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2 episodes with Densmore
Today, we're diving into the wild, leather-clad legend of Jim Morrison—the man who fancied himself a poet, a prophet, and a psychedelic sex god all rolled into one. He was the voice of a generation, or at least the voice echoing through a lot of smoke-filled dorm rooms. Frontman of The Doors, self-proclaimed Lizard King, and walking contradiction, Morrison blurred the line between genius and trainwreck with every slurred monologue and shirtless stage dive. Was he a visionary artist or just your drunk philosophy major friend with a tambourine and a God complex? Let's find out—on this episode of Asshole Court. MUSIC CREDIT: "Bobby Renz - Oceans" is under a Free To Use YouTube license / bobby-renz-524042408 Music powered by BreakingCopyright: • [Non Copyrighted Music] Bobby Renz - ... https://www.youtube.com/watch?v=mYCR0kvz2R4&list=PLfP6i5T0-DkJ0thUypSlonFr1cgJdtiLj&index=9 SOURCE CITATIONS: Davis, S. (2004). Jim Morrison: Life, Death, Legend. New York, NY: Gotham Books. Hopkins, J., & Sugerman, D. (1980). No One Here Gets Out Alive. New York, NY: Warner Books. Densmore, J. (1990). Riders on the Storm: My Life with Jim Morrison and the Doors. New York, NY: Dell Publishing. Manzarek, R. (1998). Light My Fire: My Life with The Doors. New York, NY: Putnam. Wall, M. (2014). Love Becomes a Funeral Pyre: A Biography of The Doors. New York, NY: St. Martin's Press. The Guardian. (2020, February 15). John Densmore: ‘I miss Jim Morrison – but I hated him at times too'. Retrieved from https://www.theguardian.com Biography.com Editors. (2020). Jim Morrison Biography. Biography.com. Retrieved from https://www.biography.com/musician/jim-morrison Far Out Magazine. (2021). When Jim Morrison died in a Paris nightclub bathroom. Retrieved from https://faroutmagazine.co.uk CTInsider. (2021). Remembering the Doors' infamous 1967 New Haven concert when Jim Morrison was arrested on stage. Retrieved from https://www.ctinsider.com Rolling Stone. (1991). Jim Morrison: The Last American Poet. Rolling Stone Archives. Retrieved fromhttps://www.rollingstone.com
2025.03.09 Boldface | Joshua 14::6-15 | Mike Densmore by EP Church Annapolis
Is everybody in? The ceremony is about to begin! Join us this week as we light your fire and explain how doors in Star Wars are just as important as explosions, mythic themes, droids and wacky creatures. It's a solid hour of us examining the doors of George Lucas' original 1977 masterpiece Star Wars and comparing them to members of the rock band The Doors. Which ANH Doors are more Morrison? Which Star Wars doors have a Densmore vibe? What does that even mean? Listen and find out! So, celebrate the love and the lizard and listen today! JOIN THE BLAST POINTS ARMY and SUPPORT BLAST POINTS ON PATREON! COMMENTARIES FOR EVERY SKELETON CREW EPISODE! NEW EMPIRE STRIKES BACK COMMENTARY! Theme Music downloadable tracks! Extra goodies! and so much MORE! www.patreon.com/blastpoints SUBSCRIBE ON YOUTUBE TO SEE ALL THE 2023 CELEBRATION LONDON SUPER LIVE FROM HOME MADNESS and more! www.youtube.com/@blastpointspodcast2160/featured Blast Points T-SHIRTS are now available! Represent your favorite podcast everywhere you go! Get logo shirts while supplies last! Perfect for conventions, dates, formal events and more! Get them here: www.etsy.com/shop/Gibnerd?section_id=21195481 If you dug the show, please leave BLAST POINTS a review on iTunes, Spotify and share the show with friends! If you leave an iTunes review, we will read it on a future episode! Honestly! Talk to Blast Points on twitter at @blast_points leave feedback, comments or ideas for shows! "Like" Blast Points on Facebook for news on upcoming shows and links to some of the stuff we talk about in the show!! Join the Blast Points Super Star Wars Chill Group here www.facebook.com/groups/BlastPointsGroup/ we are also on Instagram! Wow! www.instagram.com/blastpoints Your hosts are Jason Gibner & Gabe Bott! contact BLAST POINTS at : contact@blastpointspodcast.com May the Force be with you, always! This podcast is not affiliated in any way with Lucasfilm Ltd. LLC, The Walt Disney Company, or any of their affiliates or subsidiaries.
Next Level Soul with Alex Ferrari: A Spirituality & Personal Growth Podcast
Branden Densmore since his overdose (and profound Near Death Experience) in 2014, Branden is called by Spirit to create life-transforming opportunities (magic doors) for heart-centered unique individuals to manifest their dreams while having fun fearlessly.Branden is the CEO of Gathered Minds Media LLC, where he acts as a certified spiritual mindset coach, business consultant, and digital product creator.Please enjoy my conversation with Branden Densmore.Become a supporter of this podcast: https://www.spreaker.com/podcast/next-level-soul-podcast-with-alex-ferrari--4858435/support.
The Academies for Social Entrepreneurship at UCLA supports mission-driven entrepreneurs in developing sustainable ventures that address societal challenges. It offers participants business training, expert mentorship, and access to funding opportunities to help scale their social impact and focuses on combining business strategies with a commitment to solving issues in areas like education, healthcare, the environment, and economic inequality. Our interview with founder Betsy Densmore and current executive Archie Holton will explore the unique world of social entrepreneurship and the remarkable global impact of the Academy. You can learn more here: https://www.academies-se.org/academies
Welcome to season 5 Ep: 240 of Hangin with Da Boys Podcast! Thank you for Hangin with Da Boys! On this week episode.... Caught up with Basketball Jesus...Steve Densmore Intro: 0:00-9:44 Becoming a Basketball Shooting Coach: 9:45-13:05 State of the NBA: 13:06-18:50 Knees over toes saved my knees: 18:51-23:39 Back when he was a photographer: 23:40-37:03 How did he get into photography: 37:04-54:12 How important is it to have a trainer or coach: 54:13-1:04:07 Future Goals: 1:05:00-1:13:53 and more! This podcast is produced and mastered by: J Alvarez @ JAA7 Studios If you like what you hear, please consider (Rate/Subscribe/Favorite/Share) and please tell a FRIEND! Also check us out on our social platforms: YouTube @DaBoysPod Twitter , TikTok , Instagram - @DaBoys_Pod and our website www.DaboysPod.com
This week the boyz have Asleep on a Forklift Co-Host Michael Densmore on the cast. It was also the week that Tristan went back on Kill Tony and it was LITTTT! As always tell a friend about the CAST! This is also the last dual studio cast you'll have to put up with. Next weeks is in the new studio.
As always subscribe to the Patreon!! https://www.patreon.com/FinalStopPodcast Yo as the boyz are gearing up to move to NYC we had to take a hiatus this week from recording so we decided to drop an episode with the Boyz from the Asleep on a Forklift Podcast , Michael Densmore & Fred Rygh. Let us know what you think in the comments, and if you like it we have 100 plus hours of bonus content for only $1 a month.
It only cost one dollar a month to believe in the boyz patreon, here is the link!https://www.patreon.com/FinalStopPodcast Do you think your a smarter then our guest today and very funny stand up comedian Michael Densmore? We don't think so, this kid my be THE SMARTEST KID ON THE INTERNET!! The boyz have fun quizzing mike on random facts from the five C's of Arizona to random facts about wars you never heard of!! Also don't forget to by your tickets to see Daniel Bridge-Gadd LIve at The House of Comedy July 3rd! https://aztickets.houseofcomedy.net/event/daniel-bridge-gadd-998393d4nsq7i9
Jeb Koops with mom, Joy joined by Dr. Densmore sits down with the WKLH Miracle Marathon benefitting Children's Wisconsin presented by Mars Family Foundation to share how they both suffered from the same condition & how that impacted Jeb's treatment & surgery.
Today we have the privilege of talking to two of our Freedom Founders members, Dr. Cindy Rider and Scott Densmore. They join us to talk not only about their journey to financial freedom, but also the key motivations and priorities they have held to throughout it all and how they were able to prioritize family, quality time, and pursuing purpose. Check out the show notes for more information! If you like this episode, here are more episodes we think you'll enjoy: Achieving Financial Freedom in Dentistry – Dr. David Phelps: Ep #479 Freedom – Living Life on Your Terms – Hiru Mathru: Ep #452 The Adventure of “World-Schooling” Our Kids With a Freedom Lifestyle - Dr. Drew Ballard: Ep #322 P.S. Whenever you're ready, here are some other ways I can help fast track you to your Freedom goal (you're closer than you think) : 1. Schedule a Call with My Team: If you'd like to replace the earned income you need from your practice with investment income in as little as 2-3 years, and you have at least 1M in available capital (can include equity or practice sale), then schedule a call with my team. If it looks like there is a mutual fit, you'll have the opportunity to attend one of our upcoming member events as a guest. 2. Become a Full-Cycle Investor: There are many self-proclaimed genius investors today who think everything they touch turns to gold. But they're about to learn the hard way what others have gained through “expensive” experience. I'm offering a report on how to become a full-cycle investor, who knows how to preserve and grow capital in Up markets and Down markets. Will you be prepared when the inevitable recession hits? Get your free report here. 3. Get Your Free Retirement Scorecard: Benchmark your retirement and wealth-building against hundreds of other practice professionals, and get personalized feedback on your biggest opportunities and leverage points. Click here to take the 3 minute assessment and get your scorecard.
Ann Densmore is a certified speech pathologist and audiologist with a doctorate in education from Clark University (specialty in child discourse) and a master's in human development and psychology from Harvard University Graduate School of Education.Resources:Douglas S, Dunkel-Jackson, Sun T, Owusu P (2022). A review of research related to the POWR intervention: a Communication partner intervention to support children with neurodevelopmental disorders, Current Developmental Disorders Reports, https://doi.org/10.1007/s40474-022-0244-6.Vallotton C, Mastergeorge A, Foster T, Decker K, Ayoub C (2017). Parenting supports for early vocabulary development: Specific effects of sensitivity and stimulation through infancy, Infancy, 22(1):78-107. doing: 10.1111/infa.12147. Knolle F, Vallotton C, Ayoub C (2018). Maltreated children use more grammatical negations, J Fam Child Stud, 27:453-464, dot:10.1007/s10826-017-0905-3. Olswang L, Prelock P (2015). Bridging the gap between research and practice: Implementation science, Supplement Article, J Speech, Language, and Hearing Research, doi:10.1044/2015_JSLHR-L-14-0305. Densmore A, Helping Children with Autism Become More Social (2007). Greenwood Publishing Company.
Branden was an opiate addict for 18 years and eventually died from a heroin overdose. During his Near Death Experience he found himself standing beside his dead body. He felt a 'presence' next to him and was shown two visions. The first was the life that he could have lived and the people that would have been in his life. Second, he was shown everyone that was affected by his death, especially the deep sorrow of his mother. Brandon learned that death is not something to fear and was shown the "divine blueprint for his life." He describes the divine love he felt and gives advice for opiate addicts and how to completely forgive. PLEASE SHARE THIS EPISODE WITH A FRIENDcoachbrandendensmore@gmail.comRoundTripDeath.comThank you for donating to this show! https://www.roundtripdeath.com/support/
Devra Densmore, principal consultant at Elevate Advocacy, explains the FDA has released guidance to drive Diversity Action Plans to ensure that clinical trials are representative of affected patients. Emphasizing the need for a thoughtful and strategic approach to diversity, Devra highlights inclusivity includes accessibility and listening to patient advocates to meet the needs of marginalized communities. Devra explains, "This is a very exciting time where, by releasing these guidance documents, the FDA is setting a standard for the expectation that industry and study sponsors have a very intentional approach to ensuring that their studies are representative. That the therapies or devices that are created are beneficial for all people affected by the conditions that those medications and devices are supposed to solve for." "So, for me, these Diversity Action Plans are a really exciting opportunity for industry to think about what it wants to do in this space. How can it contribute to making sure that health equity is realized within the clinical development space? Are studies actually reflective of the communities that are most impacted by disease? Are medications or devices that are created actually safe and effective for the people who need to use them, especially the people who need to use them the most?" #ElevateAdvocacy #HealthEquity #PatientFocusedDrugDevelopment #PFDD #PatientsFirst #ClinicalTrials #ClinicalResearch #DiversityActionPlan ElevateAdvocacy.com Download the transcript here
Devra Densmore, principal consultant at Elevate Advocacy, explains the FDA has released guidance to drive Diversity Action Plans to ensure that clinical trials are representative of affected patients. Emphasizing the need for a thoughtful and strategic approach to diversity, Devra highlights inclusivity includes accessibility and listening to patient advocates to meet the needs of marginalized communities. Devra explains, "This is a very exciting time where, by releasing these guidance documents, the FDA is setting a standard for the expectation that industry and study sponsors have a very intentional approach to ensuring that their studies are representative. That the therapies or devices that are created are beneficial for all people affected by the conditions that those medications and devices are supposed to solve for." "So, for me, these Diversity Action Plans are a really exciting opportunity for industry to think about what it wants to do in this space. How can it contribute to making sure that health equity is realized within the clinical development space? Are studies actually reflective of the communities that are most impacted by disease? Are medications or devices that are created actually safe and effective for the people who need to use them, especially the people who need to use them the most?" #ElevateAdvocacy #HealthEquity #PatientFocusedDrugDevelopment #PFDD #PatientsFirst #ClinicalTrials #ClinicalResearch #DiversityActionPlan ElevateAdvocacy.com Listen to the podcast here
In this episode I spoke with Scott Densmore, VP of engineering at GitHub, focusing on GitHub copilot. Scott shared how GitHub Copilot is being used to make developers more impactful and the successes developers are having with the technology.Additionally, Scott shares a bit about how GitHub Copilot works and even gives us a forecast of upcoming features and releases.Show linksGitHub CopilotFollow Scott on LinkedInGitHub Universe keynoteHostsDavid Starr is a Principal Software Development Engineer in the Marketplace FastTrack team at Microsoft. Follow him on LinkedIn.
Restoration of the old recordings of Frances Densmore.
Ethnomusicologist Frances Densmore adopted on Standing Rock.
Powerful episode with the importance of forgiveness and giving up resentment. I'm so proud of Branden and so grateful for his heartfelt sharing! Branden Densmore is the CEO of Gathered Minds Media LLC, where he works as a certified spiritual coach, business consultant, and digital product creator. But he wasn't always this. On this episode he shares what happened almost 10 years ago to turn him into a man helping to transform the lives of others. You can find out more about him at https://www.facebook.com/coachbranden or contact him at coachbrandendensmore@gmail.com Thanks for listening! Want more proof of the afterlife?... *Listen to Sandra on iHeartRadio and the Coast to Coast AM Network: https://bit.ly/ShadesoftheAfterlife **Join our Patreon Community for as little as $1 per episode and receive ad-free, early bird episodes, and a full clickable & searchable list off all Sandra's 550+ afterlife episodes https://www.patreon.com/wedontdieradio **Join the supportive and loving, We Don't Die Listeners Facebook group at https://www.facebook.com/groups/wedontdielisteners/ ***Join our free Sunday Gathering with medium demonstration, one of our upcoming medium classes, demonstrations, download past audio episodes and more at https://www.wedontdie.com/
In The Doors Unhinged, New York Times bestselling author and legendary Doors drummer John Densmore offers a powerful exploration of the “greed gene”—that part of the human psyche that propels us toward the accumulation of more and more wealth, even at the expense of our principles, friendships, and the well-being of society. This is the gripping account of the legal battle to control The Doors's artistic destiny. In it, Densmore looks at his conflict with his bandmates over the right to use The Doors's name, revealing the ways in which this struggle mirrors and reflects a much larger societal issue: that no amount of money seems to be enough for even the wealthiest people.The Doors continue to attract new generations of fans, with more than one hundred million albums sold worldwide and counting, and nearly twenty million followers to the band's social media accounts. As such, Densmore occupies a rarefied space in popular culture. He's beloved by artists across the decades for his fierce, uncompromising dedication to art. His writing consistently earns accolades and has appeared in a range of publications, such as the Los Angeles Times and Rolling Stone. As his friend and American novelist Tom Robbins recently said to him, “If you keep writing like this, I'll have to get a drum set.”This is an incredibly timely and important volume in a contemporary world that is increasingly consumed by an insatiable profit motive. John Densmore has given us a blueprint for an approach to life and culture that is not driven by greed.Source: https://www.akashicbooks.com/catalog/doors-unhinged/Source: https://www.vromansbookstore.com/Vromans-presents-John-Densmore-with-Fred-Armisen-discussing-The-Doors-UnhingedHost Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994.Support the show
GDP Script/ Top Stories for Oct 18th Publish Date: Oct 17th From the Henssler Financial Studio Welcome to the Gwinnett Daily Post Podcast. Today is Friday, October 18th and happy heavenly birthday to musician Chuck Berry. *** CHUCK BERRY - BACK TO THE FUTURE JOHNNY B GOOD ‘NEW SOUND'*** I'm Bruce Jenkins and here are your top stories presented by Peggy Slappy Properties. Gwinnett police looking for individuals who may be involved in Buford shooting death Snellville Police Department to host DEA Drug Take Back Oct. 28 Johns Creek City Manager Ed Densmore to Retire Plus, my conversation with Leah McGrath from Ingle Markets on essential oils. All of this and more is coming up on the Gwinnett Daily Post podcast, and if you are looking for community news, we encourage you to listen daily and subscribe! Break 1: PEGGY SLAPPY STORY 1: Gwinnett police looking for individuals who may be involved in Buford shooting death Gwinnett County Police are seeking to identify two individuals connected to a fatal incident in Buford. In the early hours of Monday, officers responded to a "person shot" call at a home on Allen St. They found an adult male deceased in a parked vehicle, later identified as Quentin Cantrell, aged 35. The motive is under investigation, and detectives are pursuing leads to identify potential suspects. Anyone with information is urged to contact GCPD detectives at 770-513-5300 or remain anonymous by reaching out to Crime Stoppers at 404-577-TIPS or visiting stop crime ATL dot com, with the possibility of a cash reward for helpful information................…..read more at gwinnettdailypost.com STORY 2: Snellville Police Department to host DEA Drug Take Back Oct. 28 On October 28 the Snellville Police Department is hosting a Drug Enforcement Agency Drug Take Back event, providing residents with a safe way to dispose of unused or expired medication. The event will run from 10 a.m. to 2 p.m. at the Snellville Police Department on Wisteria Drive, and a secondary location will be available at Westside Baptist Church on Main St. W from 11 a.m. to 1 p.m. Participants can drop off medication in collection boxes, with or without labels, and all items will be incinerated. Please note that needles or sharp objects should not be brought for disposal. For additional information, you can contact Lt. A. Sullivan at 770-985-3555. STORY 3: Johns Creek City Manager Ed Densmore to Retire Johns Creek's first police chief and current city manager, Ed Densmore, has announced his retirement, with his last day as city manager set for November 30. Densmore has had a distinguished career, overseeing the development of the city's first police department and later serving as city manager. During his tenure, he played a key role in various significant projects, including the Cauley Creek Park opening, Fire Station 64 construction, and launching a stormwater utility fund. He also contributed to the development of the Town Center Vision and Master Plan and Recreation and Parks Master Plan. An interim city manager will be announced shortly, followed by a search for a permanent replacement. We have opportunities for sponsors to get great engagement on these shows. Call 770.874.3200 for more info. We'll be right back Break 2: M.O.G. – TOM WAGES OBITS – ESOG STORY 4: Stone Mountain Man Charged After Deadly Gunfight At Norcross Area Apartment Complex In a Norcross area apartment complex, an exchange of gunfire resulted in one man's death, and Gwinnett County police have arrested a suspect. Officers responded to reports of gunshots on Pirkle Road just after 8 p.m. They discovered a man's body between the 1700 building on Pirkle Road and another building on Hampton Ridge Road. It is believed that an exchange of gunfire involving at least two individuals occurred before the 911 calls. A suspect, 28-year-old Shaheed Abdullah Al-Ameen of Stone Mountain, was arrested around 2 a.m. and charged with felony murder, aggravated assault, and possession of a firearm during the commission of certain felonies. The motive is still under investigation, and the victim's name will be released later. Anyone with information is urged to contact GCPD detectives or Crime Stoppers for a potential cash reward. STORY 5: Two Stone Mountain Men And Two Juveniles Charged In Norcross-area Home Depot Theft, Assault Gwinnett County police have identified suspects involved in the theft of power tools from a Home Depot in the Norcross area, where a store worker was injured. The suspects are Stone Mountain residents Tony Demps, 43, and Deshawn Dukes, 19, along with two unnamed juveniles who were charged through the county's Juvenile Court. Charges against Demps include robbery, aggravated assault, and contributing to the delinquency of a minor. Dukes faces charges of aggravated battery, robbery, and aggravated assault. The suspects allegedly stole over $400 in power tools on September 22 and injured a store employee in the process. The suspects fled in a dark gray Chrysler 300. Police are seeking information on the whereabouts of Demps and Dukes, and Crime Stoppers offers a cash reward for helpful information. Contact detectives at 770-513-5300 or visit stop crime ATL dot com to remain anonymous. We'll be back in a moment Break 3: JACKSON EMC – INGLES 4 – LAWRENCVILLE EVENTS (BOO FEST & HARVEST FEST) STORY 6: LEAH MCGRATH And now here is my conversation with Leah McGrath from Ingles Markets on essential oils. STORY 7: LEAH MCGRATH ***LEAH MCGRATH INERVIEW*** We'll have final thoughts after this. Break 4: Henssler 60 Signoff – Thanks again for hanging out with us on today's Gwinnett Daily Post podcast. If you enjoy these shows, we encourage you to check out our other offerings, like the Cherokee Tribune Ledger Podcast, the Marietta Daily Journal, the Community Podcast for Rockdale Newton and Morgan Counties, or the Paulding County News Podcast. Read more about all our stories, and get other great content at Gwinnettdailypost.com. Did you know over 50% of Americans listen to podcasts weekly? Giving you important news about our community and telling great stories are what we do. Make sure you join us for our next episode and be sure to share this podcast on social media with your friends and family. Add us to your Alexa Flash Briefing or your Google Home Briefing and be sure to like, follow, and subscribe wherever you get your podcasts. www.wagesfuneralhome.com www.psponline.com www.mallofgeorgiachryslerdodgejeep.com www.esogrepair.com www.henssler.com www.ingles-markets.com www.downtownlawrencevillega.com www.gcpsk12.org www.cummingfair.net www.disneyonice.com www.downtownlawrencevillega.com #NewsPodcast #CurrentEvents #TopHeadlines #BreakingNews #PodcastDiscussion #PodcastNews #InDepthAnalysis #NewsAnalysis #PodcastTrending #WorldNews #LocalNews #GlobalNews #PodcastInsights #NewsBrief #PodcastUpdate #NewsRoundup #WeeklyNews #DailyNews #PodcastInterviews #HotTopics #PodcastOpinions #InvestigativeJournalism #BehindTheHeadlines #PodcastMedia #NewsStories #PodcastReports #JournalismMatters #PodcastPerspectives #NewsCommentary #PodcastListeners #NewsPodcastCommunity #NewsSource #PodcastCuration #WorldAffairs #PodcastUpdates #AudioNews #PodcastJournalism #EmergingStories #NewsFlash #PodcastConversationsSee omnystudio.com/listener for privacy information.
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Branden Densmore is the CEO of Gathered Minds Media LLC, where he works as a certified spiritual coach, business consultant, and digital product creator. Branden was called by Spirit in 2014 after his profound Near Death Experience (heroin overdose), to create life transforming opportunities (magic doors) for heart centered individuals to fearlessly manifest their dreams while having fun." Connect with Brendon: Facebook Business Page: https://www.facebook.com/coachbranden Facebook Personal Profile: https://www.facebook.com/branden.densmore Email: coachbrandendensmore@gmail.com Please leave a 5 Star Written Apple review if you enjoyed the podcast and share the link with family and friends https://apple.co/3dGfnNs
John Densmore of The Doors is truly a drumming icon of the 1960's and his Ludwig Mod Orange Drum Set is just as important in the history of Rock and Roll. My guest is Kurt Ekstrom who is a diehard fan of Densmore and also extremely passionate and knowledgable about Mod Orange drums. This episode is both a look at John Densmore's life and career with The Doors and a deep dive into his drum gear. We talk various drum kits, cymbals, hardware, heads and everything along the way including Kurts hunt for what happened to the famous Mod Orange drum set! Did you know John Densmore never changed his Mod Orange floor tom head throughout his entire career!? Here is Kurts article for Not So Modern Drummer about the hunt for the kit: https://www.notsomoderndrummer.com/not-so-modern-drummer/tag/Ludwig+Mod+Orange Thanks to GM Designs Cymbals for sponsoring this episode: https://gmdcymbals.com/ **DRUM HISTORY MERCH** https://www.teepublic.com/stores/drum-history-podcast?ref_id=26024 ** CHECK OUT MY GEAR ON SWEETWATER ** https://imp.i114863.net/yRYRGN ** 30 DAY FREE DRUMEO TRIAL ** https://drumeo.pxf.io/c/3607735/1268414/14652 **JOIN PATREON** https://www.patreon.com/drumhistorypodcast
John Densmore of The Doors is truly a drumming icon of the 1960's and his Ludwig Mod Orange Drum Set is just as important in the history of Rock and Roll. My guest is Kurt Ekstrom who is a diehard fan of Densmore and also extremely passionate and knowledgable about Mod Orange drums. This episode is both a look at John Densmore's life and career with The Doors and a deep dive into his drum gear. We talk various drum kits, cymbals, hardware, heads and everything along the way including Kurts hunt for what happened to the famous Mod Orange drum set! Did you know John Densmore never changed his Mod Orange floor tom head throughout his entire career!? Here is Kurts article for Not So Modern Drummer about the hunt for the kit: https://www.notsomoderndrummer.com/not-so-modern-drummer/tag/Ludwig+Mod+Orange Thanks to GM Designs Cymbals for sponsoring this episode: https://gmdcymbals.com/ **DRUM HISTORY MERCH** https://www.teepublic.com/stores/drum-history-podcast?ref_id=26024 ** CHECK OUT MY GEAR ON SWEETWATER ** https://imp.i114863.net/yRYRGN ** 30 DAY FREE DRUMEO TRIAL ** https://drumeo.pxf.io/c/3607735/1268414/14652 **JOIN PATREON** https://www.patreon.com/drumhistorypodcast
Episode #84 In this episode, Nadia interviews her coaching client Rho Densmore. Listen in as Rho shares what she has learned from the books, the podcasts and Megan's Masterclass and why she felt like she needed the extra coaching help. Find out how coaching has helped Rho design a strong foundation to fall back on when life gets in the way and why she chose to share her experience with Nadia on the podcast. Learn More About Our Community: https://www.thefastingmethod.com Join our FREE Facebook Group: https://bit.ly/TFMNetwork Watch Us On YouTube: https://bit.ly/TFMYouTube Follow Us on Instagram: @fastingmethod This podcast is for educational purposes only and is not a substitute for professional care by a doctor or other qualified medical professional. You should always speak with your physician or other healthcare professional before doing any fasting, changing your diet, taking or adjusting any medication or supplements, or adopting any treatment for a health problem. The use of any other products or services purchased by you as a result of this podcast does not create a healthcare provider-patient relationship between you and any of the experts affiliated with this podcast. Information and statements regarding dietary supplements have not been evaluated by the Food and Drug Administration and are not intended to diagnose, treat, cure, or prevent any disease.
Not long after my immigration to the Magic Skagit, I paid my first visit to the Skagit County Historical Society Museum in La Conner. It was there that I first became aware that there were a number of communities, besides those of the First People of this place, that had once existed whose place names have been forgotten over time. While the museum maintains an exhibit that tells the stories of some of these, it took archivist Mari Anderson Densmore's book, Lost Cities of Skagit - Rediscovering Places of Our Past, to give me a fuller appreciation of how many there actually were. At that point, I knew I'd have to invite Mari to sit down to a telephone interview about her efforts to re-acquaint us with these places. To quote from the Introduction to Mari's book, Many place names appear in Skagit County's history that have since disappeared. These places include areas that once had a special character which is no longer visible. Other were towns which were the dreams of promoters that never materialized, rural communities that never became towns, towns which flourished for a time and then vanished, and towns which were initially active and later lapsed into peaceful villages. In this Tales of the Magic Skagit episode, we'll learn about Mari's book, and about the more personal history that inspired her to create it.
Next Level Soul with Alex Ferrari: A Spirituality & Personal Growth Podcast
Branden Densmore since his overdose (and profound Near Death Experience) in 2014, Branden is called by Spirit to create life-transforming opportunities (magic doors) for heart-centered unique individuals to manifest their dreams while having fun fearlessly.Branden is the CEO of Gathered Minds Media LLC, where he acts as a certified spiritual mindset coach, business consultant, and digital product creator.Please enjoy my conversation with Branden Densmore.
Branden Densmore is called by Spirit to create life transforming opportunities (magic doors) for heart centered unique individuals to fearlessly manifest their dreams while having fun. Branden is the CEO of Gathered Minds Media LLC, where he acts as a certified spiritual mindset coach, business consultant, and digital product creator. Branden is a childhood trauma and sexual abuse survivor who fell into drugs as a way to escape the pain and resentment he still carried with him. When he died of an overdose and had a near death experience, his life was not only saved, but changed forever. Branden is now able to serve as a spiritual mindset and business coach, and to help others struggling with not only addiction but many others who may be in spiritual distress or who simply lack of clarity and direction and need some guidance. In this episode, Branden and I talk about the importance of forgiveness in healing from trauma, and about some ways in which we might be able to find compassion and understanding for those who have trespassed against us, and even just to find self-compassion and love for ourselves so that we may nurture our wounded souls back to health. The best way to interact with Branden is by contacting him on Facebook using the following links: Public Figure Page: www.facebook.com/coachbranden Personal Facebook Page: www.facebook.com/branden.densmore/ Music Credits: Track: Wandering — JayJen [Audio Library Release] Music provided by Audio Library Plus Watch: https://youtu.be/1HJbXTXa5WU Free Download / Stream: https://alplus.io/wandering FOLLOW Magic Is Real (Host Shannon Torrence) on Instagram: @realmagicshannon If you'd like to support Magic Is Real by becoming a Patreon, here is the link: https://www.patreon.com/magicisreal111 To book a mediumship reading or to be added to the Magic Is Real mailing list, be considered as a guest or to offer suggestions and share ideas, e-mail me at: magicisrealshannon@gmail.com. --- Support this podcast: https://anchor.fm/shannon-torrence/support
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This Episode we interview Mark Bliss, Ali Stewart, Michelle Densmore about their take on being a Gym Owner. Welcome to the Gym Lords Podcast, where we talk with successful gym owners to hear what they're doing that is working RIGHT NOW, and to hear lessons and failures they've learned along the way. We would love to share your story! If you'd like to be featured on the podcast, fill out the form on the link below. https://gymlaunchsecrets.com/podcast
This Episode we interview Mark Bliss, Ali Stewart, Michelle Densmore about their take on being a Gym Owner. Welcome to the Gym Lords Podcast, where we talk with successful gym owners to hear what they're doing that is working RIGHT NOW, and to hear lessons and failures they've learned along the way. We would love to share your story! If you'd like to be featured on the podcast, fill out the form on the link below. https://gymlaunchsecrets.com/podcast
In this episode John is joined by Professor Alex Densmore, Deputy Head of Geography at Durham University. Focusing on his research in Nepal, they talk about how investigating tectonically active landscapes can reveal chains of linked hazards, and why it is important to link international humanitarian efforts with local communities. Find information on the post-Gorkha landslide here. View the Government of Nepal's portal for hazard and risk information. Visit the CEOS website. View the Emergency Response Preparedness Plans in Nepal. Series 11 of GeogPod is kindly sponsored by Hodder Education. Hodder Education work with expert authors to produce the very best Key Stage 3, GCSE and A-level Geography resources for you and your students, and on their website, you'll discover exam board approved textbooks, revision guides, teaching support and more.
In 1916, Librarian Georgia Carpenter noted that in the past year, several visitors of national reputation had visited the library, including Miss Frances Densmore, known for documenting the music of indigenous peoples. She and Orin G. Libby had recorded Arikara, Hidatsa, and Mandan songs on wax cylinders.
Clay Jenkinson speaks with David Swenson about the ethnomusicologist Frances Densmore and her work with the Lakota in the Dakotas beginning in 1911. David has spent the last year working on The Densmore Repatriation Project, recataloging and restoring her wax cylinder recordings. Subscribe to The Densmore Repatriation Project on YouTube to hear the songs and interviews. At Standing Rock in 1911, Frances Densmore met with dozens of tribal elders and recorded traditional songs on wax cylinder. Densmore documented this work in her book Teton Sioux Music which became a touchstone for learning about Lakota/Dakota culture. The Densmore Repatriation Project reintroduces the songs with new recordings made by contemporary Native singers. Clay will be performing as Theodore Roosevelt in Downers Grove, IL on October 22nd. Subscribe to the Thomas Jefferson Hour on YouTube. Support the show by joining the 1776 Club or by donating to the Thomas Jefferson Hour, Inc. You can learn more about Clay's cultural tours and retreats at jeffersonhour.com/tours. Check out our merch. You can find Clay's books on our website, along with a list of his favorite books on Jefferson, Lewis and Clark, and other topics. Thomas Jefferson is interpreted by Clay S. Jenkinson.
In this week's episode, we are joined by our very own Hebron archery tech and resident outdoor survivalist - Kurtis Densmore. We talk about how he started hunting and fishing at a young age, working with flint and other unique rock materials to create primitive hunting weapons and tools, recapped our 2022 turkey season, and what we're looking forward to this hunting season.Watch this episode on YouTube:https://youtu.be/HtY1w-gGJ5kFOLLOW US HERE:Facebook: https://www.facebook.com/vanceoutdoorsincYouTube: https://www.youtube.com/c/vanceoutdoorsInstagram: https://www.instagram.com/vanceoutdoorsincTwitter: https://twitter.com/vanceoutdoorsWebsite: https://www.vanceoutdoors.com/pursuitpodcast/Email: pursuitpodcast@vanceoutdoors.comJordan Unternaher | www.instagram.com/unternaher/Benjamin Johnson | www.instagram.com/ben_j/
A Lakota language and culture revitalization project is underway at a recording studio in Bismarck. Songs recorded more than a century ago are now being used to teach language and culture to Standing Rock Tribal members by re-recording them in a new and contemporary setting. Alicia Hegland-Thorpe has the story.
Friday, July 22, 2022 - A Lakota language and culture revitalization project is underway at a recording studio in Bismarck. Songs recorded more than a century ago are now being used to teach language and culture to Standing Rock Tribal members by re-recording them in a new and contemporary setting. Alicia Hegland-Thorpe has the story. ~~~ Native Americans have been growing food to feed their communities … and connect to their spirituality and cultures … for millennia. But colonization separated many Native Americans from their traditional foods. Now the idea of food sovereignty — or people having the right to control where and how they get food — is growing. And as Lauren Hines reports for Harvest Public Media… new formal programs to promote native foods are popping up across the Midwest. ~~~ Dave Thompson joins us for this week's news chat. ~~~ Matt Olien reviews “The Black Phone.”
Frances Densmore was born in Red Wing, Minnesota in 1867. As a child she developed an appreciation of music by listening to the nearby Dakota Indians. She became a music teacher, working with Native Americans across the country. Concerned that the tribal music might disappear, she began to record and transcribe their music. In 1907, Densmore began this archiving officially for the Smithsonian Institution's Bureau of American Ethnology.
Lisa continues her conversation today with Rock and Roll Hall of Famer and iconic drummer of The Doors, John Densmore. John reads poetry and explains about the thread which runs throughout each of our lives, if we just tune into it. This is a way of never being lost. He talks about Ram Dass and how, in the silence, people can really contemplate his deeper words. He further discusses the importance of poetry, and specifically Jim Morrison's poetry, and then reads a special poem that he read to Ram Dass, written in the 1960s by renowned poet Etheridge Knight. He further describes the essence of creativity and the gifts that musicians and artists bring to us. In this uplifting interview, he talks about his latest book, “The Seekers – Meetings with Remarkable Musicians (and Other Artists).” Inspired by mystic G.I. Gurdjieff's classic work, “Meetings with Remarkable Men,” Densmore's latest book is a collection of short vignettes of his encounters with musicians such as Patti Smith, Lou Reed, and Janice Joplin, as well as spiritual teachers like Ram Dass, the Dalai Lama, and Joseph Campbell. Info: JohnDensmore.com
In this episode, we interview Dr. Doug Densmore, a professor at Boston University and co-founder of Lattice Automation, Asimov. and Biosens8. We talk to Doug about developing laboratory workflows as a service for engineering biology, finding your own management style, and treating automation and algorithms as first-class scientific citizens.For more information about EBRC, visit our website at ebrc.org. If you are interested in getting involved with the EBRC Student and Postdoc Association, fill out a membership application for graduate students and postdocs or for undergraduates and join today!Links and notes for the episode:Lynn Doucette-Stamm Runs the BU COVID testing facilityProgramming BiologyStem PathwaysAsimovLatticebiosens8International Workshop on Bio-Design AutomationEBRC SPA Mentorship Program
How is it that some people can perform moving pieces of music, or write a thrilling manuscript, or create a deeply emotional piece of art? What is the secret to artistic genius? Today's guest is Rock and Roll Hall of Famer and iconic drummer of The Doors, John Densmore. In this uplifting interview, he talks about his latest book, “The Seekers – Meetings with Remarkable Musicians (and Other Artists).” Inspired by mystic G.I. Gurdjieff's classic work, “Meetings with Remarkable Men,” Densmore's latest book is a collection of short vignettes of his encounters with musicians such as Patti Smith, Lou Reed, and Janice Joplin, as well as spiritual teachers like Ram Dass, the Dalai Lama, and Joseph Campbell. Each a luminary in their own right, Densmore shares stories of the creative thread that runs through each mystic, musician, and teacher as he searched for the origin of creativity and artistry. He shares several experiences he's had with LA Philharmonic conductor Gustavo Dudamel and how so much can be learned in the moments of silence between notes. The universal language of music is always a direct connection to one another's heart. This is Part 1 of the interview. Info: JohnDensmore.com
Episode one hundred and forty-eight of A History of Rock Music in Five Hundred Songs looks at “Light My Fire" by the Doors, the history of cool jazz, and Maharishi Mahesh Yogi. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "My Friend Jack" by the Smoke. 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, I've put together a Mixcloud mix containing all the music excerpted in this episode and the shorter spoken-word tracks. Information on Dick Bock, World Pacific, and Ravi Shankar came from Indian Sun: The Life and Music of Ravi Shankar by Oliver Craske. Ray Manzarek, John Densmore, and Robby Krieger have all released autobiographies. Densmore's is out of print, but I referred to Manzarek's and Krieger's here. Of the two Krieger's is vastly more reliable. I also used Mick Wall's book on the Doors and Stephen Davis' biography of Jim Morrison. Information about Elektra Records came from Follow the Music by Jac Holzman and Gavan Daws, which is available as a free PDF download on Elektra's website. Biographical information on Maharishi Mahesh Yogi comes from this book, written by one of his followers. The Doors' complete studio albums can be bought as MP3s for £14. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There are two big problems that arise for anyone trying to get an accurate picture of history, and which have certainly arisen for me during the course of this podcast -- things which make sources unreliable enough that you feel you have to caveat everything you say on a subject. One of those is hagiography, and the converse desire to tear heroes down. No matter what one wants to say on, say, the subjects of Jesus or Mohammed or Joseph Smith, the only sources we have for their lives are written either by people who want to present them as unblemished paragons of virtue, or by people who want to destroy that portrayal -- we know that any source is written by someone with a bias, and it might be a bias we agree with, but it's still a bias. The other, related, problem, is deliberate disinformation. This comes up especially for people dealing with military history -- during conflicts, governments obviously don't want their opponents to know when their attacks have caused damage, or to know what their own plans are, and after a war has concluded the belligerent parties want to cover up their own mistakes and war crimes. We're sadly seeing that at the moment in the situation in Ukraine -- depending on one's media diet, one could get radically different ideas of what is actually going on in that terrible conflict. But it happens all the time, in all wars, and on all sides. Take the Vietnam War. While the US was involved on the side of the South Vietnamese government from the start of that conflict, it was in a very minor way, mostly just providing supplies and training. Most historians look at the real start of US involvement in that war as having been in August 1964. President Johnson had been wanting, since assuming the Presidency in November 1963 after the death of John F Kennedy, to get further into the war, but had needed an excuse to do so. The Gulf of Tonkin Incident provided him with that excuse. On August the second, a fleet of US warships entered into what the North Vietnamese considered their territorial waters -- they used a different distance from shore to mark their territorial waters than most other countries used, and one which wasn't generally accepted, but which they considered important. Because of this, some North Vietnamese ships started following the American ones. The American ships, who thought they weren't doing anything wrong, set off what they considered to be warning shots, and the North Vietnamese ships fired back, which to the American ships was considered them attacking. Some fire was exchanged, but not much happened. Two days later, the American ships believed they were getting attacked again, and spent several hours firing at what they believed were North Vietnamese submarines. It was later revealed that this was just the American sonar systems playing up, and that they were almost certainly firing at nothing at all, and some even suspected that at the time -- President Johnson apparently told other people in confidence that in his opinion they'd been firing at stray dolphins. But that second "attack", however flimsy the evidence, was enough that Johnson could tell Congress and the nation that an American fleet had been attacked by the North Vietnamese, and use that as justification to get Congress to authorise him sending huge numbers of troops to Vietnam, and getting America thoroughly embroiled in a war that would cost innumerable lives and billions of dollars for what turned out to be no benefit at all to anyone. The commander of the US fleet involved in the Gulf of Tonkin operation was then-Captain, later Rear Admiral, Steve Morrison: [Excerpt: The Doors, "The End"] We've talked a bit in this podcast previously about the development of jazz in the forties, fifties, and early sixties -- there was a lot of back and forth influence in those days between jazz, blues, R&B, country, and rock and roll, far more than one might imagine looking at the popular histories of these genres, and so we've looked at swing, bebop, and modal jazz before now. But one style of music we haven't touched on is the type that was arguably the most popular and influential style of jazz in the fifties, even though we've mentioned several of the people involved in it. We've never yet had a proper look at Cool Jazz. Cool Jazz, as its name suggests, is a style of music that was more laid back than the more frenetic bebop or hard-edged modal jazz. It was a style that sounded sophisticated, that sounded relaxed, that prized melody and melodic invention over super-fast technical wizardry, and that produced much of what we now think of when we think of "jazz" as a popular style of music. The records of Dave Brubeck, for example, arguably the most popular fifties jazz musician, are very much in the "cool jazz" mode: [Excerpt: The Dave Brubeck Quartet, "Take Five"] And we have mentioned on several occasions the Modern Jazz Quartet, who were cited as influences by everyone from Ray Charles to the Kinks to the Modern Folk Quartet: [Excerpt: The Modern Jazz Quartet, "Regret?"] We have also occasionally mentioned people like Mose Allison, who occasionally worked in the Cool Jazz mode. But we've never really looked at it as a unified thing. Cool Jazz, like several of the other developments in jazz we've looked at, owes its existence to the work of the trumpeter Miles Davis, who was one of the early greats of bop and who later pioneered modal jazz. In 1948, in between his bop and modal periods, Davis put together a short-lived nine-piece group, the Miles Davis Nonette, who performed together for a couple of weeks in late 1948, and who recorded three sessions in 1949 and 1950, but who otherwise didn't perform much. Each of those sessions had a slightly different lineup, but key people involved in the recordings were Davis himself, arranger Gil Evans, piano player John Lewis, who would later go on to become the leader of the Modern Jazz Quartet, and baritone sax player Gerry Mulligan. Mulligan and Evans, and the group's alto player Lee Konitz, had all been working for the big band Claude Thornhill and his Orchestra, a band which along with the conventional swing instruments also had a French horn player and a tuba player, and which had recorded soft, mellow, relaxing music: [Excerpt: Claude Thornhill and his Orchestra, "To Each His Own"] The Davis Nonette also included French horn and tuba, and was explicitly modelled on Thornhill's style, but in a stripped-down version. They used the style of playing that Thornhill preferred, with no vibrato, and with his emphasis on unison playing, with different instruments doubling each other playing the melody, rather than call-and response riffing: [Excerpt: The Miles Davis Nonette, "Venus De Milo"] Those recordings were released as singles in 1949 and 1950, and were later reissued in 1957 as an album titled "Birth of the Cool", by which point Cool Jazz had become an established style, though Davis himself had long since moved on in other musical directions. After the Birth of the Cool sessions, Gerry Mulligan had recorded an album as a bandleader himself, and then had moved to the West Coast, where he'd started writing arrangements for Stan Kenton, one of the more progressive big band leaders of the period: [Excerpt: Stan Kenton, "Young Blood"] While working for Kenton, Mulligan had started playing dates at a club called the Haig, where the headliner was the vibraphone player Red Norvo. While Norvo had started out as a big-band musician, playing with people like Benny Goodman, he had recently started working in a trio, with just a guitarist, initially Tal Farlowe, and bass player, initially Charles Mingus: [Excerpt: Red Norvo, "This Can't Be Love"] By 1952 Mingus had left Norvo's group, but they were still using the trio format, and that meant there was no piano at the venue, which meant that Mulligan had to form a band that didn't rely on the chordal structures that a piano would provide -- the idea of a group with a rhythm section that *didn't* have a piano was quite an innovation in jazz at this time, and freeing themselves from that standard instrument ended up opening up extra possibilities. His group consisted of himself on saxophone, Chet Baker on trumpet, Bob Whitlock on bass and Chico Hamilton on drums. They made music in much the same loose, casual, style as the recordings Mulligan had made with Davis, but in a much smaller group with the emphasis being on the interplay between Mulligan and Baker. And this group were the first group to record on a new label, Pacific Jazz, founded by Dick Bock. Bock had served in the Navy during World War II, and had come back from the South Pacific with two tastes -- a taste for hashish, and for music that was outside the conventional American pop mould. Bock *loved* the Mulligan Quartet, and in partnership with his friend Roy Harte, a notable jazz drummer, he raised three hundred and fifty dollars to record the first album by Mulligan's new group: [Excerpt: Gerry Mulligan Quartet, "Aren't You Glad You're You?"] Pacific Jazz, the label Bock and Harte founded, soon became *the* dominant label for Cool Jazz, which also became known as the West Coast Sound. The early releases on the label were almost entirely by the Mulligan Quartet, released either under Mulligan's name, as by Chet Baker, or as "Lee Konitz and the Gerry Mulligan Quartet" when Mulligan's old bandmate Konitz joined them. These records became big hits, at least in the world of jazz. But both Mulligan and Baker were heroin addicts, and in 1953 Mulligan got arrested and spent six months in prison. And while he was there, Chet Baker made some recordings in his own right and became a bona fide star. Not only was Baker a great jazz trumpet player, he was also very good looking, and it turned out he could sing too. The Mulligan group had made the song "My Funny Valentine" one of the highlights of its live shows, with Baker taking a trumpet solo: [Excerpt: Gerry Mulligan Quartet, "My Funny Valentine"] But when Baker recorded a vocal version, for his album Chet Baker Sings, it made Baker famous: [Excerpt: Chet Baker, "My Funny Valentine"] When Mulligan got out of prison, he wanted to rehire Baker, but Baker was now topping the popularity polls in all the jazz magazines, and was the biggest breakout jazz star of the early fifties. But Mulligan formed a new group, and this just meant that Pacific Jazz had *two* of the biggest acts in jazz on its books now, rather than just one. But while Bock loved jazz, he was also fascinated by other kinds of music, and while he was in New York at the beginning of 1956 he was invited by his friend George Avakian, a producer who had worked with Miles Davis, Louis Armstrong, and others, to come and see a performance by an Indian musician he was working with. Avakian was just about to produce Ravi Shankar's first American album, The Sounds of India, for Columbia Records. But Columbia didn't think that there was much of a market for Shankar's music -- they were putting it out as a speciality release rather than something that would appeal to the general public -- and so they were happy for Bock to sign Shankar to his own label. Bock renamed the company World Pacific, to signify that it was now going to be putting out music from all over the world, not just jazz, though he kept the Pacific Jazz label for its jazz releases, and he produced Shankar's next album, India's Master Musician: [Excerpt: Ravi Shankar, "Raga Charu Keshi"] Most of Shankar's recordings for the next decade would be produced by Bock, and Bock would also try to find ways to combine Shankar's music with jazz, though Shankar tried to keep a distinction between the two. But for example on Shankar's next album for World Pacific, Improvisations and Theme from Pather Panchali, he was joined by a group of West Coast jazz musicians including Bud Shank (who we'll hear about again in a future episode) on flute: [Excerpt: Ravi Shankar, "Improvisation on the Theme From Pather Panchali"] But World Pacific weren't just putting out music. They also put out spoken-word records. Some of those were things that would appeal to their jazz audience, like the comedy of Lord Buckley: [Excerpt: Lord Buckley, "Willy the Shake"] But they also put out spoken-word albums that appealed to Bock's interest in spirituality and philosophy, like an album by Gerald Heard. Heard had previously written the liner notes for Chet Baker Sings!, but as well as being a jazz fan Heard was very connected in the world of the arts -- he was a very close friend with Aldous Huxley -- and was also interested in various forms of non-Western spirituality. He practiced yoga, and was also fascinated by Buddhism, Vedanta, and Taoism: [Excerpt: Gerald Heard, "Paraphrased from the Tao te Ching of Lao Tzu"] We've come across Heard before, in passing, in the episode on "Tomorrow Never Knows", when Ralph Mentzner said of his experiments with Timothy Leary and Ram Dass "At the suggestion of Aldous Huxley and Gerald Heard we began using the Bardo Thödol ( Tibetan Book of the Dead) as a guide to psychedelic sessions" -- Heard was friends with both Huxley and Humphrey Osmond, and in fact had been invited by them to take part in the mescaline trip that Huxley wrote about in his book The Doors of Perception, the book that popularised psychedelic drug use, though Heard was unable to attend at that time. Heard was a huge influence on the early psychedelic movement -- though he always advised Leary and his associates not to be so public with their advocacy, and just to keep it to a small enlightened circle rather than risk the wrath of the establishment -- and he's cited by almost everyone in Leary's circle as having been the person who, more than anything else, inspired them to investigate both psychedelic drugs and mysticism. He's the person who connected Bill W. of Alcoholics Anonymous with Osmond and got him advocating LSD use. It was Heard's books that made Huston Smith, the great scholar of comparative religions and associate of Leary, interested in mysticism and religions outside his own Christianity, and Heard was one of the people who gave Leary advice during his early experiments. So it's not surprising that Bock also became interested in Leary's ideas before they became mainstream. Indeed, in 1964 he got Shankar to do the music for a short film based on The Psychedelic Experience, which Shankar did as a favour for his friend even though Shankar didn't approve of drug use. The film won an award in 1965, but quickly disappeared from circulation as its ideas were too controversial: [Excerpt: The Psychedelic Experience (film)] And Heard introduced Bock to other ideas around philosophy and non-Western religions. In particular, Bock became an advocate for a little-known Hindu mystic who had visited the US in 1959 teaching a new style of meditation which he called Transcendental Meditation. A lot is unclear about the early life of Maharishi Mahesh Yogi, even his birth name -- both "Maharishi" and "Yogi" are honorifics rather than names as such, though he later took on both as part of his official name, and in this and future episodes I'll refer to him as "the Maharishi". What we do know is that he was born in India, and had attained a degree in physics before going off to study with Swami Brahmananda Saraswati, a teacher of the Advaita Vedanta school of Hinduism. Now, I am not a Hindu, and only have a passing knowledge of Hindu theology and traditions, and from what I can gather getting a proper understanding requires a level of cultural understanding I don't have, and in particular a knowledge of the Sanskrit language, so my deepest apologies for any mangling I do of these beliefs in trying to talk about them as they pertain to mid-sixties psychedelic rock. I hope my ignorance is forgivable, and seen as what it is rather than malice. But the teachings of this school as I understand them seem to centre around an idea of non-separation -- that God is in all things, and is all things, and that there is no separation between different things, and that you merely have to gain a deep realisation of this. The Maharishi later encapsulated this in the phrase "I am that, thou art that, all this is that", which much later the Beach Boys, several of whom were followers of the Maharishi, would turn into a song: [Excerpt: The Beach Boys, "All This is That"] The other phrase they're singing there, "Jai Guru Dev" is also a phrase from the Maharishi, and refers to his teacher Brahmananda Saraswati -- it means "all hail the divine teacher" or "glory to the heavenly one", and "guru dev" or "guru deva" was the name the Maharishi would use for Saraswati after his death, as the Maharishi believed that Saraswati was an actual incarnation of God. It's that phrase that John Lennon is singing in "Across the Universe" as well, another song later inspired by the Maharishi's teachings: [Excerpt: The Beatles, "Across the Universe"] The Maharishi became, by his own account, Saraswati's closest disciple, advisor, and right-hand man, and was privy to his innermost thoughts. However, on Saraswati's death the leadership of the monastery he led became deeply contested, with two different rivals to the position, and the Maharishi was neither -- the rules of the monastery said that only people born into the Brahmin caste could reach the highest positions in the monastery's structure, and the Maharishi was not a Brahmin. So instead of remaining in the monastery, the Maharishi went out into the world to teach a new form of meditation which he claimed he had learned from Guru Dev, a technique which became known as transcendental meditation. The Maharishi would, for the rest of his life, always claim that the system he taught was Guru Dev's teaching for the world, not his own, though the other people who had been at the monastery with him said different things about what Saraswati had taught -- but of course it's perfectly possible for a spiritual leader to have had multiple ideas and given different people different tasks. The crucial thing about the Maharishi's teaching, the way it differed from everything else in the history of Hindu monasticism (as best I understand this) is that all previous teachers of meditation had taught that to get the benefit of the techniques one had to be a renunciate -- you should go off and become a monk and give up all worldly pleasures and devote your life to prayer and meditation. Traditionally, Hinduism has taught that there are four stages of life -- the student, the householder or married person with a family, the retired person, and the Sanyasi, or renunciate, but that you could skip straight from being a student to being a Sanyasi and spend your life as a monk. The Maharishi, though, said: "Obviously enough there are two ways of life: the way of the Sanyasi and the way of life of a householder. One is quite opposed to the other. A Sanyasi renounces everything of the world, whereas a householder needs and accumulates everything. The one realises, through renunciation and detachment, while the other goes through all attachments and accumulation of all that is needed for physical life." What the Maharishi taught was that there are some people who achieve the greatest state of happiness by giving up all the pleasures of the senses, eating the plainest possible food, having no sexual, familial, or romantic connections with anyone else, and having no possessions, while there are other people who achieve the greatest state of happiness by being really rich and having a lot of nice stuff and loads of friends and generally enjoying the pleasures of the flesh -- and that just as there are types of meditation that can help the first group reach enlightenment, there are also types of meditation that will fit into the latter kind of lifestyle, and will help those people reach oneness with God but without having to give up their cars and houses and money. And indeed, he taught that by following his teachings you could get *more* of those worldly pleasures. All you had to do, according to his teaching, was to sit still for fifteen to twenty minutes, twice a day, and concentrate on a single Sanskrit word or phrase, a mantra, which you would be given after going through a short course of teaching. There was nothing else to it, and you would eventually reach the same levels of enlightenment as the ascetics who spent seventy years living in a cave and eating only rice -- and you'd end up richer, too. The appeal of this particular school is, of course, immediately apparent, and Bock became a big advocate of the Maharishi, and put out three albums of his lectures: [Excerpt: Maharishi Mahesh Yogi, "Deep Meditation"] Bock even met his second wife at one of the Maharishi's lectures, in 1961. In the early sixties, World Pacific got bought up by Liberty Records, the label for which Jan and Dean and others recorded, but Bock remained in charge of the label, and expanded it, adding another subsidiary, Aura Records, to put out rock and roll singles. Aura was much less successful than the other World Pacific labels. The first record the label put out was a girl-group record, "Shooby Dooby", by the Lewis Sisters, two jazz-singing white schoolteachers from Michigan who would later go on to have a brief career at Motown: [Excerpt: The Lewis Sisters, "Shooby Dooby"] The most successful act that Aura ever had was Sonny Knight, an R&B singer who had had a top twenty hit in 1956 with "Confidential", a song he'd recorded on Specialty Records with Bumps Blackwell, and which had been written by Dorinda Morgan: [Excerpt: Sonny Knight, "Confidential"] But Knight's biggest hit on Aura, "If You Want This Love", only made number seventy-one on the pop charts: [Excerpt: Sonny Knight, "If You Want This Love"] Knight would later go on to write a novel, The Day the Music Died, which Greil Marcus described as "the bitterest book ever written about how rock'n'roll came to be and what it turned into". Marcus said it was about "how a rich version of American black culture is transformed into a horrible, enormously profitable white parody of itself: as white labels sign black artists only to ensure their oblivion and keep those blacks they can't control penned up in the ghetto of the black charts; as white America, faced with something good, responds with a poison that will ultimately ruin even honest men". Given that Knight was the artist who did the *best* out of Aura Records, that says a great deal about the label. But one of the bands that Aura signed, who did absolutely nothing on the charts, was a group called Rick and the Ravens, led by a singer called Screamin' Ray Daniels. They were an LA club band who played a mixture of the surf music which the audiences wanted and covers of blues songs which Daniels preferred to sing. They put out two singles on Aura, "Henrietta": [Excerpt: Rick and the Ravens, "Henrietta"] and "Soul Train": [Excerpt: Rick and the Ravens, "Soul Train"] Ray Daniels was a stage name -- his birth name was Ray Manzarek, and he would later return to that name -- and the core of the band was Ray on vocals and his brothers Rick on guitar and Jim on harmonica. Manzarek thought of himself as a pretty decent singer, but they were just a bar band, and music wasn't really his ideal career. Manzarek had been sent to college by his solidly lower-middle-class Chicago family in the hope that he would become a lawyer, but after getting a degree in economics and a brief stint in the army, which he'd signed up for to avoid getting drafted in the same way people like Dean Torrence did, he'd gone off to UCLA to study film, with the intention of becoming a filmmaker. His family had followed him to California, and he'd joined his brothers' band as a way of making a little extra money on the side, rather than as a way to become a serious musician. Manzarek liked the blues songs they performed, and wasn't particularly keen on the surf music, but thought it was OK. What he really liked, though, was jazz -- he was a particular fan of McCoy Tyner, the pianist on all the great John Coltrane records: [Excerpt: John Coltrane, "My Favorite Things"] Manzarek was a piano player himself, though he didn't play much with the Ravens, and he wanted more than anything to be able to play like Tyner, and so when Rick and the Ravens got signed to Aura Records, he of course became friendly with Dick Bock, who had produced so many great jazz records and worked with so many of the greats of the genre. But Manzarek was also having some problems in his life. He'd started taking LSD, which was still legal, and been fascinated by its effects, but worried that he couldn't control them -- he couldn't tell whether he was going to have a good trip or a bad one. He was wondering if there was a way he could have the same kind of revelatory mystical experience but in a more controlled manner. When he mentioned this to Bock, Bock told him that the best method he knew for doing that was transcendental meditation. Bock gave him a copy of one of the Maharishi's albums, and told him to go to a lecture on transcendental meditation, run by the head of the Maharishi's west-coast organisation, as by this point the Maharishi's organisation, known as Spiritual Regeneration, had an international infrastructure, though it was still nowhere near as big as it would soon become. At the lecture, Manzarek got talking to one of the other audience members, a younger man named John Densmore. Densmore had come to the lecture with his friend Robby Krieger, and both had come for the same reason that Manzarek had -- they'd been having bad trips and so had become a little disillusioned with acid. Krieger had been the one who'd heard about transcendental meditation, while he was studying the sitar and sarod at UCLA -- though Krieger would later always say that his real major had been in "not joining the Army". UCLA had one of the few courses in Indian music available in the US at the time, as thanks in part to Bock California had become the centre of American interest in music from India -- so much so that in 1967 Ravi Shankar would open up a branch of his own Kinnara Music School there. (And you can get an idea of how difficult it is to separate fact from fiction when researching this episode that one of the biographies I've used for the Doors says that Krieger heard about the Maharishi while studying at the Kinnara school. As the only branch of the Kinnara school that was open at this point was in Mumbai, it's safe to say that unless Krieger had a *really* long commute he wasn't studying there at this point.) Densmore and Manzarek got talking, and they found that they shared a lot of the same tastes in jazz -- just as Manzarek was a fan of McCoy Tyner, so Densmore was a fan of Elvin Jones, the drummer on those Coltrane records, and they both loved the interplay of the two musicians: [Excerpt: John Coltrane, "My Favorite Things"] Manzarek was starting to play a bit more keyboards with the Ravens, and he was also getting annoyed with the Ravens' drummer, who had started missing rehearsals -- he'd turn up only for the shows themselves. He thought it might be an idea to get Densmore to join the group, and Densmore agreed to come along for a rehearsal. That initial rehearsal Densmore attended had Manzarek and his brothers, and may have had a bass player named Patricia Hansen, who was playing with the group from time to time around this point, though she was mostly playing with a different bar band, Patty and the Esquires. But as well as the normal group members, there was someone else there, a friend of Manzarek's from film school named Jim Morrison. Morrison was someone who, by Manzarek's later accounts, had been very close to Manzarek at university, and who Manzarek had regarded as a genius, with a vast knowledge of beat poetry and European art film, but who had been regarded by most of the other students and the lecturers as being a disruptive influence. Morrison had been a fat, asthmatic, introverted kid -- he'd had health problems as a child, including a bout of rheumatic fever which might have weakened his heart, and he'd also been prone to playing the kind of "practical jokes" which can often be a cover for deeper problems. For example, as a child he was apparently fond of playing dead -- lying in the corridors at school and being completely unresponsive for long periods no matter what anyone did to move him, then suddenly getting up and laughing at anyone who had been concerned and telling them it was a joke. Given how frequently Morrison would actually pass out in later life, often after having taken some substance or other, at least one biographer has suggested that he might have had undiagnosed epilepsy (or epilepsy that was diagnosed but which he chose to keep a secret) and have been having absence seizures and covering for them with the jokes. Robby Krieger also says in his own autobiography that he used to have the same doctor as Morrison, and the doctor once made an offhand comment about Morrison having severe health problems, "as if it was common knowledge". His health difficulties, his weight, his introversion, and the experience of moving home constantly as a kid because of his father's career in the Navy, had combined to give him a different attitude to most of his fellow students, and in particular a feeling of rootlessness -- he never owned or even rented his own home in later years, just moving in with friends or girlfriends -- and a lack of sense of his own identity, which would often lead to him making up lies about his life and acting as if he believed them. In particular, he would usually claim to friends that his parents were dead, or that he had no contact with them, even though his family have always said he was in at least semi-regular contact. At university, Morrison had been a big fan of Rick and the Ravens, and had gone to see them perform regularly, but would always disrupt the shows -- he was, by all accounts, a lovely person when sober but an aggressive boor when drunk -- by shouting out for them to play "Louie Louie", a song they didn't include in their sets. Eventually one of Ray's brothers had called his bluff and said they'd play the song, but only if Morrison got up on stage and sang it. He had -- the first time he'd ever performed live -- and had surprised everyone by being quite a good singer. After graduation, Morrison and Manzarek had gone their separate ways, with Morrison saying he was moving to New York. But a few weeks later they'd encountered each other on the beach -- Morrison had decided to stay in LA, and had been staying with a friend, mostly sleeping on the friend's rooftop. He'd been taking so much LSD he'd forgotten to eat for weeks at a time, and had lost a great deal of weight, and Manzarek properly realised for the first time that his friend was actually good-looking. Morrison also told Manzarek that he'd been writing songs -- this was summer 1965, and the Byrds' version of "Mr. Tambourine Man", Dylan's "Like a Rolling Stone", and the Stones' "Satisfaction" had all shown him that there was potential for pop songs to have more interesting lyrical content than "Louie Louie". Manzarek asked him to sing some of the songs he'd been writing, and as Manzarek later put it "he began to sing, not in the booze voice he used at the Turkey Joint, but in a Chet Baker voice". The first song Morrison sang for Ray Manzarek was one of the songs that Rick and the Ravens would rehearse that first time with John Densmore, "Moonlight Drive": [Excerpt: Rick and the Ravens, "Moonlight Drive"] Manzarek invited Morrison to move in with him and his girlfriend. Manzarek seems to have thought of himself as a mentor, a father figure, for Morrison, though whether that's how Morrison thought of him is impossible to say. Manzarek, who had a habit of choosing the myth over the truth, would later claim that he had immediately decided that he and Morrison were going to be a duo and find a whole new set of musicians, but all the evidence points to him just inviting Morrison to join the Ravens as the singer Certainly the first recordings this group made, a series of demos, were under Rick and the Ravens' name, and paid for by Aura Records. They're all of songs written by Morrison, and seem to be sung by Morrison and Manzarek in close harmony throughout. But the demos did not impress the head of Liberty Records, which now owned Aura, and who saw no commercial potential in them, even in one that later became a number one hit when rerecorded a couple of years later: [Excerpt: Rick and the Ravens, "Hello I Love You"] Although to be fair, that song is clearly the work of a beginning songwriter, as Morrison has just taken the riff to "All Day and All of the Night" by the Kinks, and stuck new words to it: [Excerpt: The Kinks, "All Day and All of the Night"] But it seems to have been the lack of success of these demos that convinced Manzarek's brothers and Patricia Hansen to quit the band. According to Manzarek, his brothers were not interested in what they saw as Morrison's pretensions towards poetry, and didn't think this person who seemed shy and introverted in rehearsals but who they otherwise knew as a loud annoying drunk in the audience would make a good frontman. So Rick and the Ravens were down to just Jim Morrison, Ray Manzarek, and John Densmore, but they continued shopping their demos around, and after being turned down by almost everyone they were signed by Columbia Records, specifically by Billy James, who they liked because he'd written the liner notes to a Byrds album, comparing them to Coltrane, and Manzarek liked the idea of working with an A&R man who knew Coltrane's work, though he wasn't impressed by the Byrds themselves, later writing "The Byrds were country, they didn't have any black in them at all. They couldn't play jazz. Hell, they probably didn't even know anything about jazz. They were folk-rock, for cri-sake. Country music. For whites only." (Ray Manzarek was white). They didn't get an advance from Columbia, but they did get free equipment -- Columbia had just bought Vox, who made amplifiers and musical instruments, and Manzarek in particular was very pleased to have a Vox organ, the same kind that the Animals and the Dave Clark Five used. But they needed a guitarist and a bass player. Manzarek claimed in his autobiography that he was thinking along the lines of a four-piece group even before he met Densmore, and that his thoughts had been "Someone has to be Thumper and someone has to be Les Paul/Chuck Berry by way of Charlie Christian. The guitar player will be a rocker who knows jazz. And the drummer will be a jazzer who can rock. These were my prerequisites. This is what I had to have to make the music I heard in my head." But whatever Manzarek was thinking, there were only two people who auditioned for the role of the guitar player in this new version of the band, both of them friends of Densmore, and in fact two people who had been best friends since high school -- Bill Wolff and Robby Krieger. Wolff and Krieger had both gone to private boarding school -- they had both originally gone to normal state schools, but their parents had independently decided they were bad influences on each other and sent them away to boarding school to get away from each other, but accidentally sent them to the same school -- and had also learned guitar together. They had both loved a record of flamenco guitar called Dos Flamencos by Jaime Grifo and Nino Marvino: [Excerpt: Jaime Grifo and Nino Marvino, "Caracolés"] And they'd decided they were going to become the new Dos Flamencos. They'd also regularly sneaked out of school to go and see a jug band called Mother McCree's Uptown Jug Champions, a band which featured Bob Weir, who was also at their school, along with Jerry Garcia and Pigpen McKernan. Krieger was also a big fan of folk and blues music, especially bluesy folk-revivalists like Spider John Koerner, and was a massive fan of the Paul Butterfield Blues Band. Krieger and Densmore had known each other before Krieger had been transferred to boarding school, and had met back up at university, where they would hang out together and go to see Charles Mingus, Wes Montgomery, and other jazz musicians. At this time Krieger had still been a folk and blues purist, but then he went to see Chuck Berry live, mostly because Skip James and Big Mama Thornton were also on the bill, and he had a Damascene conversion -- the next day he went to a music shop and traded in his acoustic for a red Gibson, as close to the one Chuck Berry played as he could find. Wolff, Densmore, Krieger, and piano player Grant Johnson had formed a band called the Psychedelic Rangers, and when the Ravens were looking for a new guitarist, it was natural that they tried the two guitarists from Densmore's other band. Krieger had the advantage over Wolff for two reasons -- one of which was actually partly Wolff's doing. To quote Krieger's autobiography: "A critic once said I had 'the worst hair in rock 'n' roll'. It stung pretty bad, but I can't say they were wrong. I always battled with my naturally frizzy, kinky, Jewfro, so one day my friend Bill Wolff and I experimented with Ultra Sheen, a hair relaxer marketed mainly to Black consumers. The results were remarkable. Wolff, as we all called him, said 'You're starting to look like that jerk Bryan MacLean'". According to Krieger, his new hairdo made him better looking than Wolff, at least until the straightener wore off, and this was one of the two things that made the group choose him over Wolff, who was a better technical player. The other was that Krieger played with a bottleneck, which astonished the other members. If you're unfamiliar with bottleneck playing, it's a common technique in the blues. You tune your guitar to an open chord, and then use a resonant tube -- these days usually a specially-made metal slide that goes on your finger, but for older blues musicians often an actual neck of a bottle, broken off and filed down -- to slide across the strings. Slide guitar is one of the most important styles in blues, especially electric blues, and you can hear it in the playing of greats like Elmore James: [Excerpt: Elmore James, "Dust My Broom"] But while the members of the group all claimed to be blues fans -- Manzarek talks in his autobiography about going to see Muddy Waters in a club in the South Side of Chicago where he and his friends were the only white faces in the audience -- none of them had any idea what bottleneck playing was, and Manzarek was worried when Krieger pulled it out that he was going to use it as a weapon, that being the only association he had with bottle necks. But once Krieger played with it, they were all convinced he had to be their guitarist, and Morrison said he wanted that sound on everything. Krieger joining seems to have changed the dynamic of the band enormously. Both Morrison and Densmore would independently refer to Krieger as their best friend in the band -- Manzarek said that having a best friend was a childish idea and he didn't have one. But where before this had been Manzarek's band with Morrison as the singer, it quickly became a band centred around the creative collaboration between Krieger and Morrison. Krieger seems to have been too likeable for Manzarek to dislike him, and indeed seems to have been the peacemaker in the band on many occasions, but Manzarek soon grew to resent Densmore, seemingly as the closeness he had felt to Morrison started to diminish, especially after Morrison moved out of Manzarek's house, apparently because Manzarek was starting to remind him of his father. The group soon changed their name from the Ravens to one inspired by Morrison's reading. Aldous Huxley's book on psychedelic drugs had been titled The Doors of Perception, and that title had in turn come from a quote from The Marriage of Heaven and Hell by the great mystic poet and artist William Blake, who had written "If the doors of perception were cleansed every thing would appear to man as it is, Infinite. For man has closed himself up, till he sees all things thro' narrow chinks of his cavern" (Incidentally, in one of those weird coincidences that I like to note when they come up, Blake's Marriage of Heaven and Hell had also inspired the book The Great Divorce by C.S. Lewis, about the divorce of heaven and hell, and both Lewis and Huxley died on the same date, the twenty-second of November 1963, the same day John F. Kennedy died). Morrison decided that he wanted to rename the group The Doors, although none of the other group members were particularly keen on the idea -- Krieger said that he thought they should name the group Perception instead. Initially the group rehearsed only songs written by Morrison, along with a few cover versions. They worked up a version of Willie Dixon's "Back Door Man", originally recorded by Howlin' Wolf: [Excerpt: Howlin' Wolf, "Back Door Man"] And a version of "Alabama Song", a song written by Bertholt Brecht and Kurt Weill, from the opera The Rise and Fall of the City of Mahagonny, with English language lyrics by Elisabeth Hauptmann. That song had originally been recorded by Lotte Lenya, and it was her version that the group based their version on, at the suggestion of Manzarek's girlfriend: [Excerpt: Lotte Lenya, "Alabama Song"] Though it's likely given their tastes in jazz that they were also aware of a recent recording of the song by Eric Dolphy and John Lewis: [Excerpt: Eric Dolphy and John Lewis, "Alabama Song"] But Morrison started to get a little dissatisfied with the fact that he was writing all the group's original material at this point, and he started to put pressure on the others to bring in songs. One of the first things they had agreed was that all band members would get equal credit and shares of the songwriting, so that nobody would have an incentive to push their own mediocre song at the expense of someone else's great one, but Morrison did want the others to start pulling their weight. As it would turn out, for the most part Manzarek and Densmore wouldn't bring in many song ideas, but Krieger would, and the first one he brought in would be the song that would make them into stars. The song Krieger brought in was one he called "Light My Fire", and at this point it only had one verse and a chorus. According to Manzarek, Densmore made fun of the song when it was initially brought in, saying "we're not a folk-rock band" and suggesting that Krieger might try selling it to the Mamas and the Papas, but the other band members liked it -- but it's important to remember here that Manzarek and Densmore had huge grudges against each other for most of their lives, and that Manzarek is not generally known as an entirely reliable narrator. Now, I'm going to talk a lot about the influences that have been acknowledged for this song, but before I do there's one that I haven't seen mentioned much but which seems to me to be very likely to have at least been a subconscious influence -- "She's Not There" by the Zombies: [Excerpt: The Zombies, "She's Not There"] Now, there are several similarities to note about the Zombies record. First, like the Doors, the Zombies were a keyboard-driven band. Second, there's the dynamics of the songs -- both have soft, slightly jazzy verses and then a more straight-ahead rock chorus. And finally there's the verse chord sequence. The verse for "She's Not There" goes from Am to D repeatedly: [demonstrates] While the verse for "Light My Fire" goes from Am to F sharp minor -- and for those who don't know, the notes in a D chord are D, F sharp, and A, while the notes in an F sharp minor chord are F sharp, A, and C sharp -- they're very similar chords. So "She's Not There" is: [demonstrates] While "Light My Fire" is: [demonstrates] At least, that's what Manzarek plays. According to Krieger, he played an Asus2 chord rather than an A minor chord, but Manzarek heard it as an A minor and played that instead. Now again, I've not seen anyone acknowledge "She's Not There" as an influence, but given the other influences that they do acknowledge, and the music that was generally in the air at the time, it would not surprise me even the smallest amount if it was. But either way, what Krieger brought in was a simple verse and chorus: [Excerpt: The Doors, "Light My Fire"] Incidentally, I've been talking about the song as having A minor chords, but you'll actually hear the song in two different keys during this episode, even though it's the same performance throughout, and sometimes it might not sound right to people familiar with a particular version of the record. The band played the song with the verse starting with A minor, and that's how the mono single mix was released, and I'll be using excerpts of that in general. But when the stereo version of the album was released, which had a longer instrumental break, the track was mastered about a semitone too slow, and that's what I'll be excerpting when talking about the solos -- and apparently that speed discrepancy has been fixed in more recent remasterings of the album than the one I'm using. So if you know the song and bits of what I play sound odd to you, that's why. Krieger didn't have a second verse, and so writing the second verse's lyrics was the next challenge. There was apparently some disagreement within the band about the lyrics that Morrison came up with, with their references to funeral pyres, but Morrison won the day, insisting that the song needed some darkness to go with the light of the first verse. Both verses would get repeated at the end of the song, in reverse order, rather than anyone writing a third or fourth verse. Morrison also changed the last line of the chorus -- in Krieger's original version, he'd sung "Come on baby, light my fire" three times, but Morrison changed the last line to "try to set the night on fire", which Krieger thought was a definite improvement. They then came up with an extended instrumental section for the band members to solo in. This was inspired by John Coltrane, though I have seen different people make different claims as to which particular Coltrane record it was inspired by. Many sources, including Krieger, say it was based on Coltrane's famous version of "My Favorite Things": [Excerpt: John Coltrane, "My Favorite Things"] But Manzarek in his autobiography says it was inspired by Ole, the track that Coltrane recorded with Eric Dolphy: [Excerpt: John Coltrane, "Ole"] Both are of course similar musical ideas, and either could have inspired the “Light My Fire” instrumental section, though none of the Doors are anything like as good or inventive on their instruments as Coltrane's group (and of course "Light My Fire" is in four-four rather than three-four): [Excerpt: The Doors, "Light My Fire"] So they had a basic verse-chorus song with a long instrumental jam session in the middle. Now comes the bit that there's some dispute over. Both Ray Manzarek and Robby Krieger agree that Manzarek came up with the melody used in the intro, but differ wildly over who came up with the chord sequence for it and when, and how it was put into the song. According to Manzarek, he came up with the whole thing as an intro for the song at that first rehearsal of it, and instructed the other band members what to do. According to Krieger, though, the story is rather different, and the evidence seems to be weighted in Krieger's favour. In early live performances of the song, they started the song with the Am-F sharp minor shifts that were used in the verse itself, and continued doing this even after the song was recorded: [Excerpt: The Doors, "Light My Fire (live at the Matrix)"] But they needed a way to get back out of the solo section and into the third verse. To do this, Krieger came up with a sequence that starts with a change from G to D, then from D to F, before going into a circle of fifths -- not the ascending circle of fifths in songs like "Hey Joe", but a descending one, the same sequence as in "She Came in Through the Bathroom Window" or "I Will Survive", ending on an A flat: [demonstrates] To get from the A flat to the A minor or Asus2 chord on which the verse starts, he simply then shifted up a semitone from A flat to A major for two bars: [demonstrates] Over the top of that chord sequence that Krieger had come up with, Manzarek put a melody line which was inspired by one of Bach's two-part inventions. The one that's commonly cited is Invention No. 8 in F Major, BWV 779: [Excerpt: Glenn Gould, "Invention No. 8 in F Major, BWV 779"] Though I don't believe Manzarek has ever stated directly which piece he was inspired by other than that it was one of the two-part inventions, and to be honest none of them sound very much like what he plays to my ears, and I think more than anything he was just going for a generalised baroque style rather than anything more specific. And there are certainly stylistic things in there that are suggestive of the baroque -- the stepwise movement, the sort of skipping triplets, and so on: [Excerpt: The Doors, "Light My Fire"] But that was just to get out of the solo section and back into the verses. It was only when they finally took the song into the studio that Paul Rothchild, the producer who we will talk about more later, came up with the idea of giving the song more structure by both starting and ending with that sequence, and formalised it so that rather than just general noodling it was an integral part of the song. They now had at least one song that they thought had the potential to be a big hit. The problem was that they had not as yet played any gigs, and nor did they have a record deal, or a bass player. The lack of a record deal may sound surprising, but they were dropped by Columbia before ever recording for them. There are several different stories as to why. One biography I've read says that after they were signed, none of the label's staff producers wanted to work with them and so they were dropped -- though that goes against some of the other things I've read, which say that Terry Melcher was interested in producing them. Other sources say that Morrison went in for a meeting with some of the company executives while on acid, came out very pleased with himself at how well he'd talked to them because he'd been able to control their minds with his telepathic powers, and they were dropped shortly afterwards. And others say that they were dropped as part of a larger set of cutbacks the company was making, and that while Billy James fought to keep them at Columbia, he lost the fight. Either way, they were stuck without a deal, and without any proper gigs, though they started picking up the odd private party here and there -- Krieger's father was a wealthy aerospace engineer who did some work for Howard Hughes among others, and he got his son's group booked to play a set of jazz standards at a corporate event for Hughes, and they got a few more gigs of that nature, though the Hughes gig didn't exactly go well -- Manzarek was on acid, Krieger and Morrison were on speed, and the bass player they brought in for the gig managed to break two strings, something that would require an almost superhuman effort. That bass player didn't last long, and nor did the next -- they tried several, but found that the addition of a bass player made them sound less interesting, more like the Animals or the Rolling Stones than a group with their own character. But they needed something to hold down the low part, and it couldn't be Manzarek on the organ, as the Vox organ had a muddy sound when he tried to play too many notes at once. But that problem solved itself when they played one of their earliest gigs. There, Manzarek found that another band, who were regulars at the club, had left their Fender keyboard bass there, clipped to the top of the piano. Manzarek tried playing that, and found he could play basslines on that with his left hand and the main parts with his right hand. Krieger got his father to buy one for the group -- though Manzarek was upset that they bought the wrong colour -- and they were now able to perform without a bass player. Not only that, but it gave the group a distinctive sound quite unlike all the other bands. Manzarek couldn't play busy bass lines while also playing lead lines with his right hand, and so he ended up going for simple lines without a great deal of movement, which added to the hypnotic feel of the group's music – though on records they would often be supplemented by a session bass player to give them a fuller sound. While the group were still trying to get a record deal, they were also looking for regular gigs, and eventually they found one. The Sunset Strip was *the* place to be, and they wanted desperately to play one of the popular venues there like the Whisky A-Go-Go, but those venues only employed bands who already had record deals. They did, though, manage to get a residency at a tiny, unpopular, club on the strip called The London Fog, and they played there, often to only a handful of people, while slowly building in confidence as performers. At first, Morrison was so shy that Manzarek had to sing harmony with him throughout the sets, acting as joint frontman. Krieger later said "It's rarely talked about, but Ray was a natural born showman, and his knack for stirring drama would serve the Doors' legacy well in later years" But Morrison soon gained enough confidence to sing by himself. But they weren't bringing in any customers, and the London Fog told them that they were soon going to be dropped -- and the club itself shut not long after. But luckily for the group, just before the end of their booking, the booker for the Whisky A-Go-Go, Ronnie Haran walked in with a genuine pop star, Peter Asher, who as half of Peter & Gordon had had a hit with "A World Without Love", written by his sister's boyfriend, Paul McCartney: [Excerpt: Peter and Gordon, "A World Without Love"] Haran was impressed with the group, and they were impressed that she had brought in a real celebrity. She offered them a residency at the club, not as the headlining act -- that would always be a group that had records out -- but as the consistent support act for whichever big act they had booked. The group agreed -- after Morrison first tried to play it cool and told Haran they would have to consider it, to the consternation of his bandmates. They were thrilled, though, to discover that one of the first acts they supported at the Whisky would be Them, Van Morrison's group -- one of the cover versions they had been playing had been Them's "Gloria": [Excerpt: Them, "Gloria"] They supported Them for two weeks at the Whisky, and Jim Morrison watched Van Morrison intently. The two men had very similar personalities according to the other members of the Doors, and Morrison picked up a lot of his performing style from watching Van on stage every night. The last night Them played the venue, Morrison joined them on stage for an extended version of “Gloria” which everyone involved remembered as the highlight of their time there. Every major band on the LA scene played residencies at the Whisky, and over the summer of 1966 the Doors were the support act for the Mothers of Invention, the Byrds, the Turtles, the Buffalo Springfield, and Captain Beefheart and the Magic Band. This was a time when the Sunset Strip was the centre of Californian musical life, before that centre moved to San Francisco, and the Doors were right at the heart of it. Though it wasn't all great -- this was also the period when there were a series of riots around Sunset Strip, as immortalised in the American International Pictures film Riot on Sunset Strip, and its theme song, by the Standells: [Excerpt: The Standells, "Riot on Sunset Strip"] We'll look at those riots in more detail in a future episode, so I'll leave discussing them for now, but I just wanted to make sure they got mentioned. That Standells song, incidentally, was co-written by John Fleck, who under his old name of John Fleckenstein we saw last episode as the original bass player for Love. And it was Love who ensured that the Doors finally got the record deal they needed. The deal came at a perfect time for the Doors -- just like when they'd been picked up by the Whisky A Go-Go just as they were about to lose their job at the London Fog, so they got signed to a record deal just as they were about to lose their job at the Whisky. They lost that job because of a new song that Krieger and Morrison had written. "The End" had started out as Krieger's attempt at writing a raga in the style of Ravi Shankar, and he had brought it in to one of his increasingly frequent writing sessions with Morrison, where the two of them would work out songs without the rest of the band, and Morrison had added lyrics to it. Lyrics that were partly inspired by his own fraught relationship with his parents, and partly by Oedipus Rex: [Excerpt: The Doors, "The End"] And in the live performance, Morrison had finished that phrase with the appropriate four-letter Oedipal payoff, much to the dismay of the owners of the Whisky A Go Go, who had told the group they would no longer be performing there. But three days before that, the group had signed a deal with Elektra Records. Elektra had for a long time been a folk specialist label, but they had recently branched out into other music, first with the Paul Butterfield Blues Band, a favourite of Robby Krieger's, and then with their first real rock signing, Love. And Love were playing a residency at the Whisky A Go Go, and Arthur Lee had encouraged Jac Holzman, the label's owner, to come and check out their support band, who he thought were definitely worth signing. The first time Holzman saw them he was unimpressed -- they sounded to him just like a bunch of other white blues bands -- but he trusted Arthur Lee's judgement and came back a couple more times. The third time, they performed their version of "Alabama Song", and everything clicked into place for Holzman. He immediately signed the group to a three-album deal with an option to extend it to seven. The group were thrilled -- Elektra wasn't a major label like Columbia, but they were a label that nurtured artists and wouldn't just toss them aside. They were even happier when soon after they signed to Elektra, the label signed up a new head of West Coast A&R -- Billy James, the man who had signed them to Columbia, and who they knew would be in their corner. Jac Holzman also had the perfect producer for the group, though he needed a little persuading. Paul Rothchild had made his name as the producer for the first couple of albums by the Paul Butterfield Blues Band: [Excerpt: The Paul Butterfield Blues Band, "Mary Mary"] They were Robby Krieger's favourite group, so it made sense to have Rothchild on that level. And while Rothchild had mostly worked in New York, he was in LA that summer, working on the debut album by another Elektra signing, Tim Buckley. The musicians on Buckley's album were almost all part of the same LA scene that the Doors were part of -- other than Buckley's normal guitarist Lee Underwood there was keyboard player Van Dyke Parks, bass player Jim Fielder, who had had a brief stint in the Mothers of Invention and was about to join Buffalo Springfield, and drummer Billy Mundi, who was about to join the Mothers of Invention. And Buckley himself sang in a crooning voice extremely similar to that of Morrison, though Buckley had a much larger range: [Excerpt: Tim Buckley, "Aren't You the Girl?"] There was one problem, though -- Rothchild didn't want to do it. He wasn't at all impressed with the band at first, and he wanted to sign a different band, managed by Albert Grossman, instead. But Holzman persuaded him because Rothchild owed him a favour -- Rothchild had just spent several months in prison after a drug bust, and while he was inside Holzman had given his wife a job so she would have an income, and Holzman also did all the paperwork with Rothchild's parole officer to allow him to leave the state. So with great reluctance Rothchild took the job, though he soon came to appreciate the group's music. He didn't appreciate their second session though. The first day, they'd tried recording a version of "The End", but it hadn't worked, so on the second night they tried recording it again, but this time Morrison was on acid and behaving rather oddly. The final version of "The End" had to be cut together from two takes, and the reason is that at the point we heard earlier: [Excerpt: The Doors, "The End"] Morrison was whirling around, thrashing about, and knocked over a TV that the engineer, Bruce Botnick, had brought into the studio so he could watch the baseball game -- which Manzarek later exaggerated to Morrison throwing the TV through the plate glass window between the studio and the control room. According to everyone else, Morrison just knocked it over and they picked it up after the take finished and it still worked fine. But Morrison had taken a *lot* of acid, and on the way home after the session he became convinced that he had a psychic knowledge that the studio was on fire. He got his girlfriend to turn the car back around, drove back to the studio, climbed over the fence, saw the glowing red lightbulbs in the studio, became convinced that they were fires, and sprayed the entire place with the fire extinguisher, before leaving convinced he had saved the band's equipment -- and leaving telltale evidence as his boot got stuck in the fence on the way out and he just left it there. But despite that little hiccup, the sessions generally went well, and the group and label were pleased with the results. The first single released from the album, "Break on Through", didn't make the Hot One Hundred: [Excerpt: The Doors, "Break on Through"] But when the album came out in January 1967, Elektra put all its resources behind the album, and it started to get a bit of airplay as a result. In particular, one DJ on the new FM radio started playing "Light My Fire" -- at this time, FM had only just started, and while AM radio stuck to three-minute singles for the most part, FM stations would play a wider variety of music. Some of the AM DJs started telling Elektra that they would play the record, too, if it was the length of a normal single, and so Rothchild and Botnick went into the studio and edited the track down to half its previous seven-and-a-half-minute length. When the group were called in to hear the edit, they were initially quite excited to hear what kind of clever editing microsurgery had been done to bring the song down to the required length, but they were horrified when Rothchild actually played it for them. As far as the group were concerned, the heart of the song was the extended instrumental improvisation that took up the middle section: [Excerpt: The Doors, "Light My Fire"] On the album version, that lasted over three minutes. Rothchild and Botnick cut that section down to just this: [Excerpt: The Doors, "Light My Fire (single edit)"] The group were mortified -- what had been done to their song? That wasn't the sound of people trying to be McCoy Tyner and Elvin Jones, it was just... a pop song. Rothchild explained that that was the point -- to get the song played on AM radio and get the group a hit. He pointed out how the Beatles records never had an instrumental section that lasted more than eight bars, and the group eventually talked them
Lior Gavish James Densmore Data infrastructure is a fast-moving sector of the software market. As the volume of data has increased, so too has the quality of tooling to support data management and data engineering. In today's show, we have a guest from a data intensive company as well as a company that builds a The post Data Engineering Trends with Lior Gavish and James Densmore appeared first on Software Engineering Daily.
Lior Gavish James Densmore Data infrastructure is a fast-moving sector of the software market. As the volume of data has increased, so too has the quality of tooling to support data management and data engineering. In today's show, we have a guest from a data intensive company as well as a company that builds a The post Data Engineering Trends with Lior Gavish and James Densmore appeared first on Software Engineering Daily.
Follow Molly @dollymensmore Watch Live Every Day @ 4p/PST! Twitch.tv/AristotleFullThrottle SUPPORT this channel on Patreon! ► https://goo.gl/K0CExv Get Some Gear! ► https://teespring.com/stores/aristotlefullthrottle BUY my album ► http://www.vaeda.com SUBSCRIBE here ► http://www.YouTube.com/AristotleFullThrottle Star Wars: The Last Jedi TEASER REACTION: https://youtu.be/KJda8EIR6i8 11 Facts about THE FORCE AWAKENS! https://youtu.be/StCRLQIzykA 11 Facts about ROGUE ONE: https://youtu.be/8XmrvmV5PbQ 11 Cool facts about STAR WARS: https://goo.gl/jPzByF 15 FACTS ABOUT The EMPIRE STRIKES BACK: https://goo.gl/prw2CN 11 Facts about: RETURN OF THE JEDI: https://goo.gl/DDMuzB HELP a Refugee Today: https://www.rescue.org/ https://www.unicef.org/ Watch my other FULL THROTTLE FACT videos HERE: https://goo.gl/hscAyX Watch my TRAILER REACTIONS! https://goo.gl/koB3ng ---=SOCIAL=--- Facebook ► https://www.facebook.com/AristotleFullThrottle Twitter ► http://www.twitter.com/aristotledreher Instagram► http://www.instagram.com/aristotledreher Snapchat ► @aristotledreher TikTok ► @aristotledreher Comment "A Humongous Fungus Among Us" if you're reading this far. --- Send in a voice message: https://anchor.fm/aristotlefullthrottle/message Support this podcast: https://anchor.fm/aristotlefullthrottle/support
Doug is an Associate Professor of Electrical and Computer Engineering at Boston University. His research focuses on the development of tools for the specification, design, assembly and test of synthetic biological systems. On this episode, we discuss the relationship between robots and synthetic biology. As well as if automation is going to end up making SynBio more centralised.
In this episode of Monkey Don't, we sit down with comedian/actress Molly Densmore (@dollymensmore) and talk to her problem with wanting to freeze her eggs. Nathan struggles with creepy fans crossing boundaries. Then we talk to the audience about their problems with owing money to the government, having a bathroom that is too small, and always having wrinkled clothes.
Welcome to season 2 Ep: 89 of The Gamer Boyz Podcast, bringing you gaming news, gaming culture and everything in between. Sit back and enjoy! This Podcast is powered by Guayaki Yerba Mate www.Guayaki.com Check us out on Twitter and Instagram @thegamer_boyz and our website www.thegamerboyz.com If you like what you hear make sure you (Rate/Subscribe/Favorite/Share) --- Support this podcast: https://anchor.fm/thegamerboyz/support
Eric De La Cruz is a protegé of Bob Baker's and has been a puppeteer at the BBMT for two decades. Audrey Densmore is newer to the marionette gang, but already entrenched in the history and future of the theater. They talk about the emotional opening day at BBMT's brand new Highland Park location, puppets as therapy, practicing their craft with pencils, favorite songs from Bob Baker's incredible record collection, and the everlasting impact Bob has had on both of their lives.
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