As Fitzco, the Atlanta-based full service advertising agency that includes media and was named AdAge Small Business of the Year for 2022, sees it, linear and digital continue to collide.Michelle Chong, Group Director of Planning at Fitzco, is in the front seat at ensuring marketers get the greatest ROI. This involves flipping the script, if you will, by putting the audience at the center and letting tactics, and their respective machines, be in service to Fitzco's priority: addressability.What are some of the challenges in cross-platform marketing? How does one even approach planning a campaign with cross-platform marketing a front and center topic and need? RBR+TVBR Editor-in-Chief Adam R Jacobson asks these questions and more in a fresh InFOCUS Podcast, presented by dot.FM.
Discussion about Cheech Marin from Cheech and Chong now being involved in a museum art collection. Http:artworkpodcast.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/dan-twyman/support
Esta semana hablamos de la colaboración de Cheech and Chong, los caballos que usan grasa y la colaboración de los Simpsons con Adidas. Grabado en GW Cinco Studio. Entra al Maceta Shop aquí Demasia' Grasa es un podcast compuesto por Exnier Benique, Giulianna Abreu y Fernando Vargas donde hablamos sobre lo último en el mundo de las tenis. Síguenos en las redes sociales: Demasia Grasa Giu Exnier Fernando
Episode 77: Tune in this week for a very special episode featuring one of my oldest friends, Mr. Mani Ratsavong! During the show we discuss a variety of topics including his family fleeing from Laos in the 70s, a sneak peak of his new Hollywood screenplay, some wild near-death experiences, and what it means to be a "Rhino for Life." We also play a clip of a song he wrote back in 2005, and pay tribute to his younger brother Chong. 0:00 - Intro (Lee Michaels)1:22 - Work / Seattle Weather4:26 - Escaping Laos / Philippines10:24 - Arriving in United States13:21 - Elementary School / Latsomy15:22 - The Manivong Song19:33 - Mani's Little Brother Chong27:21 - After-Hours Gym Club30:27 - High School Hair32:51 - Slumber Parties / Toys34:07 - Two For Flinching36:10 - Cali / Swords Of The Gods40:52 - It Won't Be The Same (Song)43:09 - Rhino For Life45:34 - Close Calls w/ Death56:54 - Action Movies / Fast Food59:07 - Theater Movie / Karaoke1:00:53 - Appetizer / Basketball Players1:02:04 - Cartoon / Gas Station Snack1:02:51 - Superhero / Pineapple1:04:45 - Video Game / Cereal1:06:32 - Teriyaki Food vs. Thai Food1:07:59 - Favorite Teacher1:09:15 - Outro / Close☑️ SUBSCRIBE HERE ⇢ https://www.youtube.com/c/TheJoshandFriendsPodcast--------------------------------► APPLE iTUNES: https://rb.gy/b3bfht► SPOTIFY: https://rb.gy/jwhynd► STITCHER: https://rb.gy/su0smc► iHEART RADIO: https://rb.gy/uwfhih► TUNEIN: https://rb.gy/2p9o9f► PODCHASER: https://rb.gy/1r6im8► DEEZER: https://rb.gy/tbfjyw► LISTEN NOTES: https://rb.gy/o1fjj6--------------------------------★ FACEBOOK ⇢ https://www.facebook.com/TheJoshandFriendsPodcast/★ INSTAGRAM ⇢ https://www.instagram.com/TheJoshandFriendsPodcast★ TWITTER ⇢ https://twitter.com/JoshNFriendsPod★ TIKTOK ⇢ https://vm.tiktok.com/ZTdpLP5mT/
Welcome to another episode of The Modern Moron… my guest is producer, writer, actor Larry Dorf, yes, that Larry Dorf. We have a very light early fall chat about a few subjects, namely: We talk a little about some of the Modern Moron's more successful shows, one being on Phil Hendrie and his mastery of deception with his characters improvising with each other and his work on various animation projects from King of the Hill to Rick and Morty. I refer to a story Larry told about an audition he had where he was being asked to play NBA legend Larry Bird's father, a story I will get to next time. I'm sort of giving you this conversation backwards and here's why. Larry Brings up Adnan Syed, who has been released from prison after doing 20 years for a murder he did not commit. His story was made famous by a podcast called “Serial” which was developed by “This American Life” that you know from NPR. The podcast “Serial” is owned however, by The New York Times. You already know I'm a moron, so you won't be surprised to find that I am way late to the party on damn near everything and such is the case with the show “Only Murders In The Building”, which is a show about a podcast about a murder. It's on Hulu and is into production of it's 4th season and I'm told that the show was based on the real podcast “Serial”. I didn't realize how much… you hear that? That's the theme music of the podcast “Serial” about Adnan Syed… And this… is the theme song to the Hulu series, “Only Murders in the Building”... Jezz, they could have at leas changed the key it's played in right? This brings up a subject I've been wanting to get to for some time and it's the concept of the Morally Dubious Podcaster. It probably has other names, but i found an article with that phrase and I thought, “Morally Dubious? Modern Moron” They're synonymous. I read an article, have an unqualified opinion about it, say it into a microphone, bam; Morally dubious podcaster. Only I'm not a celebrity and I don't have guests who are celebrities so, there's only the two of you listening and it works out about the same, just on a much, much smaller scale. Plus I'm not pretending to try and crack a cold case or find a murderer. So, Larry explains to me the case of Adnon Syed, and I'm oblivious as you can hear… like a typical old man, I can't seem to get the story straight… Then Larry turns this into a potential gameshow along the lines of, “How much prison time would you do for a million dollars?” This is what Hollywood people do for a living. We join our conversation basking in the glory of the first episode Larry did with us called “The Mystery of Mike Tyson” referring to the Adult Swim Animated series “Mike Tyson Mysteries” which is still our most downloaded episode. Until this one… CLOSE - And that, friends, is how a game show is created… in South Korea. Isn't that a little like the show “Squidgame”? I couldn't stick with that show… it was too sad and dark for me. I have enough of that crap running around in my head without watching a tv show about it. Now that I've had two seconds to think about it, I would not do any time in a prison for any amount of money. The subculture that goes on in prison is not something I want to pretend like I could tolerate even for a minute. I did look up some of the lovely prisons both in California and across the country. Pelican Bay and San Quentin are both nasty, gnarly prisons and so is the downtown county jail in Los Angeles. Other residences I would not spend a minute in for any amount of money is the ADX, also known as the SuperMax in Colorado. One article I read on the internet-so-it's-true… says that the structure is built in a way that inmates never see a guard or another prisoner. I don't know if it's true, I don't want to know, I just trust that I don't want to go there. Throw in Sing, Sing and Rikers Island in New York, and a few of the prisons in the deep south like The Holman Correctional Facility in Alabama and it just makes me want to be a law abiding citizen. Why am I going on and on about prisons? Well, I see in the news recently that a real sweetheart of a guy named Steve Bannon has been recommended to spend four months in prison for contempt of congress. Hmm. I wonder if one of the neighborhoods I just mentioned might be a good place for him? Is anyone else thinking of the movie Deliverance right now? Does anyone see a similarity between Ned Beaty's character and Steve Bannon?... A couple of housekeeping items I'd like to pass along starting with two documentaries I'd like to recommend.. The first one is called “A Trip to Infinity” on Netflix. I found it fascinating, I've watched it twice and am currently forcing my daughter to watch it in 10 minute increments. Mathematicians, Cosmologists and physicists contemplate the concept of infinity… and it's broken up into different chapters: Infinity is very small, it's very large,infinity as a number in an equation, that the speed of light is both very fast and also very slow, that a circle is actually a polygon with an infinite number of points and in terms of time, infinity is a very very long time and that if you put an apple in an air tight box and wait for infinity years, that apple will eventually morph into anything and everything you could possibly imagine. Even live versions of Rick and Morty. So I highly recommend “A Trip to Infinity.” The other documentary is called “All Things Must Pass: The Rise and Fall of Tower Records”. This subject matter is perfect for our demographic! I'm sure you spent hours in Tower Records going up and down the isles looking at the amazing Album art that we took for granted then. Isle after isle until you decided which album you were going to plunk down five dollars and change for, and then I think seven or eight and change and then I lost track. But that was an important purchase. And then I would have to sneak by the living room with my bright yellow and red plastic bag hoping my parents wouldn't ask me what I got. They never did, but if my dad knew I was buying Cheech and Chong, Richard Pryor and Eddie Murphy albums? No way. And we also had Tower Books and Tower Posters across the street which was actually a head shop where you got everything from bongs to rolling paper to posters of fruits and vegetables doing disgusting things, incense, trippy candles with psychedelic waxes, macrame'd hanging plant holders… Tower records was the best. The documentary is available on YouTube and I believe right now you can stream it for free. It's a great documentary. The only woman who made it as an executive at Tower back in the 70's put it best when she said that whatever Tower records was the one you went to, you thought it was the first Tower Records they ever had. The documentary is directed by Tom Hanks' son Colin and he does a great job bringing the nostalgia of Tower Records back, whether you found their store in San Francisco on Columbus Avenue or the one on Sunset Boulevard in West Hollywood, Greenwich Village in New York or wherever you grew up, there was probably a Tower Records where you hung out. Elton John, Bruce Srpingsteen and Dave Grohl, who also worked at a Tower Records in Seattle, all reminisce about how special it was to roam the isles of a Tower Records. Hanks also does a good job of not letting the documentary end on a downer, even though the internet and a little thing called Napster caused the Tower to crumble, the Japanese stores became independent and are still huge today. Okay sports fans, that's it, enjoy post season baseball, college football and lots of Halloween candy! We'll see you next time on the Modern Moron and… the old man show at the oldman-dot-show. The Rise of the 'Morally Dubious Podcaster' in Pop Culture | KQED All Things Must Pass (1080p) FULL MOVIE - Documentary, Music - YouTube A Trip To Infinity - Netflix
Mark and special guest host horror director Dustin Ferguson welcomed the star of Halloween III : Season of the Witch Stacey Nelkin to the lighter side of the dark side. Stacey candidly talked about everything in her extraordinary life and career from dating Woody Allen, Warren Beatty, Bill Wyman, Barry Bostwick and Perry King to acting with Malcolm McDowell, Martin Mull, John Cleese, Eric Idle, Ron Liebman, Bette Midler, Mick Jagger, Tony Danza and Danny Devito, what it was like to act with a chimp and smoke weed with Cheech and Chong, as well as answering all sorts of questions about Halloween III from her "no nipple clause" to acting with her head sticking up from a hole in the ground. Get Dark Mark Show merch at teepublic.com/user/dms
Welcome to TMI's TreasuryCast from Sibos 2022, in this episode Lim Soon Chong and Mark Troutman (DBS Bank) join Tom Alford (TMI) to discuss a potential future for payments, namely ubiquitous instant settlement via blockchain. Our guests identify the key drivers and potential use cases for blockchain in the payments space, and consider the impact it could have on modernising current interbank clearing arrangements.
In 1987 Michel Desmarquet stated that he was abducted by very kind and attractive, 8-foot tall, hermaphroditic, humanoid aliens and taken to their advanced planet. He was shown the function of the universe through a metaphysical form, in addition to how to correct our planets future path, and potential warnings if we do not. Quite a story to say the least, but the real question is how does this story, and a Chinese Court Interpreter have a common thread? Well this week's guest on The Malliard Report, was so moved by the Thiaoouba Prophecy, he set out on his own journey to follow in the path of Michel. This week Jim welcomes Samuel Chong. Samuel comes from Beijing, China. With a bachelor's degree in Economics from University of California, Berkeley, he also studied Economic History at London School of Economics and Political Science and Financial Analysis at Universidad Carlos III de Madrid. A former instructor for the Court Interpreters Program at University of California, Los Angeles Extension Program, he specializes in translating legal and financial documents as well as interpreting as a certified court interpreter for patent and complex litigation cases involving companies located in the US, Japan, Taiwan, and mainland China. Samuel is also responsible for the Chinese publication of Michel's book, and the catalyst for his own journey. This is certainly an interesting episode, and Samuel and Michel's stories are incredible. Make sure you are catching all the latest with The Malliard Report over at malliard.com where there is the past shows, Tuesday live chat, merch, and so much more. Remember to rate and subscribe through your favorite podcast app and connect with Jim on all social media platforms. Learn more about your ad choices. Visit megaphone.fm/adchoices
Estrangement affects almost 1 in every 4. This is true for an array of reasons but it doesn't have to be that way. Speaker Johnson Chong shares his 5 step process to reconnect with the most important people in your life and have an amicable relationship. Source: How to deal with toxic family relationships | Johnson Chong | TEDxRolandPark Connect with Johnson Chong: Website: https://johnsonchong.com Instagram: johnsonchong_sagesapien YouTube: Johnson Chong Book: Sage Sapien: From Karma to Dharma Hosted by Malikee Josephs (Pronounced Muh leek Jo seffs) Follow The Show On Instagram @DepressionDetoxShow. Contact me: firstname.lastname@example.org
Rosie Chong is a social media strategist by day, and a content creator by night. She has worked in the digital marketing and advertising world for the last 4+ years, developing a passion for all things social media and content. In the last 18 months, she has been on a content creation journey fuelled by a passion to inspire others to do the same, building a combined social media following of 36,000 people. On LinkedIn, building a community of almost 28,000 people, she champions authenticity in content and exemplifies how anyone can build a personal brand regardless of their industry. She is an advocate for mental health, women's rights and bringing a voice to those that might not have been heard before. HERE ARE 3 TIPS TO HELP YOU ON YOUR ROAD TO SELF-EMPOWERMENT Understand Your “Why?” Be A Learner. Stop Doubting Yourself And Start. CONNECT WITH ROSIE CHONG Instagram - https://www.instagram.com/rosiechong/ (https://www.instagram.com/rosiechong/) TikTok - https://www.facebook.com/stace.middlebrooks/ (https://www.tiktok.com/@rosiechong/) LinkedIn - https://www.linkedin.com/in/rosielchong/ (https://www.linkedin.com/in/rosielchong/) CONNECT WITH BEVERLY PRICE Website - http://www.herselfexpression.com (www.herselfexpression.com) Email - email@example.com Facebook - https://www.facebook.com/HerSelfExpression/ (www.facebook.com/HerSelfExpression/) Instagram - https://www.instagram.com/her_self_expression/ (www.instagram.com/her_self_expression/) LinkedIn - https://www.linkedin.com/in/beverly-price/ (https://www.linkedin.com/in/beverly-price/) SUBSCRIBE TO THE HER SELF EXPRESSION PODCAST Youtube - https://www.youtube.com/channel/UCm-RosJxPHumtXJgNoCXHpA (www.youtube.com/channel/UCm-RosJxPHumtXJgNoCXHpA) Apple Podcasts - https://podcasts.apple.com/us/podcast/her-self-expression/id1635143315 (https://podcasts.apple.com/us/podcast/her-self-expression/id1635143315) Spotify - https://open.spotify.com/show/7kIcMXrj1tIWBOmaXBBn1U (https://open.spotify.com/show/7kIcMXrj1tIWBOmaXBBn1U) If you liked this episode, please don't forget to tune in, subscribe, and share this podcast with a friend or family member!
About as lifer-ey as they get, Kevin Seconds is just one of those guys. The kind of guy that inspires you to be more creative, more independent, more mindful of those around you. He just fucking makes you want to be better. At least that's what he did for us, and we couldn't be more honored to have him on the show. On this episode we talk to Kevin about 7 Seconds (duh), building a scene in Reno, Cheech & Chong & The Dils, recording THE CREW, internet trolls vs. skinheads, Riotfest, sad band break-ups, triumphant band returns, touring with Circle Jerks and Negative Approach, playing Gabe's birthday party, and designing the first Local H logo. This is a good one, folks.
Certified court interpreter and Chinese translator, instrumental in arranging for the Chinese publication of Michel Desmarquet's book, Thiaoouba Prophecy, which has been a best-seller in both China and Taiwan, a rare phenomenon. He also translated the book "334 ‰ Lies: The Revelation of H. M. v. Stuhl", an autobiography of the High Master of the Chair of a secret society that was started in Germany. Today, he dedicates his efforts in promoting the messages in these books in order to give people hope and to help promote a better world through his scholarship at https://www.chinasona.org/scholarship.html Graduated from UC Berkeley with a BA in economics, Universidad Carlos III de Madrid with a MA in financial analysis, he currently resides in Los Angeles, California.
Order 'Thiaoouba Prophecy: Abduction to the 9th Planet' here: https://www.amazon.com/Thiaoouba-Prophecy-Abduction-PHYSICALLY-ABDUCTED/dp/B09PMG7Y7H Our website: https://www.journeytotruthpodcast.com/ Donate: https://donorbox.org/donate-to-jttp Thank you
Hale Hale, hearty listeners! You have answered the sphinx's riddles, donned the Wadget, the all seeing eye, and discovered the Lyre of Orpheus, alit in the sacred temple of Abydos by the starlight of the constellation Lyra itself. As you strum the lyre's silver strings, a 7th dimensional tone turns the locks etched into the walls, held aloft by the lion goddesses Sekhmet and Bastet for centuries in living stone. Granite walls shimmer and slide, revealing the golden portal to the solar system of Vega, home of the Lion Angels. Yeah, verily, you have discovered the legendary Lion's Gate! Are you brave enough to step through? Welcome to Post Relevant Podcast Super Mega Episode 20 - The King's Chamber part 3 - Thru the Lion's Gate! This 3 hour episode is a culmination of a years worth of podcasts dedicated to unveiling the mysteries behind the film "Under the Silver Lake" and exploring the larger mythological themes to which the film alludes. Join host Phil Ristaino, along with his guests mycelium aficionado Mark Ristaino and artist Carl Ristaino (host of the podcast "Welcome to the Art Shed) as they dig up mushrooms and follow a trail of golden teachers past Hadrians Wall to forge a path through the Egyptian underworld and up into the Great Pyramid of Giza itself. Jumping off from the scene in "Under the Silver Lake" where the main character Sam is confronted about dog biscuits by the Homeless King, this episodes begins with the original song "Someday," co-written by Phil, and a reminiscence of early 80s Cheech and Chong, leading into fully-musically-scored conversations about growing Lion's Mane mushrooms, walking across England, the elegance of the mycelium underground network, panspermia, the genius of 16th century Hermeticist Gordiano Bruno, the conspiracy of Gordon Wasson introducing psychedelic mushrooms into American society in the 20th century, and Mark's adventures at Burning Man. The episode is framed by chapters 4-8 of the King's Chamber, which honor the legends of the Egyptian gods Isis and Osiris and the Great Pyramid's connection to the constellation Orion and the star Sirius. The show eventually culminates with the brand new original song "Thru the Lion's Gate" and Phil's story of his experience taking Ayahuasca. Its a super-mega-episode fit to bust and kick up the mythological dust! Follow our footprints...thru...the Lion's....Gate.... You can support the podcast at https://www.patreon.com/postrelevant Check out original posters, lyrics, videos and more from the Post Relevant Podcast at Phil's instagram : https://www.instagram.com/philristaino See more of Phil's acting, art, and music at www.TheseAreDreams.com Check out Mark Ristaino at https://www.instagram.com/markristaino Check out Carl Ristaino's art at https://www.instagram.com/carlristaino and https://www.facebook.com/CarlRistaino Check out the Welcome to Art Shed podcast anywhere you listen to podcasts. This episode includes the original songs written by HoliznaCC0: 'Stealing Glimpses of Your Face,' 'Puppy Love,' 'Mundane,' 'Lost in Space,' 'Dusty Attic,' 'Keeping Cool,' 'Poor but Happy,' 'Come Again,' 'So Broke,' 'Lost in the City.' You can find all of his royalty free music at his page on freemusicarchive.org -- https://freemusicarchive.org/music/holiznacc0/ More Post Relevant Podcast to come! Stay tuned! --- Send in a voice message: https://anchor.fm/post-relevant999/message
Hanako Wakatsuki-Chong, Asian American, Native Hawaiian, and Pacific Islander Policy Advisor and Superintendent of the Hono`uli`uli National Historic Site, joins Dear Asian Americans to talk about painting a full picture of Asian America and the rich, deep, and sometimes traumatic history of our community. Hanako shares about navigating her identity as both Korean and Japanese, as well as her journey to both the National Parks Service and the White House. Listen in as Jerry and Hanako discuss what it means to inhabit Korean and Japanese lineages, the importance of history within the Asian American community, and reckoning both history and identity while navigating the American federal government.Meet HanakoI am a Korean Japanese American that grew up in Boise, Idaho. I have am on the path of growth and understanding. I have been tokenized for many years through my jobs and I am starting to understand and feel comfortable with my Asianess in the federal government. I am the superintendent of Hono`uli`uli National Historic Site and am currently on detail as an Asian American, Native Hawaiian, and Pacific Islander policy advisor for Erika Moritsugu, the Deputy Assistant to the President and the AA and NHPI Senior Liaison.Connect with Hanako: InstagramLearn more: Hono`uli`uli National Historic Site | National Day of Remembrance 2022 video | Breath of this Land video | Japanese American Memorial Pilgrimages website// Support Dear Asian Americans:Merch: https://www.bonfire.com/store/dearasianamericans/Buy Me a Coffee: https://www.buymeacoffee.com/jerrywonSubscribe to the Newsletter: https://subscribepage.io/daanewsletterLearn more about DAA Creator and Host Jerry Won:LinkedIn: https://www.linkedin.com/in/jerrywon/Instagram: https://www.instagram.com/jerryjwon/// Listen to Dear Asian Americans on all major platforms:Transistor.fm: http://www.dearasianamericans.comApple: https://apple.dearasianamericans.comSpotify: https://spotify.dearasianamericans.comStitcher: https://stitcher.dearasianamericans.comGoogle: https://google.dearasianamericans.com Follow us on Instagram: http://www.instagram.com/dearasianamericans Like us on Facebook: http://www.facebook.com/dearasianamericans Subscribe to our YouTube: http://www.youtube.com/dearasianamericans // Join the Asian Podcast Network:Web: https://asianpodcastnetwork.com/Facebook Group: https://www.facebook.com/groups/asianpodcastnetwork/Instagram: https://www.instagram.com/asianpodcastnetwork/Dear Asian Americans is produced by Just Like Media:Web: http://www.justlikemedia.comInstagram: http://www.instagram.com/justlikemedia
Many acupuncture traditions share the idea that our troubles stem from a root cause , and treating the root is an essential part of the therapeutic process. Then there is the branch where symptomatic issues present themselves, this is the focus for the patient, and often enough the practitioner as well. But with Ishizaka-ryu, treating the root is the most important thing. In this conversation with Kubota Sensei, we discuss Ishizaka-ryu, a traditional Japanese acupuncture method. Sensei focuses on stimulating qi blockages along the primary meridians surrounding the entire spinal column, so as to increase blood flow, open the central channel and utilize the body's own healing power. His method of acupuncture includes using a spiral motion of his supporting hand, to add a vortex of qi to the needle. Listen into this discussion and learn about the Torus, a core around which the acupuncture meridians are all connected. How acupuncture affects the electrical flows in the body. And the key importance of having an open and empty space in the great Chong vessel.
Samuel discusses Michel Desmarquet's book "Thiaoouba Prophecy: The Golden Planet (Abduction to the 9th Planet)". | Host/Narrator – Marlene Pardo Pellicer we_are_not_alone_podcast.mp3File Size: 82462 kbFile Type: mp3Download File [...]
A conversation with Clara Chong - film writer and director who has worked on productions in Tokyo, studied film in New York and in 2022 completed her own first major feature film, the suspense thriller Dark Noise, in Australia. Clara talks about combining a creative career with family life and shares behind the scenes stories on set.
The guys talk about Jalen Hurts turning it on and Carson Wentz playing against the Eagles for the first time since he was traded. Ben Simmons talks about Philly and spreads some lies. Utah gets weird, the Flyers are going to be really bad.
We caught up with Indie Comic Creator Gary Chong to discuss his comic series Star Gazers - Sirius Book 1 on Kickstarter https://www.kickstarter.com/projects/interestingintrovert/star-gazers-sirius-book-1?ref=clipboard-prelaunch LET'S MAKE HISTORY! 100 SIGNUPS FOR BOOK 3 of There's an Alien in my Toilet "AY CHIHUAHUA" https://bit.ly/3zRPHGs This episode was made possible by TechniGods www.technigods.com StoryComic Podcast www.storycomic.com Sponsor an Episode and promote your brand today https://www.doodiesworld.com/sponsor-the-show Be a guest on the show book today https://calendly.com/catchdacraze/guest-on-catch-da-craze-podcast Sign Up for our Newsletter: https://www.crazeecomics.com More on Jorge Medina https://www.getyourmedz.com #podcast #interview #talk
Terence Reilly, Vice President of Aganorsa Leaf, stops by the SmokeShed Studio. We go through the Aganorsa Experience, try different leaf fumas, and blend them together through a process of validation with a "Cheech and Chong" technique. After that, we lit up a the phenomenal Aganorsa Leaf Supreme Leaf, sipped on the Bardstown Bourbon Fusion #5 and talked about Aganorsa and the industry. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thecigarsocial/message Support this podcast: https://anchor.fm/thecigarsocial/support
Episode one hundred and fifty-four of A History of Rock Music in Five Hundred Songs is the last of our four-part mini-series on LA sunshine pop and folk-rock in summer 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Baby, Now That I've Found You" by the Foundations. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources There is no Mixcloud this week, because there were too many Turtles songs in the episode. There's relatively little information available about the Turtles compared to other bands of their era, and so apart from the sources on the general LA scene referenced in all these podcasts, the information here comes from a small number of sources. This DVD is a decent short documentary on the band's career. Howard Kaylan's autobiography, Shell Shocked: My Life with the Turtles, Flo and Eddie, and Frank Zappa, Etc., is a fun read, if inevitably biased towards his own viewpoint. Jim Pons' Hard Core Love: Sex, Football, and Rock and Roll in the Kingdom of God is much less fun, being as it is largely organised around how his life led up to his latter-day religious beliefs, but is the only other book I'm aware of with a substantial amount of coverage of the Turtles. There are many compilations of the Turtles' material available, of which All The Singles is by far and away the best. The box set of all their albums with bonus tracks is now out of print on CD, but can still be bought as MP3s. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We've spent a lot of time recently in the LA of summer 1967, at the point where the sunshine pop sound that was created when the surf harmonies of the Beach Boys collided with folk rock was at its apex, right before fashions changed and tight sunny pop songs with harmonies from LA became yesterday's news, and extended blues-rock improvisations from San Francisco became the latest in thing. This episode is the last part of this four-episode sequence, and is going to be shorter than those others. In many ways this one is a bridge between this sequence and next episode, where we travel back to London, because we're saying goodbye for a while to the LA scene, and when we do return to LA it will be, for the most part, to look at music that's a lot less sunshine and a lot more shadow. So this is a brief fade-out while we sing ba-ba-ba, a three-minute pop-song of an episode, a last bit of sunshine pop before we return to longer, more complicated, stories in two weeks' time, at which point the sun will firmly set. Like many musicians associated with LA, Howard Kaylan was born elsewhere and migrated there as a child, and he seems to have regarded his move from upstate New York to LA as essentially a move to Disneyland itself. That impression can only have been made stronger by the fact that soon after his family moved there he got his first childhood girlfriend -- who happened to be a Mouseketeer on the TV. And TV was how young Howard filtered most of his perceptions -- particularly TV comedy. By the age of fourteen he was the president of the Soupy Sales Fan Club, and he was also obsessed with the works of Ernie Kovacs, Sid Caesar, and the great satirist and parodist Stan Freberg: [Excerpt: Stan Freberg, "St. George and the Dragonet"] Second only to his love of comedy, though, was his love of music, and it was on the trip from New York to LA that he saw a show that would eventually change his life. Along the way, his family had gone to Las Vegas, and while there they had seen Louis Prima and Keeley Smith do their nightclub act. Prima is someone I would have liked to do a full podcast episode on when I was covering the fifties, and who I did do a Patreon bonus episode on. He's now probably best known for doing the voice of King Louis in the Jungle Book: [Excerpt: Louis Prima, "I Wanna Be Like You (the Monkey Song)"] But he was also a jump blues musician who made some very good records in a similar style to Louis Jordan, like "Jump, Jive, an' Wail" [Excerpt: Louis Prima, "Jump, Jive, an' Wail"] But like Jordan, Prima dealt at least as much in comedy as in music -- usually comedy involving stereotypes about his Italian-American ethnic origins. At the time young Howard Kaylan saw him, he was working a double act with his then-wife Keeley Smith. The act would consist of Smith trying to sing a song straight, while Prima would clown around, interject, and act like a fool, as Smith grew more and more exasperated, and would eventually start contemptuously mocking Prima. [Excerpt: Louis Prima and Keeley Smith, "Embraceable You/I've Got It Bad and That Ain't Good"] This is of course a fairly standard double-act format, as anyone who has suffered through an episode of The Little and Large Show will be all too painfully aware, but Prima and Smith did it better than most, and to young Howard Kaylan, this was the greatest entertainment imaginable. But while comedy was the closest thing to Kaylan's heart, music was a close second. He was a regular listener to Art Laboe's radio show, and in a brief period as a teenage shoplifter he obtained records like Ray Charles' album Genius + Soul = Jazz: [Excerpt: Ray Charles, "One Mint Julep"] and the single "Tossin' and Turnin'" by Bobby Lewis: [Excerpt: Bobby Lewis, "Tossin' and Turnin'"] "Tossin' and Turnin'" made a deep impression on Kaylan, because of the saxophone solo, which was actually a saxophone duet. On the record, baritone sax player Frank Henry played a solo, and it was doubled by the great tenor sax player King Curtis, who was just playing a mouthpiece rather than a full instrument, making a high-pitched squeaking sound: [Excerpt: Bobby Lewis, "Tossin' and Turnin'"] Curtis was of course also responsible for another great saxophone part a couple of years earlier, on a record that Kaylan loved because it combined comedy and rock and roll, "Yakety Yak": [Excerpt: The Coasters, "Yakety Yak"] Those two saxophone parts inspired Kaylan to become a rock and roller. He was already learning the clarinet and playing part time in an amateur Dixieland band, and it was easy enough to switch to saxophone, which has the same fingering. Within a matter of weeks of starting to play sax, he was invited to join a band called the Nightriders, who consisted of Chuck Portz on bass, Al Nichol on guitar, and Glen Wilson on drums. The Nightriders became locally popular, and would perform sets largely made up of Johnny and the Hurricanes and Ventures material. While he was becoming a budding King Curtis, Kaylan was still a schoolkid, and one of the classes he found most enjoyable was choir class. There was another kid in choir who Kaylan got on with, and one day that kid, Mark Volman came up to him, and had a conversation that Kaylan would recollect decades later in his autobiography: “So I hear you're in a rock 'n' roll band.” “Yep.” “Um, do you think I could join it?” “Well, what do you do?” “Nothing.” “Nothing?” “Nope.” “Sounds good to me. I'll ask Al.” Volman initially became the group's roadie and occasional tambourine player, and would also get on stage to sing a bit during their very occasional vocal numbers, but was mostly "in the band" in name only at first -- he didn't get a share of the group's money, but he was allowed to say he was in the group because that meant that his friends would come to the Nightriders' shows, and he was popular among the surfing crowd. Eventually, Volman's father started to complain that his son wasn't getting any money from being in the band, while the rest of the group were, and they explained to him that Volman was just carrying the instruments while they were all playing them. Volman's father said "if Mark plays an instrument, will you give him equal shares?" and they said that that was fair, so Volman got an alto sax to play along with Kaylan's tenor. Volman had also been taking clarinet lessons, and the two soon became a tight horn section for the group, which went through a few lineup changes and soon settled on a lineup of Volman and Kaylan on saxes, Nichol on lead guitar, Jim Tucker on rhythm guitar, Portz on bass, and Don Murray on drums. That new lineup became known as the Crossfires, presumably after the Johnny and the Hurricanes song of the same name: [Excerpt: Johnny and the Hurricanes, "Crossfire"] Volman and Kaylan worked out choreographed dance steps to do while playing their saxes, and the group even developed a group of obsessive fans who called themselves the Chunky Club, named after one of the group's originals: [Excerpt: The Crossfires, "Chunky"] At this point the group were pretty much only playing instrumentals, though they would do occasional vocals on R&B songs like "Money" or their version of Don and Dewey's "Justine", songs which required more enthusiasm than vocal ability. But their first single, released on a tiny label, was another surf instrumental, a song called "Dr. Jekyll and Mr. Hyde": [Excerpt: The Crossfires, "Dr. Jekyll and Mr Hyde"] The group became popular enough locally that they became the house band at the Revelaire Club in Redondo Beach. There as well as playing their own sets, they would also be the backing band for any touring acts that came through without their own band, quickly gaining the kind of performing ability that comes from having to learn a new artist's entire repertoire in a few days and be able to perform it with them live with little or no rehearsal. They backed artists like the Coasters, the Drifters, Bobby Vee, the Rivingtons, and dozens of other major acts, and as part of that Volman and Kaylan would, on songs that required backing vocals, sing harmonies rather than playing saxophone. And that harmony-singing ability became important when the British Invasion happened, and suddenly people didn't want to hear surf instrumentals, but vocals along the lines of the new British groups. The Crossfires' next attempt at a single was another original, this one an attempt at sounding like one of their favourite new British groups, the Kinks: [Excerpt: The Crossfires, "One Potato, Two Potato"] This change to vocals necessitated a change in the group dynamic. Volman and Kaylan ditched the saxophones, and discovered that between them they made one great frontman. The two have never been excessively close on a personal level, but both have always known that the other has qualities they needed. Frank Zappa would later rather dismissively say "I regard Howard as a fine singer, and Mark as a great tambourine player and fat person", and it's definitely true that Kaylan is one of the truly great vocalists to come out of the LA scene in this period, while Volman is merely a good harmony singer, not anything particularly special -- though he *is* a good harmony singer -- but it undersells Volman's contribution. There's a reason the two men performed together for nearly sixty years. Kaylan is a great singer, but also by nature rather reserved, and he always looked uncomfortable on stage, as well as, frankly, not exactly looking like a rock star (Kaylan describes himself not inaccurately as looking like a potato several times in his autobiography). Volman, on the other hand, is a merely good singer, but he has a naturally outgoing personality, and while he's also not the most conventionally good-looking of people he has a *memorable* appearance in a way that Kaylan doesn't. Volman could do all the normal frontman stuff, the stuff that makes a show an actual show -- the jokes, the dancing, the between-song patter, the getting the crowd going, while Kaylan could concentrate on the singing. They started doing a variation on the routine that had so enthralled Howard Kaylan when he'd seen Louis Prima and Keeley Smith do it as a child. Kaylan would stand more or less stock still, looking rather awkward, but singing like an angel, while Volman would dance around, clown, act the fool, and generally do everything he could to disrupt the performance -- short of actually disrupting it in reality. It worked, and Volman became one of that small but illustrious group of people -- the band member who makes the least contribution to the sound of the music but the biggest contribution to the feel of the band itself, and without whom they wouldn't be the same. After "One Potato, Two Potato" was a flop, the Crossfires were signed to their third label. This label, White Whale, was just starting out, and the Crossfires were to become their only real hit act. Or rather, the Turtles were. The owners of White Whale knew that they didn't have much promotional budget and that their label was not a known quantity -- it was a tiny label with no track record. But they thought of a way they could turn that to their advantage. Everyone knew that the Beatles, before Capitol had picked up their contracts, had had their records released on a bunch of obscure labels like Swan and Tollie. People *might* look for records on tiny independent labels if they thought it might be another British act who were unknown in the US but could be as good as the Beatles. So they chose a name for the group that they thought sounded as English as possible -- an animal name that started with "the", and ended in "les", just like the Beatles. The group, all teenagers at the time, were desperate enough that they agreed to change their name, and from that point on they became the Turtles. In order to try and jump on as many bandwagons as possible, the label wanted to position them as a folk-rock band, so their first single under the Turtles name was a cover of a Bob Dylan song, from Another Side of Bob Dylan: [Excerpt: Bob Dylan, "It Ain't Me Babe"] That song's hit potential had already been seen by Johnny Cash, who'd had a country hit with it a few months before. But the Turtles took the song in a different direction, inspired by Kaylan's *other* great influence, along with Prima and Smith. Kaylan was a big fan of the Zombies, one of the more interesting of the British Invasion groups, and particularly of their singer Colin Blunstone. Kaylan imitated Blunstone on the group's hit single, "She's Not There", on which Blunstone sang in a breathy, hushed, voice on the verses: [Excerpt: The Zombies, "She's Not There"] before the song went into a more stomping chorus on which Blunstone sang in a fuller voice: [Excerpt: The Zombies, "She's Not There"] Kaylan did this on the Turtles' version of "It Ain't Me Babe", starting off with a quiet verse: [Excerpt: The Turtles, "It Ain't Me Babe"] Before, like the Zombies, going into a foursquare, more uptempo, louder chorus: [Excerpt: The Turtles, "It Ain't Me Babe"] The single became a national top ten hit, and even sort of got the approval of Bob Dylan. On the group's first national tour, Dylan was at one club show, which they ended with "It Ain't Me Babe", and after the show the group were introduced to the great songwriter, who was somewhat the worse for wear. Dylan said “Hey, that was a great song you just played, man. That should be your single", and then passed out into his food. With the group's first single becoming a top ten hit, Volman and Kaylan got themselves a house in Laurel Canyon, which was not yet the rock star Mecca it was soon to become, but which was starting to get a few interesting residents. They would soon count Henry Diltz of the Modern Folk Quartet, Danny Hutton, and Frank Zappa among their neighbours. Soon Richie Furay would move in with them, and the house would be used by the future members of the Buffalo Springfield as their rehearsal space. The Turtles were rapidly becoming part of the in crowd. But they needed a follow-up single, and so Bones Howe, who was producing their records, brought in P.F. Sloan to play them a few of his new songs. They liked "Eve of Destruction" enough to earmark it as a possible album track, but they didn't think they would do it justice, and so it was passed on to Barry McGuire. But Sloan did have something for them -- a pseudo-protest song called "Let Me Be" that was very clearly patterned after their version of "It Ain't Me Babe", and which was just rebellious enough to make them seem a little bit daring, but which was far more teenage angst than political manifesto: [Excerpt: The Turtles, "Let Me Be"] That did relatively well, making the top thirty -- well enough for the group to rush out an album which was padded out with some sloppy cover versions of other Dylan songs, a version of "Eve of Destruction", and a few originals written by Kaylan. But the group weren't happy with the idea of being protest singers. They were a bunch of young men who were more motivated by having a good time than by politics, and they didn't think that it made sense for them to be posing as angry politicised rebels. Not only that, but there was a significant drop-off between "It Ain't Me Babe" and "Let Me Be". They needed to do better. They got the clue for their new direction while they were in New York. There they saw their friends in the Mothers of Invention playing their legendary residency at the Garrick Theatre, but they also saw a new band, the Lovin' Spoonful, who were playing music that was clearly related to the music the Turtles were doing -- full of harmonies and melody, and inspired by folk music -- but with no sense of rebelliousness at all. They called it "Good Time Music": [Excerpt: The Lovin' Spoonful, "Good Time Music"] As soon as they got back to LA, they told Bones Howe and the executives at White Whale that they weren't going to be a folk-rock group any more, they were going to be "good time music", just like the Lovin' Spoonful. They were expecting some resistance, but they were told that that was fine, and that PF Sloan had some good time music songs too. "You Baby" made the top twenty: [Excerpt: The Turtles, "You Baby"] The Turtles were important enough in the hierarchy of LA stars that Kaylan and Tucker were even invited by David Crosby to meet the Beatles at Derek Taylor's house when they were in LA on their last tour -- this may be the same day that the Beatles met Brian and Carl Wilson, as I talked about in the episode on "All You Need is Love", though Howard Kaylan describes this as being a party and that sounded like more of an intimate gathering. If it was that day, there was nearly a third Beach Boy there. The Turtles knew David Marks, the Beach Boys' former rhythm guitarist, because they'd played a lot in Inglewood where he'd grown up, and Marks asked if he could tag along with Kaylan and Tucker to meet the Beatles. They agreed, and drove up to the house, and actually saw George Harrison through the window, but that was as close as they got to the Beatles that day. There was a heavy police presence around the house because it was known that the Beatles were there, and one of the police officers asked them to drive back and park somewhere else and walk up, because there had been complaints from neighbours about the number of cars around. They were about to do just that, when Marks started yelling obscenities and making pig noises at the police, so they were all arrested, and the police claimed to find a single cannabis seed in the car. Charges were dropped, but now Kaylan was on the police's radar, and so he moved out of the Laurel Canyon home to avoid bringing police attention to Buffalo Springfield, so that Neil Young and Bruce Palmer wouldn't get deported. But generally the group were doing well. But there was a problem. And that problem was their record label. They rushed out another album to cash in on the success of "You Baby", one that was done so quickly that it had "Let Me Be" on it again, just as the previous album had, and which included a version of the old standard "All My Trials", with the songwriting credited to the two owners of White Whale records. And they pumped out a lot of singles. A LOT of singles, ranging from a song written for them by new songwriter Warren Zevon, to cover versions of Frank Sinatra's "It Was a Very Good Year" and the old standard "We'll Meet Again". Of the five singles after "You Baby", the one that charted highest was a song actually written by a couple of the band members. But for some reason a song with verses in 5/4 time and choruses in 6/4 with lyrics like "killing the living and living to kill, the grim reaper of love thrives on pain" didn't appeal to the group's good-time music pop audience and only reached number eighty-one: [Excerpt: The Turtles, "Grim Reaper of Love"] The group started falling apart. Don Murray became convinced that the rest of the band were conspiring against him and wanted him out, so he walked out of the group in the middle of a rehearsal for a TV show. They got Joel Larson of the Grass Roots -- the group who had a number of hits with Sloan and Barri songs -- to sub for a few gigs before getting in a permanent replacement, Johnny Barbata, who came to them on the recommendation of Gene Clark, and who was one of the best drummers on the scene -- someone who was not only a great drummer but a great showman, who would twirl his drumsticks between his fingers with every beat, and who would regularly engage in drum battles with Buddy Rich. By the time they hit their fifth flop single in a row, they lost their bass player as well -- Chuck Portz decided he was going to quit music and become a fisherman instead. They replaced him with Chip Douglas of the Modern Folk Quartet. Then they very nearly lost their singers. Volman and Kaylan both got their draft notices at the same time, and it seemed likely they would end up having to go and fight in the Vietnam war. Kaylan was distraught, but his mother told him "Speak to your cousin Herb". Cousin Herb was Herb Cohen, the manager of the Mothers of Invention and numerous other LA acts, including the Modern Folk Quartet, and Kaylan only vaguely knew him at this time, but he agreed to meet up with them, and told them “Stop worrying! I got Zappa out, I got Tim Buckley out, and I'll get you out.” Cohen told Volman and Kaylan to not wash for a week before their induction, to take every drug of every different kind they could find right before going in, to deliberately disobey every order, to fail the logic tests, and to sexually proposition the male officers dealing with the induction. They followed his orders to the letter, and got marked as 4-F, unfit for service. They still needed a hit though, and eventually they found something by going back to their good-time music idea. It was a song from the Koppelman-Rubin publishing company -- the same company that did the Lovin Spoonful's management and production. The song in question was by Alan Gordon and Gary Bonner, two former members of a group called the Magicians, who had had a minor success with a single called "An Invitation to Cry": [Excerpt: The Magicians, "An Invitation to Cry"] The Magicians had split up, and Bonner and Gordon were trying to make a go of things as professional songwriters, but had had little success to this point. The song on the demo had been passed over by everyone, and the demo was not at all impressive, just a scratchy acetate with Bonner singing off-key and playing acoustic rhythm guitar and Gordon slapping his knees to provide rhythm, but the group heard something in it. They played the song live for months, refining the arrangement, before taking it into the studio. There are arguments to this day as to who deserves the credit for the sound on "Happy Together" -- Chip Douglas apparently did the bulk of the arrangement work while they were on tour, but the group's new producer, Joe Wissert, a former staff engineer for Cameo-Parkway, also claimed credit for much of it. Either way, "Happy Together" is a small masterpiece of dynamics. The song is structured much like the songs that had made the Turtles' name, with the old Zombies idea of the soft verse and much louder chorus: [Excerpt: The Turtles, "Happy Together"] But the track is really made by the tiny details of the arrangement, the way instruments and vocal parts come in and out as the track builds up, dies down, and builds again. If you listen to the isolated tracks, there are fantastic touches like the juxtaposition of the bassoon and oboe (which I think is played on a mellotron): [Excerpt: The Turtles, "Happy Together", isolated tracks] And a similar level of care and attention was put into the vocal arrangement by Douglas, with some parts just Kaylan singing solo, other parts having Volman double him, and of course the famous "bah bah bah" massed vocals: [Excerpt: The Turtles, "Happy Together", isolated vocals] At the end of the track, thinking he was probably going to do another take, Kaylan decided to fool around and sing "How is the weather?", which Bonner and Gordon had jokingly done on the demo. But the group loved it, and insisted that was the take they were going to use: [Excerpt: The Turtles, "Happy Together"] "Happy Together" knocked "Penny Lane" by the Beatles off the number one spot in the US, but by that point the group had already had another lineup change. The Monkees had decided they wanted to make records without the hit factory that had been overseeing them, and had asked Chip Douglas if he wanted to produce their first recordings as a self-contained band. Given that the Monkees were the biggest thing in the American music industry at the time, Douglas had agreed, and so the group needed their third bass player in a year. The one they went for was Jim Pons. Pons had seen the Beatles play at the Hollywood Bowl in 1964, and decided he wanted to become a pop star. The next day he'd been in a car crash, which had paid out enough insurance money that he was able to buy two guitars, a bass, drums, and amps, and use them to start his own band. That band was originally called The Rockwells, but quickly changed their name to the Leaves, and became a regular fixture at Ciro's on Sunset Strip, first as customers, then after beating Love in the auditions, as the new resident band when the Byrds left. For a while the Leaves had occasionally had guest vocals from a singer called Richard Marin, but Pons eventually decided to get rid of him, because, as he put it "I wanted us to look like The Beatles. There were no Mexicans in The Beatles". He is at pains in his autobiography to assure us that he's not a bigot, and that Marin understood. I'm sure he did. Marin went on to be better known as Cheech Marin of Cheech and Chong. The Leaves were signed by Pat Boone to his production company, and through that company they got signed to Mira Records. Their first single, produced by Nik Venet, had been a version of "Love Minus Zero (No Limit)", a song by Bob Dylan: [Excerpt: The Leaves, "Love Minus Zero (No Limit)"] That had become a local hit, though not a national one, and the Leaves had become one of the biggest bands on the Sunset Strip scene, hanging out with all the other bands. They had become friendly with the Doors before the Doors got a record deal, and Pat Boone had even asked for an introduction, as he was thinking of signing them, but unfortunately when he met Jim Morrison, Morrison had drunk a lot of vodka, and given that Morrison was an obnoxious drunk Boone had second thoughts, and so the world missed out on the chance of a collaboration between the Doors and Pat Boone. Their second single was "Hey Joe" -- as was their third and fourth, as we discussed in that episode: [Excerpt: The Leaves, "Hey Joe"] Their third version of "Hey Joe" had become a top forty hit, but they didn't have a follow-up, and their second album, All The Good That's Happening, while it's a good album, sold poorly. Various band members quit or fell out, and when Johnny Barbata knocked on Jim Pons' door it was an easy decision to quit and join a band that had a current number one hit. When Pons joined, the group had already recorded the Happy Together album. That album included the follow-up to "Happy Together", another Bonner and Gordon song, "She'd Rather Be With Me": [Excerpt: The Turtles, "She'd Rather Be With Me"] None of the group were tremendously impressed with that song, but it did very well, becoming the group's second-biggest hit in the US, reaching number three, and actually becoming a bigger hit than "Happy Together" in parts of Europe. Before "Happy Together" the group hadn't really made much impact outside the US. In the UK, their early singles had been released by Pye, the smallish label that had the Kinks and Donovan, but which didn't have much promotional budget, and they'd sunk without trace. For "You Baby" they'd switched to Immediate, the indie label that Andrew Oldham had set up, and it had done a little better but still not charted. But from "Happy Together" they were on Decca, a much bigger label, and "Happy Together" had made number twelve in the charts in the UK, and "She'd Rather Be With Me" reached number four. So the new lineup of the group went on a UK tour. As soon as they got to the hotel, they found they had a message from Graham Nash of the Hollies, saying he would like to meet up with them. They all went round to Nash's house, and found Donovan was also there, and Nash played them a tape he'd just been given of Sgt Pepper, which wouldn't come out for a few more days. At this point they were living every dream a bunch of Anglophile American musicians could possibly have. Jim Tucker mentioned that he would love to meet the Beatles, and Nash suggested they do just that. On their way out the door, Donovan said to them, "beware of Lennon". It was when they got to the Speakeasy club that the first faux-pas of the evening happened. Nash introduced them to Justin Hayward and John Lodge of the Moody Blues, and Volman said how much he loved their record "Go Now": [Excerpt: The Moody Blues, "Go Now"] The problem was that Hayward and Lodge had joined the group after that record had come out, to replace its lead singer Denny Laine. Oh well, they were still going to meet the Beatles, right? They got to the table where John, Paul, and Ringo were sat, at a tense moment -- Paul was having a row with Jane Asher, who stormed out just as the Turtles were getting there. But at first, everything seemed to go well. The Beatles all expressed their admiration for "Happy Together" and sang the "ba ba ba" parts at them, and Paul and Kaylan bonded over their shared love for "Justine" by Don and Dewey, a song which the Crossfires had performed in their club sets, and started singing it together: [Excerpt: Don and Dewey, "Justine"] But John Lennon was often a mean drunk, and he noticed that Jim Tucker seemed to be the weak link in the group, and soon started bullying him, mocking his clothes, his name, and everything he said. This devastated Tucker, who had idolised Lennon up to that point, and blurted out "I'm sorry I ever met you", to which Lennon just responded "You never did, son, you never did". The group walked out, hurt and confused -- and according to Kaylan in his autobiography, Tucker was so demoralised by Lennon's abuse that he quit music forever shortly afterwards, though Tucker says that this wasn't the reason he quit. From their return to LA on, the Turtles would be down to just a five-piece band. After leaving the club, the group went off in different directions, but then Kaylan (and this is according to Kaylan's autobiography, there are no other sources for this) was approached by Brian Jones, asking for his autograph because he loved the Turtles so much. Jones introduced Kaylan to the friend he was with, Jimi Hendrix, and they went out for dinner, but Jones soon disappeared with a girl he'd met. and left Kaylan and Hendrix alone. They were drinking a lot -- more than Kaylan was used to -- and he was tired, and the omelette that Hendrix had ordered for Kaylan was creamier than he was expecting... and Kaylan capped what had been a night full of unimaginable highs and lows by vomiting all over Jimi Hendrix's expensive red velvet suit. Rather amazingly after all this, the Moody Blues, the Beatles, and Hendrix, all showed up to the Turtles' London gig and apparently enjoyed it. After "She'd Rather Be With Me", the next single to be released wasn't really a proper single, it was a theme song they'd been asked to record for a dire sex comedy titled "Guide for the Married Man", and is mostly notable for being composed by John Williams, the man who would later go on to compose the music for Star Wars. That didn't chart, but the group followed it with two more top twenty hits written by Bonner and Gordon, "You Know What I Mean" and "She's My Girl". But then the group decided that Bonner and Gordon weren't giving them their best material, and started turning down their submissions, like a song called "Celebrity Ball" which they thought had no commercial potential, at least until the song was picked up by their friends Three Dog Night, retitled "Celebrate", and made the top twenty: [Excerpt: Three Dog Night, "Celebrate"] Instead, the group decided to start recording more of their own material. They were worried that in the fast-changing rock world bands that did other songwriters' material were losing credibility. But "Sound Asleep", their first effort in this new plan, only made number forty-seven on the charts. Clearly they needed a different plan. They called in their old bass player Chip Douglas, who was now an experienced hitmaker as a producer. He called in *his* friend Harry Nilsson, who wrote "The Story of Rock & Roll" for the group, but that didn't do much better, only making number forty-eight. But the group persevered, starting work on a new album produced by Douglas, The Turtles Present The Battle of the Bands, the conceit of which was that every track would be presented as being by a different band. So there were tracks by Chief Kamanawanalea and his Royal Macadamia Nuts, Fats Mallard and the Bluegrass Fireball, The Atomic Enchilada, and so on, all done in the styles suggested by those band names. There was even a track by "The Cross Fires": [Excerpt: The Cross Fires, "Surfer Dan"] It was the first time the group had conceived of an album as a piece, and nine of the twelve tracks were originals by the band -- there was a track written by their friend Bill Martin, and the opening track, by "The US Teens Featuring Raoul", was co-written by Chip Douglas and Harry Nilsson. But for the most part the songs were written by the band members themselves, and jointly credited to all of them. This was the democratic decision, but one that Howard Kaylan would later regret, because of the song for which the band name was just "Howie, Mark, Johnny, Jim & Al". Where all the other songs were parodies of other types of music, that one was, as the name suggests, a parody of the Turtles themselves. It was written by Kaylan in disgust at the record label, who kept pestering the group to "give us another 'Happy Together'". Kaylan got more and more angry at this badgering, and eventually thought "OK, you want another 'Happy Together'? I'll give you another 'Happy Together'" and in a few minutes wrote a song that was intended as an utterly vicious parody of that kind of song, with lyrics that nobody could possibly take seriously, and with music that was just mocking the whole structure of "Happy Together" specifically. He played it to the rest of the group, expecting them to fall about laughing, but instead they all insisted it was the group's next single. "Elenore" went to number six on the charts, becoming their biggest hit since "She'd Rather Be With Me": [Excerpt: The Turtles, "Elenore"] And because everything was credited to the group, Kaylan's songwriting royalties were split five ways. For the follow-up, they chose the one actual cover version on the album. "You Showed Me" is a song that Roger McGuinn and Gene Clark had written together in the very early days of the Byrds, and they'd recorded it as a jangly folk-rock tune in 1964: [Excerpt: The Byrds, "You Showed Me"] They'd never released that track, but Gene Clark had performed it solo after leaving the Byrds, and Douglas had been in Clark's band at the time, and liked the song. He played it for the Turtles, but when he played it for them the only instrument he had to hand was a pump organ with one of its bellows broken. Because of this, he had to play it slowly, and while he kept insisting that the song needed to be faster, the group were equally insistent that what he was playing them was the big ballad hit they wanted, and they recorded it at that tempo. "You Showed Me" became the Turtles' final top ten hit: [Excerpt: The Turtles, "You Showed Me"] But once again there were problems in the group. Johnny Barbata was the greatest drummer any of them had ever played with, but he didn't fit as a personality -- he didn't like hanging round with the rest of them when not on stage, and while there were no hard feelings, it was clear he could get a gig with pretty much anyone and didn't need to play with a group he wasn't entirely happy in. By mutual agreement, he left to go and play with Crosby, Stills, Nash, and Young, and was replaced by John Seiter from Spanky and Our Gang -- a good drummer, but not the best of the best like Barbata had been. On top of this, there were a whole host of legal problems to deal with. The Turtles were the only big act on White Whale records, though White Whale did put out some other records. For example, they'd released the single "Desdemona" by John's Children in the US: [Excerpt: John's Children, "Desdemona"] The group, being the Anglophiles they were, had loved that record, and were also among the very small number of Americans to like the music made by John's Children's guitarist's new folk duo, Tyrannosaurus Rex: [Excerpt: Tyrannosaurus Rex, "Debora"] When Tyrannosaurus Rex supported the Turtles, indeed, Volman and Kaylan became very close to Marc Bolan, and told him that the next time they were in England they'd have to get together, maybe even record together. That would happen not that many years later, with results we'll be getting to in... episode 201, by my current calculations. But John's Children hadn't had a hit, and indeed nobody on White Whale other than the Turtles had. So White Whale desperately wanted to stop the Turtles having any independence, and to make sure they continued to be their hit factory. They worked with the group's roadie, Dave Krambeck, to undermine the group's faith in their manager, Bill Utley, who supported the group in their desire for independence. Soon, Krambeck and White Whale had ousted Utley, and Krambeck had paid Utley fifty thousand dollars for their management contract, with the promise of another two hundred thousand later. That fifty thousand dollars had been taken by Krambeck as an advance against the Turtles' royalties, so they were really buying themselves out. Except that Krambeck then sold the management contract on to a New York management firm, without telling the group. He then embezzled as much of the group's ready cash as he could and ran off to Mexico, without paying Utley his two hundred thousand dollars. The Turtles were out of money, and they were being sued by Utley because he hadn't had the money he should have had, and by the big New York firm, because since the Turtles hadn't known they were now legally their managers they were in breach of contract. They needed money quickly, and so they signed with another big management company, this one co-owned by Bill Cosby, in the belief that Cosby's star power might be able to get them some better bookings. It did -- one of the group's first gigs after signing with the new company was at the White House. It turned out they were Tricia Nixon's favourite group, and so they and the Temptations were booked at her request for a White House party. The group at first refused to play for a President they rightly thought of as a monster, but their managers insisted. That destroyed their reputation among the cool antiestablishment youth, of course, but it did start getting them well-paid corporate gigs. Right up until the point where Kaylan became sick at his own hypocrisy at playing these events, drank too much of the complimentary champagne at an event for the president of US Steel, went into a drunken rant about how sick the audience made him, and then about how his bandmates were a bunch of sellouts, threw his mic into a swimming pool, and quit while still on stage. He was out of the band for two months, during which time they worked on new material without him, before they made up and decided to work on a new album. This new album, though, was going to be more democratic. As well as being all original material, they weren't having any of this nonsense about the lead singer singing lead. This time, whoever wrote the song was going to sing lead, so Kaylan only ended up singing lead on six of the twelve songs on what turned out to be their final album, Turtle Soup. They wanted a truly great producer for the new album, and they all made lists of who they might call. The lists included a few big names like George Martin and Phil Spector, but one name kept turning up -- Ray Davies. As we'll hear in the next episode, the Kinks had been making some astonishing music since "You Really Got Me", but most of it had not been heard in the US. But the Turtles all loved the Kinks' 1968 album The Kinks Are The Village Green Preservation Society, which they considered the best album ever made: [Excerpt: The Kinks, "Animal Farm"] They got in touch with Davies, and he agreed to produce the album -- the first time he did any serious outside production work -- and eventually they were able to persuade White Whale, who had no idea who he was, to allow him to produce it. The resulting album is by far the group's strongest album-length work, though there were problems -- Davies' original mix of the album was dominated by the orchestral parts written by Wrecking Crew musician Ray Pohlman, while the group thought that their own instruments should be more audible, since they were trying to prove that they were a proper band. They remixed it themselves, annoying Davies, though reissues since the eighties have reverted to a mix closer to Davies' intentions. Some of the music, like Pons' "Dance This Dance With Me", perhaps has the group trying a little *too* hard to sound like the Kinks: [Excerpt: The Turtles, "Dance This Dance With Me"] But on the other hand, Kaylan's "You Don't Have to Walk in the Rain" is the group's last great pop single, and has one of the best lines of any single from the sixties -- "I look at your face, I love you anyway": [Excerpt: The Turtles, "You Don't Have to Walk in the Rain"] But the album produced no hits, and the group were getting more and more problems from their label. White Whale tried to get Volman and Kaylan to go to Memphis without the other band members to record with Chips Moman, but they refused -- the Turtles were a band, and they were proud of not having session players play their parts on the records. Instead, they started work with Jerry Yester producing on a new album, to be called Shell Shock. They did, though bow to pressure and record a terrible country track called "Who Would Ever Think That I Would Marry Margaret" backed by session players, at White Whale's insistence, but managed to persuade the label not to release it. They audited White Whale and discovered that in the first six months of 1969 alone -- a period where they hadn't sold that many records -- they'd been underpaid by a staggering six hundred and fifty thousand dollars. They sued the label for several million, and in retaliation, the label locked them out of the recording studio, locking their equipment in there. They basically begged White Whale to let them record one last great single, one last throw of the dice. Jim Pons had, for years, known a keyboard player named Bob Harris, and had recently got to know Harris' wife, Judee Sill. Sill had a troubled life -- she was a heroin addict, and had at times turned to streetwalking to earn money, and had spent time in prison for armed robbery -- but she was also an astonishing songwriter, whose music was as inspired by Bach as by any pop or folk composer. Sill had been signed to Blimp, the Turtles' new production and publishing company, and Pons was co-producing some tracks on her first album, with Graham Nash producing others. Pons thought one song from that album, "Lady-O", would be perfect for the Turtles: [Excerpt: Judee Sill, "Lady-O"] (music continues under) The Turtles stuck closely to Sill's vision of the song. So closely that you haven't noticed that before I started talking, we'd already switched from Sill's record to the Turtles' version. [Excerpt: The Turtles, "Lady-O"] That track, with Sill on guitar backing Kaylan, Volman, and Nichol's vocals, was the last Turtles single to be released while the band were together. Despite “Lady O” being as gorgeous a melody as has ever been produced in the rock world, it sank without trace, as did a single from the Shell Shock sessions released under a pseudonym, The Dedications. White Whale followed that up, to the group's disgust, with "Who Would Ever Think That I Would Marry Margaret?", and then started putting out whatever they had in the vaults, trying to get the last few pennies, even releasing their 1965 album track version of "Eve of Destruction" as if it were a new single. The band were even more disgusted when they discovered that, thanks to the flurry of suits and countersuits, they not only could no longer perform as the Turtles, but White Whale were laying legal claim to their own names. They couldn't perform under those names -- Howard Kaylan, Mark Volman, and the rest were the intellectual property of White Whale, according to the lawyers. The group split up, and Kaylan and Volman did some session work, including singing on a demo for a couple of new songwriters: [Excerpt: Steely Dan, "Everyone's Gone to the Movies"] When that demo got the songwriters a contract, one of them actually phoned up to see if Kaylan wanted a permanent job in their new band, but they didn't want Volman as well, so Kaylan refused, and Steely Dan had to do without him. Volman and Kaylan were despondent, washed-up, has-been ex-rock stars. But when they went to see a gig by their old friend Frank Zappa, it turned out that he was looking for exactly that. Of course, they couldn't use their own names, but the story of the Phlorescent Leech and Eddie is a story for another time...
MÚSICA Ludwig Senfl - In pace in idipsum (CD) Farallon Recorder Quartet: Ludwig Senfl © Magnatune – www.magnatune.com -- AUTOR DOS TEXTOS P. Marco Cunha, sj -- LEITORES Luís Martins (pontos) Maria Helena Falé (textos bíblicos)
The Church is family! If we accept the Word of God and live it, we are all brothers and sisters. --- Send in a voice message: https://anchor.fm/john6345/message
† Evangelio de nuestro Señor Jesucristo según san Lucas 8, 19-21 Su madre y sus hermanos fueron a verlo, pero no pudieron acercarse a causa de la multitud. Entonces le anunciaron a Jesús: «Tu madre y tus hermanos están ahí afuera y quieren verte». Pero él les respondió: «Mi madre y mis hermanos son los que escuchan la Palabra de Dios y la practican». Palabra del Señor.
¡Buenos días! Te invitamos a unirte en oración con la Iglesia Universal a través del rezo de los Laudes junto al equipo de Juan Diego Network. Mentioned in this episode: ¿Qué estabas haciendo en marzo del 2020? ¡Escucha el nuevo podcast que Juan Diego Network hizo al Vaticano y sale el domingo 27 de marzo del 2022! https://laudes.captivate.fm/327spotify (327LDSp)
Jacqui Stockdale is a previous podcast guest . I asked her back onto the show after I saw a series of moving portraits she posted on Instagram. Her stepfather, George Stirling, was nearing the end of his life and Jacqui was painting the portraits of family and friends who were visiting over that difficult time. George passed away in June. The works were swiftly painted alla prima, mostly in one sitting from life or an iPhone image, and the resulting group of over twenty portraits is titled 'Heads of the Family'. In this episode Jacqui talks with me about the experience of painting those works which include a self-portrait and portrayals of George from life. Jacqui's work crosses many disciplines which defy description spanning from painting, sculpture, photography, collage and performance and her imagery includes portrayals of Ned Kelly, lots of masks, naked figures and horses heads. She has painted the portrait throughout her career and in 2018 was one of only twenty artists to be commissioned by the National Portrait Gallery to mark its 20th year. Jacqui is represented by Olsen Gallery in Sydney. Current and upcoming shows, as well as images of paintings we talk about in this episode, are listed below. Above portrait photo of Jacqui Stockdale by Ilona Nelson (cropped) Current and upcoming exhibitions 'Nudes of Chong', Rose Chong Costumier, Gertrude St, Melbourne, current until 24 September 2022 'The Outlaw's Inn', Benalla Art Gallery, Benalla, Victoria, November 2022 Links Subscribe to the Talking with Painters Newsletter Jacqui Stockdale website Jacqui Stockdale on Instagram Jacqui Stockdale at Olsen Gallery Previous podcast interview with Jacqui Rick Stirling, George's brother George Stirling Jacqui Stockdale, Self Portrait Drawings of George Stirling Jacqui Stockdale's mother, Maree Stockdale George Stirling's sister Trish Stirling 'An artist practising' - self portrait
Jocelyn Chong is an award-winning, Four-time #1 International Best-Selling Author, CEO, and Founder of Seed to Sequoia. After a successful twenty-year career at Australia's leading banks (where she generated over $200 million in revenue), she changed paths to pursue her true passion as a Certified Life and Business Coach.Utilizing her MBA and background in high-level sales, leadership, and management, she has worked with over 500 entrepreneurs to date, teaching them how to earn with ease, attract dream clients, and create a life by design. Her mission is to help business leaders tap into their true purpose while scaling their businesses with feel-good strategies and intuitive guidance.Her clients love her instinctive ability to uncover the core problems stifling their growth — and the practical tools she provides to unlock their full potential. She's known for her fun, bubbly attitude and unapologetically ambitious dogma.Connect with Jocelyn at https://www.jocelynchong.com.au/bookpageSupport the show
Dalam episod Malam Seram kali ini KC bacakan cerita seram dan ngeri melibatkan kereta keluarga SG yang hampir terbabas masuk gaung kerana WAZE! Sebelum kereta berhenti secara mendadak ayah yang memandu ternampak sesuatu. Jom ikuti kisah penuh dalam Malam Seram The Horror Talk Show!MALAM SERAM adalah segmen LIVE perkongsian pengalaman seram dan misteri. Anggap ia hanya sekadar perkongsian sahaja. Jangan mudah percaya dan terlalu taksub dengan apa yang anda dengar! MALAM SERAM The Horror Talk Show Bukan Sekadar Cerita Seram.
Casual talk with Johnson Chong, best-selling, award-winning author of Sage Sapien: From Karma to Dharma and TedX speaker. He is also the founder of Sage Sapien Soul Academy – an educational portal that integrates the ancient wisdom teachings of yoga, meditation, breathwork, shamanic wisdom and conscious coaching in practical and modern ways. We talk about a little bit of everything - including his own spiritual journey, shamanism, and breaking toxic family ties.Please leave a review of the podcast where you can! Learn more about us at www.SlightlyUnmeditated.com or reach out to us on social media:InstagramFacebookTwitterYouTube Visit our sponsor Bubblesandbooks.com for a monthly dose of self-care delivered right to your door.Check us and some other great spirituality podcasts on FeedSpot's 100 Best Spiritual Podcasts You Must Follow list.Fit, Healthy & Happy Podcast Welcome to the Fit, Healthy and Happy Podcast hosted by Josh and Kyle from Colossus...Listen on: Apple Podcasts Spotify TMAC Fitness. 20 Minute Home Workouts Beginner and Advanced Workouts. No equipment. Each Workout Ends with a Meditation. BrandSupport the show
Ribbon Placement: Liturgy of the Hours Vol. IV: Ordinary: 615 Psalter: Tuesday, Week I, 686 Proper of Seasons: 292 (first reading) Common of Several Martyrs: 1694 (verse before first reading) Supplement: 18 (second reading and responsory, concluding prayer) Christian Prayer (single volume): Does not contain Office of Readings Office of Readings for the Memorial of... Enter Prayer
Ribbon Placement: Liturgy of the Hours Vol. IV: Ordinary: 618 Psalter: Tuesday, Week I, 690 Common of Several Martyrs: 1702 (reading, responsory, intercessions) Supplement: 21 (concluding prayer) Christian Prayer: Ordinary: 689 Psalter: Tuesday, Week I, 728 Common of Several Martyrs: 1402 (reading, responsory, intercessions) Supplement: 21 (concluding prayer) Morning Prayer for the Memorial of St.... Enter Prayer
In today's episode, the boys talk about getting their nails done, dating a transgender woman, having butt sex with yourself, and self-sacrifice. The words “whole” and “hole” are super underrated. For one, they are homophones, words that sound the same but are different in meaning and/or spelling. But even most interestingly, their meanings are in contrast with one another. They are yin and yang. Cheech and Chong. Dark and Light. The Sun and The Moon. Because in order to feel whole, you must fill your inner hole.
I'm Quitting Alcohol, is a 5 minute daily podcast by comedian David Boyle. Join Boyle as he transitions from Alcoholic maniac to sober lunatic and attempts to process the past 20 years of booze soaked mayhem. To listen from DAY 1 head to SPOTIFY. quit, alcoholic, drinking, sober, real, stories, laugh, drugs, true, sex, love, quitting, alcoholics, recovery, body, anxiety, depression, love, giving up, anonymous, soul, change, addiction, withdrawal, dance, sober, quit, success, relationships, recovery, answer, transforming, health, resource, healing, alcoholism, giving, up
George's longtime acquaintance and fellow comedian Willie Barcena joins the show! Together with Gil and Grant, they get into everything from hitting an apple pipe with Cheech and Chong, to what it's like to try – and fail – to get passed at the World Famous Comedy Store, as well as great stories from Willie's 12(!) appearances on The Tonight Show with Jay Leno. Plus, what job would Willie have if he wasn't a comedian? Find out this and more on today's OMG HI!
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Maximize your credit card cashback earnings and sign-up bonuses with Cash Freely a new free tool from the makers of Travel Freely. Find the best offers to travel to Vegas and anywhere else free of charge. Cash Freely (cash back cards) Travel Freely (travel rewards cards) Episode Description: As a reminder you can watch this show as well at: http://www.YouTube.com/milestomemories As Cheech and Chong day descended on Las Vegas we learned more info about the new high-end shopping district that will be housed at Fontainebleau Las Vegas. We also saw both Allegiant Stadium and the MSG Sphere catch fire, but thankfully neither did a ton of damage. In other news MSG Sphere's parent company is reorganizing, Bally's letters are now gone from Las Vegas, the 50 foot showgirls are going up, Caesars Palace has unveiled their newly improved dome and a 50 year in the making art project is about to open in the Nevada desert. About the Show Each week thousands of people tune into our MtM Vegas news show at http://www.YouTube.com/milestomemories and now we bring you the MtM Vegas podcast where we can spend a little more time sharing our best Vegas info, tips, reviews and stories plus talk to some of the most interesting people in Vegas. Enjoying the podcast? Please consider leaving us a positive review on your favorite podcast platform! You can also connect with us anytime at email@example.com. You can subscribe on Apple Podcasts, Google Podcasts, Spotify or by searching "MtM Vegas" or "Miles to Memories" in your favorite podcast app. Don't forget to check out our travel/miles/points podcast as well!
Cheech and Chong were hero's of the Gen X Brothers back in the 80's but they didn't really get high. Accept on crushed maple leaves and selling them to the local kids in the neighborhood. Erik tells the story of when they were the center of local news back in the 80's. The devil worshipers have come to Atwater California to wreak havoc on innocent cats and burn pentagrams into the alley ways. All in the name of Motley Crue. Growing up in Atwater was a dangerous place, unless you are the cause of that danger. Of course the KISS drama continues and also comes to an end this week. Erik retracts and explains his departure from the KISS drama. Has Sam Loomis moved on? He also talks about his appearance on "Podcast Rock City". The brothers also talk about Monkey Pox, Marjorie Taylor Green and a whole lot more. Mentioned in this episode: Edge of Life Designs www.edgeoflifedesigns.com Edge of Life Designs www.edgeoflifedesigns.com
In early March 2021, the U.S. Senate's Caucus on International Narcotics Control released a report on the increasing potency of marijuana products available on the market. At the time, America was just a year into the pandemic and related lockdowns, so marijuana policy was not front and center on everyone's mind. It should have been. In fact, the findings contained in the report can be described as shocking. A more creative, but just as accurate, title for this 58-page report would be “This Isn't Your Grandpa's Weed.” Included in the findings, the THC levels in marijuana products are soaring. THC is the psychoactive chemical that gives pot users a high, and reportedly provides relief from pain and nausea. In recent years, high-potency products have become more common. In 1990, the average concentration of THC in a marijuana plant was 4%. By 2012, it had tripled to 12%. Today, some products on the market have THC levels as high as 90%. These increasing levels come even though a 2020 NIH study found that pain relief benefits of marijuana require THC levels no higher than 5% and that marijuana with higher THC levels might even be less effective in fighting pain. Setting aside the consistent political reality that legalizing medical marijuana is always intended to lead to the legalizing of recreational marijuana—even if legitimate pain patients need medical marijuana, they do not need THC levels of 90%. And yet, marijuana policies are clearly headed in a direction that does not align with what we now know. Most U.S. states allow marijuana use in some capacity. The only two states in the country with a cap on THC levels and high-potency products are Vermont and California, where the cap is 60%. Right now, Ohio's legislature is considering a bill to cap THC levels at 90%. At that level, what is the point? While the political posturing continues, a dystopian reality born of the marijuana revolution is unfolding outside statehouses. Doctors and emergency rooms across the country have sounded the alarm on the spike in psychosis, suicidal ideation, actual suicide, schizophrenia, and addiction-like behavior they have seen among young people using high-potency marijuana. In June, The New York Times reported the story of a teenage girl who could not stop fainting and throwing up after becoming functionally addicted to vaping high-potency pot. A doctor at the Adolescent Substance Use and Addiction Program at Boston Children's hospital has reported an explosion in the number of young cannabis users experiencing “hallucinations and trouble distinguishing between fantasy and reality.” And increased marijuana use also poses secondary dangers such as more deadly traffic accidents, more poisonings of young people who mistake edibles for candy, and a worsening opioid crisis, which many doctors believe is directly correlated with marijuana legalization. Lawmakers in Colorado, the first state to legalize recreational marijuana 10 years ago, are now trying to apply brakes to this runaway train. Last year, the state legislature passed a bill mandating that coroners test THC levels when someone under 25 suffers a “non-natural death.” According to one state senator, “Since legalization in Colorado, the regulatory framework has failed to keep up with the evolution of the new products…. The industry has changed, and we need to catch up with those changes.” Unfortunately, “catching up with changes” is not generally a “strength” of government. The Church, however, can play a redemptive role. American Christians have a responsibility to advocate for policies that benefit our neighbors' welfare and against policies that hurt them. Marijuana should be no different. The 30-billion dollar marijuana industry has been incredibly deft in crafting messaging that makes anyone opposed to legalizing weed seem “uncool” or “behind the times.” So, it is essential to understand that today's weed is far ahead of the times. We are far removed from the Cheech and Chong days. This stuff is dangerous, particularly for young people. Christians should be highly motivated to not let this cat out of the bag wherever it has not yet been loosed and to minister to people where it has, including in addiction recovery centers and other healthcare settings. Christians have a legacy of running into the plague when everyone else is running away. Marijuana legalization has reached plague status. It is time to head in.