Podcast appearances and mentions of bob harvey

Earl is joined in the second hour by historian, educator, and veteran Professor Bob Harvey. They dive into the demographic reasons why Kamala Harris lost in the 2024 Presidential election and how population trends will influence future elections. The Earl Ingram Show is a part of the Civic Media radio network and airs Monday through Friday from 8-10 am across the state. Subscribe to the podcast to be sure not to miss out on a single episode! To learn more about the show and all of the programming across the Civic Media network, head over to https://civicmedia.us/shows to see the entire broadcast line up. Follow the show on Facebook and X to keep up with Earl and the show!

I discovered this track on a WB compilation set named “My Mind Gets High”, and boy… upon hearing this cut did I ever started experiencing flashbacks. In 1968, The Holy Mackerel was explicitly created as a vehicle for young, up and coming singer-songwriter Paul Williams, whose heavily processed vocal, along with the sitar, places this psychedelic artifact squarely into its late 60s time zone, and although I didn't start my hallucinogenic experiments until a bit later (around 1970), Wildflowers sonic acid bath trips me out nostalgically. Paul Williams became a household name in the 1970s when his elfin voice and tiny stature captured America's imagination on tv, radio, and film. It didn't hurt that he had a prodigious songwriting talent, too: (We've Only Just Begun; Old Fashioned Love Song, etc). His brother, Mentor - also a songwriting Colossus (Drift Away) was recruited for his sibling's manufactured band, as well - it was a hastily, and often reassembled group of rotating membership, which only lasted about a year or so. Interestingly, Paul didn't write this tune; it was penned by bassist Bob Harvey, who later worked for Elvis - and, indeed, it lacks the sentimental tendencies of its lead singer's writing. This is more of a mood piece, which perfectly captures that moment when the acid starts to come on. Sublime. 

Diese Folge sollte erst "The Notebook" heißen. Denn so ähnlich ist die Lebensgeschichte von Bob Harvey, nur eben dass sie wahr ist. Bob ist ein 79-jähriger Witwer. Mittlerweile spürt er das Alter, er ist gebrechlich und von Schicksalsschlägen gezeichnet. Um sich von all dem abzulenken fährt er allein durch die endlosen Straßen Virginias. Vorbei an Seen und Feldern, summt er leise mit, als die vertraute Stimme des Sängers Johnny Mathis aus dem Radio erklingt. Eine Stimme, die ihn in eine Zeit zurückversetzt, in der sein Leben noch voller Liebe und Hoffnung war. An eine Zeit zurück in der Highschool An seine erste große Liebe. Aber was ist aus ihr geworden – seiner ersten großen Liebe, Annette? Sechzig Jahre sind vergangen, seit sie das letzte Mal miteinander gesprochen haben. Nun, nach einem Leben voller Wendungen und Tragödien, beschließt Bob, das Unmögliche zu wagen: Er will Annette finden. Sie wiedersehen. Um ihre Hand anhalten. Doch was, wenn es zu spät ist? Was, wenn die Vergangenheit nicht mehr zurückgeholt werden kann? "True Love" ist ein Podcast über wahre Liebesgeschichten. Eine Produktion von Auf Ex Productions. Hosts: Leonie Bartsch & Linn Schütze Recherche: Leonie Bartsch, Antonia Faltermeier Redaktion: Antonia Fischer Produktion: Lorenz Schütze Für Hintergrundinformationen, Bilder und Videos könnt ihr uns auf Instagram oder TikTok unter @true.lovepodcast folgen. Oder auf unseren privaten Profilen unter @leonie_bartsch & @linnschuetze. Wir würden uns riesig freuen, wenn ihr den Podcast bewertet und teilt. Haben euch lieb & bis in zwei Wochen! Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte!: https://linktr.ee/truelove_podcast Du möchtest Werbung in diesem Podcast schalten? Dann erfahre hier mehr über die Werbemöglichkeiten bei Seven.One Audio: https://www.seven.one/portfolio/sevenone-audio

A New Zealand entrepreneur and former Waitakere City Mayor are getting behind a waka-shaped museum on Auckland's waterfront. Sirs Ian Taylor and Bob Harvey say a mega attraction on Wynyard Point could be Auckland's answer to the Sydney Opera House. Sir Ian says he wants to explore its commercial viability. He says he wouldn't want the Government to have to fork out for it. "It could be an iwi, it could be a fully commercial operation - there are examples all over the place where that works." LISTEN ABOVESee omnystudio.com/listener for privacy information.

A New Zealand entrepreneur and former Waitakere City Mayor are getting behind a waka-shaped museum on Auckland's waterfront. Sirs Ian Taylor and Bob Harvey say a mega attraction on Wynyard Point could be Auckland's answer to the Sydney Opera House. Sir Ian says he wants to explore its commercial viability. He says he wouldn't want the Government to have to fork out for it. "It could be an iwi, it could be a fully commercial operation - there are examples all over the place where that works." LISTEN ABOVESee omnystudio.com/listener for privacy information.

Roger Douglas's radical overhaul of the NZ economy kicks through the gears. A new investor class gets high on champagne and shares. What could go wrong? A bonfire of subsidies leaves farmers on their knees. Corporatisation sends thousands of state workers to the dole queue. Labour is returned to power in 1987 despite a campaign with starkly contrasting messages. For Lange, victory is bittersweet. When the global crash smashes New Zealand, Douglas seizes the opportunity to go harder, and go faster. New and exclusive interviews with Richard Prebble, Rudi Robinson-Cole, Kevin Geddes, Kim Workman, Bob Harvey, Geoffrey Palmer, Richard Prebble and Margaret Wilson. Click here for full details of archive material used in this series Juggernaut was made with the support of NZ On Air.

We thought you might like a wee taster of our brand new #1 series, Juggernaut: The Story of the Fourth Labour Government, hosted by Toby Manhire. Click here to follow Juggernaut so you get every episode as soon as it's released! 1. I love you, Mr Lange Fuelled by brandy and fury, Sir Rob Muldoon calls a snap election, sparking a 1984 campaign of contrasts – the menacing, protectionist National PM against the fresh, upbeat Labour leader, David Lange. The pretext for the election is the decision by Marilyn Waring, a young, gay MP, to back an anti-nuclear bill and quit the National caucus, prompting an earful from Muldoon. Lange, meanwhile, is joined at the hip by a hungry would-be finance minister, Roger Douglas. They are about to confront a profound crisis, and launch a revolution. Includes previously unheard interviews with David Lange from the 84 campaign trail, and new and exclusive interviews with Marilyn Waring, Roger Douglas, Geoffrey Palmer, Richard Prebble, Peter Harris, Margaret Wilson, Bob Harvey and Gary McCormick. Click here for full details of archive material used in this series Juggernaut was made with the support of NZ On Air. Learn more about your ad choices. Visit megaphone.fm/adchoices

We thought you might like a wee taster of our brand new #1 series, Juggernaut: The Story of the Fourth Labour Government, hosted by Toby Manhire. Click here to follow Juggernaut so you get every episode as soon as it's released! 1. I love you, Mr Lange Fuelled by brandy and fury, Sir Rob Muldoon calls a snap election, sparking a 1984 campaign of contrasts – the menacing, protectionist National PM against the fresh, upbeat Labour leader, David Lange. The pretext for the election is the decision by Marilyn Waring, a young, gay MP, to back an anti-nuclear bill and quit the National caucus, prompting an earful from Muldoon. Lange, meanwhile, is joined at the hip by a hungry would-be finance minister, Roger Douglas. They are about to confront a profound crisis, and launch a revolution. Includes previously unheard interviews with David Lange from the 84 campaign trail, and new and exclusive interviews with Marilyn Waring, Roger Douglas, Geoffrey Palmer, Richard Prebble, Peter Harris, Margaret Wilson, Bob Harvey and Gary McCormick. Click here for full details of archive material used in this series Juggernaut was made with the support of NZ On Air. Learn more about your ad choices. Visit megaphone.fm/adchoices

We thought you might like a wee taster of our brand new #1 series, Juggernaut: The Story of the Fourth Labour Government, hosted by Toby Manhire. Click here to follow Juggernaut so you get every episode as soon as it's released! 1. I love you, Mr Lange Fuelled by brandy and fury, Sir Rob Muldoon calls a snap election, sparking a 1984 campaign of contrasts – the menacing, protectionist National PM against the fresh, upbeat Labour leader, David Lange. The pretext for the election is the decision by Marilyn Waring, a young, gay MP, to back an anti-nuclear bill and quit the National caucus, prompting an earful from Muldoon. Lange, meanwhile, is joined at the hip by a hungry would-be finance minister, Roger Douglas. They are about to confront a profound crisis, and launch a revolution. Includes previously unheard interviews with David Lange from the 84 campaign trail, and new and exclusive interviews with Marilyn Waring, Roger Douglas, Geoffrey Palmer, Richard Prebble, Peter Harris, Margaret Wilson, Bob Harvey and Gary McCormick. Click here for full details of archive material used in this series Juggernaut was made with the support of NZ On Air. Learn more about your ad choices. Visit megaphone.fm/adchoices

We thought you might like a wee taster of our brand new #1 series, Juggernaut: The Story of the Fourth Labour Government, hosted by Toby Manhire. Click here to follow Juggernaut so you get every episode as soon as it's released! 1. I love you, Mr Lange Fuelled by brandy and fury, Sir Rob Muldoon calls a snap election, sparking a 1984 campaign of contrasts – the menacing, protectionist National PM against the fresh, upbeat Labour leader, David Lange. The pretext for the election is the decision by Marilyn Waring, a young, gay MP, to back an anti-nuclear bill and quit the National caucus, prompting an earful from Muldoon. Lange, meanwhile, is joined at the hip by a hungry would-be finance minister, Roger Douglas. They are about to confront a profound crisis, and launch a revolution. Includes previously unheard interviews with David Lange from the 84 campaign trail, and new and exclusive interviews with Marilyn Waring, Roger Douglas, Geoffrey Palmer, Richard Prebble, Peter Harris, Margaret Wilson, Bob Harvey and Gary McCormick. Click here for full details of archive material used in this series Juggernaut was made with the support of NZ On Air.

We thought you might like a wee taster of our brand new #1 series, Juggernaut: The Story of the Fourth Labour Government, hosted by Toby Manhire. Click here to follow Juggernaut so you get every episode as soon as it's released! 1. I love you, Mr Lange Fuelled by brandy and fury, Sir Rob Muldoon calls a snap election, sparking a 1984 campaign of contrasts – the menacing, protectionist National PM against the fresh, upbeat Labour leader, David Lange. The pretext for the election is the decision by Marilyn Waring, a young, gay MP, to back an anti-nuclear bill and quit the National caucus, prompting an earful from Muldoon. Lange, meanwhile, is joined at the hip by a hungry would-be finance minister, Roger Douglas. They are about to confront a profound crisis, and launch a revolution. Includes previously unheard interviews with David Lange from the 84 campaign trail, and new and exclusive interviews with Marilyn Waring, Roger Douglas, Geoffrey Palmer, Richard Prebble, Peter Harris, Margaret Wilson, Bob Harvey and Gary McCormick. Click here for full details of archive material used in this series Juggernaut was made with the support of NZ On Air.

We thought you might like a wee taster of our brand new #1 series, Juggernaut: The Story of the Fourth Labour Government, hosted by Toby Manhire. Click here to follow Juggernaut so you get every episode as soon as it's released! 1. I love you, Mr Lange Fuelled by brandy and fury, Sir Rob Muldoon calls a snap election, sparking a 1984 campaign of contrasts – the menacing, protectionist National PM against the fresh, upbeat Labour leader, David Lange. The pretext for the election is the decision by Marilyn Waring, a young, gay MP, to back an anti-nuclear bill and quit the National caucus, prompting an earful from Muldoon. Lange, meanwhile, is joined at the hip by a hungry would-be finance minister, Roger Douglas. They are about to confront a profound crisis, and launch a revolution. Includes previously unheard interviews with David Lange from the 84 campaign trail, and new and exclusive interviews with Marilyn Waring, Roger Douglas, Geoffrey Palmer, Richard Prebble, Peter Harris, Margaret Wilson, Bob Harvey and Gary McCormick. Click here for full details of archive material used in this series Juggernaut was made with the support of NZ On Air. Learn more about your ad choices. Visit megaphone.fm/adchoices

Fuelled by brandy and fury, Sir Rob Muldoon calls a snap election, sparking a 1984 campaign of contrasts – the menacing, protectionist National PM against the fresh, upbeat Labour leader, David Lange. The pretext for the election is the decision by Marilyn Waring, a young, gay MP, to back an anti-nuclear bill and quit the National caucus, prompting an earful from Muldoon. Lange, meanwhile, is joined at the hip by a hungry would-be finance minister, Roger Douglas. They are about to confront a profound crisis, and launch a revolution. Includes previously unheard interviews with David Lange from the 84 campaign trail, and new and exclusive interviews with Marilyn Waring, Roger Douglas, Geoffrey Palmer, Richard Prebble, Peter Harris, Margaret Wilson, Bob Harvey and Gary McCormick. Click here for full details of archive material used in this series Juggernaut was made with the support of NZ On Air.

On this episode of Fanning out with Dave Price, I talk with Bob Harvey. We talk heavy metal. A little bit of punk, his Band Wretch. His song “The Rat King” and a story behind a very special Les Paul.

As the dusk settles over the serene beaches of Piha, an ominous question hangs heavy in the salty air: Is there a serial killer at large? Sir Bob Harvey, former mayor joins me to share his theory on the unexplained disappearances that have cast a long shadow over this picturesque New Zealand community. Weaving through a tangle of abandoned cars and undisturbed personal effects, Sir Bob calls for a renewed investigation into these cold cases that continue to baffle locals and authorities alike. Life is a multifaceted journey, and this episode is a testament to that complexity, as Bob shares the transitions and transformations that come with public service and leadership. From the poignant realization of adoption at 50 to the embrace of a new identity in serving the community, this conversation is a reflection on how unexpected turns can redefine our purpose. Sir Bob Harvey shares with us the nuanced parallels between the vigilance required on the sands and the humility essential in the corridors of power. As he reflects on a political career marked by service, we are reminded of the quiet strength that comes with knowing when to take a bow, offering listeners a narrative imbued with wisdom, grace, and the unwavering love for a life spent safeguarding others.See omnystudio.com/listener for privacy information.

Earl continues his discussion on Black History Month with Professor Harvey. In this hour, they talk about the civil war and the pivotal, and often forgotten, role African Americans have contributed to the country's Armed Forces. The Earl Ingram Show is a part of the Civic Media radio network and airs Monday through Friday from 8-10 am across the state. Subscribe to the podcast to be sure not to miss out on a single episode! To learn more about the show and all of the programming across the Civic Media network, head over to https://civicmedia.us/shows to see the entire broadcast line up. Follow the show on Facebook and X to keep up with Earl and the show!

Earl is joined by nationally renowned Black History Professor, Bob Harvey, for a very special Black History Month show. In the first hour they discuss how African people first arrived in the Americas and how race based slavery took root in the American colonies. The Earl Ingram Show is a part of the Civic Media radio network and airs Monday through Friday from 8-10 am across the state. Subscribe to the podcast to be sure not to miss out on a single episode! To learn more about the show and all of the programming across the Civic Media network, head over to https://civicmedia.us/shows to see the entire broadcast line up. Follow the show on Facebook and X to keep up with Earl and the show!

We're sorry for the delay, but we're back with a brand-new episode! This week, Bob sits down with Harvey Brownstone, the host of Harvey Brownstone Interviews. The two share the common ground of being self-made podcasters and how difficult it can be to break into entertainment. Among other topics, Harvey talks about starting the show after his retirement, how he has overcome adversity, his time as the first openly gay judge in Canada, being an author, and his and Bob's joint love for unique interview questions and The Rosie O'Donnell Show.

For 'The Week That was' this week I'm joined by a Sir and a Dame -  the equally delightful Bob Harvey and Denise L'Estrange-Corbet. And what a rollicking good time we had chatting about: The second political leaders debate, Winston, and Auckland Central. Covid vaccines. Side hustles and starting again late in life. And the All Blacks... Chapters: 3:16 - Slam Dunc 6:47 - The Week That Was 41:00 - Letters To The Editor 45:05 - Wanker Of The WeekSee omnystudio.com/listener for privacy information.

It's another bonus episode brought to you by the generosity of my backers over on www.patreon.com/hjdoom. This episode we're taking a look at one of the most resilient toy lines of the 1980s, the ever popular Transformers. These robotic sneaks were a big part of my childhood but how well will they adapt into the format of the adventure gamebook? Peril From the Stars was written by gaming legend Dave Morris with illustrations by the dependable Bob Harvey and published by Corgi books in 1985.

It's our first proper episode of 2023 and HJDoom is tackling book 32 in the Fighting Fantasy series which is Slaves of the Abyss by Paul Mason and Steve Williams with illustrations by Bob Harvey and cover art by Terry Oakes. Things start off with some fairly hackneyed kingdom in peril stuff but things rapidly get quite a bit stranger as the book progresses. Featuring a time mechanic and an extremely aggravating cameo from the Riddling Reaver that we happily avoid in the playthrough portion this book certainly has an uneven tone but is it any good? Listen along to find out.If you'd like to support my nonsense financially you can do so by going to www.patreon.com/hjdoom and, along with my undying gratitude, you can score yourself some sweet gamebooks and RPGs what I done wrote.

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.

EP132: "I think most people appreciate someone making a purchase easier for them. Selling is not about persuading someone to buy something that they do not need but making a decision easier. ‘People buy from people,' is a common saying and our job is to ensure that people buy us and not the product."Meet Bob Harvey, now non executive director at SeventySeven Wealth Management after 25 years in management at St. James's Place. In this interview he reflects upon his career in sales and why it's now seen as a dirty word as well as wellness and his views on retirement. "Compared to 30 years ago, the consumer is far better off. The industry is regulated, and people are more financially aware. The financial adviser is also treated as a professional person (which was not the case 40 years ago). There has been a shift in perception from financial advisers as product salesmen to genuine professionals."In this interview we discuss: the importance of saleshow Bob's father was one of the founding directors of Tesco's when they set up their first store after the war in Brixton markethow important it is to present yourself wellgoing out cold calling shops in Maidstone in the snow in the late 1970sstriking the balance between work and life and lots more."I think the whole ‘work hard, play hard' thing is really important. Working eight-hour days gives definition to downtime. I think a lot of people fall down because they do not give themselves enough time off. Here, I do not mean physically, but emotionally. It is important to be able to put things to one side, or in a box, and say I am going to focus on something else."You can follow Bob on LinkedIn and read more about him on SeventySeven's website. Support the show

Listen to Off The Record Tues-Thurs 7pm-8pm on Today FM.See omnystudio.com/listener for privacy information.

Fancy the idea of being ferried across the Waitemata Harbour while avoiding swells sea sickness? Or maybe you're just sick of sitting in traffic. Austrian firm Doppelmayr is proposing an alternative - looking at the feasibility of a $200 million gondola across the harbour. It says its technology can move 6,000 people an hour in each direction, with cabins arriving every 15 seconds. They say it would run from the Akoranga bus exchange on the North Shore to downtown Auckland. One of the people backing the idea is former Waitākere City Mayor Sir Bob Harvey. He talks to Lisa Owen.

Sir Bob Harvey says the retirement of Auckland Mayor Phil Goff from local politics is for him a moment of personal sadness. The former Waitakere City mayor and onetime Labour Party leader says he was naturally sad to learn that Phil Goff will be stepping away from the political life he's been a part of for more than forty years. He says its also a bit because from his point of view there isn't an obvious standout candidate to replace the two-term Auckland leader. Sir Bob speaks to Corin Dann.

On the latest episode of the Building Texas Business podcast, I'm excited to introduce you to Bob Harvey, President and CEO of the Greater Houston Partnership, the Houston region's principal business organization. Bob was a successful business leader in his own right before taking over at the partnership 10 years ago, and in this episode, we discuss the trends he's seeing in the employer, employee relationships, and company culture post-COVID, and how Houston's corporate leaders are engaging more with the area's institutions of higher education to produce a more employable workforce. You'll also hear why Bob was optimistic about the economic future of Houston. This is a very insightful episode with someone working very close to the heart of Houston's business community. LINKSShow Notes Previous Episodes About BoyarMiller About Greater Houston Partnership GUEST Bob HarveyAbout Bob Special Guest: Bob Harvey.

Get to know Bob Harvey, the resident folksinger at the Concord Hotel.Today's Sponsors: True Freedom – Find out how a True Freedom plan can bring piece of mind and security for you and your loved ones at onendone.us or 1-844-WANTINFO. Yesteryear Wear – Get 15% on your order with "borschtbelt15" at yesteryearwear.com Follow us on socials!Instagram | Facebook | TwitterSupport the show (https://www.buymeacoffee.com/borschtbeltpod)

Bob Harvey Personal Testimony - November 14th,2021

Things take a soggy turn as HJDoom bravely dives into an undersea Fighting Fantasy book written by the American rather than the British Steve Jackson. His last book for Fighting Fantasy was more interesting than good so can he manage to nail the tone on his sophomore outing? Listen in to find out. Demons of the Deep was published in 1986 by Puffin Books with internal art by Bob Harvey and a cover illustration by Les Edwards. I also provide an update on the adventure game book I'm writing which will be sent out to my patrons at Christmas. You can join their ranks by going to www.patreon.com/hjdoom and pledging as little as 1 English pound.

Carolyn and Bob Harvey didn't want to be "the enemy." That is how they ended up in Celina, Texas (instead of Pilot Point) when they moved to Texas 21 years ago. Who is responsible for this power couple ending up in Celina? It was their granddaughter, a second grader in Celina schools at the time, who influenced their decision. The ripple effects of her "enemy" statement are pretty amazing, especially on Downtown Celina. Carolyn and Bob Harvey played a significant role in turning the historic square into a staple of this community. #lifeconnected – Celina Economic Development: https://celinaedc.com– City of Celina: https://www.celina-tx.govMusic:Vocals by Jon Christopher DavisEngineered by Wextrax StudioMusic by Mark Metdker

This recording is from the second Going West Festival in 1997, but in some ways it is where it all began. What co-founder Murray Grey envisioned, and pitched to fellow founders Naomi McCleary and Bob Harvey, was simple: Maurice Gee reading from his novel Going West, on a train as it travelled west. Gee's novel Going West, which gave the festival its name, was the Goodman Fielder Watties Book Awards winner in 1993 - just one of his astonishing 13 major New Zealand book awards. In this archival recording, Gee reads the now-famous passage from early in the book that describes the train ride between Loomis and Auckland. In Gee's work, Loomis is the fictional town modeled on Henderson in every possible way other than in name. His reading for the live crowd, by the very tracks he's describing, gives the passage the same barreling momentum of the old trains, rattling past familiar Auckland landmarks with their social myths and legends. Maurice Gee remains the patron of the Going West Festival.

Date: May 24, 2021  Name of Show: Let's Rethink This  Episode title and number: Bob Harvey & The Power of Community 002 Brief summary of show: This week I am talking with Bob Harvey, founding director of Independence Center, a nonprofit in St. Louis serving adults with mental illness. Bob talks about how he got his start in mental health, the formation of Independence Center, the importance of returning to work, and what the future of mental health looks like.  Bullet points of key topics & timestamps:   12:05 Community Mental Health Act  31:45 The Importance of Work  List of resources mentioned in episode, suggested reading, social media handles:   Community Mental Health Act  Places for People  Clubhouse International   Independence Center Employment Program  Calls to action:   Subscribe to our podcast here: https://letsrethinkthis.buzzsprout.com/  Follow us on Instagram @letsrethinkthispod 

Discover why Bob Harvey (President of GHP, and previous leader at McKinsey & Co and Reliant Energy) claims that moving your business to Houston is a great choice, the time to buckle up is now, and the leadership blindspots he was made aware of are displayed on his computer screen (14 minutes). CEO BLINDSPOTS PODCAST GUEST: Bob Harvey. He is President and CEO of the Greater Houston Partnership. Prior to joining the Partnership, Bob was active in the Houston business community, first as a management consultant with McKinsey & Company, Inc. and then as Vice Chair of Reliant Energy. In addition, Bob serves on the boards of Houston Exponential, Good Reason Houston, the Greater Houston Convention and Visitors Bureau, and the Center for Houston’s Future. He is a Trustee Emeritus of the United Way of Greater Houston and The Post Oak School. Bob received his bachelor’s degree in Mechanical Engineering from Texas A&M University and his MBA from Harvard Business School. Note: The Greater Houston Partnership focuses on building a strong workforce, advocating for sound public policy, attracting investment and trade to Houston, and convening a diverse set of Houstonians when major issues arise. For more information about Bob Harvey and the Partnership, visit houston.org CEO BLINDSPOTS HOST: Birgit Kamps. She started and sold HireSynergy LLC (an "Inc. 500 Fastest Growing Private Company" and a "Best Company to Work for in Texas"), held 3 terms as a Board Member of the Gulf Coast Workforce Commission, was the Chair of the Gulf Coast Workforce Education Committee, and is currently the CEO of Hire Universe LLC. In addition, Birgit is the host of the "CEO Blindspots" podcast which was recognized in 2020 by Spotify for having the "biggest listener growth" in the USA (by 733%), and having listeners in 11 countries; https://ceoblindspots.com/

Date: 17.03.2021 Today at 'inspire', Bob Harvey shares of missioning in Latin America and "Taking Jesus Home" What is in a name in Latin America? Who is the influence? Who has the authority? What is it to inspire? What if God touches your heart? What happens when you share Jesus? What happens when you have authority? And when the door opens, where do you start? Where can God take you? How can you use your gifts? What was the Holy Spirit doing? What comes out when the pressure comes in? Sorry we had a issue with the sound towards the end of the message. Please send prayer requests to prayer@bridgeman.org.au or on our website: https://www.bridgeman.org.au/prayer/ To contact Bridgeman Baptist Community Church please email hello@bridgeman.org.au If you would like to give at Bridgeman Baptist Community Church please go to https://www.bridgeman.org.au/giving/

We are pleased to bring you this "Special Edition" discussion with Bob Harvey, President and CEO of the Greater Houston Partnership ("GHP"). Joining Bob in today's discussion is TPH's own Bobby Tudor, who is also proudly GHP's Chairman.GHP is a unique pro-business, pro-community, All-Houston organization. Bob has been its leader for 8 years now and has seen energy ups and downs, Hurricane Harvey, and now COVID-19, just to name a few. With COVID-19 cases rising, but also with vaccinations rising, we thought this was a great time to get a check in on the health of the city from two people who know it really well.Bobby has led the energy transition discussion at the GHP, something his position as a community leader and original TPH founder has helped him do. As we talked to Bob, Bobby added his perspective as a business leader, energy professional, and proud Houstonian.Bob takes us on an incredible tour of what's happening in America's 4th largest city. As it's not just our home but also our industry's capital, we thought you would all be interested.----------Copyright 2021, Tudor, Pickering, Holt & Co. The information contained in this update is based on sources considered to be reliable but is not represented to be complete and its accuracy is not guaranteed. This update is designed to provide market commentary only. This update does not constitute an offer to sell or a solicitation of an offer to buy any securities. Nothing contained in this update is intended to be a recommendation of a specific security or company nor is any of the information contained herein intended to constitute an analysis of any company or security reasonably sufficient to form the basis for any investment decision. Past performance is not indicative of future results. Tudor, Pickering, Holt & Co., and its officers, directors, shareholders, employees and affiliates and members of their families may have positions in any securities mentioned and may buy or sell such securities before, after or concurrently with the publication of this update. In some instances, such investments may be inconsistent with the views expressed herein. Tudor, Pickering, Holt & Co. may, from time to time, perform or solicit investment banking or other services for or from a company, person or entities mentioned in this update. Additional important disclosures, including disclosures regarding companies covered by TPH’s research department, may be found at www.tphco.com/Disclosure. Tudor, Pickering, Holt & Co. (TPH) is the global brand name for Tudor, Pickering, Holt & Co. Securities, LLC., Tudor, Pickering, Holt & Co. Securities – Canada, ULC and their affiliates worldwide. Institutional Communication Only. Under FINRA Rule 2210, this communication is deemed institutional sales material and it is not meant for distribution to retail investors.

Sir Bob Harvey is a Westie to the core. He's a successful writer, historian, politician, environmental campaigner, film guy, advertising gun, surf life-saver and co-founder of the Going West Writers Festival.  In this address from the opening of the 2013 Going West Writers Festival, Sir Bob pays homage to the West coast and the role that this landscape, and the books he loves, have played in his extraordinary life, a life given over in large part to the service of his community. If the previous episode of this series celebrated the Bogan Westie stereotypes of the TV show Outrageous Fortune, this episode celebrates all the many other facets of West Auckland.  The former Waitakere City is also home to free thinkers, artists, writers and readers and one of the oldest literary festivals in the country. Sir Bob Harvey, recently described on RNZ by Paula Morris as “the mayor of everything”, has lived all these things as a true Westie renaissance man. Much of the detail from this talk made it into his 2014 biography Wild Westie: the incredible life of Bob Harvey by Hazel Phillips.

It's been 10 years since the formation of what is known as Auckland's 'Super City'. 

Thank A Wounded Vet & Save an Injured Pet - In the spring of 1992, a Maine Coon stray cat visited Bob Harvey and changed his life forever. Though firmly rooted in his middle-years, he had never had a pet before, ever. The homeless feline adopted Harvey and he named the cat You Too. Little did Harvey know that this new-found love for animals would ultimately lead to a career as an author. You Too turned Harvey into an animal welfare advocate which led to the adoption of more strays, the investment in Tailwaggers Pet Sitting Service, and part-time volunteer foster care for a blind cat. In 2004 he accepted early retirement from the award-winning international firm he helped launch when he received the devastating news that his best friend of 10 years, a rescued Shepherd-wolf named Bravo, had cancer. Harvey took on the full-time job as Bravo's homeopathic caregiver. The time Harvey dedicated to Bravo's final year of life sparked an interest to share his fascination with pet cohabitation and animal sense perception. The experience birthed Catalyst, Harvey's first novel in the Me & You Too series, which follows the tale of a stray cat and a neighborhood of town-home tenants whose fates intertwine after their community is destroyed by a mysterious fire. The reluctant heroes join forces to create the first eco-Homestead where 'No People Are Allowed Without Pets'.Catalyst breaks new ground in illustrative storytelling as the first full-color novel produced in Harvey's trademarked KaleidoScript™ format. With colorized words, energized multi-font text, and 62 unique chapter-specific background images, Harvey's pioneering presentation engages the imagination while enhancing the reading experience. After graduating from the University Of Bridgeport in Connecticut, Bob Harvey traveled extensively around the world as a line builder/designer for U.S. fashion importers. His wide universe of contacts and entrepreneurial spirit evolved into numerous enterprises culminating in his participation in Austin-based Calendar Club, a company he helped launch in 1993 that became a multi-concept chain of over 1,000 seasonal retail shops. Harvey has a degree in graphic design, a unique hobby of designing interpretive Native American artifacts, and an endless love for the great outdoors. His affinity for nature has sent him on sailing excursions from the Caribbean to the Galapagos Islands as well as on photographic safaris to Africa and the Amazon. He is a member of the Humane Society, the World Future Society, and active in the Writers' League of Texas. He is now working on the second book in the Me & You Too series, Dogma, while surrounded by adopted strays at his Texas Hill Country home. Harvey is also the founder of the "Thank a Wounded Vet & Save an Injured Pet" Donation Program

In their first episode, Kendall and Kylie cover first love stories! They start out with some facts about first love, then Kendall tells the story of Valerie and Jason, two high school sweethearts who reunite later in life. Kylie wraps it up with the story of Annette Adkins and Bob Harvey, who married after 63 years apart.♡ Click here to see photos for this episode!♡ Click here for links to our sources for this episode!♡ Please help us out by rating and reviewing here!♡ Submit your own love story!♡ Submit a theme suggestion!♡ Follow Smitten on Instagram , Twitter , and TikTok!♡ Follow Kendall on Instagram and Twitter

This recording is from the second Going West Festival in 1997, but in some ways it is where it all began. What co-founder Murray Grey envisioned, and pitched to fellow founders Naomi McCleary and Bob Harvey, was simple: Maurice Gee reading from his novel Going West, on a train as it travelled west. Gee's novel Going West, which gave the festival its name, was the Goodman Fielder Watties Book Awards winner in 1993 - just one of his astonishing 13 major New Zealand book awards In this archival recording, Gee reads the now-famous passage from early in the book that describes the train ride between Loomis and Auckland. In Gee's work, Loomis is the fictional town modeled on Henderson in every possible way other than in name. His reading for the live crowd, by the very tracks he's describing, gives the passage the same barrelling momentum of the old trains, rattling past familiar Auckland landmarks with their social myths and legends. Maurice Gee remains the patron of the Going West Festival.

Our special edition of Houston Matters weekdays at 3 p.m. addresses your questions and concerns about important issues affecting the community. In the first segment, host Ernie Manouse is joined by Bob Harvey, president and CEO of the Greater Houston Partnership, to talk about GHP's role in the recent order from Harris County Judge Lina Hidalgo, mandating employees and customers wear face coverings inside retail establishments. Then, Ernie is joined by Dr. Lechauncey Woodard with... Read More

Hosts Jen O'Neill Smith and Sally Brooks kick off the episode with quickies about spicing things up with household items and a girl who was catfished by "Lance Bass". Jen then tells the nightmare crazy story of Bruce Stimon. Then Sally restores our faith in humanity with the sweet, sweet love story of Bob Harvey and Annette Callahan. They end the episode talking about things that are dumb (voter suppression in black communities) and things they love (Jen's birthday and the TV show "Never Have I Ever"). Join Dumb Love on PatreonSee pictures from this episode!Contact Dumb Love dumblovepod@gmail.comFollow Dumb Love:Instagram, Facebook, Twitterdumblovepodcast.comFind things from this episode:Kimberly Jones at kimjoneswrites.com"Our Liberation is Bound Together" By Dr. Nicole Evans, Faybra Hemphill, Daisy Han, and Katie KitchensHow to Be Antiracist by Ibram X. Kendi

On Monday's Houston Matters: We get an update on the COVID-19 pandemic in Greater Houston as businesses in Texas continue to partially reopen. Houston Methodist CEO Marc Boom updates us. Plus The Greater Houston Partnership's CEO Bob Harvey explains why he doesn't want local businesses to bring workers back to their offices yet. Also this hour: The PBS series American Experience will explore the presidency of George W. Bush in a new two-part biography. It airs... Read More

DJ Downtown, aka Tsar Misha, is back from his ill-fated vacation so we're catching up on the last debate and then plunging into the ongoing #trumpvirus situation. With special guest Chef Bob Harvey!

Temporada estable de Teatre Radiofònic a la 95.2 Ràdio. 'Glenn Miller, desaparegut sobre el canal' d'Albert Suñé Emissió del 14 de Març de 2020. Albert Suñe i Ysamat neix a Barcelona el 1945. Periodista de la primera fornada del CIC, els seus registres es mouen, sobretot, en l’àmbit jazzístic i esportiu, sense deixar de banda, però, activitats del món del muntanyisme, l’humor, el cinema i el teatre. El 1976 és converteix en un dels cofundadors del diari Avui el 1976. Allà desenvolupa la seva activitat en diferents seccions, fins el 1991 quan abandona el mitjà. D’aquesta estada al diari, destaquen, per exemple, la ‘’Història del jazz a Catalunya’’ (1981) o el col·leccionable ‘’100 anys de l’esport català’’ , escrit conjuntament amb el també periodista Josep Porter i Moix. L’any 1982, la seva afició pel jazz el porta a escriure els guions de diferents programes radiofònics sobre temàtica jazzística per a Ràdio-4, com ara ‘’Història del jazz a Catalunya’’ o ‘’El jazz’’. Posteriorment, col·labora també amb d’altres mitjans radiofònics com Cadena 13 o Ràdio Estel en diferents programes d’àmbit jazzístic. Fora de l’àmbit musical, ha estat col·laborador del Diccionari Enciclopèdic Proa, de l’Enciclopèdia de l’Esport Català, de la Unió de Federacions Esportives de Catalunya, i de la Fundació Fòrum Barcelona. Ha escrit també, entre d’altres, a ‘’El Correo Catalán’’, ‘’Hoja del Lunes’’, ‘’El Observador’’, ‘’La Guía del Ocio’’ i, com a crític de jazz, de ‘’Revista Musical Catalana’’. Dins la col·lecció Vaixells de Paper impulsada pel Col·legi de Periodistes de Catalunya i la Diputació de Barcelona, ha publicat “Cinema de paper. Les revistes de cinema i els 50 anys de “Fotogramas” (1996). També ha publicat “Quan Kubala omplia els estadis” (2008) i “De La Publicidad a La Publicitat. Del republicanisme històric al catalanisme intel·lectual” (2015). La seva gran afició pel jazz l’ha portat a ser l’ideòleg de nombroses activitats dins d’aquest àmbit i a la recuperació de repertori de jazz de diferents compositors americans del segle XX com Cole Porter o Artie Shaw en mans de diferents formacions jazzístiques de casa nostra. “Desaparegut sobre el Canal” és un guió concebut originalment com a obra de teatre a l’ús. L’any 2005, però, quan l’autor està immers en ple procés de cerca d’un grup teatral que vulgui dur-la a escena, el guió arriba a mans del Quadre de Veus de Radioteatre que aposta per la seva adaptació per dur-la a l’antena. La conjunció d’aquest fet i la celebració del 25è Festival de Jazz de Terrassa són els ingredients que cuinen una col·laboració a tres bandes per dur l’obra a l’escenari en format de dramatització de Radioteatre. ‘’Desaparegut sobre el canal’’ és una historia de ficció centrada sobre un fet real: la desaparició del trombonista, compositor i director d’orquestra Glenn Miller sobre el Canal de la Mànega el 15 de desembre de 1944 en circumstàncies misterioses. Aquest fet serveix com a excusa per desenvolupar la ficció argumental de l’obra, amb quatre personatge que d’una o altra manera, hi estan relacionats. La versió radiofònica que avui posem en antena és un enregistrament en directe a la Nova Jazz Cava de Terrassa el 16 de març de 2006 a càrrec del Quadre de Veus de Radioteatre, segons l’adaptació del mateix autor, sota la direcció de Joan Garrigó, i amb les veus de Joan Salvador en el Major Ken Hermiston, Rosa Aguado en Sheila Foster, Marta Plaza en la Dona del temps, Josep Antoni Cerdán en la veu de Max Monroe, Ismael Majó en Bob Harvey, Víctor Fontana en el General J.C. Woods, i Lluís Barón en l’Home del Temps. Ramon Bravo posa la veu al pròleg, la narració és de Maria Glòria Farrés, el Muntatge Musical de Nina Mataix i Albert Suñé, i la realització tècnica de Joan Borràs.

This episode features Bob Harvey and Randy Gleason along with The Lucid Youth. Original Air Date 1-21-19

John Cowan interviews former Mayor of Waitakere City, Sir Bob Harvey.

What they say they are doing - nobody can complain. But, what they are actually planning and what it means when you understand their point of view and their goals - you see that it is completely different than the ‘catch phrases’ they are using - especially when ‘they’ bring it forward to the peoples attention. The whole gamut of Roy’s interview is that corporations and the elite, are in lockstep with big ‘global’ governance aim - to lure us, “we the people” - into ‘agreements.’ Agenda 21 which was in 9 parts has now morphed to Agenda 2030 - of 13 points - since 1992 and its signing by 178 countries at the Earth Summit (United Nations Conference on Environment and Development) held in Rio de Janeiro, Brazil. It is being overseen by the  UN, other multilateral organizations, and individual governments around the world - that can be enacted at local, national, and global levels. So essentially the agenda is looking at our planet earth and the whole biosphere to see what measures can be taken to stop pollution, the destruction of habitat, the halting of species extinction and the uncontrolled exploitation and extraction of non renewable resources everywhere. This includes the rampant use of bio-technology and dealing with radioactive waste. So who could argue that these all need to be urgently addressed for the future of all children and grandchildren?   Agenda 21 also focuses on population growth, poverty, health and the disenfranchisement of the poor. Indigenous peoples, women, NGO’s and their place in this Agenda, plus multinational corporations, farmers and communities from villages all the way up to now what we call super cities of the world. Finally where does science fit into this mix? The Document Agenda 21 is a 350-page document divided into 40 chapters that have been grouped into 4 sections:[citation needed] Section I: Social and Economic Dimensions is directed toward combating poverty, especially in developing countries, changing consumption patterns, promoting health, achieving a more sustainable population, and sustainable settlement in decision making.[citation needed] Section II: Conservation and Management of Resources for Development includes atmospheric protection, combating deforestation, protecting fragile environments, conservation of biological diversity (biodiversity), control of pollution and the management of biotechnology, and radioactive wastes. Section III: Strengthening the Role of Major Groups includes the roles of children and youth, women, NGOs, local authorities, business and industry, and workers; and strengthening the role of indigenous peoples, their communities, and farmers.[citation needed] Section IV: Means of Implementation includes science, technology transfer, education, international institutions, and financial mechanisms.[citation needed] The interview starts with Roy immediately stating that this is not a people friendly agenda. That it is a depopulation agenda - he does not mince words. He emphatically states that the wording is so compelling that any ordinary person would only want to countenance such sentiment.  It reads well and sounds good - it appeals to common sense - but look at the deeper levels of it. Who is calling the shots? So I ask him, what is it that he thinks/sees is problematic? The word Sustainable The big one he says is the word Sustainable - it is a word that can conjure up many different meanings. A sustainable business is just one that is able to continue doing business for as long as it takes. Which every business  wants to do anyway. You can have sustainable forests or a fishery, that you keep maintaining at a certain rate or level - but it’s only maintaining - where it needs to be regenerated - where it needs to be cherished as nature - not just using it as a resource. The word sustainability has been superseded by the word Regeneration - as regeneration means to put back more. That there is an eternal component to it. Regeneration has an optimism and can also be seen as a sacred act. Of replenishing nature, of giving back whole heartedly. However Agenda 21 does not talk in terms of regeneration of the biosphere. Energy and Energy Production. Energy production today involves the largest planetary change that we have upon us and we are being held hostage by vested interests of the massive fossil fuel and oil cartel. They do not and will not budge an inch, from their extractive and polluting industrial ways.  They are controlling the agenda. Big Oil & Fossil Fuel Thwart & Constrain - new energy systems.   It is known that from leading edge physics and its point of view, you can receive more energy out than you put into a system - yet the status quo says - oh, the 'perpetual motion machine' - and they scoff and demonise this in total - including the inventors as well - there is a constant refusal to acknowledge that this is possible (listen to Alvin Crosby’s interview of two weeks ago, where he proved that it’s attainable with water). So yes, ordinary everyday physics proves it’s possible. The whole universe is structured as 'an over unity device’ - the sun continues to put out endless amounts of energy. How can this be? So the whole science and the physics is showing us, that there are other equations. See The Thrive Movie - https://www.youtube.com/watch?v=OibqdwHyZxk 3 minute trailer. This tells us exceptionally clearly what the challenge is. Roy states there are numerous desktop type ‘energy machines’ being produced - however he says the challenge is around scaling them up to be able to service the greater population. Yet, when someone does find the ‘over unity’ toroidal donut equation and produces a viable unit - they then go and patent it - because they inherently know that it’s very difficult to find that ‘unique mathematical combination.’ But, what invariably happens, that there at the patents office - this 'key global - nodal point’ - sitting in a very strategic ‘location’ are officials that are tasked to scrutinise all such 'gifts to humanity’ - where it then is essentially suppressed - usually with such hefty fees etc - and this has been happening since the 1930’s. Yet, the Deep State for want of a far better word - control the narrative and the agenda - that is ... ‘don’t subvert or compete with the status quo!’ Roy mentions magnets and magnetism saying the energy behind what is magnetic - is a science that we know so little about - actions and reactions and forces and energies and that it is a ‘complete science’ - which we have in essence ignored. It works in tandem with gravity, electricity, it works into generation and yet magnetism is not taught! Nikola Tesla is mentioned and his quote “The day science begins to study non-physical phenomena, it will make more progress in one decade than in all the previous centuries of its existence. Invisible Forces Roy says that this is a very important point - as it is invisible forces that are taking humanities lives away as of right now - in this era. That science does not study and research the invisible is fraught with danger and in fact what we may think as toys are in actuality - weapons. With Roy emphasising that we have to learn and study these invisible forces and like every other thing in the universe, energy can be used for good or used for bad. He says we have had these invisible systems suppressed from our knowing. Yet covertly, ‘the powers that be’ are researching and advancing these technologies in secret and they are using them to help consolidate their power whilst using these technologies against us. With Agenda 21 and Agenda 2030 he asserts that inside these ’nice goals’ - and the ‘catch phrases’ they say - is how all their newly acquired advantages, are used against us. Though not mentioned in this interview - the plan to deploy 5 G wireless - was not the subject of Roy’s interview, he knows a huge amount about it - however he  had too many other subjects he wanted to speak to. Microwaves are detrimental to biological beings. He firmly said - that microwaves are not good for humans - end of story. No matter what level, what intensity, what frequency - microwaves are not good for human beings! We today are immersed in them. ‘We are living in a microwave oven’ and now we have wifi all over us - with the addition of satellites above - following us … there are so many things that are impacting our life. All being on the invisible platform of vibratory and frequency impact - on our consciousness and our health. Look at today’s increasing health statistics. Walter Russell -  unknown genius. Another one of the invisibles comes up with Fukushima in Japan and the continuous belching into the Pacific Ocean of nuclear radiation still today. Roy mentions that Walter Russell and his wife Tao wrote a book in the 1950s called ‘Atomic Suicide’ about the impact of radiation and playing with the hidden building blocks of the Universe. In this book Walter Russell a poly math - stated that nuclear energy is wrong! That it creates a danger at every level that it is used. Listen He mentions that ‘nuclear situations’ can appear where matter disassociates and starts to fall apart - because all of nature is based on balance - the dynamics of the atom - the electron and the neutron inside the atom etc. So the imperative is recognising that our science is running far ahead of our collective consciousness and this is why we today are in the disconnected un-peaceful situation we have on earth. Because ‘we’ the ordinary person doing life, have been separated away from the decision making process - and for some time. Quote: Nikola Tesla to Walter Russell “lock up this (Cosmic) knowledge in a safe for 1,000 years until man is ready for it.” www.Philosophy.org With other facets of the Agenda 21 It was George Herbert Bush, ex head of the CIA who was Vice President of the US for 8 years and President for 4 years who initiated this document and signed off on it. Then Roy says that it was Margaret Evans, Mayor of Hamilton here in NZ who signed it and adopted it to make Hamilton a model city for Agenda 21. He says that via the UN they have been altering, changing and controlling Hamilton from that time. It’s a model - an example city. Waitakere also signed it with Bob Harvey being the mayor - listen to my interview of him here: https://www.planetaudio.org.nz/archive/green-planet/bob-harvey-the-eco-city/5997 Roy said that they were lured by the wording by the ‘catchphrases’ in the document as to something good - but Roy says look at Hamilton as a result. There are no 4 lane roads - there are traffic islands everywhere - they are called ‘Margaret’ islands - named after the Mayor - because there are so many - parking is restricted … Hamilton is such a difficult city to pass through (I agree I bypass it) - Roy maintains that with the way the traffic is controlled - it slows down our ability to be productive humans.       Listen He says this is happening globally - this is Agenda 21 - they slow down our ability to be productive humans. He says that Transit NZ is influenced by Hamilton Council.    Listen He talks about our best food produced in NZ is exported - and he said that is true of every nation that is under the control of the globalist government. Many to most of the globalist governments export their own food and import somebody else’s food production. Clipping the ticket WHY? Because they get to ‘clip the ticket’ - plus they get to control the food chain as well as accelerate the prices. He said if we did not sell all of our food overseas and instead ate the best (being high quality export grade) and then just sold the balance - 'they’ would not be able to control our food chain regime. That cheeses can be traded between Britain and Holland and yet they are basically the same type of cheese. (Remember the term Coals to Newcastle) - But, as you can readily see, the standard of food in NZ supermarkets now has become so low - it is as if we are buying 2nd or 3rd grade food, whilst for example in the UK, superb apples can be sold that are juicy and crisp and like kiwifruit - have no blemishes. Meanwhile NZers ever since Sue Kedgely left Parliament have had no champion of quality food standards. Dumbing us down Roy says, that part of the Agenda is that it dumbs us down - that we become subservient. (and eventually we become homogenised) … easier to control.. Marginalised … Roy goes on that those who we elect, our Government Representatives,  Members of Parliament - are just as much a victim as you and I. They are drinking sanitised water, eating food that has glyphosate in it, they are being impacted by wifi and a variety of invisibles …they are just as susceptible to the deception as you and I. He says the MPs have to be very special and a very focused individual, as well as exceptional capable at protecting themselves to be able to stand up to this barrage coming at them from all quarters - just to be able to survive. An example. Goal number 11 from Agenda 2030 Now that can mean a lot says Roy! Which means ban all gun ownership of private citizens (Globally). Which means only obedient government officers can have or use them. And he says it could enslave a class of people as impoverished. Which mean criminalise those living in rural areas. And institute protected areas … where the Government claims that it is owned by the people - but, they do not allow people to live there. Force humans into densely populated tightly packed controlled cities … Where they are under surveillance 24/7/365 and they are subjected to easy manipulation by the authorities (Tim - says but I want to go out and be - in nature and regenerate) - Roy says we are of the earth and if she is our mother then we need to be in harmony with her … and cities restrict us. He says this is another aspect of the invisible attack. That cities have become wifi and microwave hot spots and as such having an imbalanced vibratory rate, that our psychic balance is totally thrown out as there is no quietness and stillness due to so little nature. Like stands of dense bush and many trees with birdlife. Food Codes and Irradiation. Other subject covered is that irradiated food is coming into the country - that irradiation degrades its nutrition, plus only having tiny labels to tell us it’s irradiated by Caesium 137. Labels on food is coded - as it is easier to hide what is in food and how it has been treated. Note that no supermarket has a large sign on the wall somewhere, telling us the numbers and what they mean and as a result most NZers seem to not care or even question … Why do we in NZ still have no labels regarding GMO. What was it that watered down Steffan Browning’s Food Labelling Bill that went through Parliament? Depopulation being the ultimate goal. The fertility of the earth is what is being attacked … Note - the falling fertility levels … Yet, the Chinese have worked out a way to make deserts fertile. There are ways if there is the will to regenerate and grow green spaces.    Changing Dietary Needs - having less meat. He says the catchphrase ‘that there are too many people on earth’ - can be countered, if we slowed down eating meat and started eating less and less - there would be no difficulty in our population surviving and thriving. Scientific research says that is very doable - ‘but, the will to stop eating meat is lacking.’ Cannabis is mentioned as it is used now for many herbal cures. That using cannabis in agriculture can lead to far healthier products and wholesome soil as well as sequesting Co2 down from the atmosphere. Loving Care and our Relationship with Existence. This whole conversation then morphs to what is it to be human and Roy talks of the wonderful virtues than can flow forth from a loving caring, compassionate human to one that when we awaken to our potential as a living, soul based humanity - we can live in joy once we courageously open up to our divine inheritance. Roy goes on to speak so eloquently of us as a family of humanity that can support and work together with other kin and it does not have anything to do with race, colour, gender of wealth - just a firm commitment to the truth and then making a connection to the light behind each others eyes. He talks about our heart - our inner self, our consciousness - we have to make this leap of faith …it’s about our being and our extension to God. That the spiritual perspective has to override the material perspective because the spiritual perspective is on the eternal platform and the physical perspective is on the material platform. And the eternal is superior in every decision . This was a very full-on interview of a committed and very focussed communicator Roy Harlow www.RushFM.co.nz

In this episode Sandy talks with Greater Houston Partnership president and CEO, Bob Harvey.  Discussion is focused on the rapid growth of Houston and the Partnership's focus on attracting workforce talent.

Bob Harvey and Peter Beard from the Greater Houston Partnership join a discussion with Superintendent HD Chambers about the employment outlook in the greater Houston area, including the data illustrating the jobs of the future.

Bob Harvey and Peter Beard from the Greater Houston Partnership join a discussion with Superintendent HD Chambers about the employment outlook in the greater Houston area, including the data illustrating the jobs of the future.

A conversation with Bob Harvey, president and CEO of the Greater Houston Partnership

John Cowan interviews former Mayor of Waitakere Sir Bob Harvey.

Chris Matthews confuses bad judgement and negligence with gun rights,The NY"Gun Offender Registry" exposes hypocrisy,Democrats like big money donations when they promote their interests,California Pre Crime is coming online,I discuss Range practices with Jim Braziel of Sharpshooters in Greenville SC and Bob Harvey from South Florida Gun School.

Lady that called for us rowdy defiant gunowners to be mowed down by the Government now trying to walk that back,Former NYPD officer came to learn that people need guns to defend themselves,Obama says gun controllers need to get as motivated as the 2A advocates,Two different stories-Same theme:My little darling didn't need to die while he was committing that crime,Federal judge upholds Colorado gun law,Interesting story out of Connecticut,Update on the Willow MD, I am joined by Bob Harvey and we discuss many things including why carry a 1911.

Today's Author with guest Bob Harvey author of Catalyst, a Me and You Too Tetralogy

Book World News with Bob Harvey about KaleidScript Full Color Books

Bob Harvey and Peter Beard from the Greater Houston Partnership join a discussion with Superintendent HD Chambers about the employment outlook in the greater Houston area, including the data illustrating the jobs of the future.