Podcasts about continentals

"And for the support of this Declaration, with a firm reliance on the protection of divine Providence, we mutually pledge to each other our Lives, OUR FORTUNES, and our sacred Honor." Why did the signers of the Declaration of Independence have to pledge their fortunes (their money) to the revolutionary cause? How did unorthodox American ideas about money help win the Revolutionary War? And were the Founding Fathers, in fact, the first crypto bros? We explore these ideas in this episode about money, bills of credit, taxes and coinage in the 13 Colonies and the British Empire with economic historian Dr. Andrew Edwards. Topics include: -an explanation of money as a medium of exchange, a unit of account, and a store of value -a survey of the different forms of money that existed int he 1700s -the use of the novel payment system of BILLS OF CREDIT to pay for military expeditions due to the shortage of gold and silver in the Colonies -its use in the first invasion of French Canada in 1690 by Massachusetts -early British thinkers about money in the 1600s, including Cromwell's Treasurer of the Army, John Blackwell -the use of bills of credit and taxes to pay for Colonial infrastructure and other collective projects -the creation of the Continental Dollar -the fragility of the new American financial system, given that the British Army both captured entire regions, eliminating all the tax revenue there, and also printed counterfeit Continentals to undermine faith in the system -the collapse of the Continental Dollar and the US financial system while the war was still raging -the creation in 1781-82 of the Bank of North America in Philadelphia, which mimicked the Bank of England -the eventual triumph of the English banking model despite the triumph of the Colonies in the War of Independence

Kris White, Director of Education and Events at the Trust, gives an in-depth tour of the largest battle of the Southern Campaign during the Revolutionary War. Guilford Courthouse resulted in British Commander Charles Cornwallis taking his forces north to Yorktown, Virginia, leaving Nathanael Greene and his Continentals free rein to undo British control in the South. "I never saw such fighting since God made me. The Americans fought like demons." - Cornwallis.

Nick and Eric recap their recent trip to Montréal for the 2025 Americas Continental Championship and discuss their hopes for the upcoming September 17th Standard Ban List update in light of the decks they saw at Continentals.Link to the Crown of Servers Event:https://tournaments.nullsignal.games/tournaments/4142Link to the Main tournament results: https://tournaments.nullsignal.games/tournaments/4129/rounds/view_pairings▶PATREON◀⁠⁠⁠https://www.patreon.com/neonstatic⁠⁠⁠https://www.buymeacoffee.com/neonstatic▶LINKS◀https://youtube.com/@tmkfnetrunner?si=U47g6P4B1VOwe7Jsnot_yeti's Hurt People Hurt People Prav list: https://netrunnerdb.com/en/decklist/8021efc7-fee8-4302-bc71-b2e0a5e603a7/hurt-people-hurt-people-2nd-4th-15th-at-online-showdown-passive_mult's Flood the Zone Thule list: https://netrunnerdb.com/en/decklist/50d4d84d-7203-4314-9bf8-e256653b2f64/flood-the-zone-3rd-at-summer-showdown-FireRL's Knickknack Padlock-cracker Baz List: https://netrunnerdb.com/en/decklist/dcf41e61-8f60-4320-a87c-9b0a4e38c87e/-knickknack-padlock-cracker▶DISCORD◀New Hampshire Netrunners Discord: ⁠⁠⁠⁠⁠⁠https://discord.gg/SHbcRsgJ6T⁠⁠⁠⁠⁠⁠GLC (Global) Discord: ⁠⁠⁠⁠⁠⁠https://discord.gg/glc▶MERCH◀T-shirt: https://neon-static-merch.printify.meAlt Arts: https://www.makeplayingcards.com/sell/neon_staticEmail neonstaticpod@gmail.com to inquire about Neon Static Poker chips!▶CONTACT◀Reach out to us with questions and feedback via:Email: neonstaticpod@gmail.comMastodon: @neonstaticpod▶EQUIPMENT◀https://kit.co/neonstatic/neon-static-recording-gear#netrunner #cardgames #lcg

In this episode American Battlefield Trust historian Kris White gives a tour of Guilford Courthouse National Military Park in Greensboro, NC. Kris describes the March 15, 1781 Revolutionary War battle between Nathanael Greene's Continentals, and the British Army, led by Charles Cornwallis. Guilford Courthouse is a part of The Liberty Trail. Discover more at TheLibertyTrail.org.

For the week of July 23, 1775: A company of Pennsylvania Riflemen join the Siege of Boston. Congress appoints Benjamin Church as Surgeon General, and Benjamin Franklin as Postmaster General. The Green Mountain Boys ditch Ethan Allen, and other events from the week. Learn more about your ad choices. Visit megaphone.fm/adchoices

Valves are sticking all over as the hosts give advice on how to avoid pulling cylinders. Send your questions to podcasts@aopa.org for a chance to be on the show. Join the world's largest aviation community at aopa.org/join Full notes below: Rick has a 182 with a new Pponk engine and he's burning lots of exhaust valves. He's wondering what he should change operationally. Paul said to borescope more frequently to find the asymmetric burn patterns before they need to be replaced, and if they start to have asymmetric patterns to lap them immediately. He recommends borescoping every 100 hours. Mike gives some initial results of Savvy Aviation's borescope initiative, which after 100,000 images found that 7 or 8 percent of valves showed signs of heat distress. Twenty five percent of the engines had at least one valve that was heat distressed. About 85 percent of those valves were in the early stage of distress and could be lapped. Only about 15 percent were considered late stage.   Brad has an SR22 with an IO-550 that had high oil usage. They pulled a cylinder, rehoned it and put on new rings. Later he started asking questions about torquing the through bolts, and the shop told him they held a wrench on the other side, but didn't torque both sides. He's wondering if he should go back and retorque the bolts. Mike and Paul think he's probably ok.   Bruce is sick of sniffing gas fumes. They installed new fuel senders and a digital fuel gauge in their 172. They followed the procedure to calibrate the fuel senders, but he's having trouble getting it correct. He's as much as two gallons off from what it should be. Paul starts by asking what bucket Bruce is using because the utility buckets from the home stores are unreliable as calibrated containers, he said. The other issue is the wet wing construction, which can lead to dams that make it difficult to fully defuel or refuel. Bruce has even accounted for temperature. He's within half a gallon on one side, which Paul said is usually as close as you can get it. Ed is stirring the pot. He read that in an article in the American Bonanza Society publication that operating lean of peak is bad for engines. Obviously the hosts disagree, and a discussion of the merits of rich of peak and lean of peak ensues.

Jason takes a trip to the new Tire Rack/Discount Tire/America's Tire testing facility in Texas: Treadwell Research Park. In addition to testing grip levels on BMWs and Jeeps on a monstrous wet skid pad, off-road course, rock crawling trail and more, he discovers the many lessons to be learned by carefully studying tire wear data – including how where you live can have a huge impact on how quickly you burn through your tires! === This episode is sponsored by Vyper Industrial — America's #1 rated shop chair, tool carts, and creepers, proudly made here in the US. Visit vyperindustrial.com and use code CARMUDGEON for $50 off. === In this episode, we learn that Tire Rack, America's Tire and Discount Tire are all the same thing! But, more importantly, they now have a giant tire testing facility in Texas: Treadwell Research Park – an expansive property with dirt and mud trails, rock crawling, water crossings, serious grades, an absolutely enormous skid pad (that can be completely submerged in 2 mm of water in no time thanks to a pair of huge reservoirs and some seriously powerful pumps) and even a wet slalom course. Jason experienced all Treadwell had to offer behind the wheel of a 4-door Jeep Wrangler and BMW 330i and reports back. We'll learn that at America's Discount Rack you can get free tire rotations (with tire purchase) and free flat repair (no purchase necessary!). But they don't hand out these services out of the kindness of their tire-loving hearts. It's all part of Treadwell's plan to collect and analyze all kinds of tire wear data to help customers make informed decisions when buying new tires and make better tires. They'll collect information about a tire's make, model, mileage, geographic location and more to find what compounds and tread patterns are best for specific use cases and guide customers to the best choice for their vehicle, driving style, climate, and location. For instance, they have discovered that folks living in twisty, hilly western Pennsylvania go through tires 20% faster than folks living in Nebraska. Derek suggests Treadwell implement a tire wear score so enthusiasts can compare notes and compete for total tire destruction domination. Similar to Treadwell Research Park (and Tire Rack's other testing facility in South Bend, Indiana), Derek had the chance to experience a flooded skid “pan” at the CHP's emergency vehicle operations course (EVOC) training grounds driving in Ford Crown Victorias and Dodge Chargers. Jason Fenske of Engineering Explained has been on a mission to teach the world about the importance of tires, and recently pitted a F80 BMW M3 Competition on mid-grade tires against a diesel Chysler PT Cruiser wearing fresh Continentals. Science ensued. Tires are indeed very important – and while some *coughpirellicough* will grip like no other, they tend to disintegrate in short order (and dramatically so). But they're not all bad – the guys have kind things to say about the Cinturato CN36 and CN12. But the Carmudgeon tire of choice remains Michelins and Vredsteins, which are mounted on everything from Jason's e-Golf, the Van, Jynah, the Ferrari 308, Derek's R129, and even Jake's wife's Crosstrek. The guys will also discuss the Avon CR6ZZ, Trofeos and Cup 2s. Plus the Michelin AS3+ on Jason's Mom's Golf that wore down unusually quickly – this right after he had just replaced some 2-year-old cracking Hankooks with them. Perhaps his mom's regular and sustained driving at 100 mph is to blame… We'll also cover cheap lighting from oh, oh, oh, O'Reilly's, Wagner halogens, and automotive lighting gemstones from Carello and Marchal. It's all in the details! Learn more about your ad choices. Visit megaphone.fm/adchoices

"¡Mantente enfermo!", clamaban The Cramps parafraseando a su ídolo de juventud y maestro del terror Ghoulardi. Esa es la excusa que nos hemos buscado para cocinar una sesión de cartuchos dedicados a cosas y personas que nos ponen enfermos.Playlist;(sintonía) THE CRAMPS “Kizmiaz”THE BOYS “Sick on you”RAMONES “You sound like you’re sick”BRAD MARINO “Sick sick sick sick”THE VINDICTIVES “I’m sick”THE JUKEEZ “Sick”RADIOACTIVITY “Sickness”LES LULLIES “Bored, sick, done”THE DAMNED “Sick of this and that”THE MONSTERS “Happy people make me sick”THE OBLIVIANS “I’m not a sicko, there’s a plate in my head”THE METEORS “Sick things”CALICO WALL “I’m a living sickness”THE CONTINENTALS “Sick and tired”THE AR-KAICS “Sick ‘n’ tired”LOU REED “Sick of you (live)”LE BUTCHERETTES “I’m getting sick of you”IGGY and THE STOOGES “Sick of you”Escuchar audio

This week we share our experience at continentals, the good, the bad, and the could be better.0:00 Welcome 0:22 Last Time on CofLorcana 0:33 James LCQ performance27:27 Opportunities for growth44:34 The controversy 1:09:59 New Head of Sales for LorcanaAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This week James and I talk about the North American continentals happening Jan 10-12th. We also talk about the a couple pieces of compelling evidence that would suggest a digital client is coming to Lorcana0:00 Welcome 0:28 Last Time on CofLorcana 0:47 LCQ and continentals30:25 Digital ClientAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This week we are joined by Eric Switzer of the gamer to talk about the EU continentals. We talk about the event itself and the announcements.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Follow us on Metafy - https://metafy.gg/@tfmlorcana *** Looking For Lorcana Singles - https://theforbiddenmountain.tcgplayerpro.com/ *** Follow us on Twitch -https://www.twitch.tv/theforbiddenmountain ** Join the Discord community here - https://discord.gg/yzBHNxk ** Check out our Merch Store - https://the-forbidden-mountain.myspreadshop.com/ *** I Had the pleasure of sitting down and Chatting with one of Disney Lorcanas Best Ruby Sapphire players Dinh Khang Pham! We discussed his passion for travel, his thoughts on Ruby Sapphire then and now with the addition of Azurite sea, and his opinion of the Continentals format for EU and NA! All that and more will be found in this Disney Lorcana podcast! Check out Phams Metafy - https://metafy.gg/@phame Check out our Doc Guide - https://metafy.gg/courses/view/amethyst-steel-aggro-beginners-guide-ZMdnmjPsslx Looking for a New Deck box? - https://heavyplay.com/TFM10 Like us on Facebook - https://www.facebook.com/TFMLorcana Follow us on Twitter - https://twitter.com/TFM_Lorcana Check out Decks here - https://dreamborn.ink/users/XAXGXyRye0ReMLzB2zHDOhOD09s1 This Channel uses trademarks and/or copyrights associated with Disney Lorcana TCG, used under Ravensburger's Community Code Policy (https://cdn.ravensburger.com/lorcana/community-code-en). We are expressly prohibited from charging you to use or access this content. [This website, artwork, etc.] is not published, endorsed, or specifically approved by Disney or Ravensburger. For more information about Disney Lorcana TCG, visit https://www.disneylorcana.com/en-US/. --- Support this podcast: https://podcasters.spotify.com/pod/show/tfmlorcana/support

In this weeks episode we have finally reached the release of Azurite Sea! We discuss initial thoughts, plans and some initial market info on the set. Also with the release of the set came a ton of info on EU Continentals and NEW PRIZE CARDS!!! we walk through all the info to round out the episode! TCGPlayer Affiliate link: tcgplayer.pxf.io/illumineersquest Where you can find us TikTok: Illumineersquest YouTube: youtube.com/@IllumineersQuest Twitter/X: Lorcanapod Email: ⁠⁠⁠⁠⁠⁠lorcanapod@gmail.com⁠⁠⁠⁠⁠⁠ Spotify, apple, iheart, pocket casts, cashbox, overcast Links to some of our card accessories: collection binder https://amzn.to/42FGZYE bulk storage box ⁠https://amzn.to/4bH1fNN premium card sleeves DS ⁠https://amzn.to/3SXSes2 premium card sleeves Katana https://amzn.to/3WRUVfP entry card sleeves ⁠https://amzn.to/3SFwe3V top loaders ⁠https://amzn.to/3OJdT4M penny sleeves ⁠https://amzn.to/3UB8Gjn --- Support this podcast: https://podcasters.spotify.com/pod/show/lorcana-pod/support

Mike, Paul, and Colleen sludge through oil pumps that lose prime, skipping an oil filter change, and using the right oil in this Texas tea-themed episode. Email podcasts@aopa.org for a chance to get on the show. Join the world's largest aviation community at aopa.org Full notes below: Mike has a Cessna Bird Dog with an oil pump that isn't cooperating. When he lets the airplane sit for a month or more, he doesn't have oil pressure on the first start up. He's conceived a workaround of pumping oil by hand into the engine and turning the prop backwards. Paul and Mike both describe having experienced this issue with Continentals. Mike said that Continental told him to prime the pump by removing the top spark plugs and pressurizing the case with shop air while you move the starter. Paul said they will unscrew the oil filter, fill it with oil, and then put it back on. Cameron is trying to protect the Aeronca that's been in his family for decades. He thinks using thinner oil sounds good because its viscosity helps after not starting for a long time, but the thicker W100 might better protect? He flies mostly in the winter, but he preheats. Mike thinks his strategy to use W100 when it's warm and multiweight is good for colder temps. Paul likes multiviscocity so he doesn't have to worry about temperatures. Chuck is an A&P with another job, and he's considering maintenance side hustles. He's thinking of offering aircraft weighing services. He can either defuel aircraft or completely fill the tanks prior to going on the scales. Advisory circular 43-13 is unclear about which approach is better. Paul has always thought it strange that proper weighing procedures are in the POH, and not the service manual. That's the first place to check, and the procedure that should be followed first. If there's no procedure you go to the AC. He finds that most airplanes must be de-fueled first. Mike says to use FAR 43.13(a), which says that the mechanic must use the procedures in the maintenance manual, or acceptable practices and techniques. The AC has a note at the beginning saying that it's only to be used if the manufacturer doesn't have a process. But given that the procedure is in the POH, and not the maintenance manual, Mike suggests Chuck can pick and choose the way he weighs the airplane. Jared is looking for a more permanent oil filter solution. First he wonders if he can skip changing the filter when changing the oil, in part because they were hard to get at one point. Paul said the only time it's required to change the filter is during annual, when the IA is required to inspect it. Mike said he would like to inspect the filter as often as possible. He considers it the most important thing to do to monitor engine condition. Although people have taken their filters beyond 100 hours, there is oil analysis data showing that it's a bad idea. The hosts then discuss reusable oil filters. Mike changed to reusable filters prior to Oshkosh, and has been initially pleased with the results. The Challenger filter comes off, the filter element comes out of the can, and the filter then washed. He was astonished by what came out of the filter because it's easier to see what comes out after washing versus having to see what's in the pleats of a filter.

Looking For Lorcana Singles - https://theforbiddenmountain.tcgplayerpro.com/ *** Follow us on Twitch -https://www.twitch.tv/theforbiddenmountain ** Join the Discord community here - https://discord.gg/yzBHNxk ** Check out our Patreon - https://www.patreon.com/TFM_Lorcana ** Check out our Merch Store - https://the-forbidden-mountain.myspreadshop.com/ *** Were Back with another Episode of the Into the Unknown Podcast! This week Dan is joined by DLC Champion Luke VVonderland Goodwin as the Discuss Competitive scene of Disney Lorcana! The Topics Covered in this Episode are, Emerald Steel, Diablo, Team Dynamics, Azurite Sea, and more! Where Can you Find the Wizard? - https://www.twitch.tv/vvonderland Looking for a New Deck box? - https://amzn.to/3Tzmquq Like us on Facebook - https://www.facebook.com/TFMLorcana Follow us on Twitter - https://twitter.com/TFM_Lorcana Check out tournament Decks here - https://inkdecks.com/lorcana-tournaments Timecodes intro 0:00 Just Win 0:58 Emerald Steel 5:26 Is Diablo a Problem? 24:40 Team Dynamics 34:35 Azurite Sea Cards to be Excited about 42:36 Hopes for Continentals 52:55 Who is The Wizard? 1:05:27 Thank you for being you 1:19:05 This Channel uses trademarks and/or copyrights associated with Disney Lorcana TCG, used under Ravensburger's Community Code Policy (https://cdn.ravensburger.com/lorcana/community-code-en). We are expressly prohibited from charging you to use or access this content. [This website, artwork, etc.] is not published, endorsed, or specifically approved by Disney or Ravensburger. For more information about Disney Lorcana TCG, visit https://www.disneylorcana.com/en-US/. --- Support this podcast: https://podcasters.spotify.com/pod/show/tfmlorcana/support

Lean of peak is causing odd vibrations in a Commander, and the hosts discuss proper troubleshooting. Plus carb heat on the ground, dehydrators, and parts no longer manufactured. Email podcasts@aopa.org for a chance to get on the show. Full notes below. Chip said his mechanic is concerned about lean of peak because we don't know the actual temperature at the valve, as the temperature is taken downstream. Colleen makes the point that EGT temperatures are fine because it's well below the valve limit temperature. Mike said valves burn only when they don't seat properly. They shed their heat through physical contact with the seat at the cylinder head. They also shed it through the valve stem. Detonation once flying lean of peak isn't a concern. It's getting to that point that's the biggest risk. Paul suggests that once you know the fuel flow at your desired power setting you can lean straight to that fuel flow and not worry about EGT or CHT until it's set and stable. Chip is also concerned about a vibration in the floor of his Rockwell Commander. Mike suggests he do some testing to help isolate the issue. If it goes away at certain rpms, then it suggests that it's an engine-based issue. At a constant rpm but with changing pitch, it suggests a potential airflow or airframe source. Frank is questioning the logic of the Luscombe handbook. It says to put the carb heat on for takeoff. It's also placarded that way on the panel. The hosts can't figure out why this would be required. The hosts suggest he ignore the handbook and operate as he would in other airplanes, in part because the engine would be breathing unfiltered air while on the ground. Bill has a Cessna 180 on floats with an O-470-50 engine. For the last few months he hasn't been flying as much and he wants to preserve the longevity of the engine. He is looking for details on engine dehydrators and whether they actually work. Colleen looked through some research and found that those who had done some side-by-side testing had found good results. Mike said Tanis found that people who ran their heaters all the time were causing corrosion, but that if they use engine dehydrators they are fine to run the heater all the time. In other words, they seem to work. Mark is pushing back on airport naysayers that tell him autofuel is dangerous. He flies airplanes with older, small Continentals, and with all the info that has come out on the transition away from 100LL, he's wondering if he should be worried. Mike said running on autofuel is the best thing he can do for his engine. People tell Mark he has to run at least half low lead. Mike said they've never seen issues with low compression engines running on autofuel. Mark flies from an airport a mile high, and locals are also telling him that vapor lock is also an issue. 

A sermon by the Rev. Canon Julia Mitchener on the Twenty-Second Sunday after Pentecost: Proper 24, Year B (October 20, 2024) at the Episcopal Cathedral of St. Philip, Atlanta

Our monthly Open Conversation with military veterans focuses on Navy veterans in recognition of the the US Navy's 249th birthday celebrated on October 13. We'll have Navy veterans sharing stories, answering questions, and describing why their branch is the best.  We'll also hear from Beverly, Massachusetts, and Navy history expert Rich Pescatore on the real origins of the US Navy.  Vietnam Veteran Walt Brinker, USMA Class of 1966, tells us why his men in the 173rd Airborne and 1st Cav in 1966-1967 never used bandoliers for the M-60 ammunition. Ralph and Eric Grabowsky give us an update on their research on "Little John," the largest calibre gun in history. The origins of the United States Navy lie in the siege of Boston and the city's occupation by the British Army in 1775. After the Battle of Bunker Hill, when the Continentals sensed British vulnerability, newly commissioned General George Washington called for a ship that could patrol off shore to prevent the British from being resupplied by sea. Naval support could also obtain resources for the Continental forces. The Continental Congress wasn't so keen on a Navy. Ships were expensive and the British fleet's power was overwhelming.  Washington, then, acted on his own. On September 2, 1775, he ordered the schooner Hannah be commissioned as the first authorized patriot warship. The Hannah was a small vessel, crewed by civilians and captained by Nicholas Broughton, tasked with raiding British supply ships off the coast of Massachusetts. While not an official navy vessel, the Hannah set an important precedent by showing that naval warfare could complement the land-based efforts of the Continental Army. Following the success of the Hannah, Washington commissioned other vessels to harass British ships, but these early efforts were ad hoc, operating under the authority of the Continental Army rather than an organized navy.  On October 13, 1775, the Continental Congress took decisive action, officially authorizing the creation of a Continental Navy. The Congress passed a resolution to outfit two ships, tasked with intercepting British supply vessels. This date is now celebrated as the official birthday of the United States Navy. Over the next several months, the Continental Congress expanded the fleet, commissioning additional ships and appointing officers to lead them.  Its early successes included raids on British ships and supply lines, which weakened the enemy's war effort and boosted American morale. Constantly underfunded and undersupplied, the Continental Navy nonetheless helped secure international alliances, especially with France, which joined the war on the side of the American colonies in 1778. With the Treaty of Paris signed in 1783, formally ending the American Revolution, the newly independent United States dismantled the Navy, and its ships were sold off. Without a navy, the U.S. government had little means of protecting its commercial interests abroad, and the constant harassment of American ships by pirates and European powers underscored the need for a naval revival. Congress passed the Naval Act of 1794, which authorized the construction of six frigates, marking the formal revival of the U.S. Navy. These ships, which would become known as the "Original Six Frigates", included the USS Constitution, USS United States, USS President, USS Congress, USS Chesapeake, and USS Constellation. We're grateful to UPMC for Life and Tobacco Free Adagio Health for sponsoring this event!

Metal in the filter, starting problems, and mechanics who don't understand the definition of installed are on tap this episode. Email podcasts@aopa.org for a chance to be on the show. Join the world's largest aviation community at aopa.org/join Full episode notes below: Roger has a Mooney M20J that has developed an odd starting problem. Over the past few years he's had to increase the time the boost pump runs before the engine will start, and even then it sometimes doesn't fully catch. Paul suggested that the bellows inside the flow divider could be bad, which would cause it to perform poorly. Mike also suggested that the idle mixture could be set incorrectly as well. An rpm rise test can verify if it's correct. Craig has a 182 that he uses to go back and forth to his fishing cabin. He took the back seat out and he wants to add in some plywood in the back to protect the structure. He isn't planning to affix it in any way other than Velcro. His A&P told him to avoid doing this because the wood isn't burn certified. But without installing the plywood with a structural fastener, it's not technically installed and he can carry it however he likes. Malcolm has an 182 with the Texas Skyways conversion, and it hangs up during the starting sequence. They've replaced the starter, bought a battery tender to check the battery, and more. It's so obvious what the problem is, Mike says. This is a classic and common problem among Continentals. The starter drive adapter is bad, the hosts say. He can have the part repaired and it should no longer be a problem. Aaron found a significant amount of metal in the oil filter on his Piper Cherokee 140. There was aluminum in every pleat of his filter after only about 15 hours. They were thin, but large flakes. The pieces were too big to even show up in an analysis. No other metals were elevated in the analysis. Colleen suggests that it could be from the oil pump impeller, but since he only found oil in the filter, and not in the sump itself, he thinks it's coming from the pistons. Mike said piston pins migrate back the other direction, which often means it's self-resolving. As it turns out Aaron knew the answer. He removed all four cydlinders, and two of the piston pins were severely worn. They also found ring chatter. Mike said Superior has had issues with ring chatter and they've tracked down the manufacturing problem and replacing the cylinders under warranty. 

Ahoy, fellow Glimmers! Get ready to set sail on the Azurite Sea as we dive into the latest treasure trove of Lorcana! We're breaking down the most epic new cards and all the juicy details straight from the LoreCast—don't miss it!0:00 Welcome 0:21 Last Time on CofLorcana 0:44 LoreCast1:27 Azurite Sea!3:17 Product12:48 Rescue Ranger New Cards17:56 Big Hero 6 New Cards!!2631 Pirate Themed Cards 30:38 Sisu and Teapot32:06 New Stitch themed cards34:33 New Legendary Cards39:58 D23 pirate cards43:17 Pack Rush Official Rules48:52 Continentals and worlds51:29 Overall impressionsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Tom and Tom discuss Cams upcoming bachelor party plans, great movies to watch, and Lincoln Continentals SPONSORS@pioneer_fitwww.generalleathercraft.com@subzeroplunge www.subzeroplunge.comCode STUPID saves you 250$ Show Hosts@tomkal1@huckfinnbarbell@hfbapparel@officialbebetterbrand@smartstrengthofficialletsgetstupidpodcast@gmail.comwww.huckfinnbarbell.comwww.bebetterofficial.com 

In the summer and fall of 1782, two expeditions of Butler's Rangers, supported by large numbers of Indian warriors attack American outposts in Kentucky and West Virginia. Daniel Boone in Kentucky and Ebenezer Zane in West Virginia fight desperately to fend off these attacks. George Rogers Clark leads a counter offensive into the Ohio territory. He expects support from the Continentals at for Pitt, but that support never arrives. Blog https://blog.AmRevPodcast.com includes a complete transcript, as well as pictures, and links related to this week's episode. Book Recommendation of the Week: After Yorktown: The Final Struggle for American Independence, by Don Glickstein. Online Recommendation of the Week:  Betty Zane, by Zane Grey: https://archive.org/details/bettyzane00greyrich Join American Revolution Podcast on Reddit: https://www.reddit.com/r/AmRevPodcast Ask your American Revolution Podcast questions on Quora: https://amrevpod.quora.com Join the Facebook group, American Revolution Podcast: https://www.facebook.com/groups/132651894048271 Follow the podcast on Twitter @AmRevPodcast Join the podcast mail list: https://mailchi.mp/d3445a9cd244/american-revolution-podcast-by-michael-troy  ARP T-shirts and other merch: http://tee.pub/lic/AmRevPodcast Support this podcast on Patreon https://www.patreon.com/AmRevPodcast or via PayPal http://paypal.me/AmRevPodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Lincoln Addict Podcast… brought to you by  Devious Customs Follow @DeviousCustoms via Instagram for more info on their amazing products including suspension, exhaust, etc. for the 60s era Lincolns! DeviousCustoms.com to order! Colorado Custom Wheels Follow @TheColoradoCustom via Instagram for more info! They produce the BEST Lincoln replica wheels in the galaxy!  ColoradoCustom.com for more!  Steel Rubber Follow @SteeleRubber via Instagram or SteeleRubber.com. BEST weatherstripping in the business!  Griot's Garage Follow @GriotsGarage via Instagram or GriotsGarage.com. BEST cleaning products in the business!  Ep. 39 Details ODB covers the main topic of Ford's Magic Skyway at the 1964/1965 World's Fair History behind the World's Fair Location Walt Disney and Bob Gurr's collab with Ford to make the Magic Skway work + so much MORE!  Bumper music in this episode includes "Welcome To L.A." by Warren G. LA = Lincoln Addict (this song was never officially released and came out after Jermaine Dupri produced "Welcome To Atlanta."    Thanks to the Lincoln Addicts for the continued support. #LincolnAddictPodcast PEACE!   RIP Mark “Papa Smurf” Ballard!

This week we talk about the craziness that ensued at Cocodona 250 after our last episode. We talk about Tillamook Burn Trail Run and the power couple who won the 50 miler there. We dive into Hellbender 100 and talk about how it is well on it's way to becoming a premier 100 miler. There was a great pic of the aurora borealis at a race in Wales. We discuss Ginger Runner's cool looking race Tiger Claw 50K. Uber competitive Transvulcania was last weekend. Quicksilver 100K, Ice Age Trail 50 and Thunderbunny 50K also took place. We have a LazCon update and talk about two other trans continental runs. Bronco Billy's Instagram post: https://www.instagram.com/p/C67jdXrJDKo/?hl=en Cool pic from Ultra Snowdonia: https://s3.amazonaws.com/www.irunfar.com/wp-content/uploads/2024/05/13083939/2024-Ultra-Trail-Snowdonia-by-UTMB.jpg RUFA Virtual Challenge on Strava: https://www.strava.com/challenges/4230?invite=true&_branch_match_id=1260026083936477117&_branch_referrer=H4sIAAAAAAAAA8soKSkottLXLy4pSixL1EssKNDLyczL1jcI86syMkuKyvVKAgCeyIX8IwAAAA%3D%3D Socials Instagram: https://www.instagram.com/ultrarunning_news_network/ Facebook: https://www.facebook.com/profile.php?id=61555338668719 X (Twitter): https://twitter.com/ultrarunnews Threads: https://www.threads.net/@ultrarunning_news_network Email: ultrarunning.news.network@gmail.com

As 1781 comes to an end, South Carolina militia continue their back and fort attacks. General Greene uses the Continentals to for the British to abandon John's Island, just south of Charleston. Blog https://blog.AmRevPodcast.com includes a complete transcript, as well as pictures, and links related to this week's episode. Book Recommendation of the Week: The Partisan War: The South Carolina Campaign of 1780-1782, by Russell F. Weigley (borrow on archive.org).  Online Recommendation of the Week: William Brereton: https://www.17thregiment.com/archive/captain-william-brereton-and-the-grenadier-company-officers-of-the-17th-part-2 Join American Revolution Podcast on Reddit: https://www.reddit.com/r/AmRevPodcast Ask your American Revolution Podcast questions on Quora: https://amrevpod.quora.com Join the Facebook group, American Revolution Podcast: https://www.facebook.com/groups/132651894048271 Follow the podcast on Twitter @AmRevPodcast Join the podcast mail list: https://mailchi.mp/d3445a9cd244/american-revolution-podcast-by-michael-troy  ARP T-shirts and other merch: http://tee.pub/lic/AmRevPodcast Support this podcast on Patreon https://www.patreon.com/AmRevPodcast or via PayPal http://paypal.me/AmRevPodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Need tires? Pick up a set of Continentals from MartiniWorks!: https://bit.ly/3QovlwA Today we are at Virginia international Raceway with the @DriverMotorsports team! We sit down and talk about the best cars to import, things to look out for when importing, and even talk with the owner Chris about his old runs with his Toyota Supra Vs muscle cars. #cars #jdm #jdmcars Want to support? Subscribing would help a ton

Mod Your Car at https://martiniworks.com/ There are A LOT of great JDM cars out there.. But what are our favorites?! Today Alex, Dakota, and Gels sit down to talk about some of the JDM cars you might just be missing out on. Whats your favorite car that you'd love to import? Comment below! #cars #JDM #car #podcast #automotive Need tires? Pick up a set of Continentals from MartiniWorks!: https://bit.ly/3QovlwA Want to support? Subscribing would help a ton

Mod Your Car at https://martiniworks.com/ There is a saying out there that all racecars can be show cars, but not all show cars can be racecars. So are racecars better? Today Alex, Dakota, and Gels sit down to cover what they're doing on their cars, discuss show vs track, and see whats new in the automotive world. #cars #carshow #racecar #podcast #automotive Need tires? Pick up a set of Continentals from MartiniWorks!: https://bit.ly/3QovlwA Want to support? Subscribing would help a ton

Want to support? Our website is the best way. Mod your car at MartiniWorks -https://martiniworks.com/ This is a strange comparison.. but BMW vs Honda?! Things are changing and we're here for it. Listen in as Dakota, Gels, and Alex dive into what's going on in their automotive life..and maybe some random bits thrown in too. #cars #bmw #honda WE FINALLY DID ITTTTTTT!!!!!! We're in our shop, and it couldn't feel better. #cars #podcast #automotive Need tires? Pick up a set of Continentals from MartiniWorks!: https://bit.ly/3QovlwA Want to support? Subscribing would help a ton

Want to support? Our website is the best way. Mod your car at MartiniWorks -https://martiniworks.com/ BAGS VS STATIC! A debate as old as time. Today we talk about different suspension options and the truth behind each. What are you choosing? Comment below! WE FINALLY DID ITTTTTTT!!!!!! We're in our shop, and it couldn't feel better. #cars #podcast #automotive Need tires? Pick up a set of Continentals from MartiniWorks!: https://bit.ly/3QovlwA Want to support? Subscribing would help a ton

“I reject your proposals … and shall defend myself to the last extremity.” This Is the story of the Revolution's new hot spot: the South. After failing to crush the rebellion in the northern or middle states, British leaders hope to score some quick victories in the South, which they believe to be more loyal. Drawing support from loyalist and enslaved Americans, this new “Southern Strategy” enjoys a strong start as Savannah falls in late 1778. Other events around the world are changing the war too. A French fleet has arrived in the Americas. Meanwhile, Spain isn't allying with the United States but it is allying with France (it's complicated). Battles are raging everywhere from Gibraltar, to the Caribbean, to the Atlantic, and the Frontier. But as messy and global as the war is becoming, the Southern Strategy continues forward. In the South, Polish Count Casimir Pulaski gives his life for the Patriot Cause, and soon, the Continentals will suffer their greatest setback of the entire war as the British lay siege to Charleston, South Carolina. The Americans will also mourn a slaughter near the Carolinian border at the Waxhaws. Learn more about your ad choices. Visit megaphone.fm/adchoices

Want to support? Our website is the best way. Mod your car at MartiniWorks -https://martiniworks.com/ WE FINALLY DID ITTTTTTT!!!!!! We're in our shop, and it couldn't feel better. #cars #podcast #automotive Need tires? Pick up a set of Continentals from MartiniWorks!: https://bit.ly/3QovlwA Want to support? Subscribing would help a ton

“Stand fast, my boys, and receive your enemy!” This is the story of a miserable winter at Valley Forge (1777-78), a possible conspiracy, and George Washington's last major battle before Yorktown. Continental Commander George Washington is loved by many in Congress and the Army. But he has his enemies too. Some see a path to pushing George out of leadership–but will this so-called “Conway Cabal,” which happens while Continental soldiers are freezing and starving to death, actually work? Either way, it will inspire one of the two duels we'll hear about. Speaking of the Continentals, they have to learn to soldier properly if they're going to win this war. Can a recently arrived, husky Prussian with a penchant for swearing make the difference? Welcome to America, Baron von Steuben. They'll use these new skills in the sweltering summer-time Battle of Monmouth. ___ 3 Ways to dive deeper into History That Doesn't Suck Join our growing Facebook community Get our monthly newsletter, The HTDS Gazette Become part of the HTDS Patreon family Learn more about your ad choices. Visit megaphone.fm/adchoices

Lincoln Addict Podcast… brought to you by  Devious Customs Follow @DeviousCustoms via Instagram for more info on their amazing products including suspension, exhaust, etc. for the 60s era Lincolns! DeviousCustoms.com to order! Colorado Custom Wheels Follow @TheColoradoCustom via Instagram for more info! They produce the BEST Lincoln replica wheels in the galaxy!  ColoradoCustom.com for more!  Steel Rubber Follow @SteeleRubber via Instagram or SteeleRubber.com. BEST weatherstripping in the business!  Griot's Garage Follow @GriotsGarage via Instagram or GriotsGarage.com. BEST cleaning products in the business!  Ep. 36 Details - Goldfinger Film & Lincoln Continentals  ODB the "Lincoln Addict” provides Lincoln Life updates  ODB covers the main topic - 1964 007 film 'Goldfinger' Film details Car crushing scene details Miami filming location of the car crushing scene including the anniversary of the filming in FL + So much MORE!  Bumper music in this episode includes "Welcome To L.A." by Warren G. LA = Lincoln Addict (this song was never officially released and came out after Jermaine Dupri produced "Welcome To Atlanta."    Thanks to the Lincoln Addicts for the continued support. #LincolnAddictPodcast PEACE!   Episode artwork compiled by ODB from various resources including: Goldfinger   RIP Mark “Papa Smurf” Ballard!

Disney Lorcana announced an organized play architecture for 2024 and beyond! Regionals, which feed into Continentals, which feed into Worlds will be the hallmark of our organized play life from Into the Inklands onward. Jordan and Dan also discuss spoilers, tournament results, and do a social media hell hall that feels like deja vu! We end with a great listener question.0:00 Tournament Announcements & Sets14:58 New Products23:57 Tournaments & Results36:17 Spoilers50:34 hell Hall58:47 Listener QuestionsOrganized play announcementSCG Con websiteIllumineer Trove faceliftDecklistsInto the Inklands SpoilersJoin our Discord hereDan's TwitterDan's PatreonJordan's Opossum PapersPod TwitterPod InstagramQuestions and comments can be sent to @questfor20 on Twitter, dropped in the Discord, or emailed to questfor20@gmail.com!Thanks to More Than Never for the intro music. Check them out here

Emma Sauve of Mobsteel and Detroit Steel Wheel brings the energy as she joins host Dan Davis and Josh Welton on this episode of The Fabricator Podcast, in partnership with Miller Electric at SEMA 2023 in Las Vegas. Emma talks about the history of Mobsteel and how its focus on customizing Lincoln Continentals from the 1960s led to the creation of Detroit Steel Wheel in 2012, which specializes in fabricating and designing custom wheels for big-body styled cars. Emma also talks about her job as the digital creative force behind both efforts and her love of telling the stories of customers in the aftermarket industry. She also discusses the importance of creating American-made products in Detroit, her favorite Mobsteel/Detroit Steel Wheel builds (including the 1966 Motorcity Vice Lincoln Continental), and working with business co-founders Pam and Adam Genei and lead fabricator Steve Ryan. At the top, Emma joins Dan and Josh to talk about the SEMA afterparty at the Sosa Metalworks shop, lowriders, and a metal sculpture of a skull by Luis Varela-Rico. Email us at podcast@fmamfg.org with any comments, questions, or suggestions.

George McGinnis, one of the best basketball players to come from Indiana, died Thursday at age 73. Before his college and NBA careers, McGinnis was a basketball star at Washington High School, where he helped the Continentals to an undefeated season and 1969 state championship. Preps Insider Kyle Neddenriep caught up with McGinnis' high school teammate and close friend Jim Arnold to talk about McGinnis and his memories of the man on and off the court.

In late summer 1781, General Greene rests his Continentals after hard months of fighting. General Thomas Sumter, aided by Colonels Francis Marion and Light Horse Harry Lee, attack the British at Quinby's Bridge and Shubrick's Plantation. Marion goes on to another attack near Parker's Ferry. Meanwhile, General Greene advances efforts to reestablish the patriot government in Georgia. Blog https://blog.AmRevPodcast.com includes a complete transcript, as well as pictures, and links related to this week's episode. Book Recommendation of the Week: The Road to Charleston: Nathanael Greene and the American Revolution, by John Buchanan Online Recommendation of the Week: Memoirs of the War in the Southern Department of the United States, by Henry Lee: https://archive.org/details/memoirsofwarinso00leehe Join American Revolution Podcast on Reddit: https://www.reddit.com/r/AmRevPodcast Ask your American Revolution Podcast questions on Quora: https://amrevpod.quora.com Join the Facebook group, American Revolution Podcast: https://www.facebook.com/groups/132651894048271 Follow the podcast on Twitter @AmRevPodcast Join the podcast mail list: https://mailchi.mp/d3445a9cd244/american-revolution-podcast-by-michael-troy  ARP T-shirts and other merch: http://tee.pub/lic/AmRevPodcast Support this podcast on Patreon https://www.patreon.com/AmRevPodcast or via PayPal http://paypal.me/AmRevPodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Tory raids from Canada into New York continue as the Continentals are unable to spare any soldiers. At Governor Clinton's request, Continental Colonel Marinus Willett takes command of the New York Militia. Over the summer and fall of 1781, he attacks raiding parties at New Dorlach, Johnstown, and elsewhere. Blog https://blog.AmRevPodcast.com includes a complete transcript, as well as pictures, and links related to this week's episode. Book Recommendation of the Week: Marinus Willett, Saviour of The Mohawk Valley, by AJ Berry and James F. Morrison.  Online Recommendation of the Week: Greene, Nelson The Story of Old Fort Plain and the Middle Mohawk Valley: https://archive.org/details/storyofoldfortpl00greeuoft Join American Revolution Podcast on Reddit: https://www.reddit.com/r/AmRevPodcast Ask your American Revolution Podcast questions on Quora: https://amrevpod.quora.com Join the Facebook group, American Revolution Podcast: https://www.facebook.com/groups/132651894048271 Follow the podcast on Twitter @AmRevPodcast Join the podcast mail list: https://mailchi.mp/d3445a9cd244/american-revolution-podcast-by-michael-troy  ARP T-shirts and other merch: http://tee.pub/lic/AmRevPodcast Support this podcast on Patreon https://www.patreon.com/AmRevPodcast or via PayPal http://paypal.me/AmRevPodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Prop hubs that were nearly scrapped, how to properly measure the oil level, semi-synthetic oils, and tachs that don't agree are on tap for this episode. Email podcasts@aopa.org for a chance to get on the show. Join the world's largest aviation community today at www.aopa.org/join Full notes below: Bill has a Cessna 182 with a prop that hadn't been overhauled for about 7 years and 600 hours. This past March he had to send the engine off for some work, and he decided to send the prop off at the same time. They told him the hub was close to being trashed because of corrosion. He's worried if he had gone another year the prop would have been scrapped, and he's wondering what he can do to maintain the hub. Paul said he regularly sends out props that are 12 years old and he's never had a hub rejected, but Colleen said her hub was rejected for corrosion. Mike thinks prop shops are zero tolerance outfits. He said just because they find something wrong with it doesn't mean it was unsafe. Prop failures just don't seem to be a problem, the hosts agree. The bottom line: don't send out your prop unless you absolutely have to. Tate is wondering how to accurately measure his engine's oil level. He suspects that we add oil more often than is necessary because many of us check the level after flying, and seeing it lower, think that we've burned oil during the flight. Paul recommends picking a consistent interval to determine oil consumption, ideally at least 24 hours after shutting down. He said if you check the oil level right after shutting down and it says 6, you probably have 7 or 7.5 quarts. Mike said the only way to check consumption accurately is to check how many quarts you add over the course of an oil change interval because that's averaged over many more hours. Rex is trying to avoid sludge in his engine and knows synthetic oils cause problems, but he's curious about semi-synthetic oils. Mike said it's more of a concern in Continentals than Lycomings. He recommends if Rex wants to do that he stick to unleaded fuel. He is considering running 50 percent mineral oil to compensate for the problem of keeping the solids in suspension. The original tachometer and the tach in Pete's JPI run at different speeds. After many years of operation there's now a big difference in time between the JPI and the mechanical tach. He wants to know which time to use for maintenance and aircraft valuation. Always use whatever time runs the slowest, Mike says. 

After withdrawing from Guilford Courthouse, General Cornwallis moves to Wilmington, NC. Rather than chasing Greene's Continentals back south, the British opt to move north into Virginia. They take Richmond and raid Monticello and Charlottesville. Blog https://blog.AmRevPodcast.com includes a complete transcript, as well as pictures, and links related to this week's episode. Book Recommendation of the Week: Flight from Monticello: Thomas Jefferson at War, by Michael Kranish. Online Recommendation of the Week: Thomas Jefferson Encyclopedia: https://www.monticello.org/research-education/thomas-jefferson-encyclopedia Join American Revolution Podcast on Reddit: https://www.reddit.com/r/AmRevPodcast Ask your American Revolution Podcast questions on Quora: https://amrevpod.quora.com Join the Facebook group, American Revolution Podcast: https://www.facebook.com/groups/132651894048271 Follow the podcast on Twitter @AmRevPodcast Join the podcast mail list: https://mailchi.mp/d3445a9cd244/american-revolution-podcast-by-michael-troy  ARP T-shirts and other merch: http://tee.pub/lic/AmRevPodcast Support this podcast on Patreon https://www.patreon.com/AmRevPodcast or via PayPal http://paypal.me/AmRevPodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

In May, 1781, after the British army under General Cornwallis retreats to the coast of North Carolina. General Greene's Continentals, supported by local militia attack British outposts in South Carolina at Fort Watson and Fort Motte, and due battle with the British under Lord Rawdon at Hobkirk Hill. Blog https://blog.AmRevPodcast.com includes a complete transcript, as well as pictures, and links related to this week's episode. Book Recommendation of the Week: William Washington, American Light Dragoon: A Continental Cavalry Leader in the War of Independence, by Daniel Murphy. Online Recommendation of the Week: Colonel John Gunby of the Maryland line: being some account of his contribution to American liberty, by A.A. Gunby: https://archive.org/details/coloneljohngunby00gunb Join American Revolution Podcast on Reddit: https://www.reddit.com/r/AmRevPodcast Ask your American Revolution Podcast questions on Quora: https://amrevpod.quora.com Join the Facebook group, American Revolution Podcast: https://www.facebook.com/groups/132651894048271 Follow the podcast on Twitter @AmRevPodcast Join the podcast mail list: https://mailchi.mp/d3445a9cd244/american-revolution-podcast-by-michael-troy  ARP T-shirts and other merch: http://tee.pub/lic/AmRevPodcast Support this podcast on Patreon https://www.patreon.com/AmRevPodcast or via PayPal http://paypal.me/AmRevPodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

In May, 1781, after the British army under General Cornwallis retreats to the coast of North Carolina.  General Greene's Continentals, supported by local militia attack British outposts in South Carolina at Fort Watson and Fort Motte, and due battle with the British under Lord Rawdon at Hobkirk Hill. Blog https://blog.AmRevPodcast.com includes a complete transcript, as well as pictures, and links related to this week's episode. Book Recommendation of the Week: William Washington, American Light Dragoon: A Continental Cavalry Leader in the War of Independence, by Daniel Murphy. Online Recommendation of the Week: Colonel John Gunby of the Maryland line: being some account of his contribution to American liberty, by A.A. Gunby: https://archive.org/details/coloneljohngunby00gunb Join American Revolution Podcast on Reddit: https://www.reddit.com/r/AmRevPodcast Ask your American Revolution Podcast questions on Quora: https://amrevpod.quora.com Join the Facebook group, American Revolution Podcast: https://www.facebook.com/groups/132651894048271 Follow the podcast on Twitter @AmRevPodcast Join the podcast mail list: https://mailchi.mp/d3445a9cd244/american-revolution-podcast-by-michael-troy  ARP T-shirts and other merch: http://tee.pub/lic/AmRevPodcast Support this podcast on Patreon https://www.patreon.com/AmRevPodcast or via PayPal http://paypal.me/AmRevPodcast

Did Paul give us the definitive guide on how to hot start an airplane? Try his technique and see what you think. Also, unnecessary cylinder removals, a faulty tach, and a letter writer and guest who question if burping is safe. Send your questions to podcasts@aopa.org for a chance to be on the show. Full notes below: Walt has a Seneca and has had to replace three cylinders in the last five years. He's concerned that his mechanic caused the problem after hammering on his exhaust to remove it. The hosts don't think the incidents are related. While it's not usually a good idea to hammer on the exhaust, they think it could be useful and safe in limited circumstances. Mike hones in on the reason for the cylinder replacement, and encourages Walt to be more suspect of the need to replace the cylinders in the future. Tim thinks his tach is off. He has an alternative device that also reads rpm that shows a different value, so he's wondering what he can do to adjust or fix his tach. Paul said the tach is technically adjustable, but being an instrument, it's not something an owner or even most mechanics can do. Unfortunately the hosts agree it's time to replace it. Luke operates a few Extra aerobatic airplanes, and he constantly struggles with hot starts. He has been resorting to blowing large fans up through the cowling, but that's not always practical. In a Continental it's recommended to run the fuel pump for about two minutes to purge the hot, boiled off fuel and flush the system with cold fuel. Paul said his technique works on Lycomings and Continentals. Start with everything forward with the pump on. Then listen, and as soon as the flow stabilizes and sounds like it's pumping liquid, you're done. Mixture and throttle back, but keep the pump on. Crack the throttle, engage the starter, and then advance the mixture control over a few seconds. Thomas has a Mooney and he tried the burping procedure from a recent episode. But the next flight his attitude indicator didn't come online, and he heard that turning the prop backward can ruin the vacuum pump. The hosts have all heard this concern as well, but Mike's never heard a confirmed case that turning the prop backward causing a failure. Regardless, this seems to be an issue with older styles of pumps. 

In early 1781, the British army under General Cornwallis chases the Continentals under General Greene across North Carolina toward the Dan River and Virginia. Blog https://blog.AmRevPodcast.com includes a complete transcript, as well as pictures, and links related to this week's episode. Book Recommendation of the Week: To the End of the World: Nathanael Greene, Charles Cornwallis, and the Race to the Dan,  by Andrew Waters. Online Recommendation of the Week: Peterson, Bruce L. “The Importance of a Small Skirmish During the Race to the Dan” Journal of the American Revolution, Sept. 1, 2021. https://allthingsliberty.com/2021/09/the-importance-of-a-small-skirmish-during-the-race-to-the-dan Join American Revolution Podcast on Reddit: https://www.reddit.com/r/AmRevPodcast Ask your American Revolution Podcast questions on Quora: https://amrevpod.quora.com Join the Facebook group, American Revolution Podcast: https://www.facebook.com/groups/132651894048271 Follow the podcast on Twitter @AmRevPodcast Join the podcast mail list: https://mailchi.mp/d3445a9cd244/american-revolution-podcast-by-michael-troy  ARP T-shirts and other merch: http://tee.pub/lic/AmRevPodcast Support this podcast on Patreon https://www.patreon.com/AmRevPodcast or via PayPal http://paypal.me/AmRevPodcast

American Major General Charles Lee had picked a great place to hide.Like big-city mobsters two centuries later, George Washington's second in command had discovered that New Jersey was a great place to lay low if someone was after you.Charles had a lot of people after him in December 1776. First and foremost was the British Army, commanded in that area by Lord Charles Cornwallis. After a string of British successes against the Continentals in New York, it wasn't George Washington the English high command was afraid of.It was Charles Lee.So the British send some dragoons to nab the general and take him prisoner. Which they do. Which makes quite a lot of Americans sad. And it inspires one American in particular to find a British officer of high enough rank to trade for General Lee. As luck would have it, he finds one.Support our sponsor - The Valley Forge Project - https://valleyforgeproject.orgHelp keep the trainwrecks on the tracks- https://www.patreon.com/historystrainwrecks Subscribe to History's TrainwrecksSupport this show http://supporter.acast.com/historys-trainwrecks. Help keep trainwrecks on the tracks. Become a supporter at https://plus.acast.com/s/historys-trainwrecks. Hosted on Acast. See acast.com/privacy for more information.

British Colonel Banastre Tarleton Chases down General Morgan's force of Continentals and Militia.  Tarleton traps the Americans who cannot cross the river at Cowpens, South Carolina.  The armies clash in a short but decisive battle. Blog https://blog.AmRevPodcast.com includes a complete transcript, as well as pictures, and links related to this week's episode. Book Recommendation of the Week: A Devil of a Whipping: The Battle of Cowpens, by Lawrence Babits. (borrow on archive.org).  Online Recommendation of the Week: Cowpens Pamphlet by Thomas Fleming (NPS): https://archive.org/details/cowpensdownright0000flem Join American Revolution Podcast on Reddit: https://www.reddit.com/r/AmRevPodcast Ask your American Revolution Podcast questions on Quora: https://amrevpod.quora.com Join the Facebook group, American Revolution Podcast: https://www.facebook.com/groups/132651894048271 Follow the podcast on Twitter @AmRevPodcast Join the podcast mail list: https://mailchi.mp/d3445a9cd244/american-revolution-podcast-by-michael-troy  ARP T-shirts and other merch: http://tee.pub/lic/AmRevPodcast Support this podcast on Patreon https://www.patreon.com/AmRevPodcast or via PayPal http://paypal.me/AmRevPodcast

After Benedict Arnold's treason is exposed in the fall of 1780, The Continentals must determine the extent of the conspiracy, and deal with the captured British Prisoner, John André, Adjutant General of the British Army. Blog https://blog.AmRevPodcast.com includes a complete transcript, as well as pictures, and links related to this week's episode. Book Recommendation of the Week:  The Life of John André: The Redcoat Who Turned Benedict Arnold, by D.A.B. Arnold Online Recommendation of the Week: Podcast Itnerview with D.A.B. Arnold on execution of John André: https://www.mountvernon.org/library/digitalhistory/podcast/executing-major-john-andre-with-dab-ronald Join American Revolution Podcast on Reddit: https://www.reddit.com/r/AmRevPodcast Ask your American Revolution Podcast questions on Quora: https://amrevpod.quora.com Join the Facebook group, American Revolution Podcast: https://www.facebook.com/groups/132651894048271 Follow the podcast on Twitter @AmRevPodcast Join the podcast mail list: https://mailchi.mp/d3445a9cd244/american-revolution-podcast-by-michael-troy  ARP T-shirts and other merch: http://tee.pub/lic/AmRevPodcast Support this podcast on Patreon https://www.patreon.com/AmRevPodcast or via PayPal http://paypal.me/AmRevPodcast

Episode 152 of A History of Rock Music in Five Hundred Songs looks at “For What It's Worth”, and the short but eventful career of Buffalo Springfield. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "By the Time I Get to Phoenix" by Glen Campbell. 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 As usual, there's a Mixcloud mix containing all the songs excerpted in the episode. This four-CD box set is the definitive collection of Buffalo Springfield's work, while if you want the mono version of the second album, the stereo version of the first, and the final album as released, but no demos or outtakes, you want this more recent box set. For What It's Worth: The Story of Buffalo Springfield by Richey Furay and John Einarson is obviously Furay's version of the story, but all the more interesting for that. For information on Steve Stills' early life I used Stephen Stills: Change Partners by David Roberts.  Information on both Stills and Young comes from Crosby, Stills, Nash, and Young by David Browne.  Jimmy McDonough's Shakey is the definitive biography of Neil Young, while Young's Waging Heavy Peace is his autobiography. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before we begin -- this episode deals with various disabilities. In particular, there are descriptions of epileptic seizures that come from non-medically-trained witnesses, many of whom took ableist attitudes towards the seizures. I don't know enough about epilepsy to know how accurate their descriptions and perceptions are, and I apologise if that means that by repeating some of their statements, I am inadvertently passing on myths about the condition. When I talk about this, I am talking about the after-the-fact recollections of musicians, none of them medically trained and many of them in altered states of consciousness, about events that had happened decades earlier. Please do not take anything said in a podcast about music history as being the last word on the causes or effects of epileptic seizures, rather than how those musicians remember them. Anyway, on with the show. One of the things you notice if you write about protest songs is that a lot of the time, the songs that people talk about as being important or impactful have aged very poorly. Even great songwriters like Bob Dylan or John Lennon, when writing material about the political events of the time, would write material they would later acknowledge was far from their best. Too often a song will be about a truly important event, and be powered by a real sense of outrage at injustice, but it will be overly specific, and then as soon as the immediate issue is no longer topical, the song is at best a curio. For example, the sentencing of the poet and rock band manager John Sinclair to ten years in prison for giving two joints to an undercover police officer was hugely controversial in the early seventies, but by the time John Lennon's song about it was released, Sinclair had been freed by the Supreme Court, and very, very few people would use the song as an example of why Lennon's songwriting still has lasting value: [Excerpt: John Lennon, "John Sinclair"] But there are exceptions, and those tend to be songs where rather than talking about specific headlines, the song is about the emotion that current events have caused. Ninety years on from its first success, for example, "Brother, Can You Spare a Dime?" still has resonance, because there are still people who are put out of work through no fault of their own, and even those of us who are lucky enough to be financially comfortable have the fear that all too soon it may end, and we may end up like Al begging on the streets: [Excerpt: Rudy Vallee, "Brother Can You Spare a Dime?"] And because of that emotional connection, sometimes the very best protest songs can take on new lives and new meanings, and connect with the way people feel about totally unrelated subjects. Take Buffalo Springfield's one hit. The actual subject of the song couldn't be any more trivial in the grand scheme of things -- a change in zoning regulations around the Sunset Strip that meant people under twenty-one couldn't go to the clubs after 10PM, and the subsequent reaction to that -- but because rather than talking about the specific incident, Steve Stills instead talked about the emotions that it called up, and just noted the fleeting images that he was left with, the song became adopted as an anthem by soldiers in Vietnam. Sometimes what a song says is nowhere near as important as how it says it. [Excerpt: Buffalo Springfield, "For What It's Worth"] Steve Stills seems almost to have been destined to be a musician, although the instrument he started on, the drums, was not the one for which he would become best known. According to Stills, though, he always had an aptitude for rhythm, to the extent that he learned to tapdance almost as soon as he had learned to walk. He started on drums aged eight or nine, after somebody gave him a set of drumsticks. After his parents got sick of him damaging the furniture by playing on every available surface, an actual drum kit followed, and that became his principal instrument, even after he learned to play the guitar at military school, as his roommate owned one. As a teenager, Stills developed an idiosyncratic taste in music, helped by the record collection of his friend Michael Garcia. He didn't particularly like most of the pop music of the time, but he was a big fan of pre-war country music, Motown, girl-group music -- he especially liked the Shirelles -- and Chess blues. He was also especially enamoured of the music of Jimmy Reed, a passion he would later share with his future bandmate Neil Young: [Excerpt: Jimmy Reed, "Baby, What You Want Me To Do?"] In his early teens, he became the drummer for a band called the Radars, and while he was drumming he studied their lead guitarist, Chuck Schwin.  He said later "There was a whole little bunch of us who were into kind of a combination of all the blues guys and others including Chet Atkins, Dick Dale, and Hank Marvin: a very weird cross-section of far-out guitar players." Stills taught himself to play like those guitarists, and in particular he taught himself how to emulate Atkins' Travis-picking style, and became remarkably proficient at it. There exists a recording of him, aged sixteen, singing one of his own songs and playing finger-picked guitar, and while the song is not exactly the strongest thing I've ever heard lyrically, it's clearly the work of someone who is already a confident performer: [Excerpt: Stephen Stills, "Travellin'"] But the main reason he switched to becoming a guitarist wasn't because of his admiration for Chet Atkins or Hank Marvin, but because he started driving and discovered that if you have to load a drum kit into your car and then drive it to rehearsals and gigs you either end up bashing up your car or bashing up the drum kit. As this is not a problem with guitars, Stills decided that he'd move on from the Radars, and join a band named the Continentals as their rhythm guitarist, playing with lead guitarist Don Felder. Stills was only in the Continentals for a few months though, before being replaced by another guitarist, Bernie Leadon, and in general Stills' whole early life is one of being uprooted and moved around. His father had jobs in several different countries, and while for the majority of his time Stills was in the southern US, he also ended up spending time in Costa Rica -- and staying there as a teenager even as the rest of his family moved to El Salvador. Eventually, aged eighteen, he moved to New Orleans, where he formed a folk duo with a friend, Chris Sarns. The two had very different tastes in folk music -- Stills preferred Dylan-style singer-songwriters, while Sarns liked the clean sound of the Kingston Trio -- but they played together for several months before moving to Greenwich Village, where they performed together and separately. They were latecomers to the scene, which had already mostly ended, and many of the folk stars had already gone on to do bigger things. But Stills still saw plenty of great performers there -- Miles Davis and Dizzy Gillespie and Thelonius Monk in the jazz clubs, Woody Allen, Lenny Bruce, and Richard Pryor in the comedy ones, and Simon and Garfunkel, Richie Havens, Fred Neil and Tim Hardin in the folk ones -- Stills said that other than Chet Atkins, Havens, Neil, and Hardin were the people most responsible for his guitar style. Stills was also, at this time, obsessed with Judy Collins' third album -- the album which had featured Roger McGuinn on banjo and arrangements, and which would soon provide several songs for the Byrds to cover: [Excerpt: Judy Collins, "Turn, Turn, Turn"] Judy Collins would soon become a very important figure in Stills' life, but for now she was just the singer on his favourite record. While the Greenwich Village folk scene was no longer quite what it had been a year or two earlier, it was still a great place for a young talented musician to perform. As well as working with Chris Sarns, Stills also formed a trio with his friend John Hopkins and a banjo player called Peter Tork who everyone said looked just like Stills. Tork soon headed out west to seek his fortune, and then Stills got headhunted to join the Au Go Go Singers. This was a group that was being set up in the same style as the New Christy Minstrels -- a nine-piece vocal and instrumental group that would do clean-sounding versions of currently-popular folk songs. The group were signed to Roulette Records, and recorded one album, They Call Us Au-Go-Go Singers, produced by Hugo and Luigi, the production duo we've previously seen working with everyone from the Tokens to the Isley Brothers. Much of the album is exactly the same kind of thing that a million New Christy Minstrels soundalikes were putting out -- and Stills, with his raspy voice, was clearly intended to be the Barry McGuire of this group -- but there was one exception -- a song called "High Flyin' Bird", on which Stills was able to show off the sound that would later make him famous, and which became so associated with him that even though it was written by Billy Edd Wheeler, the writer of "Jackson", even the biography of Stills I used in researching this episode credits "High Flyin' Bird" as being a Stills original: [Excerpt: The Au-Go-Go Singers, "High Flyin' Bird"] One of the other members of the Au-Go-Go Singers, Richie Furay, also got to sing a lead vocal on the album, on the Tom Paxton song "Where I'm Bound": [Excerpt: The Au-Go-Go Singers, "Where I'm Bound"] The Au-Go-Go Singers got a handful of dates around the folk scene, and Stills and Furay became friendly with another singer playing the same circuit, Gram Parsons. Parsons was one of the few people they knew who could see the value in current country music, and convinced both Stills and Furay to start paying more attention to what was coming out of Nashville and Bakersfield. But soon the Au-Go-Go Singers split up. Several venues where they might otherwise have been booked were apparently scared to book an act that was associated with Morris Levy, and also the market for big folk ensembles dried up more or less overnight when the Beatles hit the music scene. But several of the group -- including Stills but not Furay -- decided they were going to continue anyway, and formed a group called The Company, and they went on a tour of Canada. And one of the venues they played was the Fourth Dimension coffee house in Fort William, Ontario, and there their support act was a rock band called The Squires: [Excerpt: The Squires, "(I'm a Man And) I Can't Cry"] The lead guitarist of the Squires, Neil Young, had a lot in common with Stills, and they bonded instantly. Both men had parents who had split up when they were in their teens, and had a successful but rather absent father and an overbearing mother. And both had shown an interest in music even as babies. According to Young's mother, when he was still in nappies, he would pull himself up by the bars  of his playpen and try to dance every time he heard "Pinetop's Boogie Woogie": [Excerpt: Pinetop Smith, "Pinetop's Boogie Woogie"] Young, though, had had one crucial experience which Stills had not had. At the age of six, he'd come down with polio, and become partially paralysed. He'd spent months in hospital before he regained his ability to walk, and the experience had also affected him in other ways. While he was recovering, he would draw pictures of trains -- other than music, his big interest, almost an obsession, was with electric train sets, and that obsession would remain with him throughout his life -- but for the first time he was drawing with his right hand rather than his left. He later said "The left-hand side got a little screwed. Feels different from the right. If I close my eyes, my left side, I really don't know where it is—but over the years I've discovered that almost one hundred percent for sure it's gonna be very close to my right side … probably to the left. That's why I started appearing to be ambidextrous, I think. Because polio affected my left side, and I think I was left-handed when I was born. What I have done is use the weak side as the dominant one because the strong side was injured." Both Young's father Scott Young -- a very famous Canadian writer and sports broadcaster, who was by all accounts as well known in Canada during his lifetime as his son -- and Scott's brother played ukulele, and they taught Neil how to play, and his first attempt at forming a group had been to get his friend Comrie Smith to get a pair of bongos and play along with him to Preston Epps' "Bongo Rock": [Excerpt: Preston Epps, "Bongo Rock"] Neil Young had liked all the usual rock and roll stars of the fifties  -- though in his personal rankings, Elvis came a distant third behind Little Richard and Jerry Lee Lewis -- but his tastes ran more to the more darkly emotional. He loved "Maybe" by the Chantels, saying "Raw soul—you cannot miss it. That's the real thing. She was believin' every word she was singin'." [Excerpt: The Chantels, "Maybe"] What he liked more than anything was music that had a mainstream surface but seemed slightly off-kilter. He was a major fan of Roy Orbison, saying, "it's almost impossible to comprehend the depth of that soul. It's so deep and dark it just keeps on goin' down—but it's not black. It's blue, deep blue. He's just got it. The drama. There's something sad but proud about Roy's music", and he would say similar things about Del Shannon, saying "He struck me as the ultimate dark figure—behind some Bobby Rydell exterior, y'know? “Hats Off to Larry,” “Runaway,” “Swiss Maid”—very, very inventive. The stuff was weird. Totally unaffected." More surprisingly, perhaps, he was a particular fan of Bobby Darin, who he admired so much because Darin could change styles at the drop of a hat, going from novelty rock and roll like "Splish Splash" to crooning "Mack The Knife" to singing Tim Hardin songs like "If I Were a Carpenter", without any of them seeming any less authentic. As he put it later "He just changed. He's completely different. And he's really into it. Doesn't sound like he's not there. “Dream Lover,” “Mack the Knife,” “If I Were a Carpenter,” “Queen of the Hop,” “Splish Splash”—tell me about those records, Mr. Darin. Did you write those all the same day, or what happened? He just changed so much. Just kinda went from one place to another. So it's hard to tell who Bobby Darin really was." And one record which Young was hugely influenced by was Floyd Cramer's country instrumental, "Last Date": [Excerpt: Floyd Cramer, "Last Date"] Now, that was a very important record in country music, and if you want to know more about it I strongly recommend listening to the episode of Cocaine and Rhinestones on the Nashville A-Team, which has a long section on the track, but the crucial thing to know about that track is that it's one of the earliest examples of what is known as slip-note playing, where the piano player, before hitting the correct note, briefly hits the note a tone below it, creating a brief discord. Young absolutely loved that sound, and wanted to make a sound like that on the guitar. And then, when he and his mother moved to Winnipeg after his parents' divorce, he found someone who was doing just that. It was the guitarist in a group variously known as Chad Allan and the Reflections and Chad Allan and the Expressions. That group had relatives in the UK who would send them records, and so where most Canadian bands would do covers of American hits, Chad Allan and the Reflections would do covers of British hits, like their version of Geoff Goddard's "Tribute to Buddy Holly", a song that had originally been produced by Joe Meek: [Excerpt: Chad Allan and the Reflections, "Tribute to Buddy Holly"] That would later pay off for them in a big way, when they recorded a version of Johnny Kidd and the Pirates' "Shakin' All Over", for which their record label tried to create an air of mystery by releasing it with no artist name, just "Guess Who?" on the label. It became a hit, the name stuck, and they became The Guess Who: [Excerpt: The Guess Who, "Shakin' All Over"] But at this point they, and their guitarist Randy Bachman, were just another group playing around Winnipeg. Bachman, though, was hugely impressive to Neil Young for a few reasons. The first was that he really did have a playing style that was a lot like the piano style of Floyd Cramer -- Young would later say "it was Randy Bachman who did it first. Randy was the first one I ever heard do things on the guitar that reminded me of Floyd. He'd do these pulls—“darrr darrrr,” this two-note thing goin' together—harmony, with one note pulling and the other note stayin' the same." Bachman also had built the first echo unit that Young heard a guitarist play in person. He'd discovered that by playing with the recording heads on a tape recorder owned by his mother, he could replicate the tape echo that Sam Phillips had used at Sun Studios -- and once he'd attached that to his amplifier, he realised how much the resulting sound sounded like his favourite guitarist, Hank Marvin of the Shadows, another favourite of Neil Young's: [Excerpt: The Shadows, "Man of Mystery"] Young soon started looking to Bachman as something of a mentor figure, and he would learn a lot of guitar techniques second hand from Bachman -- every time a famous musician came to the area, Bachman would go along and stand right at the front and watch the guitarist, and make note of the positions their fingers were in. Then Bachman would replicate those guitar parts with the Reflections, and Neil Young would stand in front of him and make notes of where *his* fingers were. Young joined a band on the local circuit called the Esquires, but soon either quit or was fired, depending on which version of the story you choose to believe. He then formed his own rival band, the Squires, with no "e", much to the disgust of his ex-bandmates. In July 1963, five months after they formed, the  Squires released their first record, "Aurora" backed with "The Sultan", on a tiny local label. Both tracks were very obviously influenced by the Shadows: [Excerpt: The Squires, "Aurora"] The Squires were a mostly-instrumental band for the first year or so they were together, and then the Beatles hit North America, and suddenly people didn't want to hear surf instrumentals and Shadows covers any more, they only wanted to hear songs that sounded a bit like the Beatles. The Squires started to work up the appropriate repertoire -- two songs that have been mentioned as in their set at this point are the Beatles album track "It Won't Be Long", and "Money" which the Beatles had also covered -- but they didn't have a singer, being an instrumental group. They could get in a singer, of course, but that would mean splitting the money with another person. So instead, the guitarist, who had never had any intention of becoming a singer, was more or less volunteered for the role. Over the next eighteen months or so the group's repertoire moved from being largely instrumental to largely vocal, and the group also seem to have shuttled around a bit between two different cities -- Winnipeg and Fort William, staying in one for a while and then moving back to the other. They travelled between the two in Young's car, a Buick Roadmaster hearse. In Winnipeg, Young first met up with a singer named Joni Anderson, who was soon to get married to Chuck Mitchell and would become better known by her married name. The two struck up a friendship, though by all accounts never a particularly close one -- they were too similar in too many ways; as Mitchell later said “Neil and I have a lot in common: Canadian; Scorpios; polio in the same epidemic, struck the same parts of our body; and we both have a black sense of humor". They were both also idiosyncratic artists who never fit very well into boxes. In Fort William the Squires made a few more records, this time vocal tracks like "I'll Love You Forever": [Excerpt: The Squires, "I'll Love You Forever"] It was also in Fort William that Young first encountered two acts that would make a huge impression on him. One was a group called The Thorns, consisting of Tim Rose, Jake Holmes, and Rich Husson. The Thorns showed Young that there was interesting stuff being done on the fringes of the folk music scene. He later said "One of my favourites was “Oh Susannah”—they did this arrangement that was bizarre. It was in a minor key, which completely changed everything—and it was rock and roll. So that idea spawned arrangements of all these other songs for me. I did minor versions of them all. We got into it. That was a certain Squires stage that never got recorded. Wish there were tapes of those shows. We used to do all this stuff, a whole kinda music—folk-rock. We took famous old folk songs like “Clementine,” “She'll Be Comin' 'Round the Mountain,” “Tom Dooley,” and we did them all in minor keys based on the Tim Rose arrangement of “Oh Susannah.” There are no recordings of the Thorns in existence that I know of, but presumably that arrangement that Young is talking about is the version that Rose also later did with the Big 3, which we've heard in a few other episodes: [Excerpt: The Big 3, "The Banjo Song"] The other big influence was, of course, Steve Stills, and the two men quickly found themselves influencing each other deeply. Stills realised that he could bring more rock and roll to his folk-music sound, saying that what amazed him was the way the Squires could go from "Cottonfields" (the Lead Belly song) to "Farmer John", the R&B song by Don and Dewey that was becoming a garage-rock staple. Young in turn was inspired to start thinking about maybe going more in the direction of folk music. The Squires even renamed themselves the High-Flying Birds, after the song that Stills had recorded with the Au Go Go Singers. After The Company's tour of Canada, Stills moved back to New York for a while. He now wanted to move in a folk-rock direction, and for a while he tried to persuade his friend John Sebastian to let him play bass in his new band, but when the Lovin' Spoonful decided against having him in the band, he decided to move West to San Francisco, where he'd heard there was a new music scene forming. He enjoyed a lot of the bands he saw there, and in particular he was impressed by the singer of a band called the Great Society: [Excerpt: The Great Society, "Somebody to Love"] He was much less impressed with the rest of her band, and seriously considered going up to her and asking if she wanted to work with some *real* musicians instead of the unimpressive ones she was working with, but didn't get his nerve up. We will, though, be hearing more about Grace Slick in future episodes. Instead, Stills decided to move south to LA, where many of the people he'd known in Greenwich Village were now based. Soon after he got there, he hooked up with two other musicians, a guitarist named Steve Young and a singer, guitarist, and pianist named Van Dyke Parks. Parks had a record contract at MGM -- he'd been signed by Tom Wilson, the same man who had turned Dylan electric, signed Simon and Garfunkel, and produced the first albums by the Mothers of Invention. With Wilson, Parks put out a couple of singles in 1966, "Come to the Sunshine": [Excerpt: The Van Dyke Parks, "Come to the Sunshine"] And "Number Nine", a reworking of the Ode to Joy from Beethoven's Ninth Symphony: [Excerpt: The Van Dyke Parks, "Number Nine"]Parks, Stills, and Steve Young became The Van Dyke Parks Band, though they didn't play together for very long, with their most successful performance being as the support act for the Lovin' Spoonful for a show in Arizona. But they did have a lasting resonance -- when Van Dyke Parks finally got the chance to record his first solo album, he opened it with Steve Young singing the old folk song "Black Jack Davy", filtered to sound like an old tape: [Excerpt: Steve Young, "Black Jack Davy"] And then it goes into a song written for Parks by Randy Newman, but consisting of Newman's ideas about Parks' life and what he knew about him, including that he had been third guitar in the Van Dyke Parks Band: [Excerpt: Van Dyke Parks, "Vine Street"] Parks and Stills also wrote a few songs together, with one of their collaborations, "Hello, I've Returned", later being demoed by Stills for Buffalo Springfield: [Excerpt: Steve Stills, "Hello, I've Returned"] After the Van Dyke Parks Band fell apart, Parks went on to many things, including a brief stint on keyboards in the Mothers of Invention, and we'll be talking more about him next episode. Stills formed a duo called the Buffalo Fish, with his friend Ron Long. That soon became an occasional trio when Stills met up again with his old Greenwich Village friend Peter Tork, who joined the group on the piano. But then Stills auditioned for the Monkees and was turned down because he had bad teeth -- or at least that's how most people told the story. Stills has later claimed that while he turned up for the Monkees auditions, it wasn't to audition, it was to try to pitch them songs, which seems implausible on the face of it. According to Stills, he was offered the job and turned it down because he'd never wanted it. But whatever happened, Stills suggested they might want his friend Peter, who looked just like him apart from having better teeth, and Peter Tork got the job. But what Stills really wanted to do was to form a proper band. He'd had the itch to do it ever since seeing the Squires, and he decided he should ask Neil Young to join. There was only one problem -- when he phoned Young, the phone was answered by Young's mother, who told Stills that Neil had moved out to become a folk singer, and she didn't know where he was. But then Stills heard from his old friend Richie Furay. Furay was still in Greenwich Village, and had decided to write to Stills. He didn't know where Stills was, other than that he was in California somewhere, so he'd written to Stills' father in El Salvador. The letter had been returned, because the postage had been short by one cent, so Furay had resent it with the correct postage. Stills' father had then forwarded the letter to the place Stills had been staying in San Francisco, which had in turn forwarded it on to Stills in LA. Furay's letter mentioned this new folk singer who had been on the scene for a while and then disappeared again, Neil Young, who had said he knew Stills, and had been writing some great songs, one of which Furay had added to his own set. Stills got in touch with Furay and told him about this great band he was forming in LA, which he wanted Furay to join. Furay was in, and travelled from New York to LA, only to be told that at this point there were no other members of this great band, but they'd definitely find some soon. They got a publishing deal with Columbia/Screen Gems, which gave them enough money to not starve, but what they really needed was to find some other musicians. They did, when driving down Hollywood Boulevard on April the sixth, 1966. There, stuck in traffic going the other way, they saw a hearse... After Steve Stills had left Fort William, so had Neil Young. He hadn't initially intended to -- the High-Flying Birds still had a regular gig, but Young and some of his friends had gone away for a few days on a road trip in his hearse. But unfortunately the transmission on the hearse had died, and Young and his friends had been stranded. Many years later, he would write a eulogy to the hearse, which he and Stills would record together: [Excerpt: The Stills-Young Band, "Long May You Run"] Young and his friends had all hitch-hiked in different directions -- Young had ended up in Toronto, where his dad lived, and had stayed with his dad for a while. The rest of his band had eventually followed him there, but Young found the Toronto music scene not to his taste -- the folk and rock scenes there were very insular and didn't mingle with each other, and the group eventually split up. Young even took on a day job for a while, for the only time in his life, though he soon quit. Young started basically commuting between Toronto and New York, a distance of several hundred miles, going to Greenwich Village for a while before ending up back in Toronto, and ping-ponging between the two. In New York, he met up with Richie Furay, and also had a disastrous audition for Elektra Records as a solo artist. One of the songs he sang in the audition was "Nowadays Clancy Can't Even Sing", the song which Furay liked so much he started performing it himself. Young doesn't normally explain his songs, but as this was one of the first he ever wrote, he talked about it in interviews in the early years, before he decided to be less voluble about his art. The song was apparently about the sense of youthful hope being crushed. The instigation for it was Young seeing his girlfriend with another man, but the central image, of Clancy not singing, came from Young's schooldays. The Clancy in question was someone Young liked as one of the other weird kids at school. He was disabled, like Young, though with MS rather than polio, and he would sing to himself in the hallways at school. Sadly, of course, the other kids would mock and bully him for that, and eventually he ended up stopping. Young said about it "After awhile, he got so self-conscious he couldn't do his thing any more. When someone who is as beautiful as that and as different as that is actually killed by his fellow man—you know what I mean—like taken and sorta chopped down—all the other things are nothing compared to this." [Excerpt: Neil Young, "Nowadays Clancy Can't Even Sing (Elektra demo)"] One thing I should say for anyone who listens to the Mixcloud for this episode, that song, which will be appearing in a couple of different versions, has one use of a term for Romani people that some (though not all) consider a slur. It's not in the excerpts I'll be using in this episode, but will be in the full versions on the Mixcloud. Sadly that word turns up time and again in songs of this era... When he wasn't in New York, Young was living in Toronto in a communal apartment owned by a folk singer named Vicki Taylor, where many of the Toronto folk scene would stay. Young started listening a lot to Taylor's Bert Jansch albums, which were his first real exposure to the British folk-baroque style of guitar fingerpicking, as opposed to the American Travis-picking style, and Young would soon start to incorporate that style into his own playing: [Excerpt: Bert Jansch, "Angie"] Another guitar influence on Young at this point was another of the temporary tenants of Taylor's flat, John Kay, who would later go on to be one of the founding members of Steppenwolf. Young credited Kay with having a funky rhythm guitar style that Young incorporated into his own. While he was in Toronto, he started getting occasional gigs in Detroit, which is "only" a couple of hundred miles away, set up by Joni and Chuck Mitchell, both of whom also sometimes stayed at Taylor's. And it was in Detroit that Neil Young became, albeit very briefly, a Motown artist. The Mynah Birds were a band in Toronto that had at one point included various future members of Steppenwolf, and they were unusual for the time in that they were a white band with a Black lead singer, Ricky Matthews. They also had a rich manager, John Craig Eaton, the heir to the Eaton's department store fortune, who basically gave them whatever money they wanted -- they used to go to his office and tell him they needed seven hundred dollars for lunch, and he'd hand it to them. They were looking for a new guitarist when Bruce Palmer, their bass player, bumped into Neil Young carrying an amp and asked if he was interested in joining. He was. The Mynah Birds quickly became one of the best bands in Toronto, and Young and Matthews became close, both as friends and as a performance team. People who saw them live would talk about things like a song called “Hideaway”, written by Young and Matthews, which had a spot in the middle where Young would start playing a harmonica solo, throw the harmonica up in the air mid-solo, Matthews would catch it, and he would then finish the solo. They got signed to Motown, who were at this point looking to branch out into the white guitar-group market, and they were put through the Motown star-making machine. They recorded an entire album, which remains unreleased, but they did release a single, "It's My Time": [Excerpt: The Mynah Birds, "It's My Time"] Or at least, they released a handful of promo copies. The single was pulled from release after Ricky Matthews got arrested. It turned out his birth name wasn't Ricky Matthews, but James Johnson, and that he wasn't from Toronto as he'd told everyone, but from Buffalo, New York. He'd fled to Canada after going AWOL from the Navy, not wanting to be sent to Vietnam, and he was arrested and jailed for desertion. After getting out of jail, he would start performing under yet another name, and as Rick James would have a string of hits in the seventies and eighties: [Excerpt: Rick James, "Super Freak"] Most of the rest of the group continued gigging as The Mynah Birds, but Young and Palmer had other plans. They sold the expensive equipment Eaton had bought the group, and Young bought a new hearse, which he named Mort 2 – Mort had been his first hearse. And according to one of the band's friends in Toronto, the crucial change in their lives came when Neil Young heard a song on a jukebox: [Excerpt: The Mamas and the Papas, "California Dreamin'"] Young apparently heard "California Dreamin'" and immediately said "Let's go to California and become rock stars". Now, Young later said of this anecdote that "That sounds like a Canadian story to me. That sounds too real to be true", and he may well be right. Certainly the actual wording of the story is likely incorrect -- people weren't talking about "rock stars" in 1966. Google's Ngram viewer has the first use of the phrase in print being in 1969, and the phrase didn't come into widespread usage until surprisingly late -- even granting that phrases enter slang before they make it to print, it still seems implausible. But even though the precise wording might not be correct, something along those lines definitely seems to have happened, albeit possibly less dramatically. Young's friend Comrie Smith independently said that Young told him “Well, Comrie, I can hear the Mamas and the Papas singing ‘All the leaves are brown, and the skies are gray …' I'm gonna go down to the States and really make it. I'm on my way. Today North Toronto, tomorrow the world!” Young and Palmer loaded up Mort 2 with a bunch of their friends and headed towards California. On the way, they fell out with most of the friends, who parted from them, and Young had an episode which in retrospect may have been his first epileptic seizure. They decided when they got to California that they were going to look for Steve Stills, as they'd heard he was in LA and neither of them knew anyone else in the state. But after several days of going round the Sunset Strip clubs asking if anyone knew Steve Stills, and sleeping in the hearse as they couldn't afford anywhere else, they were getting fed up and about to head off to San Francisco, as they'd heard there was a good music scene there, too. They were going to leave that day, and they were stuck in traffic on Sunset Boulevard, about to head off, when Stills and Furay came driving in the other direction. Furay happened to turn his head, to brush away a fly, and saw a hearse with Ontario license plates. He and Stills both remembered that Young drove a hearse, and so they assumed it must be him. They started honking at the hearse, then did a U-turn. They got Young's attention, and they all pulled into the parking lot at Ben Frank's, the Sunset Strip restaurant that attracted such a hip crowd the Monkees' producers had asked for "Ben Frank's types" in their audition advert. Young introduced Stills and Furay to Palmer, and now there *was* a group -- three singing, songwriting, guitarists and a bass player. Now all they needed was a drummer. There were two drummers seriously considered for the role. One of them, Billy Mundi, was technically the better player, but Young didn't like playing with him as much -- and Mundi also had a better offer, to join the Mothers of Invention as their second drummer -- before they'd recorded their first album, they'd had two drummers for a few months, but Denny Bruce, their second drummer, had become ill with glandular fever and they'd reverted to having Jimmy Carl Black play solo. Now they were looking for someone else, and Mundi took that role. The other drummer, who Young preferred anyway, was another Canadian, Dewey Martin. Martin was a couple of years older than the rest of the group, and by far the most experienced. He'd moved from Canada to Nashville in his teens, and according to Martin he had been taken under the wing of Hank Garland, the great session guitarist most famous for "Sugarfoot Rag": [Excerpt: Hank Garland, "Sugarfoot Rag"] We heard Garland playing with Elvis and others in some of the episodes around 1960, and by many reckonings he was the best session guitarist in Nashville, but in 1961 he had a car accident that left him comatose, and even though he recovered from the coma and lived another thirty-three years, he never returned to recording. According to Martin, though, Garland would still sometimes play jazz clubs around Nashville after the accident, and one day Martin walked into a club and saw him playing. The drummer he was playing with got up and took a break, taking his sticks with him, so Martin got up on stage and started playing, using two combs instead of sticks. Garland was impressed, and told Martin that Faron Young needed a drummer, and he could get him the gig. At the time Young was one of the biggest stars in country music. That year, 1961, he had three country top ten hits, including a number one with his version of Willie Nelson's "Hello Walls", produced by Ken Nelson: [Excerpt: Faron Young, "Hello Walls"] Martin joined Faron Young's band for a while, and also ended up playing short stints in the touring bands of various other Nashville-based country and rock stars, including Patsy Cline, Roy Orbison, and the Everly Brothers, before heading to LA for a while. Then Mel Taylor of the Ventures hooked him up with some musicians in the Pacific Northwest scene, and Martin started playing there under the name Sir Raleigh and the Coupons with various musicians. After a while he travelled back to LA where he got some members of the LA group Sons of Adam to become a permanent lineup of Coupons, and they recorded several singles with Martin singing lead, including the Tommy Boyce and Steve Venet song "Tomorrow's Gonna Be Another Day", later recorded by the Monkees: [Excerpt: Sir Raleigh and the Coupons, "Tomorrow's Gonna Be Another Day"] He then played with the Standells, before joining the Modern Folk Quartet for a short while, as they were transitioning from their folk sound to a folk-rock style. He was only with them for a short while, and it's difficult to get precise details -- almost everyone involved with Buffalo Springfield has conflicting stories about their own careers with timelines that don't make sense, which is understandable given that people were talking about events decades later and memory plays tricks. "Fast" Eddie Hoh had joined the Modern Folk Quartet on drums in late 1965, at which point they became the Modern Folk Quintet, and nothing I've read about that group talks about Hoh ever actually leaving, but apparently Martin joined them in February 1966, which might mean he's on their single "Night-Time Girl", co-written by Al Kooper and produced and arranged by Jack Nitzsche: [Excerpt: The Modern Folk Quintet, "Night-Time Girl"] After that, Martin was taken on by the Dillards, a bluegrass band who are now possibly most famous for having popularised the Arthur "Guitar Boogie" Smith song "Duellin' Banjos", which they recorded on their first album and played on the Andy Griffith Show a few years before it was used in Deliverance: [Excerpt: The Dillards, "Duellin' Banjos"] The Dillards had decided to go in a country-rock direction -- and Doug Dillard would later join the Byrds and make records with Gene Clark -- but they were hesitant about it, and after a brief period with Martin in the band they decided to go back to their drummerless lineup. To soften the blow, they told him about another band that was looking for a drummer -- their manager, Jim Dickson, who was also the Byrds' manager, knew Stills and his bandmates. Dewey Martin was in the group. The group still needed a name though. They eventually took their name from a brand of steam roller, after seeing one on the streets when some roadwork was being done. Everyone involved disagrees as to who came up with the name. Steve Stills at one point said it was a group decision after Neil Young and the group's manager Frazier Mohawk stole the nameplate off the steamroller, and later Stills said that Richey Furay had suggested the name while they were walking down the street, Dewey Martin said it was his idea, Neil Young said that he, Steve Sills, and Van Dyke Parks had been walking down the street and either Young or Stills had seen the nameplate and suggested the name, and Van Dyke Parks says that *he* saw the nameplate and suggested it to Dewey Martin: [Excerpt: Steve Stills and Van Dyke Parks on the name] For what it's worth, I tend to believe Van Dyke Parks in most instances -- he's an honest man, and he seems to have a better memory of the sixties than many of his friends who led more chemically interesting lives. Whoever came up with it, the name worked -- as Stills later put it "We thought it was pretty apt, because Neil Young is from Manitoba which is buffalo country, and  Richie Furay was from Springfield, Ohio -- and I'm the field!" It almost certainly also helped that the word "buffalo" had been in the name of Stills' previous group, Buffalo Fish. On the eleventh of April, 1966, Buffalo Springfield played their first gig, at the Troubadour, using equipment borrowed from the Dillards. Chris Hillman of the Byrds was in the audience and was impressed. He got the group a support slot on a show the Byrds and the Dillards were doing a few days later in San Bernardino. That show was compered by a Merseyside-born British DJ, John Ravenscroft, who had managed to become moderately successful in US radio by playing up his regional accent so he sounded more like the Beatles. He would soon return to the UK, and start broadcasting under the name John Peel. Hillman also got them a week-long slot at the Whisky A-Go-Go, and a bidding war started between record labels to sign the band. Dunhill offered five thousand dollars, Warners counted with ten thousand, and then Atlantic offered twelve thousand. Atlantic were *just* starting to get interested in signing white guitar groups -- Jerry Wexler never liked that kind of music, always preferring to stick with soul and R&B, but Ahmet Ertegun could see which way things were going. Atlantic had only ever signed two other white acts before -- Neil Young's old favourite Bobby Darin, who had since left the label, and Sonny and Cher. And Sonny and Cher's management and production team, Brian Stone and Charlie Greene, were also very interested in the group, who even before they had made a record had quickly become the hottest band on the circuit, even playing the Hollywood Bowl as the Rolling Stones' support act. Buffalo Springfield already had managers -- Frazier Mohawk and Richard Davis, the lighting man at the Troubadour (who was sometimes also referred to as Dickie Davis, but I'll use his full name so as not to cause unnecessary confusion in British people who remember the sports TV presenter of the same name), who Mohawk had enlisted to help him. But Stone and Greene weren't going to let a thing like that stop them. According to anonymous reports quoted without attribution in David Roberts' biography of Stills -- so take this with as many grains of salt as you want -- Stone and Greene took Mohawk for a ride around LA in a limo, just the three of them, a gun, and a used hotdog napkin. At the end of the ride, the hotdog napkin had Mohawk's scrawled signature, signing the group over to Stone and Greene. Davis stayed on, but was demoted to just doing their lights. The way things ended up, the group signed to Stone and Greene's production company, who then leased their masters to Atlantic's Atco subsidiary. A publishing company was also set up for the group's songs -- owned thirty-seven point five percent by Atlantic, thirty-seven point five percent by Stone and Greene, and the other twenty-five percent split six ways between the group and Davis, who they considered their sixth member. Almost immediately, Charlie Greene started playing Stills and Young off against each other, trying a divide-and-conquer strategy on the group. This was quite easy, as both men saw themselves as natural leaders, though Stills was regarded by everyone as the senior partner -- the back cover of their first album would contain the line "Steve is the leader but we all are". Stills and Young were the two stars of the group as far as the audience were concerned -- though most musicians who heard them play live say that the band's real strength was in its rhythm section, with people comparing Palmer's playing to that of James Jamerson. But Stills and Young would get into guitar battles on stage, one-upping each other, in ways that turned the tension between them in creative directions. Other clashes, though were more petty -- both men had very domineering mothers, who would actually call the group's management to complain about press coverage if their son was given less space than the other one. The group were also not sure about Young's voice -- to the extent that Stills was known to jokingly apologise to the audience before Young took a lead vocal -- and so while the song chosen as the group's first A-side was Young's "Nowadays Clancy Can't Even Sing", Furay was chosen to sing it, rather than Young: [Excerpt: Buffalo Springfield, "Nowadays Clancy Can't Even Sing"] On the group's first session, though, both Stills and Young realised that their producers didn't really have a clue -- the group had built up arrangements that had a complex interplay of instruments and vocals, but the producers insisted on cutting things very straightforwardly, with a basic backing track and then the vocals. They also thought that the song was too long so the group should play faster. Stills and Young quickly decided that they were going to have to start producing their own material, though Stone and Greene would remain the producers for the first album. There was another bone of contention though, because in the session the initial plan had been for Stills' song "Go and Say Goodbye" to be the A-side with Young's song as the B-side. It was flipped, and nobody seems quite sure why -- it's certainly the case that, whatever the merits of the two tracks as songs, Stills' song was the one that would have been more likely to become a hit. "Nowadays Clancy Can't Even Sing" was a flop, but it did get some local airplay. The next single, "Burned", was a Young song as well, and this time did have Young taking the lead, though in a song dominated by harmonies: [Excerpt: Buffalo Springfield, "Burned"] Over the summer, though, something had happened that would affect everything for the group -- Neil Young had started to have epileptic seizures. At first these were undiagnosed episodes, but soon they became almost routine events, and they would often happen on stage, particularly at moments of great stress or excitement. Several other members of the group became convinced -- entirely wrongly -- that Young was faking these seizures in order to get women to pay attention to him. They thought that what he wanted was for women to comfort him and mop his brow, and that collapsing would get him that. The seizures became so common that Richard Davis, the group's lighting tech, learned to recognise the signs of a seizure before it happened. As soon as it looked like Young was about to collapse the lights would turn on, someone would get ready to carry him off stage, and Richie Furay would know to grab Young's guitar before he fell so that the guitar wouldn't get damaged. Because they weren't properly grounded and Furay had an electric guitar of his own, he'd get a shock every time. Young would later claim that during some of the seizures, he would hallucinate that he was another person, in another world, living another life that seemed to have its own continuity -- people in the other world would recognise him and talk to him as if he'd been away for a while -- and then when he recovered he would have to quickly rebuild his identity, as if temporarily amnesiac, and during those times he would find things like the concept of lying painful. The group's first album came out in December, and they were very, very, unhappy with it. They thought the material was great, but they also thought that the production was terrible. Stone and Greene's insistence that they record the backing tracks first and then overdub vocals, rather than singing live with the instruments, meant that the recordings, according to Stills and Young in particular, didn't capture the sound of the group's live performance, and sounded sterile. Stills and Young thought they'd fixed some of that in the mono mix, which they spent ten days on, but then Stone and Greene did the stereo mix without consulting the band, in less than two days, and the album was released at precisely the time that stereo was starting to overtake mono in the album market. I'm using the mono mixes in this podcast, but for decades the only versions available were the stereo ones, which Stills and Young both loathed. Ahmet Ertegun also apparently thought that the demo versions of the songs -- some of which were eventually released on a box set in 2001 -- were much better than the finished studio recordings. The album was not a success on release, but it did contain the first song any of the group had written to chart. Soon after its release, Van Dyke Parks' friend Lenny Waronker was producing a single by a group who had originally been led by Sly Stone and had been called Sly and the Mojo Men. By this time Stone was no longer involved in the group, and they were making music in a very different style from the music their former leader would later become known for. Parks was brought in to arrange a baroque-pop version of Stills' album track "Sit Down I Think I Love You" for the group, and it became their only top forty hit, reaching number thirty-six: [Excerpt: The Mojo Men, "Sit Down I Think I Love You"] It was shortly after the first Buffalo Springfield album was released, though, that Steve Stills wrote what would turn out to be *his* group's only top forty single. The song had its roots in both LA and San Francisco. The LA roots were more obvious -- the song was written about a specific experience Stills had had. He had been driving to Sunset Strip from Laurel Canyon on November the twelfth 1966, and he had seen a mass of young people and police in riot gear, and he had immediately turned round, partly because he didn't want to get involved in what looked to be a riot, and partly because he'd been inspired -- he had the idea for a lyric, which he pretty much finished in the car even before he got home: [Excerpt: The Buffalo Springfield, "For What it's Worth"] The riots he saw were what became known later as the Riot on Sunset Strip. This was a minor skirmish between the police and young people of LA -- there had been complaints that young people had been spilling out of the nightclubs on Sunset Strip into the street, causing traffic problems, and as a result the city council had introduced various heavy-handed restrictions, including a ten PM curfew for all young people in the area, removing the permits that many clubs had which allowed people under twenty-one to be present, forcing the Whisky A-Go-Go to change its name just to "the Whisk", and forcing a club named Pandora's Box, which was considered the epicentre of the problem, to close altogether. Flyers had been passed around calling for a "funeral" for Pandora's Box -- a peaceful gathering at which people could say goodbye to a favourite nightspot, and a thousand people had turned up. The police also turned up, and in the heavy-handed way common among law enforcement, they managed to provoke a peaceful party and turn it into a riot. This would not normally be an event that would be remembered even a year later, let alone nearly sixty years later, but Sunset Strip was the centre of the American rock music world in the period, and of the broader youth entertainment field. Among those arrested at the riot, for example, were Jack Nicholson and Peter Fonda, neither of whom were huge stars at the time, but who were making cheap B-movies with Roger Corman for American International Pictures. Among the cheap exploitation films that American International Pictures made around this time was one based on the riots, though neither Nicholson, Fonda, or Corman were involved. Riot on Sunset Strip was released in cinemas only four months after the riots, and it had a theme song by Dewey Martin's old colleagues The Standells, which is now regarded as a classic of garage rock: [Excerpt: The Standells, "Riot on Sunset Strip"] The riots got referenced in a lot of other songs, as well. The Mothers of Invention's second album, Absolutely Free, contains the song "Plastic People" which includes this section: [Excerpt: The Mothers of Invention, "Plastic People"] And the Monkees track "Daily Nightly", written by Michael Nesmith, was always claimed by Nesmith to be an impressionistic portrait of the riots, though the psychedelic lyrics sound to me more like they're talking about drug use and street-walking sex workers than anything to do with the riots: [Excerpt: The Monkees, "Daily Nightly"] But the song about the riots that would have the most lasting effect on popular culture was the one that Steve Stills wrote that night. Although how much he actually wrote, at least of the music, is somewhat open to question. Earlier that month, Buffalo Springfield had spent some time in San Francisco. They hadn't enjoyed the experience -- as an LA band, they were thought of as a bunch of Hollywood posers by most of the San Francisco scene, with the exception of one band, Moby Grape -- a band who, like them had three guitarist/singer/songwriters, and with whom they got on very well. Indeed, they got on rather better with Moby Grape than they were getting on with each other at this point, because Young and Stills would regularly get into arguments, and every time their argument seemed to be settling down, Dewey Martin would manage to say the wrong thing and get Stills riled up again -- Martin was doing a lot of speed at this point and unable to stop talking, even when it would have been politic to do so. There was even some talk while they were in San Francisco of the bands doing a trade -- Young and Pete Lewis of Moby Grape swapping places -- though that came to nothing. But Stills, according to both Richard Davis and Pete Lewis, had been truly impressed by two Moby Grape songs. One of them was a song called "On the Other Side", which Moby Grape never recorded, but which apparently had a chorus that went "Stop, can't you hear the music ringing in your ear, right before you go, telling you the way is clear," with the group all pausing after the word "Stop". The other was a song called "Murder in my Heart for the Judge": [Excerpt: Moby Grape, "Murder in my Heart for the Judge"] The song Stills wrote had a huge amount of melodic influence from that song, and quite a bit from “On the Other Side”, though he apparently didn't notice until after the record came out, at which point he apologised to Moby Grape. Stills wasn't massively impressed with the song he'd written, and went to Stone and Greene's office to play it for them, saying "I'll play it, for what it's worth". They liked the song and booked a studio to get the song recorded and rush-released, though according to Neil Young neither Stone nor Greene were actually present at the session, and the song was recorded on December the fifth, while some outbursts of rioting were still happening, and released on December the twenty-third. [Excerpt: Buffalo Springfield, "For What it's Worth"] The song didn't have a title when they recorded it, or so Stills thought, but when he mentioned this to Greene and Stone afterwards, they said "Of course it does. You said, 'I'm going to play the song, 'For What It's Worth'" So that became the title, although Ahmet Ertegun didn't like the idea of releasing a single with a title that wasn't in the lyric, so the early pressings of the single had "Stop, Hey, What's That Sound?" in brackets after the title. The song became a big hit, and there's a story told by David Crosby that doesn't line up correctly, but which might shed some light on why. According to Crosby, "Nowadays Clancy Can't Even Sing" got its first airplay because Crosby had played members of Buffalo Springfield a tape he'd been given of the unreleased Beatles track "A Day in the Life", and they'd told their gangster manager-producers about it. Those manager-producers had then hired a sex worker to have sex with Crosby and steal the tape, which they'd then traded to a radio station in return for airplay. That timeline doesn't work, unless the sex worker involved was also a time traveller,  because "A Day in the Life" wasn't even recorded until January 1967 while "Clancy" came out in August 1966, and there'd been two other singles released between then and January 1967. But it *might* be the case that that's what happened with "For What It's Worth", which was released in the last week of December 1966, and didn't really start to do well on the charts for a couple of months. Right after recording the song, the group went to play a residency in New York, of which Ahmet Ertegun said “When they performed there, man, there was no band I ever heard that had the electricity of that group. That was the most exciting group I've ever seen, bar none. It was just mind-boggling.” During that residency they were joined on stage at various points by Mitch Ryder, Odetta, and Otis Redding. While in New York, the group also recorded "Mr. Soul", a song that Young had originally written as a folk song about his experiences with epilepsy, the nature of the soul, and dealing with fame. However, he'd noticed a similarity to "Satisfaction" and decided to lean into it. The track as finally released was heavily overdubbed by Young a few months later, but after it was released he decided he preferred the original take, which by then only existed as a scratchy acetate, which got released on a box set in 2001: [Excerpt: Buffalo Springfield, "Mr. Soul (original version)"] Everyone has a different story of how the session for that track went -- at least one version of the story has Otis Redding turning up for the session and saying he wanted to record the song himself, as his follow-up to his version of "Satisfaction", but Young being angry at the idea. According to other versions of the story, Greene and Stills got into a physical fight, with Greene having to be given some of the valium Young was taking for his epilepsy to calm him down. "For What it's Worth" was doing well enough on the charts that the album was recalled, and reissued with "For What It's Worth" replacing Stills' song "Baby Don't Scold", but soon disaster struck the band. Bruce Palmer was arrested on drugs charges, and was deported back to Canada just as the song started to rise through the charts. The group needed a new bass player, fast. For a lipsynch appearance on local TV they got Richard Davis to mime the part, and then they got in Ken Forssi, the bass player from Love, for a couple of gigs. They next brought in Ken Koblun, the bass player from the Squires, but he didn't fit in with the rest of the group. The next replacement was Jim Fielder. Fielder was a friend of the group, and knew the material -- he'd subbed for Palmer a few times in 1966 when Palmer had been locked up after less serious busts. And to give some idea of how small a scene the LA scene was, when Buffalo Springfield asked him to become their bass player, he was playing rhythm guitar for the Mothers of Invention, while Billy Mundi was on drums, and had played on their second, as yet unreleased, album, Absolutely Free: [Excerpt: The Mothers of Invention, "Call any Vegetable"] And before joining the Mothers, Fielder and Mundi had also played together with Van Dyke Parks, who had served his own short stint as a Mother of Invention already, backing Tim Buckley on Buckley's first album: [Excerpt: Tim Buckley, "Aren't You the Girl?"] And the arrangements on that album were by Jack Nitzsche, who would soon become a very close collaborator with Young. "For What it's Worth" kept rising up the charts. Even though it had been inspired by a very local issue, the lyrics were vague enough that people in other situations could apply it to themselves, and it soon became regarded as an anti-war protest anthem -- something Stills did nothing to discourage, as the band were all opposed to the war. The band were also starting to collaborate with other people. When Stills bought a new house, he couldn't move in to it for a while, and so Peter Tork invited him to stay at his house. The two got on so well that Tork invited Stills to produce the next Monkees album -- only to find that Michael Nesmith had already asked Chip Douglas to do it. The group started work on a new album, provisionally titled "Stampede", but sessions didn't get much further than Stills' song "Bluebird" before trouble arose between Young and Stills. The root of the argument seems to have been around the number of songs each got on the album. With Richie Furay also writing, Young was worried that given the others' attitudes to his songwriting, he might get as few as two songs on the album. And Young and Stills were arguing over which song should be the next single, with Young wanting "Mr. Soul" to be the A-side, while Stills wanted "Bluebird" -- Stills making the reasonable case that they'd released two Neil Young songs as singles and gone nowhere, and then they'd released one of Stills', and it had become a massive hit. "Bluebird" was eventually chosen as the A-side, with "Mr. Soul" as the B-side: [Excerpt: Buffalo Springfield, "Bluebird"] The "Bluebird" session was another fraught one. Fielder had not yet joined the band, and session player Bobby West subbed on bass. Neil Young had recently started hanging out with Jack Nitzsche, and the two were getting very close and working on music together. Young had impressed Nitzsche not just with his songwriting but with his arrogance -- he'd played Nitzsche his latest song, "Expecting to Fly", and Nitzsche had said halfway through "That's a great song", and Young had shushed him and told him to listen, not interrupt. Nitzsche, who had a monstrous ego himself and was also used to working with people like Phil Spector, the Rolling Stones and Sonny Bono, none of them known for a lack of faith in their own abilities, was impressed. Shortly after that, Stills had asked Nitzsch

Colonel Banastre Tarleton slaughters a group of escaping Continentals at Waxhaw.  General Clinton's edict that all colonists must join loyalist militias convinces many paroled men to rally to patriot units commanded by leaders such as Thomas Sumter and Francis Marion.  Patriots attack and massacre a loyalist regiment commanded by Christian Huck. Blog https://blog.AmRevPodcast.com includes a complete transcript, as well as pictures, and links related to this week's episode. Book Recommendation of the Week: The Swamp Fox: How Francis Marion Saved the American Revolution, by John Oller (borrow on archive.org). Online Recommendation of the Week: Weems, Mason L. Life of Gen'l Francis Marion, (originally published 1809): https://archive.org/details/lifeofgenlfranci00weem  Join the Facebook group, American Revolution Podcast: https://www.facebook.com/groups/132651894048271 Follow the podcast on Twitter @AmRevPodcast Join the podcast mail list: https://mailchi.mp/d3445a9cd244/american-revolution-podcast-by-michael-troy  ARP T-shirts and other merch: http://tee.pub/lic/AmRevPodcast Support this podcast on Patreon https://www.patreon.com/AmRevPodcast or via PayPal http://paypal.me/AmRevPodcast