Podcast appearances and mentions of Gary Davis

Underground Hiking Collective founder Jasmine Banks joins the show today to give some recommendations for great places to enjoy the great outdoors for a hike or a paddle in and near Madison. She also dispenses some words of wisdom on what to wear and bring to ensure you have a good time on the trail. Read what she and three other experts have to say here. Plus, local men's health advocate Gary Davis chats with Rob about next weekend's free health screening event and the disparities he's faced in his journey as a cancer survivor. Get the details and register here. Connect: Full coverage at Madison365.org Support Local Journalism: If you appreciate our work, consider donating to keep 365 Amplified and Madison365 thriving. Visit madison365.org/donate to contribute. Follow Us: Stay connected for real-time news updates and discussions:

PopaHALLics #139 "Deception"The truth is, er, fluid in the pop culture discussed in this episode, from a married spy trying to determine if his spouse is doing wrong, to an Australian pretending to have a fatal disease for profit and influence, to a supervillain seemingly going straight who might still be very bent. In Theaters:"Black Bag." In this spy thriller directed by Steven Soderbergh, a legendary intelligence agent (Michael Fassbender) must determine if his wife/fellow spy (Cate Blanchett) has committed treason—and whether his loyalty is to his marriage or his country.Streaming:"Apple Cider Vinegar," Netflix. In this limited series based on true events, two young women (Kaitlyn Dever and  Alycia Debnam-Carey) set out to cure their life-threatening illnesses through health and wellness, influencing their global online community along the way. Unfortunately, they aren't really ill. "Daredevil: Born Again," Disney +. Marvel's blind superhero returns, sort of. After a disturbing event, attorney Matt Murdoch (Charlie Cox) hangs up his Daredevil suit. But wait—does his nemesis Kingpin/Wilson Fisk (Vincent D'Onofrio) have an ulterior motive in running for mayor of New York?Books:"Say No to the Devil: The Life and Musical Genius of Rev. Gary Davis," by Ian Zack. Davis, a blind street preacher and amazingly talented guitarist, is not as well-known today as contemporaries like Son House and Lightning Hopkins. Yet, as this 2016 biography explains, Davis had an outsized influence on music because of his many guitar students and admirers, who include Bob Dylan, Stefan Grossman, Eric Clapton, Hot Tuna, and more. "The Blackbird Oracle," by Deborah Harkness. In the fifth installment in the bestselling All Souls series, witch/Oxford scholar Diana and vampire geneticist Matthew seek to avoid the testing of their twins' magical skills. Attempting to forge a new future for her family, Diana must face "a confrontation with her family's dark past and a reckoning for her own desire for even greater power."Music:On PopaHALLics #139 Playlist (Rev. Gary Davis), experience the music of the blind guitarist/street preacher (see "Say No to the Devil" above) as interpreted by Jackson Browne, the Rolling Stones, the Grateful Dead, Mavis Staples, and more, as well as Davis himself. We've also added a few tunes by Kate's new discovery, the 1960s/70s French rock band Les Variations.Click through the links above to watch, read, and listen to what we're discussing.

“Katie and I, our relationship could be a little exciting -- I had to watch my step, I had to toe the line. I had to behave myself or I'd get taken to the principal's office... And she was the principal.” -- Bruce BoxleitnerIn Part Two of their conversation, Bruce reflects on the differences between doing TV then and now, his relationship with Kate Jackson -- and how the long hours can sometimes turn your co-stars into your family…Bruce Boxleitner's television career started way back in 1973 with an appearance on The Mary Tyler Moore Show and he has since appeared in over 100 films and TV shows including Gunsmoke, Baretta, Police Woman, Hawaii 5-0, Babylon 5, Crossing Jordan, Commander in Chief, American Dad, Cold Case, Heroes, Chuck, NCIS, Supergirl, The Orville, When Calls The Heart, How The West Was Won, Bring ‘Em Back Alive, The Gambler and Tron.THE CONVERSATIONTHE UGLY SIDE OF LEE STETSON: When Lee slaps Amanda in “Burn Out” (S2; EP.21) What was going on? --  “Kate said, “Hit me.” It was no fun. I didn't enjoy doing it at all.”ON THE JAZZ: In Europe, Mel Stuart -- a saxophonist -- fell in with some local jazz musicians and ended up sitting-in in clubs all over Munich.DOUBLE TROUBLE: Bruce finds out the strange reason his stunt double Gary Davis did the pilot's helicopter stunts with no safety cable!On doing network TV: “This is where I come off sounding like a grumpy old man, but in my day, we had fun. Nobody is having fun anymore. Because we have cell phones on the set, everyone's on their cell phone. No one's talking.”WHO CAN TURN THE WORLD ON WITH HIS SMILE? Bruce got his first gig on The Mary Tyler Moore Show because the producer owed his agent a favor.On doing a streaming series: “I'm doing a series now -- six episodes. They call that a series? I call it a two-parter.”Bruce gets a surprise walking onto the Gunsmoke set when he discovers the entire town is built inside a soundstage.On filming pilots: “George Clooney says he's the king of the unsold pilots. Well, buddy, I'm the runner-up!”While shooting The Orville, Bruce finds out that the biggest SMK fan… is Seth McFarlane!How do you marry Lee and Amanda? Should you marry Lee and Amanda?So, join Susan and Sharon -- and Bruce -- as they talk How The West Was Won, Ted Knight, Tron, Juanita Bartlett, Susan Diol, Police Woman, and pranking Martha Smith -- and Kate Jackson -- AND Beverly Garland… and the sad, tragic life of “Dean, the Boyfriend”!AUDIO-OGRAPHYFind out more about Bruce Boxleitner at Facebook.comFollow him at Instagram.com/BoxleitnerBruceFollow him at Twitter.com/BoxleitnerBruceCatch him on Cameo at Cameo.com/BoxleitnerBruceWatch S2, Ep. 21: Burn out on TubiGet The Ultimate Fan's Guide to Scarecrow & Mrs. King by David Johnson, Taya Johnston and Sabine Ludewig at Amazon. CONNECTVisit 80sTVLadies.com for transcripts.Sign up for the 80s TV Ladies mailing list.Support us and get ad-free episodes on PATREON.We're a 2024 Podcast Award Winner! We WON for Best Film & TV. Thank you everyone who voted!VOTEREMEMBER: Register or Check your US Election Registration at Vote.orgMake a plan to Vote. Check out Ballot Ready.This year is the 45th anniversary of President Carter's Crisis of Confidence speech. Read Susan's new play about the speech and the confidence it takes to be president in challenging times: Confidence (and the Speech) at Broadway Licensing.

Adam Traum is an interpreter of traditional roots music and draws on those styles in his songwriting as well as the covers he chooses. He cross-pollinates Americana genres, blending folk, blues, bluegrass, rockabilly and country-blues music with an occasional jazz chord. When Traum performs he brings a warmth to the stage and puts on a well-polished show, whether he is playing as a solo artist at an intimate house concert or for a festival crowd backed by his potent band. Adam's influences include Ry Cooder, Taj Mahal, John Hiatt, Steve Earle, Mississippi John Hurt and Rev. Gary Davis, to name a few. Traum gigs and teaches throughout the San Francisco Bay Area and nationally. He has instructional guitar, ukulele and mandolin lessons on Homespun Music Instruction. In this podcast Adam talks about the loss of his father, Musician and innovator Happy Traum, find out more about Adam Here: https://www.homespun.com https://www.adamtraumguitar.com

Eighty-nine years ago this week, a young North Carolinian walked into a New York recording studio as Fulton Allen and, after recording a few tunes, walked out again as “Blind Boy Fuller.” On the recording of his composition “Rag Mama” and two other songs pressed that day, the young man was accompanied by his mentor and blues tutor, the legendary Rev. Gary Davis. “When I first run across him,” Davis said years later, “he didn't know how to play but one piece and that was with a knife.”But with Davis' guidance, Allen's playing had improved dramatically by the time he came to the attention of James Baxter Long, a record store manager and talent scout in Burlington, NC.“I saw this blind fellow, colored man. He had on a blanket-lined overall jumper,” Long later recounted, “but I heard him sing. He could sing. Anyway, I told him, 'I'm down here at the United Dollar Store. Come by and see me.'”Well, Fulton did, and a short time later, in July 1935, Long, Allen and Davis set off for New York City, bound for American Recording Co. (ARC), which manufactured disks for many companies, including Columbia. Over the next five years Fulton Allen — as Blind Boy Fuller — recorded 120 sides, which were released by several different labels.Oh, and about the name on the label. Earlier when Allen started to sing on the street corners of Durham, NC, outside factories and tobacco warehouses, people called him “Blind Boy Fulton.” Eventually it was corrupted to “Blind Boy Fuller,” which was to be the name Allen provided to folks at the New York recording studio.How the Tune Came Down to UsThirty years later, “Rag Mama” came down to the 1960s folk music crowd as a signature sound for the era's jug band music revival. It was first picked up by Stefan Grossman and Peter Siegel's Even Dozen Jug Band, then by the even better-known Jim Kweskin Jug Band.In their seminal 1979 book Baby, Let Me Follow You Down, Eric Von Schmidt and Jim Rooney quoted Kweskin as relating how he traveled across the country in the early 1960s developing his musical chops by performing with an array of musicians in local music stores, coffeehouses and bars.“In Berkeley, California,” Kweskin told them, “I met a guy named Steve Talbott, who adapted an old Blind Boy Fuller tune, and I learned it from him. The song was ‘Rag Mama' and it became my theme song.”Enter The FloodIt was Kweskin's rendition on his 1965 Jug Band Music album that inspired The Flood a decade later as the guys were expanding their repertoire into hokum music. “Rag Mama” even played an important role in the early 1980s when Joe Dobbs pitched his idea to West Virginia Public Radio for a new weekly music show. When Joe asked his band mates to help him create a demo of his dream for “Music from the Mountains,” he wanted to illustrate the diversity of musical styles the show could celebrate.Click the button below for a rather manic 1983 version of the tune offered up by Joe and his fellow Floodsters Dave Peyton, Charlie Bowen, Roger Samples and Bill Hoke:Gimme Dat DingFew things stand still in the Floodisphere. That includes songs in the band's repertoire. “Rag Mama” was still with the guys when they rolled into the 21st century, but by then the song had picked up new ornamentation.It's unclear just who first suggested it — might have been Peyton, might have been Bowen — but by the time the tune made it onto the band's second studio album in 2002, “Rag Mama” had been been further fortified with a bit of 1970s folkie foolishness.Britain's novelty group The Pipkins hit the charts in 1970 with a little earworm that was written by Albert Hammond and Mike Hazlewood. The Family Flood found "Gimme Dat Ding” to be a perfect ending for its ever-evolving version of “Rag Mama.”Today's Take on the TuneSo, this song has been floating around in the Floodisphere for nearly 50 years. Nowadays, it is not often on the set list at the band's shows, but it almost always comes back at Flood reunion, and we had a wonderful reunion last week. Michelle Hoge, “the chick singer,” drove in from Cincinnati. Bub — Dave Ball — was up from Florida. Old friends like Jim Rumbaugh, Karen Combs and Doug Imbrogno came by. Everybody was singing and playing along with this one from last week's rehearsal. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

What do Evel Knievel, Captain America, Kenny Roberts and the Terminator have in common? In 2018 Emma, Michael and myself scored an interview with Gary Davis, the coolest guy you've probably never heard of. Gary was inducted into the AMA hall of fame for his career as a racer, daredevil and stuntman. In 1969 he raced alongside greats like Kenny Roberts and Gary Scott. In 1972 he beat Evil Knievel's record by jumping 21 cars. But it wasn't an ordinary jump. He did it with a a partner, both at the same time and passing each other in mid air only feet apart. He then became a stuntman in the movies and TV, doing all of Evel's stunts in Viva Knievel and countless other spots. Next he became a stunt coordinator and 2nd Unit director on films like Terminator 2, Predator 2, Starsky and Hutch, and Torque. And in 2018 he was inducted into the AMA Hall of Fame. He is still in the business today, as well as being a collector, a bike builder and all around cool guy. So take a listen and enjoy getting to know about Gary Davis and his amazing life. www.vintagerides.travel www.adifferentagenda.com/ www.leodescapes.com/ Join our Discord at discord.gg/hpRZcucHCT www.motorcyclesandmisfits.com motorcyclesandmisfits@gmail.com www.patreon.com/motorcyclesandmisfits www.zazzle.com/store/recyclegarage www.youtube.com/channel/UC3wKZSP0J9FBGB79169ciew

When 1 in 3 young Black men face incarceration, the Next Level Boys Academy provides hope. Founded by Gary Davis, this groundbreaking mentorship organization offers an alternative path through intensive programs blending academics, leadership, and social-emotional learning. Studies show participants are 47% less likely to be arrested or incarcerated. But the true impact lies in the transformed lives of the young men served, many from single-parent homes - an experience Davis explored in his book "Raising Him Without Him." As America reckons with systemic inequities endangering Black and brown boys, Davis leads the fight for justice and generational change.Join us as we dive into his aspiring mission and come see Gary live at The Built For Wealth Conference! Click the link below to purchase tickets:www.builtforwealthcon.comAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

REV. GARY DAVIS – LIVE IN CONCET Saludos de Carlos Díez y sean bienvenidos a el disco de la semana, hoy vamos a retroceder bastantes años, nada mas y nada menos que a 1962, con un disco que nos va a reflejar la altura de su protagonista. Las notas del guión pertenecen a Duck Baker. Nuestro protagonista de hoy nació un 30 de abril de 1896 en una granja entre Laurens y Clinton, en el condado de Laurens en Carolina del Sur y falleció el 5 de mayo de 1972 en el William Kessler Memorial Hospital en Hammonton de Nueva Jersey.

Nuestro Insólito Universo _ Gary Davis. En los cinco minutos de duración que tiene este programa se narran historias asombrosas referentes a cualquier tema. La primera transmisión de este programa se realizó por la Radio Nacional de Venezuela el 4 de agosto de 1969 y su éxito fue tal que, posteriormente, fue transmitido también por Radio Capital y, actualmente, se mantiene en la Radio Nacional (AM) y en los circuitos Éxitos y Onda, de Unión Radio (FM), lo cual le otorga una tribuna de red AM y FM que cubren todo el país, uno de los programas radiales más premiados y de mayor duración en la historia de la radio de Venezuela.

Search “reverend” on any streaming platform and you’ll see just how many clergy folk make the most out of their musical passion – and not just in the world of gospel. You’ve got Al Green, Gary Davis, hell we’ll even throw Horton Heat in there. Here in Austin? We don’t get on our knees and […] The post The Reverend Shawn Amos: “It’s All Gonna Change (For the Better)” appeared first on KUT & KUTX Studios -- Podcasts.

Nuestro Insólito Universo _ Gary Davis. En los cinco minutos de duración que tiene este programa se narran historias asombrosas referentes a cualquier tema. La primera transmisión de este programa se realizó por la Radio Nacional de Venezuela el 4 de agosto de 1969 y su éxito fue tal que, posteriormente, fue transmitido también por Radio Capital y, actualmente, se mantiene en la Radio Nacional (AM) y en los circuitos Éxitos y Onda, de Unión Radio (FM), lo cual le otorga una tribuna de red AM y FM que cubren todo el país, uno de los programas radiales más premiados y de mayor duración en la historia de la radio de Venezuela.

For those who haven't heard the announcement I just posted , songs from this point on will sometimes be split among multiple episodes, so this is the second part of a multi-episode look at the Byrds in 1966-69 and the birth of country rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode, on "With a Little Help From My Friends" by Joe Cocker. 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 No Mixcloud at this time as there are too many Byrds songs in the first chunk, but I will try to put together a multi-part Mixcloud when all the episodes for this song are up. My main source for the Byrds is Timeless Flight Revisited by Johnny Rogan, I also used Chris Hillman's autobiography, the 331/3 books on The Notorious Byrd Brothers and The Gilded Palace of Sin, I used Barney Hoskyns' Hotel California and John Einarson's Desperadoes as general background on Californian country-rock, Calling Me Hone, Gram Parsons and the Roots of Country Rock by Bob Kealing for information on Parsons, and Requiem For The Timeless Vol 2 by Johnny Rogan for information about the post-Byrds careers of many members. Information on Gary Usher comes from The California Sound by Stephen McParland. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. The International Submarine Band's only album can be bought from Bandcamp. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we begin, a brief warning – this episode contains brief mentions of suicide, alcoholism, abortion, and heroin addiction, and a brief excerpt of chanting of a Nazi slogan. If you find those subjects upsetting, you may want to read the transcript rather than listen. As we heard in the last part, in October 1967 Roger McGuinn and Chris Hillman fired David Crosby from the Byrds. It was only many years later, in a conversation with the group's ex-manager Jim Dickson, that Crosby realised that they didn't actually have a legal right to fire him -- the Byrds had no partnership agreement, and according to Dickson given that the original group had been Crosby, McGuinn, and Gene Clark, it would have been possible for Crosby and McGuinn to fire Hillman, but not for McGuinn and Hillman to fire Crosby. But Crosby was unaware of this at the time, and accepted a pay-off, with which he bought a boat and sailed to Florida, where saw a Canadian singer-songwriter performing live: [Excerpt: Joni Mitchell, "Both Sides Now (live Ann Arbor, MI, 27/10/67)"] We'll find out what happened when David Crosby brought Joni Mitchell back to California in a future story... With Crosby gone, the group had a major problem. They were known for two things -- their jangly twelve-string guitar and their soaring harmonies. They still had the twelve-string, even in their new slimmed-down trio format, but they only had two of their four vocalists -- and while McGuinn had sung lead on most of their hits, the sound of the Byrds' harmony had been defined by Crosby on the high harmonies and Gene Clark's baritone. There was an obvious solution available, of course, and they took it. Gene Clark had quit the Byrds in large part because of his conflicts with David Crosby, and had remained friendly with the others. Clark's solo album had featured Chris Hillman and Michael Clarke, and had been produced by Gary Usher who was now producing the Byrds' records, and it had been a flop and he was at a loose end. After recording the Gene Clark with the Gosdin Brothers album, Clark had started work with Curt Boettcher, a singer-songwriter-producer who had produced hits for Tommy Roe and the Association, and who was currently working with Gary Usher. Boettcher produced two tracks for Clark, but they went unreleased: [Excerpt: Gene Clark, "Only Colombe"] That had been intended as the start of sessions for an album, but Clark had been dropped by Columbia rather than getting to record a second album. He had put together a touring band with guitarist Clarence White, bass player John York, and session drummer "Fast" Eddie Hoh, but hadn't played many gigs, and while he'd been demoing songs for a possible second solo album he didn't have a record deal to use them on. Chisa Records, a label co-owned by Larry Spector, Peter Fonda, and Hugh Masekela, had put out some promo copies of one track, "Yesterday, Am I Right", but hadn't released it properly: [Excerpt: Gene Clark, "Yesterday, Am I Right"] Clark, like the Byrds, had left Dickson and Tickner's management organisation and signed with Larry Spector, and Spector was wanting to make the most of his artists -- and things were very different for the Byrds now. Clark had had three main problems with being in the Byrds -- ego clashes with David Crosby, the stresses of being a pop star with a screaming teenage fanbase, and his fear of flying. Clark had really wanted to have the same kind of role in the Byrds that Brian Wilson had with the Beach Boys -- appear on the records, write songs, do TV appearances, maybe play local club gigs, but not go on tour playing to screaming fans. But now David Crosby was out of the group and there were no screaming fans any more -- the Byrds weren't having the kind of pop hits they'd had a few years earlier and were now playing to the hippie audience. Clark promised that with everything else being different, he could cope with the idea of flying -- if necessary he'd just take tranquilisers or get so drunk he passed out. So Gene Clark rejoined the Byrds. According to some sources he sang on their next single, "Goin' Back," though I don't hear his voice in the mix: [Excerpt: The Byrds, "Goin' Back"] According to McGuinn, Clark was also an uncredited co-writer on one song on the album they were recording, "Get to You". But before sessions had gone very far, the group went on tour. They appeared on the Smothers Brothers TV show, miming their new single and "Mr. Spaceman", and Clark seemed in good spirits, but on the tour of the Midwest that followed, according to their road manager of the time, Clark was terrified, singing flat and playing badly, and his guitar and vocal mic were left out of the mix. And then it came time to get on a plane, and Clark's old fears came back, and he refused to fly from Minneapolis to New York with the rest of the group, instead getting a train back to LA. And that was the end of Clark's second stint in the Byrds. For the moment, the Byrds decided they were going to continue as a trio on stage and a duo in the studio -- though Michael Clarke did make an occasional return to the sessions as they progressed. But of course, McGuinn and Hillman couldn't record an album entirely by themselves. They did have several tracks in a semi-completed state still featuring Crosby, but they needed people to fill his vocal and instrumental roles on the remaining tracks. For the vocals, Usher brought in his friend and collaborator Curt Boettcher, with whom he was also working at the time in a band called Sagittarius: [Excerpt: Sagittarius, "Another Time"] Boettcher was a skilled harmony vocalist -- according to Usher, he was one of the few vocal arrangers that Brian Wilson looked up to, and Jerry Yester had said of the Modern Folk Quartet that “the only vocals that competed with us back then was Curt Boettcher's group” -- and he was more than capable of filling Crosby's vocal gap, but there was never any real camaraderie between him and the Byrds. He particularly disliked McGuinn, who he said "was just such a poker face. He never let you know where you stood. There was never any lightness," and he said of the sessions as a whole "I was really thrilled to be working with The Byrds, and, at the same time, I was glad when it was all over. There was just no fun, and they were such weird guys to work with. They really freaked me out!" Someone else who Usher brought in, who seems to have made a better impression, was Red Rhodes: [Excerpt: Red Rhodes, "Red's Ride"] Rhodes was a pedal steel player, and one of the few people to make a career on the instrument outside pure country music, which is the genre with which the instrument is usually identified. Rhodes was a country player, but he was the country pedal steel player of choice for musicians from the pop and folk-rock worlds. He worked with Usher and Boettcher on albums by Sagittarius and the Millennium, and played on records by Cass Elliot, Carole King, the Beach Boys, and the Carpenters, among many others -- though he would be best known for his longstanding association with Michael Nesmith of the Monkees, playing on most of Nesmith's recordings from 1968 through 1992. Someone else who was associated with the Monkees was Moog player Paul Beaver, who we talked about in the episode on "Hey Jude", and who had recently played on the Monkees' Pisces, Aquarius, Capricorn & Jones, Ltd album: [Excerpt: The Monkees, "Star Collector"] And the fourth person brought in to help the group out was someone who was already familiar to them. Clarence White was, like Red Rhodes, from the country world -- he'd started out in a bluegrass group called the Kentucky Colonels: [Excerpt: The Kentucky Colonels, "Clinch Mountain Backstep"] But White had gone electric and formed one of the first country-rock bands, a group named Nashville West, as well as becoming a popular session player. He had already played on a couple of tracks on Younger Than Yesterday, as well as playing with Hillman and Michael Clarke on Gene Clark's album with the Gosdin Brothers and being part of Clark's touring band with John York and "Fast" Eddie Hoh. The album that the group put together with these session players was a triumph of sequencing and production. Usher had recently been keen on the idea of crossfading tracks into each other, as the Beatles had on Sgt Pepper, and had done the same on the two Chad and Jeremy albums he produced. By clever crossfading and mixing, Usher managed to create something that had the feel of being a continuous piece, despite being the product of several very different creative minds, with Usher's pop sensibility and arrangement ideas being the glue that held everything together. McGuinn was interested in sonic experimentation. He, more than any of the others, seems to have been the one who was most pushing for them to use the Moog, and he continued his interest in science fiction, with a song, "Space Odyssey", inspired by the Arthur C. Clarke short story "The Sentinel", which was also the inspiration for the then-forthcoming film 2001: A Space Odyssey: [Excerpt: The Byrds, "Space Odyssey"] Then there was Chris Hillman, who was coming up with country material like "Old John Robertson": [Excerpt: The Byrds, "Old John Robertson"] And finally there was David Crosby. Even though he'd been fired from the group, both McGuinn and Hillman didn't see any problem with using the songs he had already contributed. Three of the album's eleven songs are compositions that are primarily by Crosby, though they're all co-credited to either Hillman or both Hillman and McGuinn. Two of those songs are largely unchanged from Crosby's original vision, just finished off by the rest of the group after his departure, but one song is rather different: [Excerpt: The Byrds, "Draft Morning"] "Draft Morning" was a song that was important to Crosby, and was about his -- and the group's -- feelings about the draft and the ongoing Vietnam War. It was a song that had meant a lot to him, and he'd been part of the recording for the backing track. But when it came to doing the final vocals, McGuinn and Hillman had a problem -- they couldn't remember all the words to the song, and obviously there was no way they were going to get Crosby to give them the original lyrics. So they rewrote it, coming up with new lyrics where they couldn't remember the originals: [Excerpt: The Byrds, "Draft Morning"] But there was one other contribution to the track that was very distinctively the work of Usher. Gary Usher had a predilection at this point for putting musique concrete sections in otherwise straightforward pop songs. He'd done it with "Fakin' It" by Simon and Garfunkel, on which he did uncredited production work, and did it so often that it became something of a signature of records on Columbia in 1967 and 68, even being copied by his friend Jim Guercio on "Susan" by the Buckinghams. Usher had done this, in particular, on the first two singles by Sagittarius, his project with Curt Boettcher. In particular, the second Sagittarius single, "Hotel Indiscreet", had had a very jarring section (and a warning here, this contains some brief chanting of a Nazi slogan): [Excerpt: Sagittarius, "Hotel Indiscreet"] That was the work of a comedy group that Usher had discovered and signed to Columbia. The Firesign Theatre were so named because, like Usher, they were all interested in astrology, and they were all "fire signs".  Usher was working on their first album, Waiting For The Electrician or Someone Like Him, at the same time as he was working on the Byrds album: [Excerpt: The Firesign Theatre, "W.C. Fields Forever"] And he decided to bring in the Firesigns to contribute to "Draft Morning": [Excerpt: The Byrds, "Draft Morning"] Crosby was, understandably, apoplectic when he heard the released version of "Draft Morning". As far as Hillman and McGuinn were concerned, it was always a Byrds song, and just because Crosby had left the band didn't mean they couldn't use material he'd written for the Byrds. Crosby took a different view, saying later "It was one of the sleaziest things they ever did. I had an entire song finished. They just casually rewrote it and decided to take half the credit. How's that? Without even asking me. I had a finished song, entirely mine. I left. They did the song anyway. They rewrote it and put it in their names. And mine was better. They just took it because they didn't have enough songs." What didn't help was that the publicity around the album, titled The Notorious Byrd Brothers minimised Crosby's contributions. Crosby is on five of the eleven tracks -- as he said later, "I'm all over that album, they just didn't give me credit. I played, I sang, I wrote, I even played bass on one track, and they tried to make out that I wasn't even on it, that they could be that good without me." But the album, like earlier Byrds albums, didn't have credits saying who played what, and the cover only featured McGuinn, Hillman, and Michael Clarke in the photo -- along with a horse, which Crosby took as another insult, as representing him. Though as McGuinn said, "If we had intended to do that, we would have turned the horse around". Even though Michael Clarke was featured on the cover, and even owned the horse that took Crosby's place, by the time the album came out he too had been fired. Unlike Crosby, he went quietly and didn't even ask for any money. According to McGuinn, he was increasingly uninterested in being in the band -- suffering from depression, and missing the teenage girls who had been the group's fans a year or two earlier. He gladly stopped being a Byrd, and went off to work in a hotel instead. In his place came Hillman's cousin, Kevin Kelley, fresh out of a band called the Rising Sons: [Excerpt: The Rising Sons, "Take a Giant Step"] We've mentioned the Rising Sons briefly in some previous episodes, but they were one of the earliest LA folk-rock bands, and had been tipped to go on to greater things -- and indeed, many of them did, though not as part of the Rising Sons. Jesse Lee Kincaid, the least well-known of the band, only went on to release a couple of singles and never had much success, but his songs were picked up by other acts -- his "Baby You Come Rollin' 'Cross My Mind" was a minor hit for the Peppermint Trolley Company: [Excerpt: The Peppermint Trolley Company, "Baby You Come Rollin' 'Cross My Mind"] And Harry Nilsson recorded Kincaid's "She Sang Hymns Out of Tune": [Excerpt: Harry Nilsson, "She Sang Hymns Out of Tune"] But Kincaid was the least successful of the band members, and most of the other members are going to come up in future episodes of the podcast -- bass player Gary Marker played for a while with Captain Beefheart and the Magic Band, lead singer Taj Mahal is one of the most respected blues singers of the last sixty years, original drummer Ed Cassidy went on to form the progressive rock band Spirit, and lead guitarist Ry Cooder went on to become one of the most important guitarists in rock music. Kelley had been the last to join the Rising Sons, replacing Cassidy but he was in the band by the time they released their one single, a version of Rev. Gary Davis' "Candy Man" produced by Terry Melcher, with Kincaid on lead vocals: [Excerpt: The Rising Sons, "Candy Man"] That hadn't been a success, and the group's attempt at a follow-up, the Goffin and King song "Take a Giant Step", which we heard earlier, was blocked from release by Columbia as being too druggy -- though there were no complaints when the Monkees released their version as the B-side to "Last Train to Clarksville". The Rising Sons, despite being hugely popular as a live act, fell apart without ever releasing a second single. According to Marker, Mahal realised that he would be better off as a solo artist, but also Columbia didn't know how to market a white group with a Black lead vocalist (leading to Kincaid singing lead on their one released single, and producer Terry Melcher trying to get Mahal to sing more like a white singer on "Take a Giant Step"), and some in the band thought that Terry Melcher was deliberately trying to sink their career because they refused to sign to his publishing company. After the band split up, Marker and Kelley had formed a band called Fusion, which Byrds biographer Johnny Rogan describes as being a jazz-fusion band, presumably because of their name. Listening to the one album the group recorded, it is in fact more blues-rock, very like the music Marker made with the Rising Sons and Captain Beefheart. But Kelley's not on that album, because before it was recorded he was approached by his cousin Chris Hillman and asked to join the Byrds. At the time, Fusion were doing so badly that Kelley had to work a day job in a clothes shop, so he was eager to join a band with a string of hits who were just about to conclude a lucrative renegotiation of their record contract -- a renegotiation which may have played a part in McGuinn and Hillman firing Crosby and Clarke, as they were now the only members on the new contracts. The choice of Kelley made a lot of sense. He was mostly just chosen because he was someone they knew and they needed a drummer in a hurry -- they needed someone new to promote The Notorious Byrd Brothers and didn't have time to go through a laborious process of audtioning, and so just choosing Hillman's cousin made sense, but Kelley also had a very strong, high voice, and so he could fill in the harmony parts that Crosby had sung, stopping the new power-trio version of the band from being *too* thin-sounding in comparison to the five-man band they'd been not that much earlier. The Notorious Byrd Brothers was not a commercial success -- it didn't even make the top forty in the US, though it did in the UK -- to the presumed chagrin of Columbia, who'd just paid a substantial amount of money for this band who were getting less successful by the day. But it was, though, a gigantic critical success, and is generally regarded as the group's creative pinnacle. Robert Christgau, for example, talked about how LA rather than San Francisco was where the truly interesting music was coming from, and gave guarded praise to Captain Beefheart, Van Dyke Parks, and the Fifth Dimension (the vocal group, not the Byrds album) but talked about three albums as being truly great -- the Beach Boys' Wild Honey, Love's Forever Changes, and The Notorious Byrd Brothers. (He also, incidentally, talked about how the two songs that Crosby's new discovery Joni Mitchell had contributed to a Judy Collins album were much better than most folk music, and how he could hardly wait for her first album to come out). And that, more or less, was the critical consensus about The Notorious Byrd Brothers -- that it was, in Christgau's words "simply the best album the Byrds have ever recorded" and that "Gone are the weak--usually folky--tracks that have always flawed their work." McGuinn, though, thought that the album wasn't yet what he wanted. He had become particularly excited by the potentials of the Moog synthesiser -- an instrument that Gary Usher also loved -- during the recording of the album, and had spent a lot of time experimenting with it, coming up with tracks like the then-unreleased "Moog Raga": [Excerpt: The Byrds, "Moog Raga"] And McGuinn had a concept for the next Byrds album -- a concept he was very excited about. It was going to be nothing less than a grand sweeping history of American popular music. It was going to be a double album -- the new contract said that they should deliver two albums a year to Columbia, so a double album made sense -- and it would start with Appalachian folk music, go through country, jazz, and R&B, through the folk-rock music the Byrds had previously been known for, and into Moog experimentation. But to do this, the Byrds needed a keyboard player. Not only would a keyboard player help them fill out their thin onstage sound, if they got a jazz keyboardist, then they could cover the jazz material in McGuinn's concept album idea as well. So they went out and looked for a jazz piano player, and happily Larry Spector was managing one. Or at least, Larry Spector was managing someone who *said* he was a jazz pianist. But Gram Parsons said he was a lot of things... [Excerpt: Gram Parsons, "Brass Buttons (1965 version)"] Gram Parsons was someone who had come from a background of unimaginable privilege. His maternal grandfather was the owner of a Florida citrus fruit and real-estate empire so big that his mansion was right in the centre of what was then Florida's biggest theme park -- built on land he owned. As a teenager, Parsons had had a whole wing of his parents' house to himself, and had had servants to look after his every need, and as an adult he had a trust fund that paid him a hundred thousand dollars a year -- which in 1968 dollars would be equivalent to a little under nine hundred thousand in today's money. Two events in his childhood had profoundly shaped the life of young Gram. The first was in February 1956, when he went to see a new singer who he'd heard on the radio, and who according to the local newspaper had just recorded a new song called "Heartburn Motel".  Parsons had tried to persuade his friends that this new singer was about to become a big star -- one of his friends had said "I'll wait til he becomes famous!" As it turned out, the day Parsons and the couple of friends he did manage to persuade to go with him saw Elvis Presley was also the day that "Heartbreak Hotel" entered the Billboard charts at number sixty-eight. But even at this point, Elvis was an obvious star and the headliner of the show. Young Gram was enthralled -- but in retrospect he was more impressed by the other acts he saw on the bill. That was an all-star line-up of country musicians, including Mother Maybelle and the Carter Sisters, and especially the Louvin Brothers, arguably the greatest country music vocal duo of all time: [Excerpt: The Louvin Brothers, "The Christian Life"] Young Gram remained mostly a fan of rockabilly music rather than country, and would remain so for another decade or so, but a seed had been planted. The other event, much more tragic, was the death of his father. Both Parsons' parents were functioning alcoholics, and both by all accounts were unfaithful to each other, and their marriage was starting to break down. Gram's father was also, by many accounts, dealing with what we would now call post-traumatic stress disorder from his time serving in the second world war. On December the twenty-third 1958, Gram's father died of a self-inflicted gunshot wound. Everyone involved seems sure it was suicide, but it was officially recorded as natural causes because of the family's wealth and prominence in the local community. Gram's Christmas present from his parents that year was a reel-to-reel tape recorder, and according to some stories I've read his father had left a last message on a tape in the recorder, but by the time the authorities got to hear it, it had been erased apart from the phrase "I love you, Gram." After that Gram's mother's drinking got even worse, but in most ways his life still seemed charmed, and the descriptions of him as a teenager are about what you'd expect from someone who was troubled, with a predisposition to addiction, but who was also unbelievably wealthy, good-looking, charming, and talented. And the talent was definitely there. One thing everyone is agreed on is that from a very young age Gram Parsons took his music seriously and was determined to make a career as a musician. Keith Richards later said of him "Of the musicians I know personally (although Otis Redding, who I didn't know, fits this too), the two who had an attitude towards music that was the same as mine were Gram Parsons and John Lennon. And that was: whatever bag the business wants to put you in is immaterial; that's just a selling point, a tool that makes it easier. You're going to get chowed into this pocket or that pocket because it makes it easier for them to make charts up and figure out who's selling. But Gram and John were really pure musicians. All they liked was music, and then they got thrown into the game." That's not the impression many other people have of Parsons, who is almost uniformly described as an incessant self-promoter, and who from his teens onwards would regularly plant fake stories about himself in the local press, usually some variant of him having been signed to RCA records. Most people seem to think that image was more important to him than anything. In his teens, he started playing in a series of garage bands around Florida and Georgia, the two states in which he was brought up. One of his early bands was largely created by poaching the rhythm section who were then playing with Kent Lavoie, who later became famous as Lobo and had hits like "Me and You and a Dog Named Boo". Lavoie apparently held a grudge -- decades later he would still say that Parsons couldn't sing or play or write. Another musician on the scene with whom Parsons associated was Bobby Braddock, who would later go on to co-write songs like "D-I-V-O-R-C-E" for Tammy Wynette, and the song "He Stopped Loving Her Today", often considered the greatest country song ever written, for George Jones: [Excerpt: George Jones, "He Stopped Loving Her Today"] Jones would soon become one of Parsons' musical idols, but at this time he was still more interested in being Elvis or Little Richard. We're lucky enough to have a 1962 live recording of one of his garage bands, the Legends -- the band that featured the bass player and drummer he'd poached from Lobo. They made an appearance on a local TV show and a friend with a tape recorder recorded it off the TV and decades later posted it online. Of the four songs in that performance, two are R&B covers -- Little Richard's "Rip It Up" and Ray Charles' "What'd I Say?", and a third is the old Western Swing classic "Guitar Boogie Shuffle". But the interesting thing about the version of "Rip it Up" is that it's sung in an Everly Brothers style harmony, and the fourth song is a recording of the Everlys' "Let It Be Me". The Everlys were, of course, hugely influenced by the Louvin Brothers, who had so impressed young Gram six years earlier, and in this performance you can hear for the first time the hints of the style that Parsons would make his own a few years later: [Excerpt: Gram Parsons and the Legends, "Let it Be Me"] Incidentally, the other guitarist in the Legends, Jim Stafford, also went on to a successful musical career, having a top five hit in the seventies with "Spiders & Snakes": [Excerpt: Jim Stafford, "Spiders & Snakes"] Soon after that TV performance though, like many musicians of his generation, Parsons decided to give up on rock and roll, and instead to join a folk group. The group he joined, The Shilos, were a trio who were particularly influenced by the Journeymen, John Phillips' folk group before he formed the Mamas and the Papas, which we talked about in the episode on "San Francisco". At various times the group expanded with the addition of some female singers, trying to capture something of the sound of the New Chrisy Minstrels. In 1964, with the band members still in school, the Shilos decided to make a trip to Greenwich Village and see if they could make the big time as folk-music stars. They met up with John Phillips, and Parsons stayed with John and Michelle Phillips in their home in New York -- this was around the time the two of them were writing "California Dreamin'". Phillips got the Shilos an audition with Albert Grossman, who seemed eager to sign them until he realised they were still schoolchildren just on a break. The group were, though, impressive enough that he was interested, and we have some recordings of them from a year later which show that they were surprisingly good for a bunch of teenagers: [Excerpt: The Shilos, "The Bells of Rhymney"] Other than Phillips, the other major connection that Parsons made in New York was the folk singer Fred Neil, who we've talked about occasionally before. Neil was one of the great songwriters of the Greenwich Village scene, and many of his songs became successful for others -- his "Dolphins" was recorded by Tim Buckley, most famously his "Everybody's Talkin'" was a hit for Harry Nilsson, and he wrote "Another Side of This Life" which became something of a standard -- it was recorded by the Animals and the Lovin' Spoonful, and Jefferson Airplane, as well as recording the song, included it in their regular setlists, including at Monterey: [Excerpt: Jefferson Airplane, "The Other Side of This Life (live at Monterey)"] According to at least one biographer, though, Neil had another, more pernicious, influence on Parsons -- he may well have been the one who introduced Parsons to heroin, though several of Parsons' friends from the time said he wasn't yet using hard drugs. By spring 1965, Parsons was starting to rethink his commitment to folk music, particularly after "Mr. Tambourine Man" became a hit. He talked with the other members about their need to embrace the changes in music that Dylan and the Byrds were bringing about, but at the same time he was still interested enough in acoustic music that when he was given the job of arranging the music for his high school graduation, the group he booked were the Dillards. That graduation day was another day that would change Parsons' life -- as it was the day his mother died, of alcohol-induced liver failure. Parsons was meant to go on to Harvard, but first he went back to Greenwich Village for the summer, where he hung out with Fred Neil and Dave Van Ronk (and started using heroin regularly). He went to see the Beatles at Shea Stadium, and he was neighbours with Stephen Stills and Richie Furay -- the three of them talked about forming a band together before Stills moved West. And on a brief trip back home to Florida between Greenwich Village and Harvard, Parsons spoke with his old friend Jim Stafford, who made a suggestion to him -- instead of trying to do folk music, which was clearly falling out of fashion, why not try to do *country* music but with long hair like the Beatles? He could be a country Beatle. It would be an interesting gimmick. Parsons was only at Harvard for one semester before flunking out, but it was there that he was fully reintroduced to country music, and in particular to three artists who would influence him more than any others. He'd already been vaguely aware of Buck Owens, whose "Act Naturally" had recently been covered by the Beatles: [Excerpt: Buck Owens, "Act Naturally"] But it was at Harvard that he gained a deeper appreciation of Owens. Owens was the biggest star of what had become known as the Bakersfield Sound, a style of country music that emphasised a stripped-down electric band lineup with Telecaster guitars, a heavy drumbeat, and a clean sound. It came from the same honky-tonk and Western Swing roots as the rockabilly music that Parsons had grown up on, and it appealed to him instinctively.  In particular, Parsons was fascinated by the fact that Owens' latest album had a cover version of a Drifters song on it -- and then he got even more interested when Ray Charles put out his third album of country songs and included a version of Owens' "Together Again": [Excerpt: Ray Charles, "Together Again"] This suggested to Parsons that country music and the R&B he'd been playing previously might not quite be so far apart as he'd thought. At Harvard, Parsons was also introduced to the work of another Bakersfield musician, who like Owens was produced by Ken Nelson, who also produced the Louvin Brothers' records, and who we heard about in previous episodes as he produced Gene Vincent and Wanda Jackson. Merle Haggard had only had one big hit at the time, "(My Friends Are Gonna Be) Strangers": [Excerpt: Merle Haggard, "(My Friends are Gonna Be) Strangers"] But he was about to start a huge run of country hits that would see every single he released for the next twelve years make the country top ten, most of them making number one. Haggard would be one of the biggest stars in country music, but he was also to be arguably the country musician with the biggest influence on rock music since Johnny Cash, and his songs would soon start to be covered by everyone from the Grateful Dead to the Everly Brothers to the Beach Boys. And the third artist that Parsons was introduced to was someone who, in most popular narratives of country music, is set up in opposition to Haggard and Owens, because they were representatives of the Bakersfield Sound while he was the epitome of the Nashville Sound to which the Bakersfield Sound is placed in opposition, George Jones. But of course anyone with ears will notice huge similarities in the vocal styles of Jones, Haggard, and Owens: [Excerpt: George Jones, "The Race is On"] Owens, Haggard, and Jones are all somewhat outside the scope of this series, but are seriously important musicians in country music. I would urge anyone who's interested in them to check out Tyler Mahan Coe's podcast Cocaine and Rhinestones, season one of which has episodes on Haggard and Owens, as well as on the Louvin Brothers who I also mentioned earlier, and season two of which is entirely devoted to Jones. When he dropped out of Harvard after one semester, Parsons was still mostly under the thrall of the Greenwich Village folkies -- there's a recording of him made over Christmas 1965 that includes his version of "Another Side of This Life": [Excerpt: Gram Parsons, "Another Side of This Life"] But he was encouraged to go further in the country direction by John Nuese (and I hope that's the correct pronunciation – I haven't been able to find any recordings mentioning his name), who had introduced him to this music and who also played guitar. Parsons, Neuse, bass player Ian Dunlop and drummer Mickey Gauvin formed a band that was originally called Gram Parsons and the Like. They soon changed their name though, inspired by an Our Gang short in which the gang became a band: [Excerpt: Our Gang, "Mike Fright"] Shortening the name slightly, they became the International Submarine Band. Parsons rented them a house in New York, and they got a contract with Goldstar Records, and released a couple of singles. The first of them, "The Russians are Coming, The Russians are Coming" was a cover of the theme to a comedy film that came out around that time, and is not especially interesting: [Excerpt: The International Submarine Band, "The Russians are Coming, The Russians are Coming"] The second single is more interesting. "Sum Up Broke" is a song by Parsons and Neuse, and shows a lot of influence from the Byrds: [Excerpt: The international Submarine Band, "Sum Up Broke"] While in New York with the International Submarine Band, Parsons made another friend in the music business. Barry Tashian was the lead singer of a band called the Remains, who had put out a couple of singles: [Excerpt: The Remains, "Why Do I Cry?"] The Remains are now best known for having been on the bill on the Beatles' last ever tour, including playing as support on their last ever show at Candlestick Park, but they split up before their first album came out. After spending most of 1966 in New York, Parsons decided that he needed to move the International Submarine Band out to LA. There were two reasons for this. The first was his friend Brandon DeWilde, an actor who had been a child star in the fifties -- it's him at the end of Shane -- who was thinking of pursuing a musical career. DeWilde was still making TV appearances, but he was also a singer -- John Nuese said that DeWilde sang harmony with Parsons better than anyone except Emmylou Harris -- and he had recorded some demos with the International Submarine Band backing him, like this version of Buck Owens' "Together Again": [Excerpt: Brandon DeWilde, "Together Again"] DeWilde had told Parsons he could get the group some work in films. DeWilde made good on that promise to an extent -- he got the group a cameo in The Trip, a film we've talked about in several other episodes, which was being directed by Roger Corman, the director who worked a lot with David Crosby's father, and was coming out from American International Pictures, the company that put out the beach party films -- but while the group were filmed performing one of their own songs, in the final film their music was overdubbed by the Electric Flag. The Trip starred Peter Fonda, another member of the circle of people around David Crosby, and another son of privilege, who at this point was better known for being Henry Fonda's son than for his own film appearances. Like DeWilde, Fonda wanted to become a pop star, and he had been impressed by Parsons, and asked if he could record Parsons' song "November Nights". Parsons agreed, and the result was released on Chisa Records, the label we talked about earlier that had put out promos of Gene Clark, in a performance produced by Hugh Masekela: [Excerpt: Peter Fonda, "November Nights"] The other reason the group moved West though was that Parsons had fallen in love with David Crosby's girlfriend, Nancy Ross, who soon became pregnant with his daughter -- much to Parsons' disappointment, she refused to have an abortion. Parsons bought the International Submarine Band a house in LA to rehearse in, and moved in separately with Nancy. The group started playing all the hottest clubs around LA, supporting bands like Love and the Peanut Butter Conspiracy, but they weren't sounding great, partly because Parsons was more interested in hanging round with celebrities than rehearsing -- the rest of the band had to work for a living, and so took their live performances more seriously than he did, while he was spending time catching up with his old folk friends like John Phillips and Fred Neil, as well as getting deeper into drugs and, like seemingly every musician in 1967, Scientology, though he only dabbled in the latter. The group were also, though, starting to split along musical lines. Dunlop and Gauvin wanted to play R&B and garage rock, while Parsons and Nuese wanted to play country music. And there was a third issue -- which record label should they go with? There were two labels interested in them, neither of them particularly appealing. The offer that Dunlop in particular wanted to go with was from, of all people, Jay Ward Records: [Excerpt: A Salute to Moosylvania] Jay Ward was the producer and writer of Rocky & Bullwinkle, Peabody & Sherman, Dudley Do-Right and other cartoons, and had set up a record company, which as far as I've been able to tell had only released one record, and that five years earlier (we just heard a snippet of it). But in the mid-sixties several cartoon companies were getting into the record business -- we'll hear more about that when we get to song 186 -- and Ward's company apparently wanted to sign the International Submarine Band, and were basically offering to throw money at them. Parsons, on the other hand, wanted to go with Lee Hazlewood International. This was a new label set up by someone we've only talked about in passing, but who was very influential on the LA music scene, Lee Hazlewood. Hazlewood had got his start producing country hits like Sanford Clark's "The Fool": [Excerpt: Sanford Clark, "The Fool"] He'd then moved on to collaborating with Lester Sill, producing a series of hits for Duane Eddy, whose unique guitar sound Hazlewood helped come up with: [Excerpt: Duane Eddy, "Rebel Rouser"] After splitting off from Sill, who had gone off to work with Phil Spector, who had been learning some production techniques from Hazlewood, Hazlewood had gone to work for Reprise records, where he had a career in a rather odd niche, producing hit records for the children of Rat Pack stars. He'd produced Dino, Desi, and Billy, who consisted of future Beach Boys sideman Billy Hinsche plus Desi Arnaz Jr and Dean Martin Jr: [Excerpt: Dino, Desi, and Billy, "I'm a Fool"] He'd also produced Dean Martin's daughter Deana: [Excerpt: Deana Martin, "Baby I See You"] and rather more successfully he'd written and produced a series of hits for Nancy Sinatra, starting with "These Boots are Made for Walkin'": [Excerpt: Nancy Sinatra, "These Boots are Made for Walkin'"] Hazlewood had also moved into singing himself. He'd released a few tracks on his own, but his career as a performer hadn't really kicked into gear until he'd started writing duets for Nancy Sinatra. She apparently fell in love with his demos and insisted on having him sing them with her in the studio, and so the two made a series of collaborations like the magnificently bizarre "Some Velvet Morning": [Excerpt: Lee Hazlewood and Nancy Sinatra, "Some Velvet Morning"] Hazlewood is now considered something of a cult artist, thanks largely to a string of magnificent orchestral country-pop solo albums he recorded, but at this point he was one of the hottest people in the music industry. He wasn't offering to produce the International Submarine Band himself -- that was going to be his partner, Suzi Jane Hokom -- but Parsons thought it was better to sign for less money to a label that was run by someone with a decade-long string of massive hit records than for more money to a label that had put out one record about a cartoon moose. So the group split up. Dunlop and Gauvin went off to form another band, with Barry Tashian -- and legend has it that one of the first times Gram Parsons visited the Byrds in the studio, he mentioned the name of that band, The Flying Burrito Brothers, and that was the inspiration for the Byrds titling their album The Notorious Byrd Brothers. Parsons and Nuese, on the other hand, formed a new lineup of The International Submarine Band, with bass player Chris Ethridge, drummer John Corneal, who Parsons had first played with in The Legends, and guitarist Bob Buchanan, a former member of the New Christy Minstrels who Parsons had been performing with as a duo after they'd met through Fred Neil. The International Submarine Band recorded an album, Safe At Home, which is now often called the first country-rock album -- though as we've said so often, there's no first anything. That album was a mixture of cover versions of songs by people like Johnny Cash and Merle Haggard: [Excerpt: The International Submarine Band, "I Must Be Somebody Else You've Known"] And Parsons originals, like "Do You Know How It Feels To Be Lonesome?", which he cowrote with Barry Goldberg of the Electric Flag: [Excerpt: The International Submarine Band, "Do You Know How It Feels To Be Lonesome?"] But the recording didn't go smoothly. In particular, Corneal realised he'd been hoodwinked. Parsons had told him, when persuading him to move West, that he'd be able to sing on the record and that some of his songs would be used. But while the record was credited to The International Submarine Band, everyone involved agrees that it was actually a Gram Parsons solo album by any other name -- he was in charge, he wouldn't let other members' songs on the record, and he didn't let Corneal sing as he'd promised. And then, before the album could be released, he was off. The Byrds wanted a jazz keyboard player, and Parsons could fake being one long enough to get the gig. The Byrds had got rid of one rich kid with a giant ego who wanted to take control of everything and thought his undeniable talent excused his attempts at dominating the group, and replaced him with another one -- who also happened to be signed to another record label. We'll see how well that worked out for them in two weeks' time.  

Tony chats with Gary Davis, National Practice Leader at Noyo. Noyo is building the digital infrastructure to bring health insurance enrollment into the modern era. Noyo replaces today's manual data entry and cumbersome legacy systems with a powerful API platform that enables faster, more accurate data exchange between health insurance platforms and their carrier partners.Gary Davis: https://www.linkedin.com/in/gary-davis-1716a2a/Noyo: https://noyo.com/Video Version: https://youtu.be/B7P0AH3GOmg

Mitch Greenhill has published a wonderful memoir of his life as a composer, musician, producer and manager. He inherited Folklore Productions from his Dad Manny and Mitch has been involved with many great artists including Doc & Merle Watson, John Renbourn, Rosalie Sorrels, Eric Von Schmidt, Mayne Smith and the Rev. Gary Davis. On this program we'll hear music from many of those artists as well as recordings by Mitch and his friends. Musical mavericks ... this week on the Sing Out! Radio Magazine.Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwaysString Madness / “Snowy Evening Blues” / Eye of the Beholder / Self-producedMitch Greenhill / “Albion Turned Away” / Blues of an Ancient Bard / FolkloreMitch Greenhill / “Mobile and Tennesee Line” / Picking the City Blues / PrestigeMitch Greenhill & Mayne Smith / “Don't You Dee That Train” / Storm Coming / BayThe Lost Frontier / “Freight Train Blues” / The Lost Frontier / Self-producedSister Rosetta Tharpe / “Just a Closer Walk with Thee” / The Decca Singles / VervePaul Robeson / “Ol' Man River” / Single / CTSRolf Cahn / “The Four Maries” / California Concert / FolkwaysString Madness / “Merlefest Ramble” / Eye of the Beholder / Self-producedThe Rev. Gary Davis / “Death Don't Have No Mercy” / Great Bluesmen-Newport / VanguardLightnin' Hopkins w/Sam Lay / “Shake That Thing” / Great Bluesmen-Newport / VanguardEric Von Schmidt / “Joshua Gone Barbados” / Living on the Trail / TomatoJim Kweskin & Geoff Muldaur / “C-H-I-C-K-E-N” / Penny's Farm / KingswoodRy Cooder / “Long Riders Theme” / The Long Riders / Warner BrothersRosalie Sorrels / “If I Could Be the Rain” / If I Could Be the Rain / Folk LegacyPete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

Recruitment has not changed over the last few decades, but company needs certainly have. Gary Davis is the Senior Diversity, Equity, and Inclusion Business Partner at Adobe. During this episode, he joins us to discuss the evolving importance of DE&I, the metrics used to evaluate candidates, and how to determine how people experience your company culture. Tuning in, you'll hear Gary's thoughts on the two-way street of recruitment, valuing transparency, and the importance of solving problems specific to Generation Z. We discuss what it truly means to shrink the gaps in equity and inclusion, Gary's Christmas wishlist for the future of the industry, and more.    Key Points From This Episode:   Introducing Gary Davis, Senior DE&I Business Partner at Adobe.  His motivation to find creative ways to address inequality in the USA.  What his role involves and how he serves all of the communities at Adobe. The process of productizing equitable interviewing.  How recruitment has not evolved over the last fifty years.  Interrogating the metric we use to evaluate candidates for a role. How Gary's roles have evolved in DE&I and tech.  Measuring how people experience your company culture. Whether or not recruiters should be incentivized around retention.  Why Gary values transparency so highly.  Considering recruitment a two-way street. His favorite thing about diversity and inclusion work.  What it means to creatively shrink the gaps in equity and inclusion. Why it is important to solve problems specific to Gen Z.  Gary's Christmas wishlist for the future of the industry. Reshaping how we approach DE&I work with the past in mind.    Quotes:   “The throughline for any work that I've ever done has been about designing programs and products that create spaces for people from excluded groups; women, people of color, and folks with disabilities.” — Gary Davis [0:03:15]   “One of the interesting things to me about recruiting is that we have not really changed it in the last fifty or so years.” — Gary Davis [0:05:21]   “We don't have a talent shortage. We have a sourcing issue.” — Gary Davis [0:07:58]   “The coolest thing about diversity and inclusion work is that you are really measured by your ability to influence.” — Gary Davis [0:26:11]   Links Mentioned in Today's Episode:   Gary L Davis on LinkedIn Adobe The Devil Wears Prada Talk Talent to Me Hired  

Ocean Moon Group - Ripple Communications - Ruf KutzRuf Dug - Cala Vedella - International FeelColdcut - Autumn Leaves (Irresistible Force Mix Trip 2) - Ninja TuneD-Ream - Pedestal (Jezebell's Dizzy Heights remix) - DezebellTwo Ends - Frame Of Mind (LOVA Summer '87 Mix) - Shades Of SoundAntonio Prosper - Electro Balear - DSPPRAfia Mala - Koma (Jura Soundsystem Dub) - Africa Seven40 Thieves, Gary Davis & Cinnamon Jones - The Gift (40 Thieves Disco Dub) - LengBrian Briggs - Aeo (Parts I & II) - BearsvilleInner Glow - Disco Serpent - Ruf Kutz

Championship Fridays and Championship Saturdays...Greg Davis, legendary Port Neches-Groves High School graduate, talks about his storied football career, including: his years as a student at Woodlawn Junior High and PN-G;quarterbacking the Indians on their 1968 District Championship run;his return to PN-G as offensive coordinator, where the Indians won a State title in 1975, made a Semifinal appearance in 1976, and another Final appearance in 1977;his career in collegiate coaching;his seven years at Texas A&M as an assistant working under Emory Bellard, Tom Wilson, Jackie Sherrill, and alongside R C Slocum;his thirteen years as offensive coordinator at the University of Texas under Mack Brown;his insights into Texas legends Darrell Royal, Ricky Williams, Vince Young, and Colt McCoy, among others;his recollections of the Longhorns' National Championship win vs #1 USC in 2005;his thoughts on other memorable Texas matchups, including their win vs Michigan in the 2004 Rose Bowl, and their loss to Alabama in the 2008 National Championship game;his family;and other topics!The podcast brings up a wide range of names from Southeast Texas, including Doug Ethridge, Rusty Davis, Jimmy Burnett, Tip Durham, Harold Lawson, Clint Crisp, Zack Byrd,, Brandon Faircloth, Mike Simpson, Frank Stanfield, Frank Cheek, Dixie Dowden, Ken Watson, Cecil Green, Wayne Skeet Williams, Moe O'Brien, Joe Allen, Paul Carswell, Dan Ives, Butch Troy, Rodney LeBoeuf, Jack Lynch, Leyton Brown, Richard Alvarez, Tommy Landry, Don Howard, Steve Fleming, Steve DeRouen, Bobby Merrin, Tommy Alexander, Dennis Howell, Mike Owens, Gary Hammond, Rusty Brittain, Richard Grissom, Howard Esquivel, Ronnie Wilbanks, Gary Banks, Phillip Sanderson, Dennis Kiger, Mike Tibbetts, Wanda Carole Wrinkle Ford, Burt Darden, Wayne Winn, Patsy Davis, Richy Ethridge, Gary Davis, Bruce Bush, Tim Nunez, Ken Clearman, Phil Vergara, Terry Cobb, Jerry Hooper, Don Bryson, David Findley, Norman Reynolds, David Fry, Steve Worster, Glen Gaspard, Lewis Ford, Kay Davis Doucet, and more! Other well-known names included in the podcast are Mack Brown, Frank Broyles, Nolan Viator, Tom Wilson, R. C. Slocum, Emory Bellard, Jackie Sherrill, Gary Kubiak, Tony Dorsett, Bear Bryant, John Robinson, Jerry Stovall, Danny Ford, Eric Zwier, Ray Goff, Vince Dooley, DeLoss Dodds, Darrell Royal, Ricky Williams, Rob Ryan, Major Applewhite, Vince Young, Cedric Benson, Pete Carroll, Matt Leinart, Reggie Bush, Gene Chizik, Nick Saban, Colt McCoy, Garrett Gilbert, Tom Brady, Aaron Rodgers, Brett Stafford...and more!!So, sit back and bask...Always be Faithful, to Purple and White;The Spirit of Aggieland;The Eyes of Texas are Upon You...and more...Right here on Down Trails of Victory podcast!

Coyote & Florecer - Seven - DSPPRDream Dolphin - Island Humming - Music From MemoryHubbabubbaklubb - Fjellet (Bjørn Torske Remix) - SnorkelJpye, Leonidas & E11e - Oui Non - Claremont 56Jpye & Da Roc - You Freak Out - Claremont 56Puerto Montt City Orchestra - Our Patagonian Friends (Balearic Ultras Brooking Bass Remix) - Higher Love RecordingsBrian Jackson - Mami Wata - BBEOther Mother - Zwang! - International Feel40 Thieves, Gary Davis & Cinnamon Jones - The Gift (40 Thieves Disco Dub) - Leng

This week's episode of TPP features the podcast trailer for Serum. Grant Hill is the host of WHYY's The Pulse Presents: Serum (with Local Trance Media).  Here's a bit about the show: Gary Davis, an Ivy League-trained Black physician from Tulsa, Oklahoma, had one passion: to find a cure for AIDS. In the 1990s, Davis brought his research to the FDA to start a clinical trial, but just hours before it was supposed to start, his trial was shut down. Episode transcript   Enter to win a Vocaster - we're giving one away for every episode of season 1. Season 1 of Trailer Park: The Podcast Trailer Podcast is sponsored by: Ausha, our podcast hosting provider AugXLabs, our AI video maker Capsho, an AI show notes helper Recast Studio, our audio and videogram maker Vocaster from Focusrite: WIN ONE   Links mentioned:  Listen to Serum  Last episode's trailer (Sufficiently Black)  TPP website (to submit a trailer) Email us: hello@trailerparkpod.com Instagram  Connect with Arielle  Connect with Tim  Leave us a rating/review on Apple  Find us on Pod.Link  Arielle Nissenblatt and Tim Villegas are the hosts of Trailer Park: The Podcast Trailer Podcast, a show dedicated to exploring podcast trailers and the creative potential of audio. Season 1 will have eight trailer-filled episodes and some bonus content. Credits: Written and produced by Tim Villegas and Arielle Nissenblatt Edited by Arielle Nissenblatt Mixed and mastered by Tim Villegas Cover art by Caio Slikta

Dr. Gary Davis, an Ivy League-trained Black physician from Tulsa, Oklahoma, had a literal dream that the cure for AIDS would come from a goat. In the new podcast Serum, a reporting team at WHYY and Local Trance Media delve into the unusual story of a Davis' quest to develop the cure. At the height of the AIDS epidemic in the early '90s, Davis derived a serum from goat blood that he believed could help cure HIV, the virus that causes AIDS. He brought his research to the FDA to start a clinical trial – but just hours before it was supposed to start, it was shut down. Davis had powerful critics and ardent supporters. Some sued in court to be allowed to try Davis' treatment, while others chose to ask for forgiveness rather than permission to get their hands on it. What was the true potential of Davis' serum – and who are the people who say it saved their lives? Support Reveal's journalism at Revealnews.org/donatenow Subscribe to our weekly newsletter to get the scoop on new episodes at Revealnews.org/weekly Connect with us on Twitter, Facebook and Instagram

Gary Davis - Founder of Next Level Boys Academy and Executive Director of Next Level Empowerment Center Inc., both innovative mentoring organizations for boys and young adult men ages 5 to 25. His ultimate goal is to permeate the country at large with his concepts, ideas and compassion. He joins Tavis to speak on the work he has accomplished thus far, how he hopes to continue expanding his reach, and for a conversation centered around the importance of mentorship and rehabilitation for young Black men today.

Joining me on this edition of Listed Lions is Millwall fan Gary Davis, who is the lead singer of a fantastic band called ‘Maze'.Check out their new single called ‘We've seen them all' on Spotify - You Tube - Amazon.To buy a copy of Maze's new EP ‘Letters from London' get in touch with the band or via PayPal - Mazemusicuk@hotmail.com - £5 Twitter @mazeukmusic Arrivederci MillwallNot ‘arfNick Hosted on Acast. See acast.com/privacy for more information.

Episode one hundred and fifty-eight of A History of Rock Music in Five Hundred Songs looks at “White Rabbit”, Jefferson Airplane, and the rise of the San Francisco sound. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three-minute bonus episode available, on "Omaha" by Moby Grape. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum I refer to Back to Methuselah by Robert Heinlein. This is of course a play by George Bernard Shaw. What I meant to say was Methuselah's Children. Resources I hope to upload a Mixcloud tomorrow, and will edit it in, but have had some problems with the site today. Jefferson Airplane's first four studio albums, plus a 1968 live album, can be found in this box set. I've referred to three main books here. Got a Revolution!: The Turbulent Flight of Jefferson Airplane by Jeff Tamarkin is written with the co-operation of the band members, but still finds room to criticise them. Jefferson Airplane On Track by Richard Molesworth is a song-by-song guide to the band's music. And Been So Long: My Life and Music by Jorma Kaukonen is Kaukonen's autobiography. Some information on Skip Spence and Matthew Katz also comes from What's Big and Purple and Lives in the Ocean?: The Moby Grape Story, by Cam Cobb, which I also used for this week's bonus. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, I need to confess an important and hugely embarrassing error in this episode. I've only ever seen Marty Balin's name written down, never heard it spoken, and only after recording the episode, during the editing process, did I discover I mispronounce it throughout. It's usually an advantage for the podcast that I get my information from books rather than TV documentaries and the like, because they contain far more information, but occasionally it causes problems like that. My apologies. Also a brief note that this episode contains some mentions of racism, antisemitism, drug and alcohol abuse, and gun violence. One of the themes we've looked at in recent episodes is the way the centre of the musical world -- at least the musical world as it was regarded by the people who thought of themselves as hip in the mid-sixties -- was changing in 1967. Up to this point, for a few years there had been two clear centres of the rock and pop music worlds. In the UK, there was London, and any British band who meant anything had to base themselves there. And in the US, at some point around 1963, the centre of the music industry had moved West. Up to then it had largely been based in New York, and there was still a thriving industry there as of the mid sixties. But increasingly the records that mattered, that everyone in the country had been listening to, had come out of LA Soul music was, of course, still coming primarily from Detroit and from the Country-Soul triangle in Tennessee and Alabama, but when it came to the new brand of electric-guitar rock that was taking over the airwaves, LA was, up until the first few months of 1967, the only city that was competing with London, and was the place to be. But as we heard in the episode on "San Francisco", with the Monterey Pop Festival all that started to change. While the business part of the music business remained centred in LA, and would largely remain so, LA was no longer the hip place to be. Almost overnight, jangly guitars, harmonies, and Brian Jones hairstyles were out, and feedback, extended solos, and droopy moustaches were in. The place to be was no longer LA, but a few hundred miles North, in San Francisco -- something that the LA bands were not all entirely happy about: [Excerpt: The Mothers of Invention, "Who Needs the Peace Corps?"] In truth, the San Francisco music scene, unlike many of the scenes we've looked at so far in this series, had rather a limited impact on the wider world of music. Bands like Jefferson Airplane, the Grateful Dead, and Big Brother and the Holding Company were all both massively commercially successful and highly regarded by critics, but unlike many of the other bands we've looked at before and will look at in future, they didn't have much of an influence on the bands that would come after them, musically at least. Possibly this is because the music from the San Francisco scene was always primarily that -- music created by and for a specific group of people, and inextricable from its context. The San Francisco musicians were defining themselves by their geographical location, their peers, and the situation they were in, and their music was so specifically of the place and time that to attempt to copy it outside of that context would appear ridiculous, so while many of those bands remain much loved to this day, and many made some great music, it's very hard to point to ways in which that music influenced later bands. But what they did influence was the whole of rock music culture. For at least the next thirty years, and arguably to this day, the parameters in which rock musicians worked if they wanted to be taken seriously – their aesthetic and political ideals, their methods of collaboration, the cultural norms around drug use and sexual promiscuity, ideas of artistic freedom and authenticity, the choice of acceptable instruments – in short, what it meant to be a rock musician rather than a pop, jazz, country, or soul artist – all those things were defined by the cultural and behavioural norms of the San Francisco scene between about 1966 and 68. Without the San Francisco scene there's no Woodstock, no Rolling Stone magazine, no Rock and Roll Hall of Fame, no hippies, no groupies, no rock stars. So over the next few months we're going to take several trips to the Bay Area, and look at the bands which, for a brief time, defined the counterculture in America. The story of Jefferson Airplane -- and unlike other bands we've looked at recently, like The Pink Floyd and The Buffalo Springfield, they never had a definite article at the start of their name to wither away like a vestigial organ in subsequent years -- starts with Marty Balin. Balin was born in Ohio, but was a relatively sickly child -- he later talked about being autistic, and seems to have had the chronic illnesses that so often go with neurodivergence -- so in the hope that the dry air would be good for his chest his family moved to Arizona. Then when his father couldn't find work there, they moved further west to San Francisco, in the Haight-Ashbury area, long before that area became the byword for the hippie movement. But it was in LA that he started his music career, and got his surname. Balin had been named Marty Buchwald as a kid, but when he was nineteen he had accompanied a friend to LA to visit a music publisher, and had ended up singing backing vocals on her demos. While he was there, he had encountered the arranger Jimmy Haskell. Haskell was on his way to becoming one of the most prominent arrangers in the music industry, and in his long career he would go on to do arrangements for Bobby Gentry, Blondie, Steely Dan, Simon and Garfunkel, and many others. But at the time he was best known for his work on Ricky Nelson's hits: [Excerpt: Ricky Nelson, "Hello Mary Lou"] Haskell thought that Marty had the makings of a Ricky Nelson style star, as he was a good-looking young man with a decent voice, and he became a mentor for the young man. Making the kind of records that Haskell arranged was expensive, and so Haskell suggested a deal to him -- if Marty's father would pay for studio time and musicians, Haskell would make a record with him and find him a label to put it out. Marty's father did indeed pay for the studio time and the musicians -- some of the finest working in LA at the time. The record, released under the name Marty Balin, featured Jack Nitzsche on keyboards, Earl Palmer on drums, Milt Jackson on vibraphone, Red Callender on bass, and Glen Campbell and Barney Kessell on guitars, and came out on Challenge Records, a label owned by Gene Autry: [Excerpt: Marty Balin, "Nobody But You"] Neither that, nor Balin's follow-up single, sold a noticeable amount of copies, and his career as a teen idol was over before it had begun. Instead, as many musicians of his age did, he decided to get into folk music, joining a vocal harmony group called the Town Criers, who patterned themselves after the Weavers, and performed the same kind of material that every other clean-cut folk vocal group was performing at the time -- the kind of songs that John Phillips and Steve Stills and Cass Elliot and Van Dyke Parks and the rest were all performing in their own groups at the same time. The Town Criers never made any records while they were together, but some archival recordings of them have been released over the decades: [Excerpt: The Town Criers, "900 Miles"] The Town Criers split up, and Balin started performing as a solo folkie again. But like all those other then-folk musicians, Balin realised that he had to adapt to the K/T-event level folk music extinction that happened when the Beatles hit America like a meteorite. He had to form a folk-rock group if he wanted to survive -- and given that there were no venues for such a group to play in San Francisco, he also had to start a nightclub for them to play in. He started hanging around the hootenannies in the area, looking for musicians who might form an electric band. The first person he decided on was a performer called Paul Kantner, mainly because he liked his attitude. Kantner had got on stage in front of a particularly drunk, loud, crowd, and performed precisely half a song before deciding he wasn't going to perform in front of people like that and walking off stage. Kantner was the only member of the new group to be a San Franciscan -- he'd been born and brought up in the city. He'd got into folk music at university, where he'd also met a guitar player named Jorma Kaukonen, who had turned him on to cannabis, and the two had started giving music lessons at a music shop in San Jose. There Kantner had also been responsible for booking acts at a local folk club, where he'd first encountered acts like Mother McCree's Uptown Jug Champions, a jug band which included Jerry Garcia, Pigpen McKernan, and Bob Weir, who would later go on to be the core members of the Grateful Dead: [Excerpt: Mother McCree's Uptown Jug Champions, "In the Jailhouse Now"] Kantner had moved around a bit between Northern and Southern California, and had been friendly with two other musicians on the Californian folk scene, David Crosby and Roger McGuinn. When their new group, the Byrds, suddenly became huge, Kantner became aware of the possibility of doing something similar himself, and so when Marty Balin approached him to form a band, he agreed. On bass, they got in a musician called Bob Harvey, who actually played double bass rather than electric, and who stuck to that for the first few gigs the group played -- he had previously been in a band called the Slippery Rock String Band. On drums, they brought in Jerry Peloquin, who had formerly worked for the police, but now had a day job as an optician. And on vocals, they brought in Signe Toley -- who would soon marry and change her name to Signe Anderson, so that's how I'll talk about her to avoid confusion. The group also needed a lead guitarist though -- both Balin and Kantner were decent rhythm players and singers, but they needed someone who was a better instrumentalist. They decided to ask Kantner's old friend Jorma Kaukonen. Kaukonen was someone who was seriously into what would now be called Americana or roots music. He'd started playing the guitar as a teenager, not like most people of his generation inspired by Elvis or Buddy Holly, but rather after a friend of his had shown him how to play an old Carter Family song, "Jimmy Brown the Newsboy": [Excerpt: The Carter Family, "Jimmy Brown the Newsboy"] Kaukonen had had a far more interesting life than most of the rest of the group. His father had worked for the State Department -- and there's some suggestion he'd worked for the CIA -- and the family had travelled all over the world, staying in Pakistan, the Philippines, and Finland. For most of his childhood, he'd gone by the name Jerry, because other kids beat him up for having a foreign name and called him a Nazi, but by the time he turned twenty he was happy enough using his birth name. Kaukonen wasn't completely immune to the appeal of rock and roll -- he'd formed a rock band, The Triumphs, with his friend Jack Casady when he was a teenager, and he loved Ricky Nelson's records -- but his fate as a folkie had been pretty much sealed when he went to Antioch College. There he met up with a blues guitarist called Ian Buchanan. Buchanan never had much of a career as a professional, but he had supposedly spent nine years studying with the blues and ragtime guitar legend Rev. Gary Davis, and he was certainly a fine guitarist, as can be heard on his contribution to The Blues Project, the album Elektra put out of white Greenwich Village musicians like John Sebastian and Dave Van Ronk playing old blues songs: [Excerpt: Ian Buchanan, "The Winding Boy"] Kaukonen became something of a disciple of Buchanan -- he said later that Buchanan probably taught him how to play because he was such a terrible player and Buchanan couldn't stand to listen to it -- as did John Hammond Jr, another student at Antioch at the same time. After studying at Antioch, Kaukonen started to travel around, including spells in Greenwich Village and in the Philippines, before settling in Santa Clara, where he studied for a sociology degree and became part of a social circle that included Dino Valenti, Jerry Garcia, and Billy Roberts, the credited writer of "Hey Joe". He also started performing as a duo with a singer called Janis Joplin. Various of their recordings from this period circulate, mostly recorded at Kaukonen's home with the sound of his wife typing in the background while the duo rehearse, as on this performance of an old Bessie Smith song: [Excerpt: Jorma Kaukonen and Janis Joplin, "Nobody Loves You When You're Down and Out"] By 1965 Kaukonen saw himself firmly as a folk-blues purist, who would not even think of playing rock and roll music, which he viewed with more than a little contempt. But he allowed himself to be brought along to audition for the new group, and Ken Kesey happened to be there. Kesey was a novelist who had written two best-selling books, One Flew Over The Cuckoo's Nest and Sometimes A Great Notion, and used the financial independence that gave him to organise a group of friends who called themselves the Merry Pranksters, who drove from coast to coast and back again in a psychedelic-painted bus, before starting a series of events that became known as Acid Tests, parties at which everyone was on LSD, immortalised in Tom Wolfe's book The Electric Kool-Aid Acid Test. Nobody has ever said why Kesey was there, but he had brought along an Echoplex, a reverb unit one could put a guitar through -- and nobody has explained why Kesey, who wasn't a musician, had an Echoplex to hand. But Kaukonen loved the sound that he could get by putting his guitar through the device, and so for that reason more than any other he decided to become an electric player and join the band, going out and buying a Rickenbacker twelve-string and Vox Treble Booster because that was what Roger McGuinn used. He would later also get a Guild Thunderbird six-string guitar and a Standel Super Imperial amp, following the same principle of buying the equipment used by other guitarists he liked, as they were what Zal Yanovsky of the Lovin' Spoonful used. He would use them for all his six-string playing for the next couple of years, only later to discover that the Lovin' Spoonful despised them and only used them because they had an endorsement deal with the manufacturers. Kaukonen was also the one who came up with the new group's name. He and his friends had a running joke where they had "Bluesman names", things like "Blind Outrage" and "Little Sun Goldfarb". Kaukonen's bluesman name, given to him by his friend Steve Talbot, had been Blind Thomas Jefferson Airplane, a reference to the 1920s blues guitarist Blind Lemon Jefferson: [Excerpt: Blind Lemon Jefferson, "Match Box Blues"] At the band meeting where they were trying to decide on a name, Kaukonen got frustrated at the ridiculous suggestions that were being made, and said "You want a stupid name? Howzabout this... Jefferson Airplane?" He said in his autobiography "It was one of those rare moments when everyone in the band agreed, and that was that. I think it was the only band meeting that ever allowed me to come away smiling." The newly-named Jefferson Airplane started to rehearse at the Matrix Club, the club that Balin had decided to open. This was run with three sound engineer friends, who put in the seed capital for the club. Balin had stock options in the club, which he got by trading a share of the band's future earnings to his partners, though as the group became bigger he eventually sold his stock in the club back to his business partners. Before their first public performance, they started working with a manager, Matthew Katz, mostly because Katz had access to a recording of a then-unreleased Bob Dylan song, "Lay Down Your Weary Tune": [Excerpt: Bob Dylan, "Lay Down Your Weary Tune"] The group knew that the best way for a folk-rock band to make a name for themselves was to perform a Dylan song nobody else had yet heard, and so they agreed to be managed by Katz. Katz started a pre-publicity blitz, giving out posters, badges, and bumper stickers saying "Jefferson Airplane Loves You" all over San Francisco -- and insisting that none of the band members were allowed to say "Hello" when they answered the phone any more, they had to say "Jefferson Airplane Loves You!" For their early rehearsals and gigs, they were performing almost entirely cover versions of blues and folk songs, things like Fred Neil's "The Other Side of This Life" and Dino Valenti's "Get Together" which were the common currency of the early folk-rock movement, and songs by their friends, like one called "Flower Bomb" by David Crosby, which Crosby now denies ever having written. They did start writing the odd song, but at this point they were more focused on performance than on writing. They also hired a press agent, their friend Bill Thompson. Thompson was friends with the two main music writers at the San Francisco Chronicle, Ralph Gleason, the famous jazz critic, who had recently started also reviewing rock music, and John Wasserman. Thompson got both men to come to the opening night of the Matrix, and both gave the group glowing reviews in the Chronicle. Record labels started sniffing around the group immediately as a result of this coverage, and according to Katz he managed to get a bidding war started by making sure that when A&R men came to the club there were always two of them from different labels, so they would see the other person and realise they weren't the only ones interested. But before signing a record deal they needed to make some personnel changes. The first member to go was Jerry Peloquin, for both musical and personal reasons. Peloquin was used to keeping strict time and the other musicians had a more free-flowing idea of what tempo they should be playing at, but also he had worked for the police while the other members were all taking tons of illegal drugs. The final break with Peloquin came when he did the rest of the group a favour -- Paul Kantner's glasses broke during a rehearsal, and as Peloquin was an optician he offered to take them back to his shop and fix them. When he got back, he found them auditioning replacements for him. He beat Kantner up, and that was the end of Jerry Peloquin in Jefferson Airplane. His replacement was Skip Spence, who the group had met when he had accompanied three friends to the Matrix, which they were using as a rehearsal room. Spence's friends went on to be the core members of Quicksilver Messenger Service along with Dino Valenti: [Excerpt: Quicksilver Messenger Service, "Dino's Song"] But Balin decided that Spence looked like a rock star, and told him that he was now Jefferson Airplane's drummer, despite Spence being a guitarist and singer, not a drummer. But Spence was game, and learned to play the drums. Next they needed to get rid of Bob Harvey. According to Harvey, the decision to sack him came after David Crosby saw the band rehearsing and said "Nice song, but get rid of the bass player" (along with an expletive before the word bass which I can't say without incurring the wrath of Apple). Crosby denies ever having said this. Harvey had started out in the group on double bass, but to show willing he'd switched in his last few gigs to playing an electric bass. When he was sacked by the group, he returned to double bass, and to the Slippery Rock String Band, who released one single in 1967: [Excerpt: The Slippery Rock String Band, "Tule Fog"] Harvey's replacement was Kaukonen's old friend Jack Casady, who Kaukonen knew was now playing bass, though he'd only ever heard him playing guitar when they'd played together. Casady was rather cautious about joining a rock band, but then Kaukonen told him that the band were getting fifty dollars a week salary each from Katz, and Casady flew over from Washington DC to San Francisco to join the band. For the first few gigs, he used Bob Harvey's bass, which Harvey was good enough to lend him despite having been sacked from the band. Unfortunately, right from the start Casady and Kantner didn't get on. When Casady flew in from Washington, he had a much more clean-cut appearance than the rest of the band -- one they've described as being nerdy, with short, slicked-back, side-parted hair and a handlebar moustache. Kantner insisted that Casady shave the moustache off, and he responded by shaving only one side, so in profile on one side he looked clean-shaven, while from the other side he looked like he had a full moustache. Kantner also didn't like Casady's general attitude, or his playing style, at all -- though most critics since this point have pointed to Casady's bass playing as being the most interesting and distinctive thing about Jefferson Airplane's style. This lineup seems to have been the one that travelled to LA to audition for various record companies -- a move that immediately brought the group a certain amount of criticism for selling out, both for auditioning for record companies and for going to LA at all, two things that were already anathema on the San Francisco scene. The only audition anyone remembers them having specifically is one for Phil Spector, who according to Kaukonen was waving a gun around during the audition, so he and Casady walked out. Around this time as well, the group performed at an event billed as "A Tribute to Dr. Strange", organised by the radical hippie collective Family Dog. Marvel Comics, rather than being the multi-billion-dollar Disney-owned corporate juggernaut it is now, was regarded as a hip, almost underground, company -- and around this time they briefly started billing their comics not as comics but as "Marvel Pop Art Productions". The magical adventures of Dr. Strange, Master of the Mystic Arts, and in particular the art by far-right libertarian artist Steve Ditko, were regarded as clear parallels to both the occult dabblings and hallucinogen use popular among the hippies, though Ditko had no time for either, following as he did an extreme version of Ayn Rand's Objectivism. It was at the Tribute to Dr. Strange that Jefferson Airplane performed for the first time with a band named The Great Society, whose lead singer, Grace Slick, would later become very important in Jefferson Airplane's story: [Excerpt: The Great Society, "Someone to Love"] That gig was also the first one where the band and their friends noticed that large chunks of the audience were now dressing up in costumes that were reminiscent of the Old West. Up to this point, while Katz had been managing the group and paying them fifty dollars a week even on weeks when they didn't perform, he'd been doing so without a formal contract, in part because the group didn't trust him much. But now they were starting to get interest from record labels, and in particular RCA Records desperately wanted them. While RCA had been the label who had signed Elvis Presley, they had otherwise largely ignored rock and roll, considering that since they had the biggest rock star in the world they didn't need other ones, and concentrating largely on middle-of-the-road acts. But by the mid-sixties Elvis' star had faded somewhat, and they were desperate to get some of the action for the new music -- and unlike the other major American labels, they didn't have a reciprocal arrangement with a British label that allowed them to release anything by any of the new British stars. The group were introduced to RCA by Rod McKuen, a songwriter and poet who later became America's best-selling poet and wrote songs that sold over a hundred million copies. At this point McKuen was in his Jacques Brel phase, recording loose translations of the Belgian songwriter's songs with McKuen translating the lyrics: [Excerpt: Rod McKuen, "Seasons in the Sun"] McKuen thought that Jefferson Airplane might be a useful market for his own songs, and brought the group to RCA. RCA offered Jefferson Airplane twenty-five thousand dollars to sign with them, and Katz convinced the group that RCA wouldn't give them this money without them having signed a management contract with him. Kaukonen, Kantner, Spence, and Balin all signed without much hesitation, but Jack Casady didn't yet sign, as he was the new boy and nobody knew if he was going to be in the band for the long haul. The other person who refused to sign was Signe Anderson. In her case, she had a much better reason for refusing to sign, as unlike the rest of the band she had actually read the contract, and she found it to be extremely worrying. She did eventually back down on the day of the group's first recording session, but she later had the contract renegotiated. Jack Casady also signed the contract right at the start of the first session -- or at least, he thought he'd signed the contract then. He certainly signed *something*, without having read it. But much later, during a court case involving the band's longstanding legal disputes with Katz, it was revealed that the signature on the contract wasn't Casady's, and was badly forged. What he actually *did* sign that day has never been revealed, to him or to anyone else. Katz also signed all the group as songwriters to his own publishing company, telling them that they legally needed to sign with him if they wanted to make records, and also claimed to RCA that he had power of attorney for the band, which they say they never gave him -- though to be fair to Katz, given the band members' habit of signing things without reading or understanding them, it doesn't seem beyond the realms of possibility that they did. The producer chosen for the group's first album was Tommy Oliver, a friend of Katz's who had previously been an arranger on some of Doris Day's records, and whose next major act after finishing the Jefferson Airplane album was Trombones Unlimited, who released records like "Holiday for Trombones": [Excerpt: Trombones Unlimited, "Holiday For Trombones"] The group weren't particularly thrilled with this choice, but were happier with their engineer, Dave Hassinger, who had worked on records like "Satisfaction" by the Rolling Stones, and had a far better understanding of the kind of music the group were making. They spent about three months recording their first album, even while continually being attacked as sellouts. The album is not considered their best work, though it does contain "Blues From an Airplane", a collaboration between Spence and Balin: [Excerpt: Jefferson Airplane, "Blues From an Airplane"] Even before the album came out, though, things were starting to change for the group. Firstly, they started playing bigger venues -- their home base went from being the Matrix club to the Fillmore, a large auditorium run by the promoter Bill Graham. They also started to get an international reputation. The British singer-songwriter Donovan released a track called "The Fat Angel" which namechecked the group: [Excerpt: Donovan, "The Fat Angel"] The group also needed a new drummer. Skip Spence decided to go on holiday to Mexico without telling the rest of the band. There had already been some friction with Spence, as he was very eager to become a guitarist and songwriter, and the band already had three songwriting guitarists and didn't really see why they needed a fourth. They sacked Spence, who went on to form Moby Grape, who were also managed by Katz: [Excerpt: Moby Grape, "Omaha"] For his replacement they brought in Spencer Dryden, who was a Hollywood brat like their friend David Crosby -- in Dryden's case he was Charlie Chaplin's nephew, and his father worked as Chaplin's assistant. The story normally goes that the great session drummer Earl Palmer recommended Dryden to the group, but it's also the case that Dryden had been in a band, the Heartbeats, with Tommy Oliver and the great blues guitarist Roy Buchanan, so it may well be that Oliver had recommended him. Dryden had been primarily a jazz musician, playing with people like the West Coast jazz legend Charles Lloyd, though like most jazzers he would slum it on occasion by playing rock and roll music to pay the bills. But then he'd seen an early performance by the Mothers of Invention, and realised that rock music could have a serious artistic purpose too. He'd joined a band called The Ashes, who had released one single, the Jackie DeShannon song "Is There Anything I Can Do?" in December 1965: [Excerpt: The Ashes, "Is There Anything I Can Do?"] The Ashes split up once Dryden left the group to join Jefferson Airplane, but they soon reformed without him as The Peanut Butter Conspiracy, who hooked up with Gary Usher and released several albums of psychedelic sunshine pop. Dryden played his first gig with the group at a Republican Party event on June the sixth, 1966. But by the time Dryden had joined, other problems had become apparent. The group were already feeling like it had been a big mistake to accede to Katz's demands to sign a formal contract with him, and Balin in particular was getting annoyed that he wouldn't let the band see their finances. All the money was getting paid to Katz, who then doled out money to the band when they asked for it, and they had no idea if he was actually paying them what they were owed or not. The group's first album, Jefferson Airplane Takes Off, finally came out in September, and it was a comparative flop. It sold well in San Francisco itself, selling around ten thousand copies in the area, but sold basically nothing anywhere else in the country -- the group's local reputation hadn't extended outside their own immediate scene. It didn't help that the album was pulled and reissued, as RCA censored the initial version of the album because of objections to the lyrics. The song "Runnin' Round This World" was pulled off the album altogether for containing the word "trips", while in "Let Me In" they had to rerecord two lines -- “I gotta get in, you know where" was altered to "You shut the door now it ain't fair" and "Don't tell me you want money" became "Don't tell me it's so funny". Similarly in "Run Around" the phrase "as you lay under me" became "as you stay here by me". Things were also becoming difficult for Anderson. She had had a baby in May and was not only unhappy with having to tour while she had a small child, she was also the band member who was most vocally opposed to Katz. Added to that, her husband did not get on well at all with the group, and she felt trapped between her marriage and her bandmates. Reports differ as to whether she quit the band or was fired, but after a disastrous appearance at the Monterey Jazz Festival, one way or another she was out of the band. Her replacement was already waiting in the wings. Grace Slick, the lead singer of the Great Society, had been inspired by going to one of the early Jefferson Airplane gigs. She later said "I went to see Jefferson Airplane at the Matrix, and they were making more money in a day than I made in a week. They only worked for two or three hours a night, and they got to hang out. I thought 'This looks a lot better than what I'm doing.' I knew I could more or less carry a tune, and I figured if they could do it I could." She was married at the time to a film student named Jerry Slick, and indeed she had done the music for his final project at film school, a film called "Everybody Hits Their Brother Once", which sadly I can't find online. She was also having an affair with Jerry's brother Darby, though as the Slicks were in an open marriage this wasn't particularly untoward. The three of them, with a couple of other musicians, had formed The Great Society, named as a joke about President Johnson's programme of the same name. The Great Society was the name Johnson had given to his whole programme of domestic reforms, including civil rights for Black people, the creation of Medicare and Medicaid, the creation of the National Endowment for the Arts, and more. While those projects were broadly popular among the younger generation, Johnson's escalation of the war in Vietnam had made him so personally unpopular that even his progressive domestic programme was regarded with suspicion and contempt. The Great Society had set themselves up as local rivals to Jefferson Airplane -- where Jefferson Airplane had buttons saying "Jefferson Airplane Loves You!" the Great Society put out buttons saying "The Great Society Really Doesn't Like You Much At All". They signed to Autumn Records, and recorded a song that Darby Slick had written, titled "Someone to Love" -- though the song would later be retitled "Somebody to Love": [Excerpt: The Great Society, "Someone to Love"] That track was produced by Sly Stone, who at the time was working as a producer for Autumn Records. The Great Society, though, didn't like working with Stone, because he insisted on them doing forty-five takes to try to sound professional, as none of them were particularly competent musicians. Grace Slick later said "Sly could play any instrument known to man. He could have just made the record himself, except for the singers. It was kind of degrading in a way" -- and on another occasion she said that he *did* end up playing all the instruments on the finished record. "Someone to Love" was put out as a promo record, but never released to the general public, and nor were any of the Great Society's other recordings for Autumn Records released. Their contract expired and they were let go, at which point they were about to sign to Mercury Records, but then Darby Slick and another member decided to go off to India for a while. Grace's marriage to Jerry was falling apart, though they would stay legally married for several years, and the Great Society looked like it was at an end, so when Grace got the offer to join Jefferson Airplane to replace Signe Anderson, she jumped at the chance. At first, she was purely a harmony singer -- she didn't take over any of the lead vocal parts that Anderson had previously sung, as she had a very different vocal style, and instead she just sang the harmony parts that Anderson had sung on songs with other lead vocalists. But two months after the album they were back in the studio again, recording their second album, and Slick sang lead on several songs there. As well as the new lineup, there was another important change in the studio. They were still working with Dave Hassinger, but they had a new producer, Rick Jarrard. Jarrard was at one point a member of the folk group The Wellingtons, who did the theme tune for "Gilligan's Island", though I can't find anything to say whether or not he was in the group when they recorded that track: [Excerpt: The Wellingtons, "The Ballad of Gilligan's Island"] Jarrard had also been in the similar folk group The Greenwood County Singers, where as we heard in the episode on "Heroes and Villains" he replaced Van Dyke Parks. He'd also released a few singles under his own name, including a version of Parks' "High Coin": [Excerpt: Rick Jarrard, "High Coin"] While Jarrard had similar musical roots to those of Jefferson Airplane's members, and would go on to produce records by people like Harry Nilsson and The Family Tree, he wasn't any more liked by the band than their previous producer had been. So much so, that a few of the band members have claimed that while Jarrard is the credited producer, much of the work that one would normally expect to be done by a producer was actually done by their friend Jerry Garcia, who according to the band members gave them a lot of arranging and structural advice, and was present in the studio and played guitar on several tracks. Jarrard, on the other hand, said categorically "I never met Jerry Garcia. I produced that album from start to finish, never heard from Jerry Garcia, never talked to Jerry Garcia. He was not involved creatively on that album at all." According to the band, though, it was Garcia who had the idea of almost doubling the speed of the retitled "Somebody to Love", turning it into an uptempo rocker: [Excerpt: Jefferson Airplane, "Somebody to Love"] And one thing everyone is agreed on is that it was Garcia who came up with the album title, when after listening to some of the recordings he said "That's as surrealistic as a pillow!" It was while they were working on the album that was eventually titled Surrealistic Pillow that they finally broke with Katz as their manager, bringing Bill Thompson in as a temporary replacement. Or at least, it was then that they tried to break with Katz. Katz sued the group over their contract, and won. Then they appealed, and they won. Then Katz appealed the appeal, and the Superior Court insisted that if he wanted to appeal the ruling, he had to put up a bond for the fifty thousand dollars the group said he owed them. He didn't, so in 1970, four years after they sacked him as their manager, the appeal was dismissed. Katz appealed the dismissal, and won that appeal, and the case dragged on for another three years, at which point Katz dragged RCA Records into the lawsuit. As a result of being dragged into the mess, RCA decided to stop paying the group their songwriting royalties from record sales directly, and instead put the money into an escrow account. The claims and counterclaims and appeals *finally* ended in 1987, twenty years after the lawsuits had started and fourteen years after the band had stopped receiving their songwriting royalties. In the end, the group won on almost every point, and finally received one point three million dollars in back royalties and seven hundred thousand dollars in interest that had accrued, while Katz got a small token payment. Early in 1967, when the sessions for Surrealistic Pillow had finished, but before the album was released, Newsweek did a big story on the San Francisco scene, which drew national attention to the bands there, and the first big event of what would come to be called the hippie scene, the Human Be-In, happened in Golden Gate Park in January. As the group's audience was expanding rapidly, they asked Bill Graham to be their manager, as he was the most business-minded of the people around the group. The first single from the album, "My Best Friend", a song written by Skip Spence before he quit the band, came out in January 1967 and had no more success than their earlier recordings had, and didn't make the Hot 100. The album came out in February, and was still no higher than number 137 on the charts in March, when the second single, "Somebody to Love", was released: [Excerpt: Jefferson Airplane, "Somebody to Love"] That entered the charts at the start of April, and by June it had made number five. The single's success also pushed its parent album up to number three by August, just behind the Beatles' Sgt Pepper's Lonely Hearts Club Band and the Monkees' Headquarters. The success of the single also led to the group being asked to do commercials for Levis jeans: [Excerpt: Jefferson Airplane, "Levis commercial"] That once again got them accused of selling out. Abbie Hoffman, the leader of the Yippies, wrote to the Village Voice about the commercials, saying "It summarized for me all the doubts I have about the hippie philosophy. I realise they are just doing their 'thing', but while the Jefferson Airplane grooves with its thing, over 100 workers in the Levi Strauss plant on the Tennessee-Georgia border are doing their thing, which consists of being on strike to protest deplorable working conditions." The third single from the album, "White Rabbit", came out on the twenty-fourth of June, the day before the Beatles recorded "All You Need is Love", nine days after the release of "See Emily Play", and a week after the group played the Monterey Pop Festival, to give you some idea of how compressed a time period we've been in recently. We talked in the last episode about how there's a big difference between American and British psychedelia at this point in time, because the political nature of the American counterculture was determined by the fact that so many people were being sent off to die in Vietnam. Of all the San Francisco bands, though, Jefferson Airplane were by far the least political -- they were into the culture part of the counterculture, but would often and repeatedly disavow any deeper political meaning in their songs. In early 1968, for example, in a press conference, they said “Don't ask us anything about politics. We don't know anything about it. And what we did know, we just forgot.” So it's perhaps not surprising that of all the American groups, they were the one that was most similar to the British psychedelic groups in their influences, and in particular their frequent references to children's fantasy literature. "White Rabbit" was a perfect example of this. It had started out as "White Rabbit Blues", a song that Slick had written influenced by Alice in Wonderland, and originally performed by the Great Society: [Excerpt: The Great Society, "White Rabbit"] Slick explained the lyrics, and their association between childhood fantasy stories and drugs, later by saying "It's an interesting song but it didn't do what I wanted it to. What I was trying to say was that between the ages of zero and five the information and the input you get is almost indelible. In other words, once a Catholic, always a Catholic. And the parents read us these books, like Alice in Wonderland where she gets high, tall, and she takes mushrooms, a hookah, pills, alcohol. And then there's The Wizard of Oz, where they fall into a field of poppies and when they wake up they see Oz. And then there's Peter Pan, where if you sprinkle white dust on you, you could fly. And then you wonder why we do it? Well, what did you read to me?" While the lyrical inspiration for the track was from Alice in Wonderland, the musical inspiration is less obvious. Slick has on multiple occasions said that the idea for the music came from listening to Miles Davis' album "Sketches of Spain", and in particular to Davis' version of -- and I apologise for almost certainly mangling the Spanish pronunciation badly here -- "Concierto de Aranjuez", though I see little musical resemblance to it myself. [Excerpt: Miles Davis, "Concierto de Aranjuez"] She has also, though, talked about how the song was influenced by Ravel's "Bolero", and in particular the way the piece keeps building in intensity, starting softly and slowly building up, rather than having the dynamic peaks and troughs of most music. And that is definitely a connection I can hear in the music: [Excerpt: Ravel, "Bolero"] Jefferson Airplane's version of "White Rabbit", like their version of "Somebody to Love", was far more professional, far -- and apologies for the pun -- slicker than The Great Society's version. It's also much shorter. The version by The Great Society has a four and a half minute instrumental intro before Slick's vocal enters. By contrast, the version on Surrealistic Pillow comes in at under two and a half minutes in total, and is a tight pop song: [Excerpt: Jefferson Airplane, "White Rabbit"] Jack Casady has more recently said that the group originally recorded the song more or less as a lark, because they assumed that all the drug references would mean that RCA would make them remove the song from the album -- after all, they'd cut a song from the earlier album because it had a reference to a trip, so how could they possibly allow a song like "White Rabbit" with its lyrics about pills and mushrooms? But it was left on the album, and ended up making the top ten on the pop charts, peaking at number eight: [Excerpt: Jefferson Airplane, "White Rabbit"] In an interview last year, Slick said she still largely lives off the royalties from writing that one song. It would be the last hit single Jefferson Airplane would ever have. Marty Balin later said "Fame changes your life. It's a bit like prison. It ruined the band. Everybody became rich and selfish and self-centred and couldn't care about the band. That was pretty much the end of it all. After that it was just working and living the high life and watching the band destroy itself, living on its laurels." They started work on their third album, After Bathing at Baxter's, in May 1967, while "Somebody to Love" was still climbing the charts. This time, the album was produced by Al Schmitt. Unlike the two previous producers, Schmitt was a fan of the band, and decided the best thing to do was to just let them do their own thing without interfering. The album took months to record, rather than the weeks that Surrealistic Pillow had taken, and cost almost ten times as much money to record. In part the time it took was because of the promotional work the band had to do. Bill Graham was sending them all over the country to perform, which they didn't appreciate. The group complained to Graham in business meetings, saying they wanted to only play in big cities where there were lots of hippies. Graham pointed out in turn that if they wanted to keep having any kind of success, they needed to play places other than San Francisco, LA, New York, and Chicago, because in fact most of the population of the US didn't live in those four cities. They grudgingly took his point. But there were other arguments all the time as well. They argued about whether Graham should be taking his cut from the net or the gross. They argued about Graham trying to push for the next single to be another Grace Slick lead vocal -- they felt like he was trying to make them into just Grace Slick's backing band, while he thought it made sense to follow up two big hits with more singles with the same vocalist. There was also a lawsuit from Balin's former partners in the Matrix, who remembered that bit in the contract about having a share in the group's income and sued for six hundred thousand dollars -- that was settled out of court three years later. And there were interpersonal squabbles too. Some of these were about the music -- Dryden didn't like the fact that Kaukonen's guitar solos were getting longer and longer, and Balin only contributed one song to the new album because all the other band members made fun of him for writing short, poppy, love songs rather than extended psychedelic jams -- but also the group had become basically two rival factions. On one side were Kaukonen and Casady, the old friends and virtuoso instrumentalists, who wanted to extend the instrumental sections of the songs more to show off their playing. On the other side were Grace Slick and Spencer Dryden, the two oldest members of the group by age, but the most recent people to join. They were also unusual in the San Francisco scene for having alcohol as their drug of choice -- drinking was thought of by most of the hippies as being a bit classless, but they were both alcoholics. They were also sleeping together, and generally on the side of shorter, less exploratory, songs. Kantner, who was attracted to Slick, usually ended up siding with her and Dryden, and this left Balin the odd man out in the middle. He later said "I got disgusted with all the ego trips, and the band was so stoned that I couldn't even talk to them. Everybody was in their little shell". While they were still working on the album, they released the first single from it, Kantner's "The Ballad of You and Me and Pooneil". The "Pooneil" in the song was a figure that combined two of Kantner's influences: the Greenwich Village singer-songwriter Fred Neil, the writer of "Everybody's Talkin'" and "Dolphins"; and Winnie the Pooh. The song contained several lines taken from A.A. Milne's children's stories: [Excerpt: Jefferson Airplane, "The Ballad of You and Me and Pooneil"] That only made number forty-two on the charts. It was the last Jefferson Airplane single to make the top fifty. At a gig in Bakersfield they got arrested for inciting a riot, because they encouraged the crowd to dance, even though local by-laws said that nobody under sixteen was allowed to dance, and then they nearly got arrested again after Kantner's behaviour on the private plane they'd chartered to get them back to San Francisco that night. Kantner had been chain-smoking, and this annoyed the pilot, who asked Kantner to put his cigarette out, so Kantner opened the door of the plane mid-flight and threw the lit cigarette out. They'd chartered that plane because they wanted to make sure they got to see a new group, Cream, who were playing the Fillmore: [Excerpt: Cream, "Strange Brew"] After seeing that, the divisions in the band were even wider -- Kaukonen and Casady now *knew* that what the band needed was to do long, extended, instrumental jams. Cream were the future, two-minute pop songs were the past. Though they weren't completely averse to two-minute pop songs. The group were recording at RCA studios at the same time as the Monkees, and members of the two groups would often jam together. The idea of selling out might have been anathema to their *audience*, but the band members themselves didn't care about things like that. Indeed, at one point the group returned from a gig to the mansion they were renting and found squatters had moved in and were using their private pool -- so they shot at the water. The squatters quickly moved on. As Dryden put it "We all -- Paul, Jorma, Grace, and myself -- had guns. We weren't hippies. Hippies were the people that lived on the streets down in Haight-Ashbury. We were basically musicians and art school kids. We were into guns and machinery" After Bathing at Baxter's only went to number seventeen on the charts, not a bad position but a flop compared to their previous album, and Bill Graham in particular took this as more proof that he had been right when for the last few months he'd been attacking the group as self-indulgent. Eventually, Slick and Dryden decided that either Bill Graham was going as their manager, or they were going. Slick even went so far as to try to negotiate a solo deal with Elektra Records -- as the voice on the hits, everyone was telling her she was the only one who mattered anyway. David Anderle, who was working for the label, agreed a deal with her, but Jac Holzman refused to authorise the deal, saying "Judy Collins doesn't get that much money, why should Grace Slick?" The group did fire Graham, and went one further and tried to become his competitors. They teamed up with the Grateful Dead to open a new venue, the Carousel Ballroom, to compete with the Fillmore, but after a few months they realised they were no good at running a venue and sold it to Graham. Graham, who was apparently unhappy with the fact that the people living around the Fillmore were largely Black given that the bands he booked appealed to mostly white audiences, closed the original Fillmore, renamed the Carousel the Fillmore West, and opened up a second venue in New York, the Fillmore East. The divisions in the band were getting worse -- Kaukonen and Casady were taking more and more speed, which was making them play longer and faster instrumental solos whether or not the rest of the band wanted them to, and Dryden, whose hands often bled from trying to play along with them, definitely did not want them to. But the group soldiered on and recorded their fourth album, Crown of Creation. This album contained several songs that were influenced by science fiction novels. The most famous of these was inspired by the right-libertarian author Robert Heinlein, who was hugely influential on the counterculture. Jefferson Airplane's friends the Monkees had already recorded a song based on Heinlein's The Door Into Summer, an unintentionally disturbing novel about a thirty-year-old man who falls in love with a twelve-year-old girl, and who uses a combination of time travel and cryogenic freezing to make their ages closer together so he can marry her: [Excerpt: The Monkees, "The Door Into Summer"] Now Jefferson Airplane were recording a song based on Heinlein's most famous novel, Stranger in a Strange Land. Stranger in a Strange Land has dated badly, thanks to its casual homophobia and rape-apologia, but at the time it was hugely popular in hippie circles for its advocacy of free love and group marriages -- so popular that a religion, the Church of All Worlds, based itself on the book. David Crosby had taken inspiration from it and written "Triad", a song asking two women if they'll enter into a polygamous relationship with him, and recorded it with the Byrds: [Excerpt: The Byrds, "Triad"] But the other members of the Byrds disliked the song, and it was left unreleased for decades. As Crosby was friendly with Jefferson Airplane, and as members of the band were themselves advocates of open relationships, they recorded their own version with Slick singing lead: [Excerpt: Jefferson Airplane, "Triad"] The other song on the album influenced by science fiction was the title track, Paul Kantner's "Crown of Creation". This song was inspired by The Chrysalids, a novel by the British writer John Wyndham. The Chrysalids is one of Wyndham's most influential novels, a post-apocalyptic story about young children who are born with mutant superpowers and have to hide them from their parents as they will be killed if they're discovered. The novel is often thought to have inspired Marvel Comics' X-Men, and while there's an unpleasant eugenic taste to its ending, with the idea that two species can't survive in the same ecological niche and the younger, "superior", species must outcompete the old, that idea also had a lot of influence in the counterculture, as well as being a popular one in science fiction. Kantner's song took whole lines from The Chrysalids, much as he had earlier done with A.A. Milne: [Excerpt: Jefferson Airplane, "Crown of Creation"] The Crown of Creation album was in some ways a return to the more focused songwriting of Surrealistic Pillow, although the sessions weren't without their experiments. Slick and Dryden collaborated with Frank Zappa and members of the Mothers of Invention on an avant-garde track called "Would You Like a Snack?" (not the same song as the later Zappa song of the same name) which was intended for the album, though went unreleased until a CD box set decades later: [Excerpt: Grace Slick and Frank Zappa, "Would You Like a Snack?"] But the finished album was generally considered less self-indulgent than After Bathing at Baxter's, and did better on the charts as a result. It reached number six, becoming their second and last top ten album, helped by the group's appearance on the Ed Sullivan Show in September 1968, a month after it came out. That appearance was actually organised by Colonel Tom Parker, who suggested them to Sullivan as a favour to RCA Records. But another TV appearance at the time was less successful. They appeared on the Smothers Brothers Comedy Hour, one of the most popular TV shows among the young, hip, audience that the group needed to appeal to, but Slick appeared in blackface. She's later said that there was no political intent behind this, and that she was just trying the different makeup she found in the dressing room as a purely aesthetic thing, but that doesn't really explain the Black power salute she gives at one point. Slick was increasingly obnoxious on stage, as her drinking was getting worse and her relationship with Dryden was starting to break down. Just before the Smothers Brothers appearance she was accused at a benefit for the Whitney Museum of having called the audience "filthy Jews", though she has always said that what she actually said was "filthy jewels", and she was talking about the ostentatious jewellery some of the audience were wearing. The group struggled through a performance at Altamont -- an event we will talk about in a future episode, so I won't go into it here, except to say that it was a horrifying experience for everyone involved -- and performed at Woodstock, before releasing their fifth studio album, Volunteers, in 1969: [Excerpt: Jefferson Airplane, "Volunteers"] That album made the top twenty, but was the last album by the classic lineup of the band. By this point Spencer Dryden and Grace Slick had broken up, with Slick starting to date Kantner, and Dryden was also disappointed at the group's musical direction, and left. Balin also left, feeling sidelined in the group. They released several more albums with varying lineups, including at various points their old friend David Frieberg of Quicksilver Messenger Service, the violinist Papa John Creach, and the former drummer of the Turtles, Johnny Barbata. But as of 1970 the group's members had already started working on two side projects -- an acoustic band called Hot Tuna, led by Kaukonen and Casady, which sometimes also featured Balin, and a project called Paul Kantner's Jefferson Starship, which also featured Slick and had recorded an album, Blows Against the Empire, the second side of which was based on the Robert Heinlein novel Back to Methuselah, and which became one of the first albums ever nominated for science fiction's Hugo Awards: [Excerpt: Jefferson Starship, "Have You Seen The Stars Tonite"] That album featured contributions from David Crosby and members of the Grateful Dead, as well as Casady on two tracks, but  in 1974 when Kaukonen and Casady quit Jefferson Airplane to make Hot Tuna their full-time band, Kantner, Slick, and Frieberg turned Jefferson Starship into a full band. Over the next decade, Jefferson Starship had a lot of moderate-sized hits, with a varying lineup that at one time or another saw several members, including Slick, go and return, and saw Marty Balin back with them for a while. In 1984, Kantner left the group, and sued them to stop them using the Jefferson Starship name. A settlement was reached in which none of Kantner, Slick, Kaukonen, or Casady could use the words "Jefferson" or "Airplane" in their band-names without the permission of all the others, and the remaining members of Jefferson Starship renamed their band just Starship -- and had three number one singles in the late eighties with Slick on lead, becoming far more commercially successful than their precursor bands had ever been: [Excerpt: Starship, "We Built This City on Rock & Roll"] Slick left Starship in 1989, and there was a brief Jefferson Airplane reunion tour, with all the classic members but Dryden, but then Slick decided that she was getting too old to perform rock and roll music, and decided to retire from music and become a painter, something she's stuck to for more than thirty years. Kantner and Balin formed a new Jefferson Starship, called Jefferson Starship: The Next Generation, but Kantner died in January 2016, coincidentally on the same day as Signe Anderson, who had occasionally guested with her old bandmates in the new version of the band. Balin, who had quit the reunited Jefferson Starship due to health reasons, died two years later. Dryden had died in 2005. Currently, there are three bands touring that descend directly from Jefferson Airplane. Hot Tuna still continue to perform, there's a version of Starship that tours featuring one original member, Mickey Thomas, and the reunited Jefferson Starship still tour, led by David Frieberg. Grace Slick has given the latter group her blessing, and even co-wrote one song on their most recent album, released in 2020, though she still doesn't perform any more. Jefferson Airplane's period in the commercial spotlight was brief -- they had charting singles for only a matter of months, and while they had top twenty albums for a few years after their peak, they really only mattered to the wider world during that brief period of the Summer of Love. But precisely because their period of success was so short, their music is indelibly associated with that time. To this day there's nothing as evocative of summer 1967 as "White Rabbit", even for those of us who weren't born then. And while Grace Slick had her problems, as I've made very clear in this episode, she inspired a whole generation of women who went on to be singers themselves, as one of the first prominent women to sing lead with an electric rock band. And when she got tired of doing that, she stopped, and got on with her other artistic pursuits, without feeling the need to go back and revisit the past for ever diminishing returns. One might only wish that some of her male peers had followed her example.

Michael and I talk about the genius of Mick Taylor and Taylor's short stint with the Rolling StonesNorth Carolina barbecue vs. Texas barbecuethe image Michael saw one day while swimming that inspired his novel ‘I Am the Light of This World'why the early 1970s was such an interesting time culturally and why Michael chose it as the backdrop for a big part of the storythe significance of the title of the novelthe North Carolina Piedmont Blues scene of the 1930s, the Folk Music revival of the 1960s, and Rev. Gary Davis and the artists he influencedMichael's relationship with music, on a personal level and as a writerhow the songs Michael references in certain scenes complement those scenes perfectly, like “Gimme Shelter” by the Rolling Stones, “The Crystal Ship” by The Doors, “The Same Situation” by Joni Mitchell, “Walk Away” by The James Gang, ‘The Zombies' Greatest Hits', “No Quarter” by Led ZeppelinMichael's use of song lyrics in the novelthe significance of Lead Belly—the mythological figure and music of—to the protagonist, Earl, and to the author, Michaelthe role Hank Williams' music plays in the storythe “happy accidents of making art”Jeff and I talk about Lead Belly's historyprison recordmusic catalogueartists he influencedLead Belly's death and his legacy MUSIC AND MEDIA IN THE EPISODE IN ORDER OF APPEARANCE:“Time Waits for No One” by the Rolling Stones“Can't Hardly Wait” by The Replacements“I Am the Light of This World” by Rev. Gary Davis“She Loves You” by The Beatles“Gimme Shelter” by the Rolling Stones“The Same Situation” by Joni Mitchell“Walk Away” by The James Gang“Good Mornin' Blues” by Lead Belly“Love in Vain” by Robert Johnson“I'm So Lonesome I Could Cry” by Hank Williams“The Gallows Pole” by Lead Belly“Goodnight Irene” by Lead Belly“Black Girl (In the Pines)” by Lead Belly“Midnight Special” by Lead Belly LINKS: Michael Parker's website, https://www.michaelfparker.com/Michael Parker, Instagram, @texheel22 Jeff Place/Smithsonian Folkways website, https://folkways.si.edu/ Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com/Christy Alexander Hallberg Twitter, @ChristyHallbergChristy Alexander Hallberg Instagram, @christyhallbergChristy Alexander Hallberg YouTube, https://www.youtube.com/channel/UCfSnRmlL5moSQYi6EjSvqag

Michael and I talk about  the genius of Mick Taylor and Taylor's short stint with the Rolling Stones North Carolina barbecue vs. Texas barbecue the image Michael saw one day while swimming that inspired his novel ‘I Am the Light of This World' why the early 1970s was such an interesting time culturally and why Michael chose it as the backdrop for a big part of the story the significance of the title of the novel the North Carolina Piedmont Blues scene of the 1930s, the Folk Music revival of the 1960s, and Rev. Gary Davis and the artists he influenced Michael's relationship with music, on a personal level and as a writer how the songs Michael references in certain scenes complement those scenes perfectly, like “Gimme Shelter” by the Rolling Stones, “The Crystal Ship” by The Doors, “The Same Situation” by Joni Mitchell, “Walk Away” by The James Gang, ‘The Zombies' Greatest Hits', “No Quarter” by Led Zeppelin Michael's use of song lyrics in the novel the significance of Lead Belly—the mythological figure and music of—to the protagonist, Earl, and to the author, Michael the role Hank Williams' music plays in the story the “happy accidents of making art” Jeff and I talk about Lead Belly's  history prison record music catalogue artists he influenced Lead Belly's death and his legacy   MUSIC AND MEDIA IN THE EPISODE IN ORDER OF APPEARANCE: “Time Waits for No One” by the Rolling Stones “Can't Hardly Wait” by The Replacements “I Am the Light of This World” by Rev. Gary Davis “She Loves You” by The Beatles “Gimme Shelter” by the Rolling Stones “The Same Situation” by Joni Mitchell “Walk Away” by The James Gang “Good Mornin' Blues” by Lead Belly “Love in Vain” by Robert Johnson “I'm So Lonesome I Could Cry” by Hank Williams “The Gallows Pole” by Lead Belly “Goodnight Irene” by Lead Belly “Black Girl (In the Pines)” by Lead Belly “Midnight Special” by Lead Belly   LINKS:  Michael Parker's website, https://www.michaelfparker.com/ Michael Parker, Instagram, @texheel22   Jeff Place/Smithsonian Folkways website, https://folkways.si.edu/   Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com/ Christy Alexander Hallberg Twitter, @ChristyHallberg Christy Alexander Hallberg Instagram, @christyhallberg Christy Alexander Hallberg YouTube, https://www.youtube.com/channel/UCfSnRmlL5moSQYi6EjSvqag Learn more about your ad choices. Visit megaphone.fm/adchoices

Laissez les Bons Temps Rouler!!!Senior players on the Port Neches-Groves Indians state football champions--Jack Collazo, Gary Geoffroy, Andy Gilbert, Kirk Romero, Karl Segura, and Wilson Weber--recall those magical days of 1975.Hear their recollections about:Head Coach Doug Ethridge and his all star coaching staff;The 1974 Semifinalist season, and how that season impacted 1975;Their undefeated district campaign;Their playoff run, which culminated in their state championship victory over Odessa Permian at Texas Stadium;Their thoughts on various team mates and opponents;and much, much, more!!The podcast brings up a wide range of names from Port Neches and Groves, including Jack Collazo, Gary Geoffroy, Andy Gilbert, Kirk Romero, Karl Segura, Wilson Weber, Jeff Bergeron, Frank Cheek, Doug Ethridge, P. J. Granger, Bum Phillips Tim Nunez, Greg Davis, Paul Carswell, Bruce Bush, Ken Clearman, Butch Troy, Phil Vergara, Wayne Winn, David Fendley, Tip Durham, Matt Burnett, Richy Ethridge, Mike Giblin, Ricky Simpson, Dougald McDougald, Don Daspit, Gary Davis, Blake Green, Kyle Aguillard, Mark Buchanan, Anthony Garcia, Randy Johnson, Lisa Segura, Jeff Cooley, Jackie Havard, Von Robinson, Ricky Hagler, Carl Johnson, Mel Ransom, Ty Becker, Mike Boudreaux, Wade Terrell, Kelly Hall, Buck Miller, Lee Blackman, Jerry Plaia, Leo Goldburg, Carl Frey, Ronnie Giblin, Mark Lawson, Carl Griffith, Kevin Landry, Owen Schipplein, Kevin Hebert, Jeff Decuir, Ronnie Golman, Terry Guilbeaux, Tony Hollier, Carl Dautrieve, Phil Myer, Craig Guillory, Phillip Fuller, Donald Hilton, Bryan Landry, Howard Kern, Craig Romero, and many more! Other names mentioned in the podcast associated with that 1975 playoff run include Edgar Allan Poe, Meriwether Lewis and William Clark, Wes Hubert, Ronnie Thompson, Vic May, Charlie Behn, Joey Peno, Shawn Walker, Shawn Bruno, Tim Hammond, Leroy Leopold, Joe Washington, Weldon Cartwright, Don Clayton, Keith Gilchrist, Terry Medford, Jeff Corley, Terrence Grant, Jacob Green, Jay Lundschen, Mike Stone, Russell Wheatley, Kevin Steen, Mike Woodard, Billy Joe Dupree, Preston Pearson, Roger Staubach, Tony Fritsch, Burt Darden, Billy Kilmer, and more!   So don your purple and white, decorate your cars, and caravan with us...It's a victory trail with a state title destination!Right here on Down Trails of Victory podcast!

COUNTDOWN EPISODE 49 A-Block (1:45) SPECIAL COMMENT: The FBI is preparing to search The Trump Golf Club And Cemetery in New Jersey or Trump Tower in New York. That's the clear implication of The New York Times report (2:24) that the Justice Department notified Trump's lawyers that it is not convinced that all the classified documents stolen by Trump have yet been retrieved (2:45) CNN went a step further, sourcing that DOJ demanded to Trump's attorneys all remaining documents must be returned. (2:53) There have been hints (like those empty folders with "CLASSIFIED" on them (3:14) And there was almost a compromise, but now Trump is hard-lining this and ultimately this ends with another search (5:02) Apart from the danger of him still having docs, there's the chance he's already sold or lost or had some stolen. (6:03) More bad news for Trump: Secret Service confirms Oath Keepers contacted them about "security procedures" which they position as ordinary but which a witness at the sedition trial implies had something to do with invocation of The Insurrection Act (8:20) And a key Proud Boy has flipped against Enrique Tarrio (8:51) But at least no one invoked The Herschel Walker Defense. B-Block (12:13) EVERY DOG HAS ITS DAY: Theodore, in New York (13:33) IN SPORTS: Baseball overshadows its own playoffs with streaming controversy while Canada's hockey scandal just keeps getting worse (15:49) THE WORST PERSONS IN THE WORLD: Matt Walsh-Blog defends his support for impregnating 16-year olds, and competes for honors with Kari Lake and TNT hockey nudnik Paul Bissonnette (17:45) THINGS I PROMISED NOT TO TELL: It is exactly 47 years since my first appearance on a professional radio station, when they told me I was only going to do one story in a five-minute sportscast and it was all a lie and I was 16 and I mispronounced my name. Twice. And I am actually letting you hear clips from it. C-Block (27:03) FRIDAYS WITH THURBER: His epic story of public panic, and people so convinced they were right that they ignored common sense, science, and what their own eyes showed them: The Day The Dam Broke (42:22) THINGS I PROMISED NOT TO TELL BONUS: My entire 11:15 PM sportscast on WVBR-FM, Ithaca NY, on Tuesday, October 7, 1975!    See omnystudio.com/listener for privacy information.

The story of Precious Thomas, the brave little girl fighting HIV, captured people's attention in the 1990s, and changed hearts and minds about the AIDS epidemic. And when Gary Davis' serum seemingly brought about a dramatic improvement in the girl's health, it gave a major boost to his profile and work. For the doctor's supporters, Precious Thomas was — and still is — the best proof that Gary Davis' serum could be effective. But for years, she refused to talk about what exactly happened — if her viral load had stayed undetectable, if she was “cured.” Then one afternoon, she sends a message to Grant. “Hello, I'm ready to speak my part and my truth if you still wanna listen.” She now uses a different name, has reclaimed her life outside of the spotlight, and is ready to tell her side of the story.

The story of Precious Thomas, the brave little girl fighting HIV, captured people's attention in the 1990s, and changed hearts and minds about the AIDS epidemic. And when Gary Davis' serum seemingly brought about a dramatic improvement in the girl's health, it gave a major boost to his profile and work. For the doctor's supporters, Precious Thomas was — and still is — the best proof that Gary Davis' serum could be effective. But for years, she refused to talk about what exactly happened — if her viral load had stayed undetectable, if she was “cured.” Then one afternoon, she sends a message to Grant. “Hello, I'm ready to speak my part and my truth if you still wanna listen.” She now uses a different name, has reclaimed her life outside of the spotlight, and is ready to tell her side of the story.

Gary Davis wanted to leave England and all of his troubles there behind. Eventually, he reconnected with an American investor, somebody he thought could reclaim the serum, gain legitimacy for it in the US — and perhaps keep the circling sharks at bay. The new effort to bring the serum to market would end up being his last. Grant checks into this American investor, who turns out to be a wealthy and powerful man from Texas. His business ventures have attracted legal scrutiny yet appear to have left him relatively unscathed. We find financial fraud, a suspicious suicide, ties to a fervent religious cult, and perhaps connections to federal intelligence agencies. Is this man still actively pushing a drug treatment based on the goat serum long after the doctor's death? And how will he react to new questions about Gary Davis all these years later?

Gary Davis wanted to leave England and all of his troubles there behind. Eventually, he reconnected with an American investor, somebody he thought could reclaim the serum, gain legitimacy for it in the US — and perhaps keep the circling sharks at bay. The new effort to bring the serum to market would end up being his last. Grant checks into this American investor, who turns out to be a wealthy and powerful man from Texas. His business ventures have attracted legal scrutiny yet appear to have left him relatively unscathed. We find financial fraud, a suspicious suicide, ties to a fervent religious cult, and perhaps connections to federal intelligence agencies. Is this man still actively pushing a drug treatment based on the goat serum long after the doctor's death? And how will he react to new questions about Gary Davis all these years later?

Goat's blood is in the water, and sharks are circling. A powerlifter from North Carolina has connected Gary Davis to a wealthy and influential man in London, who appears to have unlimited resources. Dr. Davis desperately needs financial support, but also wants to hold on to his own vision for the serum. Interests collide — and the serum's formula is spun into a new, murky business venture. A dusty old VHS tape turns out to be a Rosetta Stone in terms of piecing together what happened when the doctor was in England — and who might have encouraged a cowboy from Jet to skip town and disappear. Serum is a limited run podcast production of WHYY's The Pulse and Local Trance Media. Follow Serum on Twitter and Instagram @serumpodcast For questions or tips related to Serum, please contact Maiken Scott at mscott@whyy.org or Grant Hill at grant@localtrancemedia.com

Goat's blood is in the water, and sharks are circling. A powerlifter from North Carolina has connected Gary Davis to a wealthy and influential man in London, who appears to have unlimited resources. Dr. Davis desperately needs financial support, but also wants to hold on to his own vision for the serum. Interests collide — and the serum's formula is spun into a new, murky business venture. A dusty old VHS tape turns out to be a Rosetta Stone in terms of piecing together what happened when the doctor was in England — and who might have encouraged a cowboy from Jet to skip town and disappear.

You may not know his name, but if you've ever seen a motorcycle stunt in a movie or TV show in the past 40 years you know his work.  Gary Davis has been in all of your favorite movies.  When Arnold's stunt double jumped the Harley into the L.A. River in Terminator 2, it was Gary who figured out how to do it! When Jeff Bridges raced James Woods in Against All Odds, it was Gary doubling for Jeff in that car race!Before coming to Hollywood, Gary performed as a daredevil and completed 312 public jumps with not a single crash! Hear about this and so much more on todays episode! https://www.deluxeedition.showhttps://www.patreon.com/deluxeditionpodCheck out our network at:https://www.deluxeeditionnetwork.comUse code DELUXE15 at checkout and grab some awesome granola:https://bearclawkitchen.com/?irgwc=1Join this channel to get access to perks:https://www.youtube.com/channel/UCcKR-qeXy1KyPj3w4cxgOYw/joinSupport the show

Where are the people Gary Davis treated with the serum? Why is nobody who took it willing to talk? A very cagey former patient finally agrees to meet with Grant, under several specific conditions: Only if it rains, only if Grant comes to visit him in his very small town, and only if they can talk where no one else can hear them. The stranger finally pulls up in his pickup truck, at a tumbleweed intersection in rural Oklahoma, windows tinted too dark to see him. And his story is even weirder than all the conditions may have suggested. Serum is a limited run podcast production of WHYY's The Pulse and Local Trance Media. Follow Serum on Twitter and Instagram @serumpodcast For questions or tips related to Serum, please contact Maiken Scott at mscott@whyy.org or Grant Hill at grant@localtrancemedia.com

Where are the people Gary Davis treated with the serum? Why is nobody who took it willing to talk? A very cagey former patient finally agrees to meet with Grant, under several specific conditions: Only if it rains, only if Grant comes to visit him in his very small town, and only if they can talk where no one else can hear them. The stranger finally pulls up in his pickup truck, at a tumbleweed intersection in rural Oklahoma, windows tinted too dark to see him. And his story is even weirder than all the conditions may have suggested.

Deep conversations with the doctor's family members paint a complicated picture of Gary Davis, the man — and Gary Davis, the legend. The doctor was often broke and filed for bankruptcy twice, but then suddenly seemed to have lots of money. Several people tell Grant this wealth may have come from the doctor's high-profile clients —- including one NBA superstar. Davis' daughter wants to talk about how her father died, and the fact that she feels like something bad happened to him. His niece has no interest in getting into that debate, and feels it's not even a question. So, what really happened the night Gary Davis died? Serum is a limited run podcast production of WHYY's The Pulse and Local Trance Media. Follow Serum on Twitter and Instagram @serumpodcast For questions or tips related to Serum, please contact Maiken Scott at mscott@whyy.org or Grant Hill at grant@localtrancemedia.com

Deep conversations with the doctor's family members paint a complicated picture of Gary Davis, the man — and Gary Davis, the legend. The doctor was often broke and filed for bankruptcy twice, but then suddenly seemed to have lots of money. Several people tell Grant this wealth may have come from the doctor's high-profile clients —- including one NBA superstar. Davis' daughter wants to talk about how her father died, and the fact that she feels like something bad happened to him. His niece has no interest in getting into that debate, and feels it's not even a question. So, what really happened the night Gary Davis died?

Serum follows the life and work of Dr. Gary Davis, a Black physician from Tulsa, Oklahoma, who was working on a treatment for AIDS in the 1990s. This is episode 3: Red Flags and Green Lights. Reporter Grant Hill gets in touch with one of the last people to have seen Dr. Davis' serum in action, a Tulsa photographer named Doug Henderson. The conversation reveals that in 2004, Dr. Davis conducted human trials in Africa — enlisting the help of the photographer and celebrity Bishop Carton Pearson to document and publicize his work. What they witness is both astonishing and shocking: Trials with the doctor's serum seem to leave participants completely recovered. But soon, things fall apart. Dr. Davis appears panicked and afraid for his life. He disappears. Rumors abound. Back in Oklahoma, the photographer is asked to erase all evidence that any of this ever happened. Then he gets word: The doctor is dead. Serum, a limited-run podcast, is available wherever you listen to podcasts.

What really happened to Gary Davis  and his serum? Grant starts reaching out to the doctor's family members. They are eager to tell their stories – but all have different perspectives. The daughter who spent much of her childhood in Davis' lab, the son who was skeptical at first but then came around, the niece who tried to help Davis bring the serum to fruition in the shadow of historic racial violence. A road trip to Tulsa brings a deeper understanding of Gary Davis — and an anonymous tip leads to new insights: After the FDA shut down a clinical trial for Davis' serum, at least one biopharmaceutical company created its own. Its trials? Approved, funded by the NIH. Serum is a limited run podcast production of WHYY's The Pulse and Local Trance Media. Follow Serum on Twitter and Instagram @serumpodcast For questions or tips related to Serum, please contact Maiken Scott at mscott@whyy.org or Grant Hill at grant@localtrancemedia.com

What really happened to Gary Davis  and his serum? Grant starts reaching out to the doctor's family members. They are eager to tell their stories – but all have different perspectives. The daughter who spent much of her childhood in Davis' lab, the son who was skeptical at first but then came around, the niece who tried to help Davis bring the serum to fruition in the shadow of historic racial violence. A road trip to Tulsa brings a deeper understanding of Gary Davis — and an anonymous tip leads to new insights: After the FDA shut down a clinical trial for Davis' serum, at least one biopharmaceutical company created its own. Its trials? Approved, funded by the NIH.

Garry Davis machte sich schon als US-Bomberpilot im Zweiten Weltkrieg Gedanken, wie Kriege zukünftig verhindert werden könnten. Wenn es zum Beispiel gar keine Staaten mehr gäbe und alle Menschen Weltbürger wären? Davis verbrannte seinen Pass, hielt flammende Reden vor den UN - und bekam 1957 in Hannover Probleme mit der Polizei... Autor: Heiner Wember Von Heiner Wember.

Reporter Grant Hill stumbles into a cab after a long night out. A conversation with the driver leads to a startling revelation: He claims to be a Hollywood insider, who helped a doctor develop a potential cure for AIDS in the 1990s. His Hollywood claims turn out to be true — but what about this cure for AIDS? A search turns up a Black physician named Gary Davis from Tulsa, Oklahoma who had a big dream: to use goat antibodies to develop a serum that would free the world from HIV and AIDS. What happened to the dream? And why did so many fear for the doctor's life? Serum is a limited run podcast production of WHYY's The Pulse and Local Trance Media. Follow Serum on Twitter and Instagram @serumpodcast For questions or tips related to Serum, please contact Maiken Scott at mscott@whyy.org or Grant Hill at grant@localtrancemedia.com

Reporter Grant Hill stumbles into a cab after a long night out. A conversation with the driver leads to a startling revelation: He claims to be a Hollywood insider, who helped a doctor develop a potential cure for AIDS in the 1990s. His Hollywood claims turn out to be true — but what about this cure for AIDS? A search turns up a Black physician named Gary Davis from Tulsa, Oklahoma who had a big dream: to use goat antibodies to develop a serum that would free the world from HIV and AIDS. What happened to the dream? And why did so many fear for the doctor's life?

In the fall of 2019, reporter Grant Hill jumped into a cab  — where his driver, Clyde Ashley Sherman, told him the story of a lifetime. Decades before, the driver had worked for a Black physician from Oklahoma named Gary Davis. In the 1990s, Davis developed a treatment for AIDS based on goat antibodies. The physician submitted his research to the FDA, but his clinical trial was shut down right before it was set to start. Frustrated, Davis went abroad to get his treatment off the ground. He got involved with some questionable characters to find financial support — and when he died unexpectedly, lots of questions remained. Grant Hill spent more than two years on Davis' trail — discovering a tangled story that spans decades and stretches into the innermost circles of power and fame. On this episode, we'll hear an excerpt from our new podcast series “Serum,” which tells Davis' story. We also talk to an infectious disease specialist who has worked on HIV research since the early days of this epidemic, and we'll meet a couple that found love amid the AIDS crisis. Also heard on this week's episode: Reporter Jad Sleiman tells the story of a couple whose meandering path to love started at the height of the AIDS crisis. At first, the specter of HIV pushed them to take very different roads in life — until they met again. We talk with Carlos del Rio, co-director of the Center for AIDS Research at Emory University, about the earliest days of HIV research, and how the search for treatments has unfolded in the years since.

Listen every Friday from 21 till 22 (Moscow time) Jazz FM (radiojazzfm.ru) Subscribe in iTunes: https://itunes.apple.com/ru/podcast/funk-and-beyond-weekly/id1063844118?mt=2 for more details please visit beyondfunk.ru tracklist: 1. Nicole Willis & UMO Jazz Orchestra - Togetherness 2. Nubiyan Twist & Nubiya Brandon - Brother 3. Shafiq Husayn - Between Us 2 (feat. Bilal) 4. ClassicBeatz - The 5th Layer 5. Laura Vane & The Vipertones - In or Out 6. Soul Tune Allstars - Mother Nature 7. Alan Evans - Hot n' Greezy 8. Karl Denson's Tiny Universe - Groove On 9. Ronny Jordan - Cool and Funky 10. Ferry Ultra - Dangerous Vibes (Mousse T's R&B Mix Vibestrumental) 11. Hemingway - Dream Swagger 12. King Brasstards - Up All Night (feat. Lisa Millett, Gary Davis) 13. patchworks - Brothers On The Slide (Philly mix) 14. Rayko - Broadway 15. Silk Sonic - Fly as Me 16. The Quantic Soul Orchestra - Walking Through Tomorrow 17. Lexsoul Dancemachine - Entertainment 18. S-Tone Inc - I Can't Keep Up With Your Love (feat. Laura Fedele)

Get to know the genius behind the successful podcast, Motorcycles & Misfits. Liza Miller started this podcast back in 2013 in the co-op motorcycle garage she runs in Santa Cruz, California, the Re-Cycle Garage. What started as a passionate conversation with a few misfits after turning a wrench on a Sunday afternoon has become a popular podcast that will clear its 500th episode and over 3 million listens this year. Motorcycles & Misfits is an inclusive haven for passionate motorcyclists of every stripe, age, and walk of life. You'll hear about Liza, Miss Emma, Bagel, Stumpy John, and other Re-cycle Garage Misfits. You'll learn how she grew her podcast through attending events, recording on location, selling merch, and getting excellent guests on her show. From stunt riders like Gary Davis who jumped his motorcycle more successfully than Evel Knievel himself, to Hollywood celebrities like Norman Reedus of Walking Dead and Boondock Saints. Norman Reedus even included their band of misfits on the first episode of his motorcycle focused TV show, Ride with Norman Reedus. 00:00 Introducing Liza Miller and Re-Cycle Garage in Santa Cruz, CA03:20 Julie's secret... 04:50 Liza on keeping her podcast fresh as she nears 500 episodes06:00 Engaging audience through contests and more07:43 The history of recording Motorcycles & Misfits in the Re-Cycle Garage, and moving into their studio (with a visual tour on YouTube version of this podcast)11:00 On getting better sound in your home recording space13:30 On choosing her band of misfits, cohosts, and regular guests on the show19:10 Liza's minimalistic approach to editing27:40 Liza's portable recording studio: Zoom H6 28:45 Leading with purpose first, monetizing second (advertisers + Patreon)32:20 Using t-shirt rewards as an incentive for members to join the Patreon community of Misfits34:30 Liza's advice to new podcasters or those that have stagnatedTo get a taste of Motorcycles & Misfits, you can check out last week's Podtease! We featured their interview with motorcycling legend, Gary Davis. It was an episode that was almost lost due to technical difficulties, offering Liza and her crew a few lessons about using new, untested technology for an important recording. You'll fall in love with the show, and really want to add their podcast to your queue. Check it out here: https://themediacasters.com/podtease-motorcycles-and-misfits-liza-miller-gary-davis-the-coolest-interview-we-have-ever-done/About Re-cycle Garage and Motorcycles & Misfits: The mission of Re-Cycle Garage in Santa Cruz is to get old motorcycles back on the road and to teach people how to wrench on them. Over the years we have built up an amazing community through our free-to-all motorcycle garage. Our podcast consists of a rotating cast of characters sharing their stories, knowledge and experiences, as well as special guest interviews.Website: https://motorcyclesandmisfits.comE-mail recyclemotorcyclegarage@gmail.com or motorcyclesandmisfits@gmail.comFacebook www.facebook.com/recyclesantacruz/YouTube / Other www.youtube.com/channel/UC3wKZSP0J9FBGB79169ciew--Join Our Community Of "Dragonflies" And Reach For Your DreamsFollow us on all social spaces @themediacastersJoin The Mediacasters Community FREE for a limited time: https://themediacasters.mn.coGet our #1 new book release! The book, Audiocasters teaches you how to launch, market, and, monetize your podcast! Get it here!Instagram: https://www.instagram.com/themediacastersPodcast website: https://themediacasters.comNetwork website, with all our community shows: https://podpage.com/themediacasters

What do Evel Knievel, Captain America, Kenny Roberts and the Terminator have in common? In 2018 Emma, Michael and myself scored an interview with Gary Davis, the coolest guy you've probably never heard of. Gary was inducted into the AMA hall of fame for his career as a racer, daredevil and stuntman.In 1969 he raced alongside greats like Kenny Roberts and Gary Scott.In 1972 he beat Evil Knievel's record by jumping 21 cars. But it wasn't an ordinary jump. He did it with a a partner, both at the same time and passing each other in mid air only feet apart.He then became a stuntman in the movies and TV, doing all of Evel's stunts in Viva Knievel and countless other spots.Next he became a stunt coordinator and 2nd Unit director on films like Terminator 2, Predator 2, Starsky and Hutch, and Torque.And in 2018 he was inducted into the AMA Hall of Fame.He is still in the business today, as well as being a collector, a bike builder and all around cool guy. So take a listen and enjoy getting to know about Gary Davis and his amazing life.With Liza, Miss Emma and Michael.Go to www.motorcyclesandmisfits.com to find the links to our Facebook, Instagram, Youtube, Patreon and more. And send us an email at motorcyclesandmisfits@gmail.comrecyclemotorcyclegarage@gmail.comwww.patreon.com/motorcyclesandmisfits--Do you want your show to be featured on our next Podtease? Send us a note via Instagram @podtease -- or join The Mediacasters Community and connect with us live in weekly office hours (details below).Step 1: Join The Mediacasters Community! It's a free, vibrant space for podcasters, authors, public speakers, media darlings, and producers to connect and grow! https://themediacasters.mn.coStep 2: Send Corinna & Jules a message from the community page (or via Instagram @podtease or @themediacasters) and ask for the form to be featured on Podtease. Upon completion, they will assess your podcast for fit. Approved podcasts will be featured in the next 12 weeks. Step 3: Engage in The Mediacasters Community and make new friends in podcasting – because none of us should go it alone! We can grow (and have fun) together!

Given the demand for engineering talent, it's important not to exclude great candidates just because they didn't go to the right school or don't feel like a culture fit (vs. being a culture add). In this episode, I talk with Gary Davis, Diversity Talent Acquisition Lead at Adobe about how to think about competencies rather than credentials, how to create a structured interviewing rubric and how to start to widen your sourcing pipeline to improve both the diversity and the quality of software engineers that your outreach attracts.PARTNERThanks to our partner CloudZero — Cloud Cost Intelligence Platform. Control cost and drive better decisions with CloudZero cloud cost intelligence. The CloudZero platform provides visibility into cloud spend without the typical pitfalls of legacy cloud cost management tools, like endless tagging or clunky Kubernetes support. Optimize unit economics, decentralize cost data to engineering, and create a shared language between finance and technical teams. CloudZero helps you organize cloud spending better than anyone else.Join companies like Drift, Rapid7, and SeatGeek by visiting cloudzero.com/ctoconnection to get started.

Doug bought a turntable, and we discuss musical nostalgia. Help support The Next Track by making regular donations via Patreon. We're ad-free and self-sustaining so your support is what keeps us going. Thanks! Support The Next Track (https://www.patreon.com/thenexttrack). ‌Show notes: Pioneer DJ PLX-500 turntable (https://amzn.to/39FzLg1) Primaphone Cabinet Grand gramophone (https://sounds.bl.uk/Sound-recording-history/Equipment/029M-2XFROWX1988X-0001V0) Episode #54 – Guitarist Woody Mann Talks about His Documentary on the Life of Rev. Gary Davis (https://www.thenexttrack.com/56) Never-Before-Heard Music By Son House ‘Forever On My Mind' Drops March 18 (https://www.rockandbluesmuse.com/2021/12/16/never-before-heard-music-by-son-house-forever-on-my-mind-drops-march-18/) Our next tracks: Son House: Forever on My Mind (https://amzn.to/3w0qfeN) Rod Stewart: Every Picture Tells a Story (https://amzn.to/37WUdsg) If you like the show, please subscribe in iTunes (https://itunes.apple.com/podcast/the-next-track/id1116242606) or your favorite podcast app, and please rate the podcast.