twitter.com/mikevorpal https://twitter.com/murderdiceben https://twitter.com/murderdicekyle https://twitter.com/negsquareroot 

Covid has been kicking my butt, so I'm taking a sick week. I'm reposting my favorite episode on Abbie Hoffman and will be back with a new episode on the Birmingham Children's March on 8/22. "How can humor be used to fuel a revolution? 1960's counterculture icon Abbie Hoffman founded the Youth International Party (Yippie) with the goal of stopping the Vietnam War, combatting racism, and tearing down the establishment. To that end, he infiltrated the NY Stock Exchange, exorcised the Pentagon and created guerrilla theater performances. Most famously, he was arrested and tried as part of the Chicago 8. He used the trial to expose the hypocrisies of our justice system and make a mockery of this political show trial. Donate to support the show at ko-fi.com/daringdissent Follow on IG @daringdissent Theme song by Skilsel on pixabay.com Background music credit to White Hot (freebeats.io) Album Art by chnkyraptr Source list for all episodes found here"

On this edition of Parallax Views, longtime activist and populist historian Harvey "Sluggo" Wasserman joined the show to discuss his life of radical activism and his new book The People's Spiral of U.S. History: From Jigonsaseh to Solartopia. This conversation is a wild ride as Harvey gives us an overview of his long life including stories of Democratic National Convention riots in 1968, writing a pro-marijuana article in his youth that caused him to appear on multiple TV shows, dropping acid in the 1960s, living in a hippie farming community, discovering the life and times of socialist leader Eugene V. Debs, the COINTELPRO-era FBI's attempts to infiltrate and destroy a radical news service Harvey was involved with called Liberation News Service, and helping to kickstart the anti-nukes/"No Nukes" movement as well as his encounters with Howard Zinn, Martin Luther King, Jr., Timothy Leary, Abbie Hoffman, and many, many others. Additionally, Harvey and I also manage to discuss: - California Governor Gavin Newsom, Diablo Canyon nuclear reactors, and the problems with nuclear power - The People's Spiral of U.S. History as dealing with a cyclical interpretation of U.S. history influenced by William Appleman Williams that details a dialectical struggle between the indigenous and puritanical elements in America's cultural DNA that Wasserman traces back to America's earliest origins - Harvey's "Law of Unintended Consequences" in history, J. Edgar Hoover, and helping to pioneer organic farming - LSD, mushrooms, Gordon Wasson, ergot poisoning and the Salem Witch Trials, the CIA's involvement in spreading acid, whether Timothy Leary was working for the U.S. intelligence community and MKULTRA, and Terence McKenna's "Stoned Ape" theory - Organizing protests that shutdown a nuclear power plant and why that campaign succeeded - Nuclear energy, Fukushima, and Chernobyl; Putin, nuclear reactors, and the war in Ukraine; nuclear reactors built on earthquake faults - Nuclear power vs. solar and wind power - Republican Election stealing and Harvey's work with political scientist and Columbus Free Press journalist Bob Fitrakis on unusual activity in Ohio related to the 2004 Presidential election that pitted George W. Bush against John Kerry - And much, much more!

Marijuana was integral to the evolving culture wars of the 1970s, with long criminal sentences meted out to some while others flouted the law with alacrity. No one was more central to the battles over marijuana policy than Keith Stroup, who founded the National Organization for the Reform of Marijuana Laws (NORML) in 1970 and directed the organization for most of the decade. His allies spanned the spectrum of respectability from Harvard professors and former high level government officials to Gonzo journalist Hunter Thompson, Yippie activist Abbie Hoffman, Playboy founder Hugh Hefner and assorted marijuana smugglers, most notably Tom Forcade, who started High Times magazine. We talked about President Richard Nixon's efforts to block marijuana law reform and President Jimmy Carter's support for decriminalization. Eleven states decriminalized marijuana during the mid-1970s but the momentum faded rapidly as the decade neared completion. Most fascinating to me were Keith's reflections on his own activism in an era that preceded my own engagement in drug policy reform activism beginning in 1988.See omnystudio.com/listener for privacy information.

Robb talks with Josh Caldwell, Socialist running for Governor of Massachusetts --- Support this podcast: https://anchor.fm/bostonrobb/support

40 psychedelic houseguests in Hugh and Bonnie Jean's 1 bedroom apartment leads to eviction, propelling Wavy and the Merry Pranksters to a literal hog farm as they morph from Beatniks into a new subculture the media calls “Hippies”. Starting with Hugh and Bonnie Jean's 1966 wedding and honeymoon, Wavy unfolds origin stories of the Hog Farm commune and their groundbreaking theatrical parties, which attract attention from the media, movie stars and murderers. Hollywood windfall launches The Hog Farm and Friends Open Celebration, a traveling college roadshow tour PLUS Wavy joins forces with Abbie Hoffman and the Yippies, challenging the core of American politics when they run America's first black and white candidate for president: Pigasus the Immortal! Episode guests include Abbie Hoffman's archivist, Adrian Marin, Hog Farmers Dorje Bond, Laura Foster Corbin and Jahanarah Romney. Part of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

40 psychedelic houseguests in Hugh and Bonnie Jean's 1 bedroom apartment leads to eviction, propelling Wavy and the Merry Pranksters to a literal hog farm as they morph from Beatniks into a new subculture the media calls “Hippies”. Starting with Hugh and Bonnie Jean's 1966 wedding and honeymoon, Wavy unfolds origin stories of the Hog Farm commune and their groundbreaking theatrical parties, which attract attention from the media, movie stars and murderers. Hollywood windfall launches The Hog Farm and Friends Open Celebration, a traveling college roadshow tour PLUS Wavy joins forces with Abbie Hoffman and the Yippies, challenging the core of American politics when they run America's first black and white candidate for president: Pigasus the Immortal! Episode guests include Abbie Hoffman's archivist, Adrian Marin, Hog Farmers Dorje Bond, Laura Foster Corbin and Jahanarah Romney. Part of Pantheon Podcasts.

American Prankster is a deep dive with the iconic Wavy Gravy, unfolding his fascinating,historic and hilarious lifestory as an original Beatnik, comedy pioneer, hippie icon and pioneering activist who uses humor as a weapon.   Sharing stories that even he'd forgotten with producer/host, Rainbow Valentine, of Disorganized Crime: Smuggler's Daughter, Wavy gets down to the very nit of the grit and reminds us what it means to be human. From Ben and Jerry's ice cream to Woodstock to the Acid Tests and running a pig for president, Wavy Gravy is an essential part of American counter culture history and more.  You will hear stories of his childhood, teen, army, college and beatnik years with Bob Dylan, Tiny Tim, Martha Graham plus tales of his comedy life with Lenny Bruce, Del Close, Ken Kesey and the Merry Pranksters and his friendships with music icons like Janis Joplin, Jerry Garcia, Mama Cass, Joan C. Baez and more!  Wavy shares absurdist yarns from his lifelong activism using humor as a weapon, along with pals, Abbie Hoffman, Jackson Browne, the Yippies and traveling roadshows of hippies. Plus how psychedelic globetrotting led to the SEVA Foundation and Camp Winnarainbow.  Wavy's 8+ decades of embodying American Pranksterism, inspiring millions down the tie-dye colored path of life and spreading his ethos of Basic Human Needs, is a fundamental part of American, comedy, activist, music, food and global history. Plus he's hilarious and a born storyteller. "When you get to the very bottom of the human soul, when the nit is slamming into the grit and you are sinking but you reach down to help someone else, that is when everyone gets high and you don't even need LSD to do that...and that's when I passed the acid test." – Wavy Gravy, American Prankster "He's like our Rabbi..." - Trixie Garcia American Prankster is a proud part of Pantheon Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices