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3 episodes with Antioch College
2 episodes with Antioch College
3 episodes with Antioch College
3 episodes with Antioch College
2 episodes with Antioch College
3 episodes with Antioch College
2 episodes with Antioch College
2 episodes with Antioch College
2 episodes with Antioch College
Among the legendary singers of the 27 Club who captivated the world with their music and lyrics, is a woman who is not as well known—one whose powerful voice and thought-provoking lyrics set her apart from the men dominating the industry. Mia Zapata and her band, The Gits, were on the verge of becoming a household name in Seattle's grunge and punk rock scene when everything was ripped away one night in July of 1993. Mia Zapata's violent murder shocked Seattle as a whole. Who would want to kill a woman, with no enemies, who was so dynamic, vibrant, and creative, and how did they get away with murder for a decade?Connect with us on Social Media!You can find us at:Instagram: @bookofthedeadpodX: @bkofthedeadpodFacebook: The Book of the Dead PodcastTikTok: BookofthedeadpodOr visit our website at www.botdpod.comABOUT — The Gits. (n.d.). The Gits. https://www.thegits.com/aboutAbout Antioch - Antioch College. (2025, May 23). Antioch College. https://antiochcollege.edu/about/Aug 22, 1993, page 143 - The Plain Dealer at Newspapers.com. (n.d.). Newspapers.com. https://www.newspapers.com/image/1070983951/?match=1&terms=mia%20zapataClark, S. J. (1993, July 16). Capital Hill woman found strangled. Seattle Gay News, 1.Dec 20, 1993, page 58 - The Gazette at Newspapers.com. (n.d.). Newspapers.com. https://www.newspapers.com/image/424249475/?match=1&terms=mia%20zapataGreen, P., & Green, P. (2024, October 11). The Life of Mia Zapata and Love After Tragedy - Gen X Watch. Gen X Watch - Stories, Rants, and Being Left Alone. https://www.genxwatch.com/the-life-of-mia-zapata-and-love-after-tragedy/Haring, B. (2021, May 31). Killer of Mia Zapata, influential Seattle punk musician, dies in prison. Deadline. https://deadline.com/2021/05/killer-mia-zapata-seattle-punk-musician-dies-in-prison-1234762659/Holding on to Mia's magic -- Singer's killing leaves grief in the 2 worlds she lived in. (1993, August 26). The Seattle Times. https://archive.seattletimes.com/archive/19930826/1717883/holding-on-to-mias-magic----singers-killing-leaves-grief-in-the-2-worlds-she-lived-inMendez, S. (2025, February 3). Mia Zapata of The Gits is still influential 30 years after her death - Los Angeles Times. Los Angeles Times. https://www.latimes.com/entertainment-arts/music/story/2025-01-31/mia-zapata-the-gits-is-still-influential-30-years-after-her-deathMia zapata. (n.d.). The Gits. https://web.archive.org/web/20130406042509/http://thegits.com/?page_id=410Pian Chan, S. (2009, January 30). Singer's killer sentenced to 36 years in prison again. The Seattle Times. https://www.seattletimes.com/seattle-news/singers-killer-sentenced-to-36-years-in-prison-again/Sheehy, P. (1993, August 1). Mia Zapata: 1965-1993. The Rocket, 9.STATE V. MEZQUIA (2005). (2005). In Case Law (No. 54246-0–I). Court of Appeals of Washington,Division 1. https://caselaw.findlaw.com/court/wa-court-of-appeals/1329872.htmlStone, R. (2019, December 8). The 27 Club: A Brief History. Rolling Stone. https://www.rollingstone.com/culture/culture-lists/the-27-club-a-brief-history-17853/jeremy-michael-ward-25302/Throwaway style: on the gits and what it means to puke the blues. (n.d.). https://www.kexp.org/read/2025/1/30/throwaway-style-the-gits-mia-zapata-historical-essay/Unsolved Mysteries. (2020, September 7). Mia Zapata - Unsolved Mysteries. https://unsolved.com/gallery/mia-zapata/Who murdered Mia Zapata? -- No arrests, few clues 5 years after slaying. (1998, August 23). The Seattle Times. https://archive.seattletimes.com/archive/19980823/2768095/who-murdered-mia-zapata----no-arrests-few-clues-5-years-after-slaying
CHAPTERS:00:00Introduction and Setting the Scene03:03John's Journey of Self-Discovery06:07College Life and Relationships08:55Love and Loss: The Story of Ted12:11Reflections on Coming Out14:58Life After Antioch: Moving and New Beginnings18:05The Impact of the AIDS Epidemic21:01Family Dynamics and Acceptance23:57Final Thoughts and Reflections24:20Coming Out and Family Dynamics28:32Life in New York and the Search for Belonging32:53Embracing Identity and Personal Growth36:30The Journey of Writing a Memoir41:43Struggles with Addiction and Recovery48:55The Future: Theater Adaptation and Life LessonsTAKEAWAYS:John's journey of self-discovery began in college.He had a significant coming out moment while biking.His relationship with Ted was transformative and deeply impactful.Family acceptance played a crucial role in his life.John reflects on the challenges of navigating love and loss.The AIDS epidemic shaped his experiences and relationships.He emphasizes the importance of embracing one's identity.SUMMARY:In this engaging conversation, John Giarelli shares his personal journey of self-discovery, coming out, and navigating love and loss within the LGBTQ community. He reflects on his experiences at Antioch College, the impact of the AIDS epidemic, and the complexities of family acceptance. John discusses the lessons learned throughout his life, the importance of embracing one's identity, and the motivation behind writing his book. The conversation culminates in a heartfelt exploration of belonging and the ongoing quest for self-acceptance.BIO:John Giarelli was born in Connecticut in 1957. He received his BA from Antioch College in Yellow Springs, Ohio in 1980 and his MA from the University of Connecticut in 1988. He taught English literature and writing for 30 years at several colleges and universities across the country. He has lived in Boston, Washington, DC, San Francisco, New York City, and Los Angeles, and has traveled extensively throughout Europe. He is done with cities and currently lives in a small town in the mountains between Los Angeles and Palm Springs. His recently published memoir, “A Gay Boomer Story,” is a roller coaster ride through the past seven decades. His story begins in the straight-laced 1950s, and runs through the tumultuous 60s, “Coming Out” in the Disco era of the 70s, moving to San Francisco in the 80s, and wandering through America's Gay ghettos in the 90s. He finally settled down with dogs and nature in the mountains, and is currently producing a theatrical adaptation of his book and taking it on the road. Contact John: Email: jliterati@gmail.com. Phone# 323-271-8788Contact Wilkinson: BecomingWilkinson@gmail.com
From Wittenberg to Antioch College, some Ohio universities are in bad financial shape. They're trying various strategies to recover.
Episode 457 / Emily Noelle Lambert received her MFA in Painting from Hunter College in NYC and her BA in Visual Art from Antioch College in Yellow Springs, Ohio. Lambert has shown nationally and internationally including solo exhibitions at Freight+Volume Gallery (NYC), Denny Gallery (NYC), Lu Magnus Gallery (NYC) Art in Buildings (NYC), now defunct Thomas Robertello Gallery (IL), Gravity Gallery (MA) and IMART in South Korea. Her work has been included in numerous group exhibitions including at the Ringling Museum of Art (FL), The University of Michigan in Kalamazoo (MI), Torrance Art Museum(CA), Asya Geisberg (NY), Underdonk (NY) Katherine Markel Fine Art (NYC) and Alice Gauvin Gallery (ME). She has completed public art projects for the Department of Transportation in NYC and elementary schools in NYC and New Hampshire. Lambert has been awarded fellowships from MacDowell (NH), The Yaddo Foundation (NY), Fountainhead Residency (FL), Vermont Studio Center (VT), Dieu Donne (NY), The Alfred and Trafford Klots International Artist Residency (France),Lower East Side Printshop (NY), DNA Residency (MA), Edward Albee Residency (NY), Momozozo AIR (run by artist Paula Wilson) (NM) and Woodstock Byrdcliffe AIR(NY), Virginia Center for Creative Arts (VA) and Cushing Collaborative (organized by artist Maureen Cavanaugh) (ME). Lambert's work has been reviewed in The International New York Times, The Observer, The Brooklyn Rail, Modern Painters, Art News, Two Coats of Paint, Greenpointer, Art in America, and artforum.com. Lambert is currently an Associate Professor of Drawing and Painting at Keene State College in New Hampshire.
Mark Strand was born on Canada's Prince Edward Island on April 11, 1934. He received a BA from Antioch College in Ohio in 1957 and attended Yale University, where he was awarded the Cook Prize and the Bergin Prize. After receiving his BFA degree in 1959, Strand spent a year studying at the University of Florence on a Fulbright fellowship. In 1962 he received his MA from the University of Iowa.Strand was the author of numerous collections of poetry, including Collected Poems (Alfred A. Knopf, 2014); Almost Invisible (Alfred A. Knopf, 2012); New Selected Poems (Alfred A. Knopf, 2007); Man and Camel (Alfred A. Knopf, 2006); Blizzard of One (Alfred A. Knopf, 1998), which won the Pulitzer Prize for Poetry; Dark Harbor (Alfred A. Knopf, 1993); The Continuous Life (Alfred A. Knopf, 1990); Selected Poems (Atheneum, 1980); The Story of Our Lives(Atheneum, 1973); and Reasons for Moving (Atheneum, 1968).Strand also published two books of prose, several volumes of translation (of works by Rafael Alberti and Carlos Drummond de Andrade, among others), several monographs on contemporary artists, and three books for children. He has edited a number of volumes, including 100 Great Poems of the Twentieth Century (W. W. Norton, 2005); The Golden Ecco Anthology (Ecco, 1994); The Best American Poetry 1991; and Another Republic: 17 European and South American Writers, co-edited with Charles Simic (HarperCollins, 1976).Strand's honors included the Bollingen Prize, a Rockefeller Foundation award, three grants from the National Endowment for the Arts, a National Institute of Arts and Letters Award, the 2004 Wallace Stevens Award, the Academy of American Poets Fellowship in 1979, the 1974 Edgar Allen Poe Prize from the Academy of American Poets, as well as fellowships from the MacArthur Foundation and the Ingram Merrill Foundation.Strand served as poet laureate of the United States from 1990 to 1991 and as a Chancellor of the Academy of American Poets from 1995 to 2000. He taught English and comparative literature at Columbia University in New York City.Mark Strand died at eighty years old on November 29, 2014, in Brooklyn, New York.-bio via Academy of American Poets Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe
Yes! I have a returning guest this episode and it is partially because Dr. Erica has more stories to tell (and hooray for us, she gives more detail about that one ceremony where she suddenly could speak and understand Navajo, despite having very little knowledge of that language!) and partially because I want to SHOUT OUT her new book "From Mountains to Medicine, Scaling the Heights In Search Of My Calling." I seriously COULD NOT put this book down...not only does she reveal some harrowing details of the mountains she has summited, but also her struggle to figure out just WHY she is here in this world (a struggle I assume most of us are familiar with!) The book is funny, charming and absolutely worth the read...and I do NOT say that about every book! Please click on the link above to read more about this delightful human being! As well, Dr. Erica shares her struggles after her education in Germany, her travails at Antioch College and that one MIRACLE when her life was spared after her oven blew up (I will let Erica tell that one). Suffice it to say, there is an absolute reason the world needs Dr. Erica, and you'll understand why, after you listen! (It might have to do with her sense of humor, her smarts, and her indefatigable spirit, but what do I know?) To read more about her, click on her website here! Please do rate and review the podcast-it helps others find us! I have so many more fab interviews to share, I can't even tell you how excited I am! Wahoooo! Do check out the YouTube Channel here! Your bit of beauty this week is this Navajo Song, a healing song, just like the one Erica shared, because we all could use a little more healing, don't you think?
Yes! I have a returning guest this episode and it is partially because Dr. Erica has more stories to tell (and hooray for us, she gives more detail about that one ceremony where she suddenly could speak and understand Navajo, despite having very little knowledge of that language!) and partially because I want to SHOUT OUT her new book "From Mountains to Medicine, Scaling the Heights In Search Of My Calling." I seriously COULD NOT put this book down...not only does she reveal some harrowing details of the mountains she has summited, but also her struggle to figure out just WHY she is here in this world (a struggle I assume most of us are familiar with!) The book is funny, charming and absolutely worth the read...and I do NOT say that about every book! Please click on the link above to read more about this delightful human being! As well, Dr. Erica shares her struggles after her education in Germany, her travails at Antioch College and that one MIRACLE when her life was spared after her oven blew up (I will let Erica tell that one). Suffice it to say, there is an absolute reason the world needs Dr. Erica, and you'll understand why, after you listen! (It might have to do with her sense of humor, her smarts, and her indefatigable spirit, but what do I know?) To read more about her, click on her website here! Please do rate and review the podcast-it helps others find us! I have so many more fab interviews to share, I can't even tell you how excited I am! Wahoooo! Do check out the YouTube Channel here! Your bit of beauty this week is this Navajo Song, a healing song, just like the one Erica shared, because we all could use a little more healing, don't you think?
Mark Strand was born on Canada's Prince Edward Island on April 11, 1934. He received a BA from Antioch College in Ohio in 1957 and attended Yale University, where he was awarded the Cook Prize and the Bergin Prize. After receiving his BFA degree in 1959, Strand spent a year studying at the University of Florence on a Fulbright fellowship. In 1962 he received his MA from the University of Iowa.Strand was the author of numerous collections of poetry, including Collected Poems (Alfred A. Knopf, 2014); Almost Invisible (Alfred A. Knopf, 2012); New Selected Poems (Alfred A. Knopf, 2007); Man and Camel (Alfred A. Knopf, 2006); Blizzard of One (Alfred A. Knopf, 1998), which won the Pulitzer Prize for Poetry; Dark Harbor (Alfred A. Knopf, 1993); The Continuous Life (Alfred A. Knopf, 1990); Selected Poems (Atheneum, 1980); The Story of Our Lives (Atheneum, 1973); and Reasons for Moving (Atheneum, 1968).Strand also published two books of prose, several volumes of translation (of works by Rafael Alberti and Carlos Drummond de Andrade, among others), several monographs on contemporary artists, and three books for children. He has edited a number of volumes, including 100 Great Poems of the Twentieth Century (W. W. Norton, 2005); The Golden Ecco Anthology (Ecco, 1994); The Best American Poetry 1991; and Another Republic: 17 European and South American Writers, co-edited with Charles Simic (HarperCollins, 1976).Strand's honors included the Bollingen Prize, a Rockefeller Foundation award, three grants from the National Endowment for the Arts, a National Institute of Arts and Letters Award, the 2004 Wallace Stevens Award, the Academy of American Poets Fellowship in 1979, the 1974 Edgar Allen Poe Prize from the Academy of American Poets, as well as fellowships from the MacArthur Foundation and the Ingram Merrill Foundation.Strand served as poet laureate of the United States from 1990 to 1991 and as a Chancellor of the Academy of American Poets from 1995 to 2000. He taught English and comparative literature at Columbia University in New York City.Mark Strand died at eighty years old on November 29, 2014, in Brooklyn, New York.-bio via Academy of American Poets Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe
Mia Zapata and the Gits: A True Story of Art, Rock and Revolution (Ferel House, 2024) by Steve Moriarty, shares the story of the Seattle based The Gits and their charismatic front person Mia Zapata. The Gits were on the verge of international rock stardom but on July 7, 1993, days before their third US tour, Mia Zapata, The Gits 27-year-old singer-songwriter, was brutally assaulted and murdered by a stranger. Zapata's death sent chilling ripples through progressive communities throughout the United States. She became a cause-celebre for women's rights activists outraged by the brutal killing and lack of law enforcement support. This book reclaims Zapata's story to focus on the art she and The Gits created and not her tragic end. Much has been written and said about her murder, yet Zapata's life and work remain overshadowed by the circumstances of her death. Zapata's friend and bandmate, Steve Moriarty, tells her story--and the story of their band, The Gits--from their first meeting in 1985 to their last goodbye. Moriarity and Zapata met in 1985 as first-year students at Antioch College, where they discovered the power of punk rock and found an outlet for their progressive ideas through music. Zapata, Moriarity, and fellow students Matt Dresdner and Andy Kessler attended a show by San Francisco punk legends Dead Kennedys that inspired the friends to start a band fueled by Mia's provocative lyrics. They quickly gained critical praise and dedicated fans. Moriarty details their struggles as newcomers to the then-pre-tech outpost of the Seattle music scene. Interspersed are the tales Zapata told of her legendary ancestor, Mexican revolutionary Emiliano Zapata, to entertain the band as they spent countless hours on the road crammed into a single un-air-conditioned van touring the US and Europe. They shared stages with Beck, Nirvana, Mudhoney, Joan Jett, Bikini Kill, L7, and more--all who expected Mia and The Gits to be the next "big thing." The Gits's story is more than a biography; it's a testament to the ability of artists and musicians to challenge the status quo and the power of friendship to change the world. Moriarty reframes the sensationalist story as he shares his personal narrative and presents, with intimacy, grit, and humor, the lived experience of The Gits and his dear friend, Mia Zapata. Included are never before seen paintings, letters, and pictures. 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
Mia Zapata and the Gits: A True Story of Art, Rock and Revolution (Ferel House, 2024) by Steve Moriarty, shares the story of the Seattle based The Gits and their charismatic front person Mia Zapata. The Gits were on the verge of international rock stardom but on July 7, 1993, days before their third US tour, Mia Zapata, The Gits 27-year-old singer-songwriter, was brutally assaulted and murdered by a stranger. Zapata's death sent chilling ripples through progressive communities throughout the United States. She became a cause-celebre for women's rights activists outraged by the brutal killing and lack of law enforcement support. This book reclaims Zapata's story to focus on the art she and The Gits created and not her tragic end. Much has been written and said about her murder, yet Zapata's life and work remain overshadowed by the circumstances of her death. Zapata's friend and bandmate, Steve Moriarty, tells her story--and the story of their band, The Gits--from their first meeting in 1985 to their last goodbye. Moriarity and Zapata met in 1985 as first-year students at Antioch College, where they discovered the power of punk rock and found an outlet for their progressive ideas through music. Zapata, Moriarity, and fellow students Matt Dresdner and Andy Kessler attended a show by San Francisco punk legends Dead Kennedys that inspired the friends to start a band fueled by Mia's provocative lyrics. They quickly gained critical praise and dedicated fans. Moriarty details their struggles as newcomers to the then-pre-tech outpost of the Seattle music scene. Interspersed are the tales Zapata told of her legendary ancestor, Mexican revolutionary Emiliano Zapata, to entertain the band as they spent countless hours on the road crammed into a single un-air-conditioned van touring the US and Europe. They shared stages with Beck, Nirvana, Mudhoney, Joan Jett, Bikini Kill, L7, and more--all who expected Mia and The Gits to be the next "big thing." The Gits's story is more than a biography; it's a testament to the ability of artists and musicians to challenge the status quo and the power of friendship to change the world. Moriarty reframes the sensationalist story as he shares his personal narrative and presents, with intimacy, grit, and humor, the lived experience of The Gits and his dear friend, Mia Zapata. Included are never before seen paintings, letters, and pictures. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography
Mia Zapata and the Gits: A True Story of Art, Rock and Revolution (Ferel House, 2024) by Steve Moriarty, shares the story of the Seattle based The Gits and their charismatic front person Mia Zapata. The Gits were on the verge of international rock stardom but on July 7, 1993, days before their third US tour, Mia Zapata, The Gits 27-year-old singer-songwriter, was brutally assaulted and murdered by a stranger. Zapata's death sent chilling ripples through progressive communities throughout the United States. She became a cause-celebre for women's rights activists outraged by the brutal killing and lack of law enforcement support. This book reclaims Zapata's story to focus on the art she and The Gits created and not her tragic end. Much has been written and said about her murder, yet Zapata's life and work remain overshadowed by the circumstances of her death. Zapata's friend and bandmate, Steve Moriarty, tells her story--and the story of their band, The Gits--from their first meeting in 1985 to their last goodbye. Moriarity and Zapata met in 1985 as first-year students at Antioch College, where they discovered the power of punk rock and found an outlet for their progressive ideas through music. Zapata, Moriarity, and fellow students Matt Dresdner and Andy Kessler attended a show by San Francisco punk legends Dead Kennedys that inspired the friends to start a band fueled by Mia's provocative lyrics. They quickly gained critical praise and dedicated fans. Moriarty details their struggles as newcomers to the then-pre-tech outpost of the Seattle music scene. Interspersed are the tales Zapata told of her legendary ancestor, Mexican revolutionary Emiliano Zapata, to entertain the band as they spent countless hours on the road crammed into a single un-air-conditioned van touring the US and Europe. They shared stages with Beck, Nirvana, Mudhoney, Joan Jett, Bikini Kill, L7, and more--all who expected Mia and The Gits to be the next "big thing." The Gits's story is more than a biography; it's a testament to the ability of artists and musicians to challenge the status quo and the power of friendship to change the world. Moriarty reframes the sensationalist story as he shares his personal narrative and presents, with intimacy, grit, and humor, the lived experience of The Gits and his dear friend, Mia Zapata. Included are never before seen paintings, letters, and pictures. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies
Mia Zapata and the Gits: A True Story of Art, Rock and Revolution (Ferel House, 2024) by Steve Moriarty, shares the story of the Seattle based The Gits and their charismatic front person Mia Zapata. The Gits were on the verge of international rock stardom but on July 7, 1993, days before their third US tour, Mia Zapata, The Gits 27-year-old singer-songwriter, was brutally assaulted and murdered by a stranger. Zapata's death sent chilling ripples through progressive communities throughout the United States. She became a cause-celebre for women's rights activists outraged by the brutal killing and lack of law enforcement support. This book reclaims Zapata's story to focus on the art she and The Gits created and not her tragic end. Much has been written and said about her murder, yet Zapata's life and work remain overshadowed by the circumstances of her death. Zapata's friend and bandmate, Steve Moriarty, tells her story--and the story of their band, The Gits--from their first meeting in 1985 to their last goodbye. Moriarity and Zapata met in 1985 as first-year students at Antioch College, where they discovered the power of punk rock and found an outlet for their progressive ideas through music. Zapata, Moriarity, and fellow students Matt Dresdner and Andy Kessler attended a show by San Francisco punk legends Dead Kennedys that inspired the friends to start a band fueled by Mia's provocative lyrics. They quickly gained critical praise and dedicated fans. Moriarty details their struggles as newcomers to the then-pre-tech outpost of the Seattle music scene. Interspersed are the tales Zapata told of her legendary ancestor, Mexican revolutionary Emiliano Zapata, to entertain the band as they spent countless hours on the road crammed into a single un-air-conditioned van touring the US and Europe. They shared stages with Beck, Nirvana, Mudhoney, Joan Jett, Bikini Kill, L7, and more--all who expected Mia and The Gits to be the next "big thing." The Gits's story is more than a biography; it's a testament to the ability of artists and musicians to challenge the status quo and the power of friendship to change the world. Moriarty reframes the sensationalist story as he shares his personal narrative and presents, with intimacy, grit, and humor, the lived experience of The Gits and his dear friend, Mia Zapata. Included are never before seen paintings, letters, and pictures. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music
Mia Zapata and the Gits: A True Story of Art, Rock and Revolution (Ferel House, 2024) by Steve Moriarty, shares the story of the Seattle based The Gits and their charismatic front person Mia Zapata. The Gits were on the verge of international rock stardom but on July 7, 1993, days before their third US tour, Mia Zapata, The Gits 27-year-old singer-songwriter, was brutally assaulted and murdered by a stranger. Zapata's death sent chilling ripples through progressive communities throughout the United States. She became a cause-celebre for women's rights activists outraged by the brutal killing and lack of law enforcement support. This book reclaims Zapata's story to focus on the art she and The Gits created and not her tragic end. Much has been written and said about her murder, yet Zapata's life and work remain overshadowed by the circumstances of her death. Zapata's friend and bandmate, Steve Moriarty, tells her story--and the story of their band, The Gits--from their first meeting in 1985 to their last goodbye. Moriarity and Zapata met in 1985 as first-year students at Antioch College, where they discovered the power of punk rock and found an outlet for their progressive ideas through music. Zapata, Moriarity, and fellow students Matt Dresdner and Andy Kessler attended a show by San Francisco punk legends Dead Kennedys that inspired the friends to start a band fueled by Mia's provocative lyrics. They quickly gained critical praise and dedicated fans. Moriarty details their struggles as newcomers to the then-pre-tech outpost of the Seattle music scene. Interspersed are the tales Zapata told of her legendary ancestor, Mexican revolutionary Emiliano Zapata, to entertain the band as they spent countless hours on the road crammed into a single un-air-conditioned van touring the US and Europe. They shared stages with Beck, Nirvana, Mudhoney, Joan Jett, Bikini Kill, L7, and more--all who expected Mia and The Gits to be the next "big thing." The Gits's story is more than a biography; it's a testament to the ability of artists and musicians to challenge the status quo and the power of friendship to change the world. Moriarty reframes the sensationalist story as he shares his personal narrative and presents, with intimacy, grit, and humor, the lived experience of The Gits and his dear friend, Mia Zapata. Included are never before seen paintings, letters, and pictures. Learn more about your ad choices. Visit megaphone.fm/adchoices
Mia Zapata and the Gits: A True Story of Art, Rock and Revolution (Ferel House, 2024) by Steve Moriarty, shares the story of the Seattle based The Gits and their charismatic front person Mia Zapata. The Gits were on the verge of international rock stardom but on July 7, 1993, days before their third US tour, Mia Zapata, The Gits 27-year-old singer-songwriter, was brutally assaulted and murdered by a stranger. Zapata's death sent chilling ripples through progressive communities throughout the United States. She became a cause-celebre for women's rights activists outraged by the brutal killing and lack of law enforcement support. This book reclaims Zapata's story to focus on the art she and The Gits created and not her tragic end. Much has been written and said about her murder, yet Zapata's life and work remain overshadowed by the circumstances of her death. Zapata's friend and bandmate, Steve Moriarty, tells her story--and the story of their band, The Gits--from their first meeting in 1985 to their last goodbye. Moriarity and Zapata met in 1985 as first-year students at Antioch College, where they discovered the power of punk rock and found an outlet for their progressive ideas through music. Zapata, Moriarity, and fellow students Matt Dresdner and Andy Kessler attended a show by San Francisco punk legends Dead Kennedys that inspired the friends to start a band fueled by Mia's provocative lyrics. They quickly gained critical praise and dedicated fans. Moriarty details their struggles as newcomers to the then-pre-tech outpost of the Seattle music scene. Interspersed are the tales Zapata told of her legendary ancestor, Mexican revolutionary Emiliano Zapata, to entertain the band as they spent countless hours on the road crammed into a single un-air-conditioned van touring the US and Europe. They shared stages with Beck, Nirvana, Mudhoney, Joan Jett, Bikini Kill, L7, and more--all who expected Mia and The Gits to be the next "big thing." The Gits's story is more than a biography; it's a testament to the ability of artists and musicians to challenge the status quo and the power of friendship to change the world. Moriarty reframes the sensationalist story as he shares his personal narrative and presents, with intimacy, grit, and humor, the lived experience of The Gits and his dear friend, Mia Zapata. Included are never before seen paintings, letters, and pictures. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture
Our guest is Steve Moriarty, former drummer of the band The Gits and author of the new book Mia Zapata and The Gits: A Story of Art, Rock, and Revolution.The Gits, led by their charismatic frontwoman Mia Zapata, formed in Ohio before joining the burgeoning Seattle music scene of the early 90s. They were on the brink of international stardom when, on July 7, 1993, just days before their third US tour, Mia was brutally murdered. Her death came as a shock to the Seattle music scene and eventually became a national story. It would be a decade before her killer was arrested. During that time, the focus of Mia's story shifted further and further away from her talents and the music she created with The Gits. In this book, Steve Moriarty is determined to shift the focus from Mia's tragic end back to the art she and The Gits created, recounting their journey from their first meeting at Antioch College in 1985 to their rise in the Seattle music scene. Steve narrates the band's struggles, their inspirations, and the camaraderie that fueled their music, as well as the band's tours and performances alongside iconic acts like Nirvana, Mudhoney, and Joan Jett.Purchase a copy of Mia Zapata and The Gits: A Story of Art, Rock, and Revolution Episode Playlist ---------- BookedOnRock.com The Booked On Rock YouTube Channel Follow The Booked On Rock with Eric Senich:FACEBOOKINSTAGRAMTIKTOKX Find Your Nearest Independent Bookstore Contact The Booked On Rock Podcast: thebookedonrockpodcast@gmail.com The Booked On Rock Music: “Whoosh” by Crowander / “Last Train North” & “No Mercy” by TrackTribe
EPISODE #1075 SELF-HEALING THROUGH ENERGY PSYCHOLOGY Richard welcomes renowned clinical psychologist Dr. David Feinstein who discusses how tapping energy points on the skin signals your nervous system to reduce fear, anger, stress, and grief while activating brain regions involved with problem-solving and managing emotions―to help you find inner balance and take charge of the internal models that govern your life. GUEST: Dr. Feinstein, Ph.D., is a clinical psychologist who is an internationally recognized leader in the rapidly emerging field of energy psychology. His scientific papers and award-winning books have provided a foundation for understanding how it is possible to use energy psychology for quickly and non-invasively altering brain chemistry for therapeutic gain. David has served on the faculties of The Johns Hopkins University School of Medicine and Antioch College. He is a recipient of the U.S.A. Book News Best Psychology/Mental Health Book Award of 2007, the Marquis Who's Who Lifetime Achievement Award, and a dozen other awards for his professional accomplishments. He has, with his wife, energy medicine pioneer Donna Eden, built one of the world's largest and most vibrant organizations teaching the hands-on use of Energy Medicine. Their 1,800 certified practitioners are serving tens of thousands of clients and teaching hundreds of classes in the U.S., Canada, Latin America, Europe, Asia, and Australia. They were jointly honored by the Infinity Foundation as the first couple to receive its annual “Spirit Award” for their contribution to “the evolution of consciousness” and its “impact on society.” WEBSITE: https://energytapping.com BOOKS: Tapping: Self-Healing with the Transformative Power of Energy Psychology The Promise of Energy Psychology: Revolutionary Tools for Dramatic Personal Change BECOME A PREMIUM SUBSCRIBER!!! https://strangeplanet.supportingcast.fm Three monthly subscriptions to choose from. Commercial Free Listening, Bonus Episodes and a Subscription to my monthly newsletter, InnerSanctum. We and our partners use cookies to personalize your experience, to show you ads based on your interests, and for measurement and analytics purposes. By using our website and services, you agree to our use of cookies as described in our Cookie Policy. Learn more about your ad choices. Visit megaphone.fm/adchoices Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://strangeplanet.supportingcast.fm/
Show Notes and Transcript Journalist and 'China smartypants' Kenneth Rapoza joins Hearts of Oak to discuss China's impact on Western manufacturing post its WTO entry and the free trade's negative effects on job losses and economic disparities. We look at the challenges in competing with China's low-cost labour and its aggressive trade practices on other nations. Kenneth walks us through evolving views on globalization, power shifts between the US and China, and China's strategic expansion in key industries. We address concerns about social control in China and democracy preservation, emphasizing the need to understand changing power dynamics in today's interconnected world amidst China's global rise Kenneth Rapoza is a seasoned business and foreign affairs reporter with more than 20 years experience. He was stationed abroad as a staff reporter for The Wall Street Journal in Sao Paulo and was a former senior contributor for Forbes from 2011 to 2023 writing about China, India, Russia, Brazil, Mexico and other developing countries. After leaving Brazil in 2011, Ken started covering the BRIC countries for Forbes as a senior contributor. He has travelled throughout all of the countries he covered and has seen first-hand China's impressive growth and its ghost towns as recent as 2017 and 2018. His editorial work has appeared in diverse publications like The Boston Globe and USA Today — where he was given the unflattering task of taking an opposing view in support of China tariffs at the start of the trade war — and more recently can be found in Newsweek and The Daily Caller. He has either written for, or has been written about, in The Nation and Salon in the dot-com years, and almost broke the Argentine internet after publishing a story in Forbes about the return of the International Monetary Fund before the government opened up about it. Today, Ken does the radio and podcast circuit talking about CPA issues. Having grown up near the depressed mill towns of Massachusetts, manufacturing as a bulwark of household income and sustainability is not merely an intellectual pursuit, but a personal one, too. He experienced the life-altering impact government policy has on manufacturing labor in his own family back in the 1990s. He considers himself an American “lao baixing.” He graduated from Antioch College in Yellow Springs, OH. Ken lives and works from a small farm and beach town in Southern Massachusetts with his family. Connect with Ken... X x.com/BRICbreaker SUBSTACK doubleplus.substack.com WEBSITE prosperousamerica.org Interview recorded 15.4.24 Connect with Hearts of Oak... WEBSITE heartsofoak.org/ PODCASTS heartsofoak.podbean.com/ SOCIAL MEDIA heartsofoak.org/connect/ SHOP heartsofoak.org/shop/ TRANSCRIPT (Hearts of Oak) And I'm delighted to have a brand new guest, someone who I've been intrigued watching their Twitter, and that is Kenneth Rapoza. Kenneth, thank you so much for your time today. (Kenneth Rapoza) Thanks for having me on, Peter. I appreciate it. Oh, great. And people can obviously find you @BRICbreaker is your Twitter handle. Ken is an industry analyst from the Coalition for a Prosperous America, former staff, foreign correspondent for Wall Street Journal and a senior contributor to Forbes covering China since back in 2011. And there's so many issues we could discuss, but it's that issue of China which I want to start with. And I've seen a number of your posts, I think on Daily Caller. One of the recent ones was on free trade. I think free traders are wrong. It's time to try trade a new way. And you started off simply by a statement on a Daily Mail poll recently showed 54% of voters support Trump's proposal to put 10% tariffs on imports from China and elsewhere, which is obviously opposite to a free trade thinking. Maybe start there. Why do you think free traders are wrong? And why do you think we need a new model for the future? Well, the idea of free trade, right, of course, goes back to the British colonial days, right? But in modern times, from our youth and what we recall, it really kicked off in its heyday, we could say, probably post-World War II, and then after the end of the Cold War. It was the end of history, peace in the world, right? No more Soviet Union. We're all on the same page with trade. Then it really went into high gear in 2001. This is when China enters the World Trade Organization. At that point, I would say, is the beginning of what some people have called hyper-globalization. That was the Western world's manufacturing base being sucked out of their towns and cities and shipped to Asia. It has been totally destructive. Led to the different policies that we have today. You could even say Brexit in some degree was because of it. It was an anti-globalization vote. You know, because really what's happening is the Western leaders are saying, oh, they know the plebs are against globalization for the most part. And they say, oh, you don't like it anymore. You don't like globalization. Fine. We're going to import all those people that you don't want to compete with in the third world. We're going to import them and we're going to pay them your job. And we're going to pay them your wages that That you don't want to accept. We're going to pay them that. And that's the way it's going to go. So, it's been a disaster for many people. Brexit is probably one of the examples of an anti-globalist push among the populace. And, of course, the Trump election was the creme de la creme of the anti-globalist push within the electorate. So, you know, when you go back to the 80s, 90s, and of course, China joined the World Trade Organization, that was the globalization heyday. And when what many people call a reverse globalization or a localization. The language is still being defined on this issue. But clearly, the populace of the Western world is against the old school globalization. When I say that, that's 80s, 90s trade, the model, the way it was. We're going to just import. We're going to make things where it's cheap to make things. And that's how it's going to be. We're a consumer society. We fill our garages not with cars. We fill them with toys and trinkets and all this other stuff instead. And it's going to be made in Mexico and Asia and so on. And if you don't have a job anymore, well, you can learn to code, or you can go drive an Uber, or you can go, maybe if you're lucky, you're good at math, you can go work at Goldman Sachs, or you could become a nurse. I mean, that's it. And people have rejected that. So, again, a lot of the people who are pro-free trade, they're guys who are older than us, and they came from the time when free trade was, globalization was becoming, was a topic, right? Again, the post-Soviet, the post-Cold War era, and they're thinking they still have that mindset. But there's nothing that shows that free trade has worked for the working class. The blue-collar class. There have been numerous studies showing that it hasn't. It's been great for Walmart. It's been great for multinational corporations, but it hasn't been great for workers because why? They have to compete in the West. They have to compete with labour in Mexico, with labour in Vietnam. There is absolutely no way someone in Manchester City; in Newcastle, can make a car, can make a shirt for what they make it in Bangladesh for. There's no way. They can't do it. They'll never, ever do this. So, if you're going to have that kind of world, then you're just going to outsource forever your manufacturing to Asia or over here in this hemisphere to Mexico. And I think that's where the backlash has come. And I think that's where free traders really have their blind spot is, okay, it's great. There's always going to be trade. There's always going to be imports, but to what extent are we going to allow this so that your industry, whether it is in England or whether it is the United States, whether it is in Germany; to what extent are you going to allow it so that you have no blue collar workforce, you have no manufacturing base anymore? That is the question of the day. That is the biggest pushback. In the West, we have globalism versus anti-globalism, for lack of a better word, you know and that's leading to a lot of political stress in the west. I remember being out on the campaign trail for Brexit with UKIP knocking on doors over the years and anytime you'd knock on the door of someone who ran a business that was a multinational business their response would be of: I don't want Brexit. I want cheap labour I want movement of goods and a cheap labour as low as possible. That's all I care about, it's the bottom line, and is this a conversation about maybe globalization has not gone the way we expected. That it's purely about the bottom line then removes the individual from it is that kind of the conversation that's beginning to now boil up. Oh, absolutely it's beginning to boil up. And again I think it started with Brexit and it started with with trump. Look what's happening in the world today. Look at look at Germany, primarily Germany. You see the headlines in The Economist. They're all worried about Chinese EVs coming in. They're all worried in the Netherlands now about Goldwind. Goldwind is the big wind turbine manufacturer that's taking market share away from precious Vestas. Well, that's too bad. But you want to make it all in China. What do you think China is going to do? They're going to say, well, I don't want to make Vestas. I want my own company. I don't want to make Vestas products. I want to be Vestas. Why wouldn't China want that? Why wouldn't they want that? It makes no sense that they wouldn't want that. I mean, the UK is a bad example here, because the UK used to have Land Rover and used to have the Mini, right? And now that's all Tata. That's all Indian now. I don't know who owns Mini, but I mean, certainly Land Rover and Jaguar. These are British iconic brand, auto motor brands. They're owned by Tata Motors in India now. They're probably still made to some degree in the UK, of course, but the brand doesn't belong to the UK anymore. It's Indian. So, they're panicking and they're panicking because they cannot compete. They will never, ever compete with low cost labour. They'll never compete with China because China is not interested in the free market competition of the West. They're interested in full employment. And it's a massive nation run by provincial leaders who have different viewpoints of the world than Xi Jinping. If Xi Jinping says, no, we just talked to Janet Yellen. We just talked to, you know, whatever his name is, the prime minister of the UK. I can't think of it right now. Now, he said that he doesn't want us to overproduce anymore solar panels and wind turbines and EVs. We're going to stop. We got to play by the rules. We can all be friends. Do you think the provincial guy in Nanjing and Guangdong is going to listen to this guy? He's got a million mouths to feed. Millions of people. Millions. More than the UK's entire workforce. He has in one province. He's not worried about what Janet Yellen says what Olaf thinks. To the Chinese, Olaf is a snowman from Frozen. They're not worried about this guy. So, this is something that they can't compete with. And so they're learning now. They're seeing it. And they're worried now. You see them worrying now because their precious renewable energy market is being taken over by China. Well, sometimes China's out innovating them. China just copied what we made here in the West. But China can do it easier because they get the subsidies. They got workers galore. They got workers galore who aren't worried about, you know, TikTok videos and, you know, trying to rehearse for, you know, they want to be the next EDM DJ or they want to get on Eurovision. That's their biggest dream. And then these guys are just flooding the market with product. You can't compete with that. You'll never, ever compete with that. But that's the free trade. That's free trade. China's saying, hey, you know, we're trading, we're making products. And the West will say, well, yeah, but you're subsidizing or you're doing this. Well, then the Chinese are going to say, well, you subsidize. You subsidize your farmers. The Inflation Reduction Act in the United States, you're giving huge tax breaks to produce. So, you're doing it. So, you stop. There is no such thing as free trade. There is no such thing as free trade the way people thought it would be. And that doesn't mean that importing is bad or that you and I, Peter and Ken, can't start a business. And we can't afford to pay $30 an hour. So, we decide on our own volition. We decide to, from the get-go, that we're going to make it in Mexico. We're going to make our widgets in Mexico. That's what we're going to do. That was our plan from the beginning. That's one thing. It's bad when Ken and Peter were making a widget. We wanted to make it in Newcastle. We wanted to make it in Portland, Oregon. And now we go, I can't do this anymore. I'm competing with Mexico. I have to close now. You and I, we got to lay off 100 people that we work with for 10, 20, 30 years. We got to tell them it's over. And these guys are making $30,000, $40,000, $50,000, $60,000, $70,000, $80,000 a year. But that's 10 times what the, you know, the average salary in Mexico, I think is $16,000. In Vietnam it's nine. So, I mean, it's okay. Again, if Ken and Peter decided we're going to make a widget and we were always planning to make it in Mexico because of that wage variable, but then what happens when you and I were making a widget happily here happily, and now we cannot. Maybe we're done. Maybe you and I have finished, maybe we're finished. But maybe all the people that we work with every day, they're done. It's all over them. But that's the free trade world that is being criticized now because you cannot compete with developing nations on wage alone. Not only that, of course, in the US, we have a strong currency. Think about how far my dollar goes in Mexico or China or Vietnam. I could buy a mansion in Vietnam. I could barely buy a trailer in the United States for $300,000. Think about what I could do with that money in Vietnam or Thailand or Mexico, right? So, not only do you have the wage issue, you have a strong currency here because we're such a financial market. All the money from the world comes here. You have higher taxes here than you do in other places. So, you're competing on that level too. So, there really is the argument of free trade was always something that was for the textbooks, something that the faculty lounge could discuss and economists could discuss in a dream world. But in reality, it never came to fruition because it only was good for the big corporations who were transnational. They had no allegiance to a nation. It wasn't Peter and Ken making a widget. It wasn't you and I making bikes in Oregon. It wasn't that. It was Walmart buying and selling a million bikes all across the continental United States. We don't care about where we get the bikes. If I can get it for $100 or $99 and sell it for $110, and I'm selling a million of them. That $1 difference puts a million dollars a year in my pocket. It's a big deal. So, I mean, those are the guys who really benefited. But the guy who made the bike doesn't benefit. And for them, it's a huge blow. And I think that is where we are seeing in the West today. That's where the tensions are rising from the electorate against the established powers. We can look at even the immigration debate. What is the immigration debate about? It's about why are we giving these guys all this money? Why these guys are hurting our wages or these guys are hurting, you know, our ability to get jobs. And so it's always it always relates to that sort of what I call the immigration debate in the West. I call it forced globalism upon the people. You know, again, like I said earlier, the conversation saying you don't want us to make a factory in Asia. You don't want us to import goods because you all talk to your elected officials and cry because you want to make steel or whatever here. Good. We're going to import all of them here. You know, they're going to make it for half your pay or we're going to totally stunt your wage growth forever. You know, so that's always the stem of the issue in the West. It's always this rush to globalization, creating this, you know, where planet Earth is the nation state rather than the UK as a nation and Germany as a nation or the EU is a block. No, there's districts, like Hunger Games. This is the district that makes this widget. This is the district that makes that widget. And then free capital moves throughout the world. And that's a dream of the free trader, but that's not a dream of the person, again, Ken and Pete, who were making a widget, and now we cannot. We cannot do that anymore, because we cannot compete with Mexico. There is no way in hell we're going to do it. We're not going to make it for the same price you can make it in Albania, for crying out loud. It's all over. And so that has something's got to give. And there's a lot of politicians that realize that. And there's a lot who are pushing back, obviously. Well, in that order, you talk about some of the old understanding of the views on globalization are changing. So, you talk about trade deficits don't matter or imports don't take American jobs. I mean, those are two issues which will come home to roost for individuals because the U.S. Massive trade gap, that has a cost. And of course, if you're all getting your stuff from temu then actually uh no one needs to actually work in America to produce anything so, where are the jobs? And is it a waking up to the damage that unrestricted, uncontrolled, mass-globalization causes in those two simple things of trade deficit and simple jobs. Well yeah there is there is a waking up. Look, I look back; In fact, I'm not an old guy. So, I remember in the 90s, I was young, I was probably just starting to vote, when a man named Ross Perot was talking about this, what it would be like when the United States created the free trade area of North America, NAFTA. And he said it would be a huge sucking sound of American jobs going to Mexico. And at the time, remember, Mexico was a country that was in and out of default. It survived on the IMF. It was like Argentina. It was basically Argentina of North America. And of course, NAFTA saved it. NAFTA saved it, but it became essentially the United States, the 51st state. And what's happening now? Let's talk about the free trade agreement of North America. Let's talk about NAFTA for a second. That idea was always to Mexico is our neighbor. They're always in and out of a financial crisis or an economic crisis. Let's help them with trade. Let's help them do this. And it was a success to a large extent, right? I mean, it's still way poorer than we are here in the U.S. and Canada. Way poorer. You can't compare the wages between the two countries; it's just at least three times more here. But countries, companies from around the world are going to Mexico now. So, Germany is setting up shop to make electric vehicles there. Of course, Korea and Hyundai make cars there. But a lot of those cars are for sale in Mexico. Those are big sellers in Mexico. But I highly doubt that the BMW electric vehicle is a high powered vehicle, a selling vehicle in Mexico. I don't think that's the market that is going to come here. The Japanese have been making steel in Mexico. That is coming here. That's coming here duty free. So, now NAFTA has become a trade zone for any multinational that wants to set up shop in Mexico. It's helping the Mexicans and the locals and the Mexican workers, but it's really a multinational free trade zone. If you can set up shop in Mexico and, of course, employ Mexicans and so on and pay Mexican taxes, you can sell your goods where? Well, to the biggest consumer economy in the world, right? You've got to sell them here. You're not setting up to sell there, I mean, Mexico, tiny. Your next door neighbour is right here. So, this is a problem, but that's free trade. That's the free trade topic. That's the free trade model. And people do not like it. Clearly, they do not like it. It doesn't mean they don't like free trade. Obviously, we want to trade. Again, you and I have a factory. We make a widget. We want to trade with the world. We do want to trade with the world. And that's not a bad thing. That's a good thing. There's nothing wrong with that. But again, if people perceive from the UK, from Germany, the United States; they perceive that their leaders were obsessed, that's changing, with this globalization model of one world kumbaya. Everything's going to be made in Asia. Everything's going to be made in Mexico. And they cannot survive. They cannot survive on that. And so either you're going to have a city and town where you have marijuana shops and treatment centers, and that's going to be your new industry and casinos, or you're going to have a place where people can survive making things like kitchen cabinets or furniture. And if you don't want that, if you don't want that, then okay, then admit you don't want that. And what are you going to do to replace it? Okay, then what do they say? Well, we're going to have universal basic income. So they know. They do come up with solutions, but that's their solution. That's their solution. And I'm not convinced that people are on board with that for the most part. I don't know. Maybe there are some lazy people who are fine with universal basic income. I'm sure there are people who would be fine with that. But people are against this globalization model, and it's being turned on its head in the West, and it is a source of a lot of political problems. And of course, China is the 10,000 pound gorilla, whatever that saying goes in the room. And everybody, everybody sees that now. It was Trump really that made people see that, but Europe seeing it now as well. So, where that leads in the years ahead, I don't know. People clearly do not like the setup the way it was pre Trump, let's say pre Brexit, where the goal was: hey, we're just going to make everything in China. We're gonna make everything in Asia. And that's it. You can learn to become a new EDM DJ and you now train for Eurovision and maybe you'll get lucky and that's that's the extent of it. Well, we've got UBI coming in Wales as a test bed but that's a whole other conversation with Wales; have found how you get free money which is a change in how humanity works. I want to ask, you did another post looking at, I think the title was, U.S. Risks Losing Its Status as an Exemplar of a Free Country with Laws. And you talked about China's soft power slowly winning hearts and minds, see it in developing countries, in other countries it's not. But there does seem to be that move from that kind of American dream, everyone wants to come to America to see the sights, the sounds, to see the miracle that's America. That seems to now be moving towards China with a huge focus on it. So, what are your thoughts? Tell us more about that, about the US losing that position, having its soft power of influence worldwide. Well, for starters, America is still seen as a place in Europe as well, as a place where people from developing countries want to go. If we were seen as a failing society and failing countries, I would assume people from other failing countries wouldn't want to come here. But, I don't know how informed these people are about what it looks like today in the streets of San Francisco. How much it costs to live in New York City? They might still believe that, you know, California is paved with gold and they can become, you know, Hollywood actors in a year or two, you know, singing and dancing on the streets of Hollywood and Vine. Maybe they believe that. They'll learn from Rude Awakening. But that sort of vision of the United States may still exist in Latin in parts of Latin America. I believe that is eroding. OK, now on the China side with soft power, of course. You know so soft power is defined as, you know, diplomacy but it's also defined as culture. And it's also defined as corporate branding. So, culture United States wins hands down. Everybody knows Hollywood right: American music. We got Taylor Swift. China doesn't have the Chinese salesman, you know. So, we have you know the rock and so on. We have all these movies that's an immeasurable positive for the United States, culturally. But in terms of diplomacy and just soft power in general. Let's look at what happened recently. So, you have Russia's war with Ukraine. So, obviously Russia is part of the big four emerging markets. It's part of the BRIC collective. And these guys have been, these leaders of these countries have been talking and developing relationships for at least, I would say 20 years now. When the West asked all these countries to support them in their view on Russia, to a man, none of them went along with it. None of them. This is completely different than what it was like in the 80s. If you tell Brazil: hey, we need you to send some weapons to Ukraine. Brazil couldn't say no. Because the United States said, well, we're going to hold back that IMF loan. We're going to hold back that development loan for that bridge you're trying to build, that dam you want. Either you give, either you start putting out, make it look like you're on our side and start churning out some ammo for the Ukrainians or the money for that hydroelectric dam is off the table. That's not a thing anymore. That's not a thing anymore. The United States has lost that. So, when you see countries in the developing world that can say no to the West, say no to Europe and the United States, right, and ignore them. That is a sign that the soft power of the West is eroding. I'm not saying that's eroding in favour of China. But it's eroding in sense of there is imbalance in the world, right? There's a sense of that people in developing world, the leaders in developing world is saying, we don't want the unipolar view anymore, right? Let's, let's, let's go more of a multi-polar view, Right. Maybe that doesn't mean China's in the lead. We don't know who the multipolar is going to be. We don't know. But there is a pushback against the United States way. And I don't know. I think there was a real severing of that with with COVID, honestly, because, everybody in the world saw how the West treated its people during COVID. I mean, we saw what China did, right? Locking people in apartments in Wuhan and so on. We saw those things. Saw that. And who knows? That could have, for all we know here in the West, that could have been just orchestrated to make it look to us in the West that this disease is so bad. Look what the Chinese are doing. They have to literally lock people in their homes or they'll die. This is how bad it is. So, that could have been a psy-op in a way for all I know. But you had people in Canada losing their bank accounts. You had people in the United States being arrested for protesting lockdowns. You had people vilified for it, and so on. While Black Lives Matter and Antifa were able to parade around. Of course, they had their science-y masks on. So, I guess that was all good. And breaking things and knocking statues down and whatever. And they were fine. So that six feet distance didn't matter to them. And people around the world see that. I remember even the president of Mexico said, Obrador, He said, you know, COVID showed the Western world authoritarianism. He showed that the Western world can be authoritarian, just like, what they always criticize us as a being, you know. I mean, this is fascinating. This is not a language that you would hear Mexico ever say about the United States. You'd be instantly punished. What does Mexico do to the United States to help us police the border? What does Mexico do for the United States to help us stop fentanyl? Do you ever hear about them beating up on Sinaloa or Jalisco? I mean, unless like the DEA is involved, those guys just run around free like you and I, you know, going to get a sandwich in a local shop. I mean, there's nothing happening there to fight it, right? So, you know, and I think I look at that as being a sign. That is a sign that the West really is no longer the exemplar on a lot of the issues that it was. On issues like democracy, where all this talk about misinformation and control. That there is sort of a severing of ties, if you will, from the developing world with the West. And I'm not saying that China is going to replace it. We don't want that. But I'm also of the mind that there are many people in the West who really like the China model, and they wouldn't even complain if the China model replaced ours, because they love the top-down societal government control aspects of the CCP. And many of them think in the West that they can just wrap it in the pretty bows of diversity, inclusion and environmental justice. And all the urban educated classes will say: oh, that that sounds reasonable. That sounds like a good way to go. Within the eyes of the developing world. It's very difficult for me to say that they are all going to agree with the U.S. on certain things. That wasn't the case when we were kids. It was not. America was always the right, always in the right, always. Now it's like, you know, they might not agree. They're not going to go along with it. No, you've seen in Africa, especially China using their financial muscle to go in to start massive infrastructure projects for the Belt and Braces. And America seems to be very much hands off. And it seems to be as the West is maybe moved away from parts of Africa, China has gone into to that vacuum and imposed itself. And now is building infrastructure across the continent. The west then scratch your heads and wonder why they have less power. Well, it's because you've handed that industrial, that financial power, over to China and they are now the ones that rule, because of those tight contracts. And they're the ones that get people from A to B by building a road or building a railway. So, they're the ones that Africa need, and no longer the west. Yeah. And you know, where did they come up with this idea? This was what the West did. This was the United States did in the post-World War II, right? The United States went to the world and said, we're going to help rebuild. We're going to get you modernized. That was soft power. We're going to get you on our side. We're going to get you to see things our way. We're going to get you to be our political and economic partner. And so we don't really see that as much anymore. We don't really see that as much anymore. I don't really know why. Maybe it is like a late empire pirate type situation, right? Where we're worried more about silly things, cultural issues. That the other part of the world doesn't worry about. I mean, I think that was something famously said by someone in Africa. They said, look, China comes here giving us money to build roads and bridges. And when you guys come here, you give us lectures on gender, or climate change, right? But that's not to say the Africans don't want American business. I'm sure they do. But that's not, in a lot of ways, that's not what the United States is in there for. And I think only recently the United States has realized, oh, they've seen the error of their ways. Because where I work, I get to sit in on a lot of these hearings in Congress. And I know that they want to counter China in that way. But it's a knee-jerk react to China. It's a knee-jerk react to China. It's not necessarily a long-term planning thing. So, okay, well, how do we go to this country and propose this? What else can we do? Everything is a knee jerk. And that is a problem, but at least they see that they've been caught on the back foot over the last few years. Whereas China has in terms of soft power, diplomacy, getting their corporate brands all over the world that they see now, wow, we're losing. We're losing a lot of that. Think about it. I remember my first time going to Latin America in the 90s. I'm sure this was the case in the 80s and the 70s. Ford, McDonald's, Hollywood, those were symbols. Those are like the unpaid American ambassadors. And so look today; you can probably count on one hand, unless you drive a German car, how many German item products you have in your, in your house. You know, I have a Miele vacuum cleaner. I think that's German, you know, but for the most part, your kid has TikTok on their phone. You might have a Lenovo computer or a Lexmark printer in your office. There's a lot of Chinese corporate brands that are very well known. You probably, your kid probably buys clothes on Shein or, or you probably shop on Temu, right? What's the European equivalent to that? I don't know of any. I can't name one big European app, honestly. I just can't. And even e-commerce, I can't think of a single one. So, this is China. So, this is the soft power. These are very important issues for the United States that used to dominate that, for example, in Latin America. And now they do not. They do not dominate that at all. It's China that is moving in; China is moving in the auto industry. China is moving in big retail and in some areas even finance. So, you know, I think that's an interesting look to see. What's it going to be like in another generation? China may be seen as a better partner. And as I mentioned in Daily Caller, there was a survey by the Singaporean think tank run by the government that showed a small amount, I think it was 50.4%, so it's almost 50-50, of government leaders. Not just men on the street, who said, strategically they felt it was better the dial was moving a little bit more towards China than the United States. Even the fact that it's 50-50 should be worrying to the U.S., right? I'm speaking as an American here, right? It should be worrying that it's even 50-50, but it is. And so that goes to show the power of China. Not just militarily and all this stuff, but just doing business with China and then seeing things China's way in many degrees. Well, it's true. Then that report, Singapore report of the Southeast, it makes you realize that China doesn't actually need to use its military power, because obviously it is ramping up its military spending, wanting to actually impose itself on the South China Sea, make sure America is not there. In one way, it needs to do that because I guess you've got Taiwan and Japan maybe as entities that are not pro-China. But everywhere else, in one way, trade is actually building bridges with those countries. There's actually less reason for China to spend all that huge amount of money on military power whenever soft power through trade and commerce. That's actually winning over Southeast Asia. Oh, absolutely. They're more connected to Asia, more connected to China because of commerce. A lot of Chinese multinationals, especially, have been setting up shop in Southeast Asia to make everything from LED light bulbs to furniture and so on, solar panels are huge in Vietnam and Malaysia. Chinese multinationals are all there and they're selling it all over the world. Most of the United States and Europe. But again, China does want to build up its military because they see, and this is one thing I think the military worries about, is they see this. They think the military is a good place for me to have an industrial base. The military is a good place for me to make big products, big expensive items, maybe like a drone. Drones are a big thing now. Autonomous ships. Autonomous aircraft. China's big on that. I don't know if Russia makes those. So, who is the United States competing with a lot of times for like military contracts in Asia? Russia? So, India might buy, or Saudi Arabia. So India might buy an F-15, but it might also buy a Sukhoi. Might buy both. Might buy a MiG. Might buy an F-15. But now China's saying, hey, wait a minute. Why don't I also; so let them buy. I don't know anything about China. A China fighting tiger. Now, all of a sudden the Vietnamese don't just have F-15s. They got a Chinese fighting tiger too. So it's very important for China to move into the military, not because they want to protect the South China Sea or get the U.S. Military out of there, get that U.S. military protectorate agreement out of Asia because China sees this is my backyard, not yours. And they're going to muscle in and give options. But also, in thinking of the military as a product, I have autonomous boats. Hey, Vietnam, you want to have a coast guard? You want to police illegal fishing? You want whatever? You want to place drugs in the Malibu Straits without getting your soldiers injured? I got autonomous boats. America makes autonomous boats, but we're even better at it. And that's a big deal. That's a huge deal. People don't realize. All of a sudden, who's competing with the United States? Who's competing with Lockheed Martin to make an autonomous boat? The Chinese. Look, when you think of flying internationally, there's only two planes you've ever been on. You've been on a Boeing and you've been on an Airbus. But now China, I only know the abbreviation of the company, it's called Comac, has the C, I think it's called the C919. Yeah. And that's an international wide-body jet that's going to take you from Shanghai to Paris. Well, guess what? So one day when that plane is seen as doing, in terms of safety record is solid and whatever, the airlines are going to buy that; going to buy a Comac instead of an Airbus, instead of a Boeing. And guess what else is even more interesting? Do you think that the Chinese are going to subsidize a Boeing jet or an Airbus plane? No, they're going to subsidize Comac, so Comac can become the Vietnamese airline of choice carrier. Maybe not Japan, because the United States would muscle in there, I'm sure. Maybe even France would, too. Maybe even Vietnam in the case of France and Vietnam. No. But other areas like Kazakhstan, Russia, for example, Aeroflot would probably be alright. I don't even I don't even envision a future of Aeroflot in Russia using Airbus and Boeing. I don't. I don't even see why they would want to if that Comac jet is safe. Well, you know, Boeing planes, their doors fall off in mid-flight lately. So, if the Comac is safe, why would Russia want to buy an American or a French plane? The Americans and the French hate him. I agree. I'm a plane buff, and I think I would rather fly on a Chinese aircraft than a Boeing at the moment. The aircraft could be better. I just want to finish on another issue. I think one of your tweets was that the established powers of the West love the CCP model of social control and governance. And you made the wrap it up in this diversity. But this whole thing on the control that China have on their citizens, and obviously during COVID, the West suddenly thought, oh, we can now use this to actually control our citizens. And then in the UK, you realize that a lot of our CCTV systems on the streets; and a lot of the CCTV systems used in shops are actually Chinese systems. So, who knows where the data goes? But it's interesting how the West looking at China, once again, it's China that will provide the infrastructure and the setup for the West. The West kind of look at that. They would like some of that control. And China, again, are the world leaders. And once again, they provide what the West wants to control the citizens. Yeah, they're sort of like a petri dish in a way, right? The Chinese people of what the West would like. Now, the Western world, because you live in democracies where people still have a say, people still have a say. But that's changing. Yeah, because they can vilify in the West and use the media and say that people like Peter who think that this way, they're conspiracy theorists, they're right wingers, they're fascists, whatever it is, they're transphobic, they don't believe in science. The whole nine yards, the usual things, right? Right. That's how they get the other half of society to sort of bludgeon you. They shut. So the government doesn't have to do anything. Right. The other half, the other half of polite society could say, oh, that Peter guy has a weird views of things. What's wrong with surveillance? He's not we're not doing anything bad. So what? Look, I'm of the mind that in the West, because we are a democracy and people still have a say, they have to divide the people in a way that when you are opposed to the regime, when you're opposed to the government, you're going to be a person who's spreading misinformation. You're going to be someone who needs to be censored. You're going to be someone who needs to be punished. That is the way that they're able to corral people who don't want to be punished, don't want to be censored, don't want to be vilified. And they can be on this team regime. They can be on the side of the power. So if you were looking at China, you'd be on the side of the CCP. Why would China, why would an average Chinese person want to go against the CCP? You see what happens. So, in the US and in Europe, you're doing that with different laws, like misinformation, you're trying to shut down that debate, trying to shut down people, allowing people to talk about certain things. So, you can vilify them or you can just end it at all. But at least, at the very least, vilify these people so that the other half of society, whether it's a third or whether it's a half, I don't know, can say, yeah, you know, those people deserve to be punished. Those people deserve to be ostracized from society. [40:20] And that gives, of course, the government more control. Because they can't control. They can't just come out and say, we're going to do this. We're going to give you digital currency and program what you can buy or whatever. That's not going to happen. That can, to some extent, happen in China. It'd be very hard to do, do that in the West, but you know, I'm of the mind that they won't, they won't succeed at this. I hope, I hope, I hope not. I could, I could be wrong. We can, we can tell what you can talk about this for hours. You almost need a theologian to talk about some of these issues because, I think that people, because of all these alternative media people like yourself, Peter, right? They've come out and they're, they're almost ahead. That we're one step ahead of how the powers that be think, or at least we understand how they think. We can analyze it and we can come out and say, this is what they could do. Maybe we're wrong. But if we're right, then it's almost like these guys can't do it. You know what I mean? Because now it's like, well, I know we said we weren't going to do it. We did it. But it is a good idea because. And then when you keep having to do that, what happens? What's happening in the West? You delegitimize the system. You delegitimize the institution because of that gaslighting. Because you said you weren't going to do this. The guys you said were spreading misinformation said you were going to do it. You did do it. And then you said, yeah, but it's good that we did it. You can't keep doing that in society. But that's the way that the West moves to a China control like model because they just can't do it. We don't live in a dictatorship. You can't just do it. But that's the way that they move you in that direction. But as long as people like yourself and others in media, and of course, you have a big star in the UK, Russell Brand, he's huge, he's big here in the United States. As long as they're up ahead of that, then I think it becomes harder, because more people are aware, more people are curious about how the powers are trying to control things in their life. And then it's less likely that they will succeed, you know. It is less likely they succeed when more people are aware of what's at stake and more people are aware of what the planning is or how their thinking is. As long as we want to be free people and don't live like the CCP runs China, then we know that the guys who perfectly fine with us living like the CCP. We can be out ahead of them, then we can stop it, because they don't want to, they don't want to be embarrassed. They don't want to look like fools. In the worst case scenario, they will get more aggressive, more vicious and just keep pushing and pushing and pushing. And I think that's, unfortunately, that's the, this, this, the place we find ourselves now in Europe, the UK, the United States and Canada. And it's going to be very interesting to see what happens in the next few years. It will be and we'll see how November changes things because we've little pushback in Europe so I think the U.S have a chance of some pushback in November. You did have a big pushback with that farmer protest that was pretty serious. I think that the farmer protest was really eye-opening for a lot of people. I think, didn't it didn't disrupt some government in the Netherlands or Denmark? I forget, but some somebody was overthrown or a political party that was in... It overthrew the government of the Netherlands, in effect. The issue is actually when you protest, you have media you highlighted, then you're looking for a political solution to come in on the back of that, and Europe haven't yet got that. Now, the European Union elections will be interesting coming up in only months, and that could change things. But yeah, whether the EU are able to remove themselves from China's pocket is a big question, just like it is from the state side, whether you guys can remove yourself from that and China have done well on, I guess, embedding themselves into all our institutions. Look. In Europe, I think the issue with the renewable energy side that they're talking about now and China really dominating that market, that might see them split a little bit with China. So, that'll be interesting to watch to see how the Europeans, which promote climate change, want renewable, want a post-fossil fuel economy, and then go, oh, wait a minute now. We want a post-fossil fuel economy, but we literally have nothing to make a post-fossil fuel economy. Yeah, we have EVs, but we don't have an EV battery maker. Yeah, we have wind, but we have no solar to speak of. If we do, it's small little companies. They're all dominated by the Chinese. It's like Peter and Ken's solar manufacturing plant. We employ a thousand people and we have a few rooftops in southern Spain have our product. But we're not big players. No one's afraid of us. Maybe we're happily employing a few people and making some money until the Chinese come in and buy us out, whatever. They don't have the infrastructure for that. I think I'd be curious to see how Europe reacts to China within the renewable energy space. And I see that as being where China really becomes, well, Europe really splinters off from China because they're not going to be able to compete with China in that market. And they consider that to be, obviously, what Europe always talks about is climate change. They consider that to be probably their most important market in the future. Yeah, 100%. More solar panels from China will solve everything. Yeah, the temperature will fall at least at one degree over the next 20 years Kenneth, I really appreciate you coming on. I've loved following your twitter and obviously your many articles on daily caller. People can get in the description if they're watching. If they're listening it's there as well now the podcast platform so thank you so much for joining us and giving us your thoughts on China. Thanks for having me on Peter, appreciate it.
Bluegrass hero and former weird kid Alice Gerrard strongly believes that traditional music is connected to everyday life. She has said: “When you listen to traditional music you have such a sense of this connectedness of this person's life. It comes out of the earth.” She was first exposed to folk music while attending Antioch College. Jeremy Foster (her boyfriend at the time, who would become her first husband) introduced her to The Harry Smith Anthology of American Folk Music. Upon listening, she became hooked and more drawn to lonesome and rough folk songs versus the pristine vocalists. That mentality of keeping her performance untarnished and imperfect has followed her ever since.After she and Jeremy moved to Washington DC, she became acquainted with Hazel Dickens. She considered Hazel a mentor figure and studied her musicality. The two would record four albums together as the seminal duo Hazel Dickens and Alice Gerrard. The two did not speak for many years after they split in the late 70's. The breakup was messy and hard for both, particularly Hazel. Years later, they reconciled and would perform and were close until Hazel's death in 2011. Nowadays, Alice, who lives in Durham, NC, has begun digitizing her huge photo archive for a book as well as performing with the younger generation of traditional music. People like Tatiana Hargreaves, Reed Stutz and Phil Cook are regulars on her stage. They also contribute to her new album Sun to Sun. Alice digs in talking about her unorthodox parenting style (which is no secret), imperfectionism, appreciating memory and the fantastic new record. Follow Basic Folk on social media: https://basicfolk.bio.link/Sign up for Basic Folk's newsletter: https://bit.ly/basicfolknewsHelp produce Basic Folk by contributing: https://basicfolk.com/donate/Advertising Inquiries: https://redcircle.com/brands
Join us this week's PreserveCast episode as we talk with Dr. Christopher Finan about his book Drunks: The Story of Alcoholism and the Birth of Recovery. We'll talk to Chris about the history of alcoholism in America, the story of recovery, and how the preservation and museum community can approach telling the full story of alcohol at sites and places across the nation. All that and more on this week's PreserveCast. BIO: Chris Finan is executive director of the National Coalition Against Censorship, an alliance of 56 national non-profits that defends free speech. Mr. Finan has been involved in the fight against censorship for over 40 years. He is former president of American Booksellers Foundation for Free Expression. A native of Cleveland, Chris is a graduate of Antioch College. After working as a newspaper reporter, he studied American history at Columbia University, where he received his Ph.D. in 1992. He is the author of How Free Speech Saved Democracy: The Untold History of How the First Amendment Became an Effective Tool for Securing Liberty and Social Justice (Steerforth Press), Drunks: An American History (in paperback, Drunks: The Story of Alcoholism and the Birth of Recovery) (Beacon Press) and Alfred E. Smith: The Happy Warrior" (Hill and Wang), a biography of the New York governor who was the first Catholic to run for President. His book, From the Palmer Raids to the PATRIOT Act: A History of the Fight for Free Speech in America (Beacon Press), won the American Library Association's Eli M. Oboler Award for the best work on intellectual freedom published in 2006 and 2007. Chris is married to Pat Willard, a writer whose most recent book is "America Eats! On the Road with the WPA - the Fish Fries, Box Supper Socials and Chitlin Feasts that Define Real American Food" (Bloomsbury). They have two sons and live in Brooklyn, New York. Learn More: https://www.chrisfinan.com/ Find the Book: https://bookshop.org/p/books/drunks-the-story-of-alcoholism-and-the-birth-of-recovery-christopher-m-finan/7213639?ean=9780807019931&ref=https%3A%2F%2Fwww.chrisfinan.com%2F&source=IndieBound&title=Drunks%3A+The+Story+of+Alcoholism+and+the+Birth+of+Recovery
Jean Trewhella is one of the 25 co-authors of The Grief Experience: Tools for Acceptance, Resilence and Connection While studying Physics at Antioch College, Jean was introduced to dance and found that dancing each semester was a great way to balance heavy intellectual course work. She gained a foundation of body awareness through the practice of Alexander technique®, modern dance, improvisational performance arts. Through her professional career she gained leadership and diversity skills from trainings such as Stephen Covey's The 7 Habits of Highly Effective People®, Judith Humphrey's Taking the Stage®, and Pat Heim's Gender Awareness. She has practiced implementing these tools and driving change as Leader of the IBM Research Diversity Council, President of IEEE Electronic Packaging Society, and as a speaker on diversity and inclusion in her area of Electronics Packaging. In 2019, Jean became a certified JourneyDance® Facilitator after two years of study and practice with Toni Bergins. https://www.movement-insights.com Order your copy of The Grief Experience here. ------------------------------- For as little as $3 a month, you can become a patron to support this podcast. Also, you can watch the video version of this episode here and have early access for future episodes. ------------------------------- Watch Path 11 TV wherever you want, on the iPhone, AppleTV, Android, Amazon Fire, and Roku Apps.
How To Live An Abundant Life| Dr. Abdul Alim Muhammad Healing With Angelica Podcast With Special Guest Dr. Abdul Alim Muhammad Episode: 72 On this episode Dr. Abdul Alim Muhammad and I will be discussing how to live an abundant life and diving deep into how he managed to live an abundant life as well, and where we can start to live our abundant life now! A pioneer with so much GEMS! Guest Info: Dr. Abdul Alim Muhammad is a native of York, Pennsylvania where he was born, raised and attended public schools. He was a star athlete in track and field, a National Merit Scholar, an actor, an accomplished poet and a musician. His involvement in civil and human rights struggles began at the age of six when he attended a NAACP convention in Harrisburg, Pennsylvania. On academic scholarship, he attended Antioch College in Yellow Springs, Ohio and graduated with a degree in Biology in 1971. In 1975, he graduated from Case Western Reserve School of Medicine and spent the next five years in training at Harlem Hospital in New York to become a General Surgeon. He has held several teaching positions at various medical centers and universities, but pursuing his interest in community-based alternative medicine, he founded the Abundant Life Clinic in 1986. He is best known for his clinical research in HIV/AIDS and is a pioneer in the use of Kemron for the treatment of HIV disease. More info about The Host, Angelica X Are you ready to start your healing journey? Well “Healing With Angelica” is here for you! Let's chat! & book a 1 hour consultation call with me TODAY! LINK BELOW TO SCHEDULE including “HWA” Merchandise & MORE! ⬇️⬇️⬇️ https://linktr.ee/healwithangelica Heyyyy! Would you like to advertise your business or product on my podcast and YouTube channel to reach more potential clients/customers? ⬇️⬇️⬇️ Email: healwithangelica@yahoo.com Also remember too. . . Subscribe to our podcast: (Available on all podcast streams) https://anchor.fm/healingwithangelica Subscribe to our Youtube channel: https://youtube.com/channel/UCGGovfyBC92zSj1GITVnUIg As well as Support this platform with a small donation to help sustain future episodes! DONATE|CONTRIBUTION
We are happy to welcome award winning author, Sharon Draper to The Hamilton Review Podcast! Sharon Draper is the New York Times Bestselling author of " Out of my Mind", a book that has been on the list for almost two years. The book has also been developed into a movie and will be distributed by Disney, coming to theaters soon! In this conversation, Mrs. Draper shares with the audience about her love of reading as a young girl and how that shaped her writing career. She also talks about her best selling book, "Out of my Mind", her long career as an educator, and so much more. This is a must listen conversation friends! Enjoy this episode! Sharon M. Draper is a professional educator as well as an accomplished writer. She has been honored as the National Teacher of the Year, is a five-time winner of the Coretta Scott King Literary Awards, and is a New York Times bestselling author, with Out of my Mind staying on the list for almost two years. She was selected as Ohio's Outstanding High School Language Arts Educator, Ohio Teacher of the Year, and was chosen as a NCNW Excellence in Teaching Award winner. She is a Milken Family Foundation National Educator Award winner, and was the Duncanson Artist-in-Residence for the Taft Museum. She is a YWCA Career Woman of Achievement, and is the recipient of the Dean's Award from Howard University School of Education, the Pepperdine University Distinguished Alumnus Award, the Marva Collins Education Excellence Award, and the Governor's Educational Leadership Award. Last year she was named Ohio Pioneer in Education by the Ohio State Department of Education, and in 2008 she received the Beacon of Light Humanitarian award. In 2009 she received the Doctor of Laws Degree from Pepperdine University. In 2011, she received the Lifetime Achievement Award for contributions to the field of adolescent literature by The Assembly on Literature for Adolescents of the National Council of Teachers of English, as well as the 33rd Annual Jeremiah Luddington Award by the Educational Book and Media Association, also for lifetime achievement. In 2015 she was honored by the American Library Association as the recipient of the Margaret A. Edwards Award for lifetime literary achievement. In 2015 she was honored with the Anne V. Zarrow Award by the Tulsa Library Trust., as well as the 2016 Upstander Award by Antioch College. She has been honored at the White House six times, and was chosen as one of only four authors in the country to speak at the National Book Festival Gala in Washington, D.C, and to represent the United States in Moscow at their Book Festival. Her book Copper Sun was named one of the 100 Best Books of All Time by TIME Magazine and was selected by the US State Department and the International Reading Association as the United States novel for the international reading project called Reading Across Continents. Students in the US, Nigeria, and Ghana are reading the book and sharing ideas-a true intercontinental, cross-cultural experience. Actively involved in encouraging and motivating all teachers and their students as well, she has worked all over the United States, as well as in Russia, Ghana, Togo, Kenya, Ethiopia, Bermuda, and Guam, spreading the word about the power of accomplished teaching and excellence in education. Her literary recognition began when, as a challenge from one of her students, she entered and won first prize in a literary contest, for which she was awarded $5000 and the publication of her short story, "One Small Torch." She has published numerous poems, articles, and short stories in a variety of literary journals. She is the published author of numerous articles, stories, and poems. Sharon Draper is an active participant in the activities of the YWCA of Cincinnati, a member of the National Council of Teachers of English, the International Reading Association, and Top Ladies of Distinction. Ms. Draper travels extensively and has been a guest on television and radio programs throughout the country, discussing issues of literature, reading, and education. She is an accomplished public speaker who addresses educational and literary groups of all ages, both nationally and internationally, with entertaining readings of her poetry and novels, as well as enlightening instructional presentations. She lives in Cincinnati, Ohio, with her husband and a golden retriever named Honey. I learned to dream through reading, learned to create dreams through writing, and learned to develop dreamers through teaching. I shall always be a dreamer. Come dream with me. How to contact Sharon Draper: Sharon Draper's official website Sharon Draper on Instagram How to contact Dr. Bob: Dr. Bob on YouTube: https://www.youtube.com/channel/UChztMVtPCLJkiXvv7H5tpDQ Dr. Bob on Instagram: https://www.instagram.com/drroberthamilton/ Dr. Bob on Facebook: https://www.facebook.com/bob.hamilton
In this episode, I sit down with Astrea Taylor, author of Inspiring Creativity Through Magic, Intuitive Witchcraft, Air Magic, and co-author of Modern Witchcraft with the Greek Gods. Join us as we chat all about her new book and the magick of creativity! Music is from Epidemic Sound. Books mentioned in the episode: *Some links below are affiliated links and help me continue producing content.* Inspiring Creativity Through Magick: Amazon: https://amzn.to/3DxYoqh Modern Witchcraft with the Greek Gods: Amazon: https://amzn.to/3F7oPV5 Intuitive Witchcraft: Amazon: https://amzn.to/3F5ur22 Air Magic: Amazon: https://amzn.to/3YrlaIC All about Astrea: Astrea Taylor is an eclectic pagan witch with over two and a half decades of experience in the witching world. She's the author of Intuitive Witchcraft, Modern Witchcraft with the Greek Gods, and Air Magic. She has a bachelor's degree in science from Antioch College and a master's degree in environmental science from Wright State University, which inform her scientific takes on spirituality. In her spare time, she presents workshops and rituals online and at festivals across the country, and occasionally she blogs as Starlight Witch on Patheos Pagan. Astrea also wrote two fiction books -- "Belle Dame Sans Merci," the story of a wrongfully-incarcerated demon who wants to go to heaven, and "House of Transformation," about a pop star teetering on the brink of collapse who gets help from her estranged best friend. Where to connect with Astrea: Instagram: https://www.instagram.com/astreataylor/ Website: https://www.astreataylor.com/ Twitter: https://twitter.com/AstreaWrites Facebook: https://www.facebook.com/AstreaTaylor/ Events: https://www.astreataylor.com/events Thank you to my subscribers! Want to support the growth of Pagan's Witchy Corner? Become a Subscriber! Subscribers get access to bonus episodes only for them! Subscribe today at one of the links below! https://ko-fi.com/paganwolf If you would prefer to listen to it in video format, you can listen to it here: https://www.youtube.com/channel/UCqzU2hMxfT3CS_rSWWrmEEw Subscribe to Pagan's Reading Nook: https://podcasters.spotify.com/pod/show/pagansreadingnook For more homesteading articles, recipes, reviews, meditations, podcast episodes, and store: https://www.witchycornerproductions.com Join me for Witchy Wednesdays: https://discord.gg/9jRs5SgvQa Follow me on social media: https://linktr.ee/witchycornerproductions --- Support this podcast: https://podcasters.spotify.com/pod/show/paganswitchycorner/support
Chapter 1 Beauty Within: A Beautiful Mind Summary & ReviewA Beautiful Mind is a biography written by Sylvia Nasar, published in 1998. The book tells the extraordinary story of John Nash, a brilliant mathematician who struggled with mental illness throughout his life. Nasar explores Nash's early accomplishments as a prodigy in mathematics, his groundbreaking contributions to game theory, and his eventual descent into schizophrenia. The book chronicles Nash's journey from his days as a graduate student at Princeton University, where he developed his influential theories on non-cooperative games, to his struggles with paranoia and delusions later in life. It delves into his experiences with hallucinations, his institutionalization, and the impact of his illness on his career, relationships, and overall well-being. Nasar also provides insights into Nash's personal life, including his relationships with peers, mentors, friends, and family members. She sheds light on the support he received from his wife, Alicia, and her unwavering dedication to him during his most challenging times. Through extensive research and interviews, Nasar weaves together a comprehensive account of Nash's life, both the brilliance of his mind and the devastating effects of his mental illness. It is an enlightening book that offers a deep and empathetic examination of the life of John Nash. Sylvia Nasar craftfully navigates through Nash's successes and struggles, portraying him as a complex individual whose genius was intertwined with his mental health issues. The narrative masterfully captures Nash's mathematical brilliance and the groundbreaking breakthroughs he made in the field of economics. Chapter 2 Behind the Brilliance: Discovering the MastermindSylvia Nasar was born on August 17, 1947, in Rosenheim, Germany. Her parents were immigrants from Uzbekistan, and when Nasar was just six months old, her family moved to the United States. Nasar grew up in New York City, where her father worked as a businessman. Nasar developed a passion for mathematics at a young age and excelled academically. She attended Antioch College, where she studied literature and economics. After graduating in 1970, she pursued a Master's degree in economics from New York University. It was during her time at NYU that Nasar first encountered the name John Nash, which would later become the subject of her book. Following her Master's degree, Nasar embarked on a career in journalism. She began working as an intern at the New York Times in 1983 and eventually became a staff writer for the newspaper. During her time there, Nasar covered various topics, including economics, business, and international affairs. While working at the New York Times, Nasar became increasingly interested in writing about the intersection of mathematics and society. This interest led her to pursue a Ph.D. in economics at Harvard University, which she completed in 1988. Her dissertation focused on the history of mathematical economics. After completing her Ph.D., Nasar began researching the life of John Nash. She conducted extensive interviews with Nash, his family, and colleagues to gain a deeper understanding of his remarkable story. Nasar's goal was not only to chronicle Nash's mathematical achievements but also to shed light on his struggle with mental illness. The resulting book, A Beautiful Mind, received widespread critical acclaim and made her famous. Chapter 3 A Chapter-by-Chapter Exploration of A Beautiful MindChapter 1: The Princeton yearsThis chapter introduces John Nash during his time...
Japan's Top Business Interviews Podcast By Dale Carnegie Training Tokyo, Japan
Michael Bobrove is a founder and CEO of HealthyTOKYO, which has pioneered the introduction of CBD oil into the Japanese market. He previously was Managing Partner of Bucatani, a medical device marketing and distribution company in Tokyo and a Senior Parrtner in the Mikan Group, which provides advisory services for internationl expansion. He graduated from Antioch College and has an MBA from the Middlebury Institute of International Studies at Monterey.
As you know, we've been putting a lot more emphasis on the "Quest" aspect of Pizza Quest these days and this episode is a great example.In 1971, I was a founding member of a restaurant collective in Boston called Root One Cafe, one of the early organic food restaurants in the country. One of our members was a young student from Antioch College, Steven Shore, who had decided to do his work-study internship at our cafe, and so he lived with us for a number of months back in 1972. He and I became good friends and stayed in touch over the years. We last connected after he contacted me from Israel, where he had moved to become a rabbi and was working on a book about his journey.Join us as Steven, now Rabbi Shmaria Shore, and I catch up and fill in the blanks of his long and winding quest for self-discovery and a meaningful life. As you read this, at this very moment, Shmaria and our mutual friend and fellow Rooter, Alan Cahn and I are planning a 50th anniversary Zoom reunion in May for anyone who worked at Root One. So, if you are one of them, or know anyone else who was there, please write to me at peter@pizzaquest.com and I'll send you the details.Click here for the video versions of Pizza Quest. If you count on HRN content, become a monthly sustaining donor at heritageradionetwork.org/donate.Pizza Quest is Powered by Simplecast.
In this episode, I sit down with Astrea Taylor, author of Intuitive Witchcraft, Air Magic, and co-author of Modern Witchcraft with the Greek Gods. Join us as we talk all about her latest book and working with the Greek Gods in a Modern World. Music is from Epidemic Sound. Books mentioned in the episode: *Some links below are affiliated links and help me continue producing content.* Modern Witchcraft with the Greek Gods: Amazon: https://amzn.to/3F7oPV5 Intuitive Witchcraft: Amazon: https://amzn.to/3F5ur22 Air Magic: Amazon: https://amzn.to/3YrlaIC All about Astrea: Astrea Taylor is an eclectic pagan witch with over two and a half decades of experience in the witching world. She's the author of Intuitive Witchcraft, Modern Witchcraft with the Greek Gods, and Air Magic. She has a bachelor's degree in science from Antioch College and a master's degree in environmental science from Wright State University, which inform her scientific takes on spirituality. In her spare time, she presents workshops and rituals online and at festivals across the country, and occasionally she blogs as Starlight Witch on Patheos Pagan. Astrea also wrote two fiction books -- "Belle Dame Sans Merci," the story of a wrongfully-incarcerated demon who wants to go to heaven, and "House of Transformation," about a pop star teetering on the brink of collapse who gets help from her estranged best friend. Where to connect with Astrea: Instagram: https://www.instagram.com/astreataylor/ Website: https://www.astreataylor.com/ Twitter: https://twitter.com/AstreaWrites Facebook: https://www.facebook.com/AstreaTaylor/ Events: https://www.astreataylor.com/events Thank you to my subscribers! Want to support the growth of Pagan's Witchy Corner? Become a Subscriber! Subscribers get access to bonus episodes only for them! Subscribe today at one of the links below! https://ko-fi.com/paganwolf If you would prefer to listen to it in video format, you can listen to it here: https://www.youtube.com/channel/UCqzU2hMxfT3CS_rSWWrmEEw For more homesteading articles, recipes, reviews, meditations, podcast episodes, and store: https://www.hearthandseed.com Join me for Witchy Wednesdays: https://discord.gg/9jRs5SgvQa Follow me on social media: https://linktr.ee/paganwolf13 --- Support this podcast: https://anchor.fm/paganswitchycorner/support
In this episode we hear from multidisciplinary artist India Sky whose art practice of music, moving image, installation, dance and performance investigates the invisible forces of ancestry, power and spirit that shape her experience, and engages radical imagination as a source for transformation, communion, homecoming, liberation, and survival. Her work as a stage and video/film director, producer, choreographer and performer is guided by her passion for world making and her practice of creating and contributing to platforms that uplift Black, queer and femme voices. India received a BA in Theater with a minor in Media Arts from Antioch College in 2008 and an MA in Artist Film and Moving Image from Goldsmiths University of London in 2020. In our conversation, India shares about the journey to her debut album, Somewhere Over The Mystic Moon, which will be available everywhere February 5th 2023. We also chat about how she has activated music and performance throughout her life, how she accesses pole dancing as a conduit between worlds and holds deep respect for the craft as an endurance practice. We learn of her reverence for the ancestors from the disco era, her foundational work with Queer and BIPOC Circus Arts and India unpacks how she continues to engage somatic therapy through her art, tending to the vulnerability inherent in performance while finding joy and empowerment in the work. Our conversation also expands to acknowledging the body as a guide for understanding self, how creativity is a way to connect with a power that is beyond self and that our perception of the world is our own. In ending our conversation India shares resources around African cosmogram, Afro Surrealism, the incredible Queer and Black Femme art and music scene in Oakland and she gifts a bit of knowledge on how utilizing the moon cycle can act as an accountability mechanism to check into our intentions monthly. Learn more about India Sky and her work and music on her website: https://indiaskydavis.com Song Featured: Dark Symphony from Over The Mystic Moon by India Sky
Priscilla Long is a Seattle Based writer, poet, and longtime independent teacher of writing. She is the author of seven books to date and numerous publications in literary journals. She grew up on a dairy farm on the eastern shores of Maryland attending Moravian Seminary for Girls and Antioch College in Yellow Springs, Ohio. She writes science, poetry, history, creative nonfiction, essays, and fiction. Priscilla lives in the Seattle area and serves as the founding and consulting editor of Historylink.org which is a free online encyclopedia for Washington State History Today we are discussing her book: Dancing with The Muse in Old Age. What you'll learn in our conversation Priscilla wrote this book not only for herself but for everyone over the age of forty! Shy of turning 80, she wanted to approach this new era proactively with information and knowledge of science. Priscilla wanted to draw from people who were thriving, creating, and connecting in their communities. In writing this book, Priscilla learned a lot about the science of aging gracefully which involved cognitive development v ( which works the same in children as in older individuals ) and movement. As a result, she now bonds with her fit bit and makes sure to get regular exercise. Throughout the book, there are many people cited who are in the 70,80, 90's who are continuing to put to use their creativity and/or learning something new in the arts! Helping with cognitive creative development. Priscilla gives us several inspiring examples from the book of some famous and not-so-famous people who are active, learning, and creative! You can also express your creativity in different ways by gardening, cooking, social justice, and community involvement. The models that Priscilla shares in the book are inspiring and follow their dreams right up to the end of their life. Even when they run into limitations they continue to find a way to contribute in the best way possible. We discussed Angela Glendening who didn't feel that she had any “creativity” in her body but knew she was good at supporting the underdog. She picked a mission to support and that became her passion and purpose. A great story! When you do choose what to do, there will be a community around it and you will make connections and start meeting like-minded people. This will help your overall health and wisdom. Is it possible to be more proactive in composing one's life towards flourishing? Links and Resources Connect with Priscilla Long Connect with Deborah Voll Take The Midlife Quiz Need a new resume? Connect with me for your Resume Audit here Leave the work to me! Passion and Purpose Digital Workbook
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.
Last year Vick Mickunas received an email from the author Ralph Keyes. He's known Ralph for over 25 years. And Ralph has written many superb books. He went to Antioch College and lived in Yellow Springs for decades. Now Ralph lives in Portland. He e-mailed Vick to tell him about a book he thought he'd might want to cover. It was a picture book for children; "Watercress" by Andrea Wang.
Mark W. Travis acclaimed as "the director's director", Mark W. Travis is regarded by many Hollywood and International professionals as one of the world's leading authorities in the art and craft of film directing. Drawing from his impressive background in design, writing, acting, and his wide range of experience directing theater, film and television, Mark is able to bring new insights and exceptional clarity to the complex task of directing the feature film.Mark W. Travis earned a B.A. degree in Theatre at Antioch College and did his graduate training in Directing in the MFA program at the Yale School of Drama. Mark is a creative consultant to film directors Mark Rydell, George Tillman, Cyrus Nowrasteh and many other notable writers and directors.Mark's television directing credits include The Facts of Life, Family Ties, Capitol and the Emmy Award-winning PBS dramatic special, Blind Tom: The Thomas Bethune Story. In 1998 he directed the pilot for LifeStories.In 1990 he completed his first film, Going Under, for Warner Bros., starring Bill Pullman and Ned Beatty. In 2001 he wrote and directed The Baritones (parody of The Sopranos) as well as the short documentary, Earlet. In 2006 he co-directed the documentary, Ancient Light.Mark's unique approach to working with actors and characters (The Travis Technique) has gained the attention of directors, writers and actors worldwide and is becoming a standard approach for stimulating powerful performances.Since 1992 Mark has been sharing his techniques on writing, acting and directing worldwide.USA: The Directors Guild, American Film Institute, Pixar Animations Studios, UCLA Extension, Taos Talking Pictures Film Festival, Denver Film Festival, Hollywood Actor's Workshop, Hollywood Film Institute.JAPAN: Film & Media Lab and Vantan Film School.GERMANY: UW Filmseminares, ActionConcept, IFS, and HFF, the Munich Film School.POLAND: The Film Farm in Kotla.ENGLAND: Raindance, Paradigm Film Productions, Hurtwood House, Metropolitan Film School, National Film and Television School, London Film School, Lionhead Studios, London Film Academy.FRANCE: The Cannes Film Festival,NETHERLANDS: The Maurits Binger Institute.UKRAINE: HSU in Kiev, OIFF in Odessa;RUSSIA: International Film Actors Workshop,IRELAND: FAS Screen Training Ireland,NORWAY: The Norwegian Film School,DENMARK: The National Film School ofDenmark,SPAIN: afilm International Film Workshops,CZECH REPUBLIC: FAMU Academy of Film and Television.Mark has served as a Creative Consultant on several feature films including: Here's Herbie; Notorious; Not Forgotten; The Stoning of Soraya M,; Black Irish; Men of Honor; Barbershop; Barbershop 2; The Day Reagan Was Shot; Norma Jean, Jack and Me and television episodes of: Lois and Clark; The Pretender; Picket Fences, 90210, Melrose Place; Strong Medicine; NYPD Blue; The Practice and Ally MacBeal.Mark is the author of the Number-One Best Seller (L.A. Times), THE DIRECTOR'S JOURNEY: the Creative Collaboration between Directors, Writers and Actors. His second book on directing, DIRECTING FEATURE FILMS (published in April of 2002) is currently used as required text in film schools worldwide. His next book, THE FILM DIRECTOR'S BAG OF TRICKS will be published in September 2011.
July 12th 2022 Thaddeus Russell is the Founder of Unregistered Academy; host of the Unregistered podcast; and author of A Renegade History of the United States. He taught history and cultural studies at Occidental College and has taught at Columbia University, Barnard College, Eugene Lang College, and the New School for Social Research. Born and raised in Berkeley, California, Russell graduated from Antioch College and received a Ph.D. in history from Columbia University.Russell has also appeared on the History Channel and The Daily Show with Jon Stewart. --- Send in a voice message: https://anchor.fm/podcast-c709ee4/message
Kevin McGruder is Associate Professor of History at Antioch College. His interest in community formation led to a career in community development, with positions that included Program Director at Local Initiatives Support Corporation, Director of Real Estate Development with the Abyssinian Development Corporation (Harlem), and Executive Director of Gay Men of African Descent (New York City). Now as an academic, his research interests include African American institutions, urban history, and LGBTQ history. He has a B.A. in Economics from Harvard University, an M.B.A. in Real Estate Finance from Columbia University, and a Ph.D. in U.S. History from the Graduate Center of City University of New York. He is the author of Race and Real Estate: Conflict and Cooperation in Harlem, 1890-1920 and Philip Payton: The Father of Black Harlem.
Host Aeriol Ascher has a wonderful conversation with the gifted Francoise Netter about the nature of the soul and healing.Tell us a little bit about the work you do: I guide people to the best part of themselves spiritually, physically, mentally and emotionally and give them a safe platform to heal deep wounds and trauma. I facilitate Yoga and Movement For The Mind sessions and teach graduate credits for K-12 Educators. I am an author and love leading retreats and other workshop venues that allow individuals to connect to their higher creative Selves. I also do Spiritual coaching through Psychic/Numerology sessions, guiding individuals to their own wisdom and life paths.How or why did you begin doing the work that you do?: I knew at the age of five that I was here to serve through my creativity. Through decades of deep inner work and creative exploration and mastery, I evolved my own trauma and Holocaust survivor lineage as a building block to guiding others through their own journeys and self-acceptance through the wisdom of the body, mind and spirit.What kind of things do you assist your clients with?: I teach weekly Yoga classes, one-on-one Yoga Therapy sessions, Movement Therapy sessions and classes for Educators to re-certify their teaching licenses, increase their salaries and to facilitate them in creating lasting value both personally and professionally. My work with others invokes personal and professional empowerment as well as the safe place to move through trauma and PTSD to healing and transformation on all levels of being.Guest Bio: Françoise E. Netter, M.A., is an author, educator, conference presenter and performer, and has been a leading innovator in the fields of Yoga, Dance, Dance Therapy, Creativity, Resiliency and Stress Management for over forty years. She has taught at numerous Universities including Stanford University, Santa Clara University, JFK University, Antioch College, University of Phoenix, University of Colorado, and Naropa University. Françoise has trained teachers, therapists, and medical professionals in her field of expertise. What is the best way for our Podcast Listeners to reach you?: by email: fenetter@yahoo.com or Phone/text: 303-960-6000 or website: www.bodyminddynamics.orgHealing Vibes with AeriolAeriol Ascher BodyMindSoul.TV & Media Network founder, producer, host and Empowered Self-Care book compilerHealing Body Mind and Soul Network Find the healing body Mind and soul network at BodyMindSoul.TV Get your self-mastery journal and self-mastery oracle deck for special pre-order price at: selfmasteryset.aeriolascher.comAeriol Ascher BodyMindSoul.TV & Media Network founder, producer, host and Empowered Self-Care book compilerHealing Body Mind and Soul Network Find the healing body Mind and soul network at BodyMindSoul.TVAeriol Ascher Author, Speaker, Show Host, Producer, Coach Support the show
Dr. Hilary Weaver and Joel connect and speak of relational understanding the web of life for all people, all life; the talk opens discussing the Lakota people and ways, her devotion to people through her vital efforts to improve the quality of life for people as a Social Worker, her past experiences working with inmates on death row at San Quentin, the shootings in Buffalo, NY and how to view darkness in the human condition, and how the Sun and Dead Kennedys helped her heal. Hilary and Joel also speak of the vital necessity of tolerance for others, and embracing and celebrating diversity, spirituality, and why Unraveling Rellgion might seek a new name. Hilary N. Weaver, DSW (Lakota) is a Professor and Associate Dean for Diversity, Equity and Inclusion in the School of Social Work, University at Buffalo (State University of New York). She received her BS from Antioch College in social work with a cross-cultural studies focus and her MSW and DSW from Columbia University. Her teaching, research, and service focus on cultural issues in the helping process with an emphasis on Indigenous populations. Dr. Weaver received funding from the National Cancer Institute to develop and test a culturally-grounded wellness curriculum for urban Native American youth, the Healthy Living in Two Worlds program. She is a member of NASW, Chair-elect of the CSWE board of directors, Global Indigenous Commissioner for IFSW, and currently serves as President of the Indigenous and Tribal Social Work Educators’ Association (formerly American Indian Alaska Native Social Work Educators’ Association). She was inducted as an NASW Social Work Pioneer in 2020 and was named the American Public Health Association’s Public Health Social Worker of theYear in 2020. Dr. Weaver has presented her work regionally, nationally, and internationally including presenting at the Permanent Forum on Indigenous Issues at the United Nations in 2005-2008, 2013-2019, and 2021-2022. She has numerous publications including the text, Explorations in Cultural Competence: Journeys to the Four Directions (2005), the edited book, Social Issues in Contemporary Native America: Reflections fromTurtle Island (2014), Trauma and Resilience in the Lives of Contemporary Native Americans: Reclaiming our Balance, Restoring our Wellbeing (2019), and the edited volume Routledge International Handbook of Indigenous Resilience (2022). The Image for this podcast is from [https://www.filmsforaction.org/articles/lakota-wisdom-why-native-american-truths-can-heal-the-world/]
Welcome to The Future Humans Podcast with co-hosts Dr. Jean Houston and Dr. Anneloes Smitsman, for meeting with remarkable pioneers from around the world who walk the path of our future human potential. For this episode, Jean and Anneloes talk with the world-renowned pioneers in energy medicine and energy psychology, Donna Eden and Dr. David Feinstein. They explore the wondrous world of consciousness and evolution from an energetic awareness of our human, and future human, potential. Donna shares about her unique discovery of the “Diamond Inlay,” an evolutionary structure that forms part of our energy anatomy and serves to repattern our life to higher orders of possibility. David guides us through an exercise for shifting anxiety by combining tapping on specific meridian points with precise affirmations. He also explains about the uses of energy psychology to heal trauma and change deep seated programs and patterns that hold you back from your greatest self. Donna Eden and David Feinstein have built one of the world's largest and most vibrant organizations teaching the hands-on use of Energy Medicine. Their 1,600 certified practitioners are serving tens of thousands of clients and teaching hundreds of classes in the U.S., Canada, Latin America, Europe, Asia, and Australia. Their most recent book, The Energies of Love, achieved best-seller status on the NY Times Relationship List. Donna Eden is among the world's most sought, most joyous, and most authoritative award-winning spokespersons for energy medicine. Her classic book, Energy Medicine, is the textbook in hundreds of healing classes, available in over 20 languages, it won golds in both the U.S. Book News and Nautilus competitions. David Feinstein, Ph.D., is a pioneer in developing innovative therapeutic approaches, leading to nine national awards for his books on consciousness and healing. A licensed clinical psychologist, he has served as an Instructor in Psychiatry at The Johns Hopkins University School of Medicine and as an Associate Professor of Psychology at Antioch College. To learn more about Donna and David, and their organization Eden Method, visit: https://edenmethod.com/ To learn about the Future Humans Trilogy, visit: https://www.futurehumans.world/ To watch the VIDEO VERSION of this podcast and to stay in touch about future episodes, subscribe to the Future Humans Youtube Channel..
Molly Grant, reconnected with the green leather and suede shoes from her childhood memory when she looked across the room at the League of New Hampshire Craftsman Show. Spotting the bright colors and creative styles of the Cordwainer Shoes, she stopped in her tracks. This master fine-craft leather artist reconnected with the timeless design of the Pathfinder shoe which she first spotted during a trip to that same show at ten years old. Molly, now in her thirties, gathered the courage to enter into a conversation with her future mentor, teacher, and husband—Paul Mathews. During their meeting at the Craftsman Show, Paul invited Molly to apprentice and travel to gilded craft shows. Seizing the opportunity to learn the art of shoe-making, she closed her gallery, placing her handbags on the shelf. Molly and Paul soon married, became partners in the Cordwainer Shop, and worked alongside each other at their farm. Creating wearable art, taking care of the land, and “living the good life” as Paul would say. Paul's father Edward Mathews designed the Pathfinder shoe in the 1920's during the Great Depression. A shoe created for accessibility, practicality, and biomechanical correctness. High heels and rigid steel shanks were the only footwear options for women during the high fashion “flapper” era. After extensive research at Antioch College, Edward designed and patented a pliable deerskin moccasin of the Native American, and heel-less sandal of the ancient Greeks; becoming the first “style shoe” designed without high heels, providing a wide toe box. After the stock market crash the shoe was sold as a kit to support the Mathews mission making ergonomically correct, aesthetically pleasing, and comfortable footwear accessible to everyone. Paul Mathews entered the business in 1933, developing the shoe construction process, renaming the former schoolhouse “The Cordwainer Shop”—in Deerfield NH. Molly had always loved to sew as a youth; Her mother bought her a piece of leather from one of her yard sale junkets, she was hooked. Following her passions, Molly then became a leather artist in her 20's, refining her craft during an apprenticeship at the Black Swan Leather shop. She opened Molly Craft Designs, a fine craft gallery in Portsmouth, selling her work along with local artisan jewelry, pottery, and glass. She transitioned full time to shoemaking after meeting Paul. Today Molly teaches workshops for students at craft and folk schools across the country, and at her Cordwainer Shop. Molly is also creating new shoe and handbag designs. I so enjoyed my conversation with this dedicated and talented artist. We are thrilled to welcome Molly to this episode of Intrinsic Drive™. Intrinsic Drive™ is produced by Ellen Strickler and Phil Wharton. Special thanks to Andrew Hollingworth, our sound engineer and technical editor. For more information on this and other episodes visit us at www.whartonhealth.com/intrinsicdrive Follow us on socials (links below) including Instagram @intrinsicdrivelive
We interview Dr. Valora Washington, an internationally recognized authority in early childhood education, she is known for conceptualizing, leading, and executing significant change initiatives impacting policy, programs, and practice in higher education, philanthropy, and national nonprofits. She currently serves as the CEO of the CAYL Institute. During her decade tenure as CEO of the Council for Professional Recognition, Dr. Washington advanced and professionalized the field of early childhood education with her leadership of the largest credentialing program for early educators in the United States, the Child Development Associate (CDA) Credential. She formerly served as Vice President at Antioch College and the Kellogg Foundation and as a tenured faculty member at the University of North Carolina at Chapel Hill.
We take you back to a conversation between Vick Mickunas and the late Robert Fogarty who was a professor at Antioch College and editor of the Antioch Review.
Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Mark Strand was born on Canada's Prince Edward Island on April 11, 1934. He received a BA from Antioch College in Ohio in 1957 and attended Yale University, where he was awarded the Cook prize and the Bergin prize. After receiving his BFA degree in 1959, Strand spent a year studying at the University of Florence on a Fulbright fellowship. In 1962 he received his MA from the University of Iowa.He was the author of numerous collections of poetry, including Collected Poems (Alfred A. Knopf, 2014); Almost Invisible (Alfred A. Knopf, 2012); New Selected Poems (Alfred A. Knopf, 2007); Man and Camel (Alfred A. Knopf, 2006); Blizzard of One (Alfred A. Knopf, 1998), which won the Pulitzer Prize; Dark Harbor (Alfred A. Knopf, 1993); The Continuous Life (Alfred A. Knopf, 1990); Selected Poems (Atheneum, 1980); The Story of Our Lives (Atheneum, 1973); and Reasons for Moving (Atheneum, 1968).He also published two books of prose, several volumes of translation (of works by Rafael Alberti and Carlos Drummond de Andrade, among others), several monographs on contemporary artists, and three books for children. He has edited a number of volumes, including 100 Great Poems of the Twentieth Century (W. W. Norton, 2005), The Golden Ecco Anthology (1994), The Best American Poetry 1991, and Another Republic: 17 European and South American Writers (with Charles Simic, 1976).His honors included the Bollingen Prize, a Rockefeller Foundation award, three grants from the National Endowment for the Arts, a National Institute of Arts and Letters Award, the 2004 Wallace Stevens Award, the Academy of American Poets Fellowship in 1979, the 1974 Edgar Allen Poe Prize from the Academy of American Poets, as well as fellowships from the MacArthur Foundation and the Ingram Merrill Foundation. He served as poet laureate of the United States from 1990 to 1991 and as a Chancellor of the Academy of American Poets from 1995 to 2000. He taught English and comparative literature at Columbia University in New York City. He died at eighty years old on November 29, 2014, in Brooklyn, New York.From https://poets.org/poet/mark-strand. For more information about Mark Strand:“Mark Strand”: https://www.poetryfoundation.org/poets/mark-strand“The Coming of Light”: https://poets.org/poem/coming-light“Mark Strand, The Art of Poetry No. 77”: https://www.theparisreview.org/interviews/1070/the-art-of-poetry-no-77-mark-strand
Christopher Finan is NCAC's executive director. He previously served as president of the American Booksellers Foundation for Free Expression (ABFE), the bookseller's voice in the fight against censorship. He has been an advocate for free expression since 1982. Prior to joining ABFE, he was executive director of Media Coalition, a trade association that defends the First Amendment rights of producers and distributors of media. He is a former chair of NCAC and Media Coalition. He was a trustee of the Freedom to Read Foundation and received its Roll of Honor Award in 2011.A native of Cleveland, Chris is a graduate of Antioch College. After working as a newspaper reporter, he studied American history at Columbia University where he received his Ph.D.He is the author of From the Palmer Raids to the Patriot Act: A History of the Fight for Free Speech in America (Beacon Press), which won the 2008 Eli Oboler Award of the American Library Association. He also wrote Alfred E. Smith: The Happy Warrior (Hill and Wang) and edited National Security and Free Speech: The Debate Since 9/11 (IDEBATE Press), a reader for high school students. The Hugh M. Hefner Foundation honored the latter with its First Amendment Award. His latest book is Drunks: The Story of Alcoholism and the Birth of Recovery (Beacon Press).Chris is married to Pat Willard, author of several food histories, including America Eats! On the Road with the W.P.A.–The First Fries, Box Supper Socials, and Chitlin' Feasts that Define Real American Food (Bloomsbury). They have two sons and live in Brooklyn.Christopher M. FinanNational Coalition Against CensorshipHow Free Speech Saved Democracy, Christopher M. FinanSupport the show (https://paypal.me/TheBookshopPodcast?locale.x=en_US)
In this episode Durell speaks with Dr. Steven Thurston Oliver, Associate Professor of Secondary and Higher Education at Salem State University is a Sociologist of Education whose research and expertise is focused on using Contemplative Pedagogy in K-12 teacher preparation and higher education programs as a catalyst for cultivating greater capacity among educators to be introspective and engage across human differences. Steven received a Ph.D. in Sociology of Education from New York University, and M.Ed. in Educational Leadership and Policy from the University of Washington and a B.A. in International Studies from Antioch College. An advocate for Environmental Justice and Sustainable Food Systems, Steven serves on the Board of Trustees of Sterling College, an institution focused on the human relationship with the natural world. Steven is a member of the Brooklyn Zen Center and lay practitioner in the Soto Zen tradition. Steven and his husband Jonathan live in Lowell, Massachusetts with their rescue dog Batu from Puerto Rico.
Ami Mattison- SOREN LIT Fall 2021 ISSUE Touring and performing professionally since 2002, Ami Mattison has been featured at various art venues, festivals, conferences, colleges, and universities across the US and Canada. In 2013, s/he was the recipient of the Fellowship of Southern Writers' Spoken Word Award. Acclaimed novelist, Dorothy Allison writes: “Always [Mattison] speaks for the despised in verse that hallows grief and embodies joy. The world is larger, wider, fuller for the people [s/he] brings alive in words.” Mattison taught poetry and creative expression in Detroit public schools while serving as a writer-in-residence at Inside Out Literary Arts Program. S/he's also taught at Emory University, Georgia State University, and Antioch College in Ohio. S/he currently resides in Alabama. SOREN LIT Producer and Founding Editor- Melodie J. Rodgers www.sorenlit.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/melodie-rodgers/message
This week we are joined by Dr. Michael Bassis to talk about vision. We discuss vision in the workplace and at home. How do we focus on long term vision when the day-to-day tasks take up so much of our time? How can leaders successfully communicate their vision to their team? Is it possible to ensure our vision remains intact even after we leave our position or organization? Michael Bassis is the former President of Westminster College, Olivet College, and New College. He was also the Provost of Antioch College. He received his BA from Brown University in Sociology and holds a PhD in Sociology of Education from University of Chicago. In retirement, he has begun painting. You can connect with Michael on LinkedIn and view his artwork at michaelbassis.com Hosted by: Annalisa Holcombe; Edited by: Breanna Steggell
In this episode, Hannah got the chance to talk with Jane Fernandes about Deaf culture. They discussed Jane's experiences growing up, her K through 12 education as well as college and grad school, some of the barriers she faced as a Deaf individual, and how she got to where she is now as the President of Antioch College.
What was Harlem before its Renaissance, and how did it come to be? In Philip Payton: The Father of Black Harlem (Columbia University Press, 2021), historian Kevin McGruder, Associate Professor at Antioch College in Yellow Springs, Ohio, explores the life of the remarkable Philip Anthony Payton Jr., a real estate entrepreneur who bought building after building at the turn of the 20th century in the core of Harlem, defined as 125th St. to 135th St. between 5th and 8th Avenues. In doing so, McGruder uncovers much about Black life in New York during the period between the Civil War and the Great Migration and makes an important contribution to the history of housing segregation in the United States. David Hamilton Golland is professor of history, coordinator of humanities, and president of the faculty senate at Governors State University in Chicago's southland. @DHGolland.
Today I talked to Kevin McGruder about his new book Philip Payton: The Father of Black Harlem (Columbia UP, 2021) In a moment of hope, even faith, African-Americans inspired by Booker T. Washington believed at the start of the 21st century that prospering financially would lead them to fair and even-standing with their fellow white citizens in America. In that vein, Philip Payton launched the Afro-American Realty Company in 1904 and in doing so took on the big-money crowd. Up against him, for instance, was the Hudson Realty Company that numbered among its backers the Bloomingdale family. To an amazing extent, Payton managed in his short life to engineer real estate deals that made Harlem the home base for many of the African-Americans coming north in the Great Migration of the World War One era. Was it an entirely smooth journey for Payton? No, it wasn't—as McGruder points out in this episode that brings into account “racial capitalism” and the looming shadow of Woodrow Wilson's divisive approach to race relations. Kevin McGruder is an associate professor of history at Antioch College. He's also the author of Race and Real Estate and in the 1990s was the director of real estate development for the Abyssinian Development Corporation, a nonprofit church-based organization in Harlem. Dan Hill, PhD, is the author of eight books and leads Sensory Logic, Inc. (https://www.sensorylogic.com). To check out his related blog, visit https://emotionswizard.com.
Phyllis Swartz has taught preschoolers, inmates at a state prison (including a seminar on death row) gifted (high IQ) students, middle school, elementary school, college, and parents of preschoolers at risk. She holds a bachelor’s degree from Antioch College, a master’s degree in Educational Policy and Leadership with a specialization in curriculum development from The […]
Welcome to The Fourth U Dimension, the official podcast of The Fourth Universalist Society in the City of New York. This podcast is managed by the Religious Education team, and exists to help dive deeper into the important questions of our moment. Today's podcast features Shane Creepingbear and a discussion of colonialism and indigenous erasure. Shane Creepingbear belongs to the Cáuigù people and is a citizen of the Kiowa Tribe of Oklahoma, where he is a federally enrolled tribal member. Shane is currently the Associate Director of Admission at Antioch College in Yellow Springs, OH.
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