Podcast appearances and mentions of Grace Slick

For the full, ad-free, 54-minute podcast, either subscribe to Discograffiti's Patreon at the Major Tier or higher, or just grab the episode as a one-off at the same link: https://www.patreon.com/discograffiti Purchase the 32-episode Jefferson Airplane series at a 33% discount (hear as they appear): https://www.patreon.com/collection/2123066   New to the show? Start at Jefferson Airplane Part 1. Apple Podcasts: https://podcasts.apple.com/us/podcast/discograffiti/id1592182331?i=1000765230378 Spotify: https://open.spotify.com/episode/5l7O6r4JMTfH7FsGT3EXj3?si=AE4HUYPKSs2Ymc1I8TdSKQ The Full Version: https://www.patreon.com/posts/full-episode-1-1-156815363   Discograffiti is the deep-dive podcast for music obsessives. Feed Your Head: The Great Jefferson Airplane Deep Dive is an audio documentary that was consciously crafted to act as the ultimate repository of fact and opinion on one of the greatest bands to ever walk the face of the earth. It includes long-form interviews, commentary on their history, wild stories, and star ratings for every release.  Part 7 of the series covers the period from January 1966 to October 31, 1966—that is, from the release of their debut album to Grace joining the group and recording album number two—in the style of an audiobook. Here are just a few of the many things discussed in this episode of Discograffiti: The Airplane's first major press coverage; How The Haight handled being overrun by floods of lost children who were looking to live this new lifestyle they'd seen on TV; Signe's farewell; A brief history of both Grace Slick and The Great! Society; The creation of the original “Somebody To Love” & “White Rabbit”; Grace joins Jefferson Airplane; And an exclusive interview with Ruthann Friedman—writer of The Association's #1 Summer of Love smash “Windy”—who recounts nearly becoming Jefferson Airplane's vocalist before Grace wound up getting the gig.   CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon:  https://www.patreon.com/discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti Order the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): https://www.patreon.com/discograffiti/shop/197404 Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzak Order the METAL MACHINE MUZAK Double Vinyl + Digital package: https://www.patreon.com/discograffiti/shop/169954 Merch Shop: https://discograffitipod.myspreadshop.com/all Venmo Dave A Tip: @David-Gebroe Web site: http://discograffiti.com/   CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe There is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about.   If you're already a member, please comment below about your experience.   https://www.patreon.com/discograffiti

Jefferson Airplane — Crown of Creation (RCA Victor) Release Date: September 1968Released in September 1968, Jefferson Airplane's Crown of Creation stands as one of the strongest and most cohesive statements of the San Francisco psychedelic era. Arriving after the more experimental After Bathing at Baxter's, the album balances adventurous studio textures with more focused songwriting, creating a record that is both accessible and artistically ambitious. The classic lineup of Grace Slick, Marty Balin, Paul Kantner, Jorma Kaukonen, Jack Casady, and Spencer Dryden was operating at its creative peak, with each member contributing distinctive musical and lyrical ideas. Songs such as “Lather,” “Triad,” “Greasy Heart,” the title track, and “The House at Pooneil Corners” explore themes of adulthood, social change, war, personal freedom, and cultural uncertainty. The album's famous mushroom-cloud cover reflected the tensions of the Cold War and the turbulent climate of 1968. Although it produced no major hit single, Crown of Creation reached No. 6 on the Billboard chart and remains one of Jefferson Airplane's most compelling, intelligent, and enduring recordings. (S5-EP23)

Summer is unofficially upon us. Hot boy summer, some say.Two hot boys and one hot girlie summer, even. Lickers Jay & Deon check in with Super-Secret-Special-Friend Jess to see (and hear) what she has been f#@%ing with, sonically speaking. It's good clean fun in the sun, ya dang bums! Check out Jess's production of Mr. Burns: A Post Electric PlaySonic contributions to this bonus episode twenty-nine of Lightnin' Licks Radio were made by: Prince Paul, De La Soul, Brothers Johnson, Zack Braff, Natilie Portman, POSPOTUS. Rashan Roland Kirk, L.L. Cool J, R.E.M., Jay Dilla, The Pharcyde, Main Source, Boogie Down Productions, Vince Guaraldi. The 45 King, DJ Kool, Kool & the Gang, Newcleus, Kevin McCaffrey. Space. Jewel, Mackeeper. Hole, Coutney Love, Melissa Auf De Mor, Billy Corgan, Smashing Pumpkins, Yoko Ono, David Porter, Puff and Big, Blind Melon, Young Marvel Giants. Helado Negro. Peaches and Herb, Charles Fox, Jessica McQuarter, Anne Washburn, Michael Friedman, Bernard Herrmann & Elmer Bernstein. Halsey, Lido. Hemlocke Springs, Doechii, Ian James, Joey Hamhock, Banser. Starship, Jefferson Starship, Jefferson Airplane, Grace Slick, Elvin Bishop. Some spacey smooth Japanese psych loops courtesy of Portal Records, XTC, Exile. National Wake, N.W.A., Slick Rick, Wilson Picket, Funkadelic, The Winstons, Vampire Weekend, Dan Deacon, Aldo Nova, Elvis Costello, Deon's wife Shannon, Jan Hammer. The Police. Nas, Large Professor, 3rd Bass, MC Search, N.O.R.E., Pete Rock, DJ Premier, James Brown & The J.B.'s. More Japanese psych loops, Sting, The Isley Brothers, Ice Cube, DJ Pooh. Crosby, Stills & Nash, The Staple Singers, Parliament, LBJ, good brother Abraham (Jefferson), and AI Steve Inskeep.Get your vinyl records and vintage wares here. Freedom. Know it while you have it. Get involved.SPOTIFY PLAYLIST OF FEATURED ARTISTSHEAR THE FULL MIXTAPE ON SOUNDCLOUD

Summer is now unofficially upon us. Hot boy summer, some may say. Two hot old boys and one hot girlie summer, even. Lightning Lickers Jay & Deon check in with Super-Special-Secret-Friend Jess to see (and hear) what she has been f#@%ing with, sonically speaking. It's good clean fun in the sun, ya dang bums! Check out Jess's production of Mr. Burns: A Post Electric PlaySonic contributions to this bonus episode number twenty-nine of Lightnin' Licks Radio podcast were made by: Prince Paul, De La Soul, Brothers Johnson, Zach Braff, Natalie Portman, POSPOTUS. R.E.M., Jay Dilla, The Pharcyde, Vince Guaraldi. The 45 King, DJ Kool, Kool & the Gang, Newcleus, Kevin McCaffrey. Space. Jewel, Mackeeper. Hole, Coutney Love, Melissa Auf Dee Mor and Billy Corgan on The Magnificent Others podcast, Smashing Pumpkins, Yoko Ono, David Porter, Puff & Big, Blind Melon, Young Marvel Giants. Helado Negro. Peaches & Herb, Charles Fox, Jessica McQuarter, Anne Washburn, Michael Friedman, Bernard Herrmann & Elmer Bernstein. Halsey, Lido. Hemlocke Springs, Doechii, Ian James, Joey Hamhock, Banser. Starship, Jefferson Starship, Jefferson Airplane, Grace Slick, Elvin Bishop. Some spacey smooth Japanese psych loops courtesy of Portal Records, XTC, Exile. National Wake, N.W.A., Wilson Picket, Funkadelic, The Winstons, Vampire Weekend, Dan Deacon, Aldo Nova, Elvis Costello, Deon's wife Shannon, Jan Hammer. The Police. NAS, Large Professor, 3rd Bass, MC Search and N.O.R.E. on Drink Champs podcast, Pete Rock, DJ Premier. James Brown, more Japanese psych loops, Sting, The Isley Brothers, Ice Cube, DJ Pooh. Crosby, Stills & Nash, The Staple Singers, Parliament, Cheech & Chong, Rakim, Aphex Twin, LBJ & good brother Abraham (Jefferson).You can't make then share mixtapes anymore. It's totally cool that artificial intellegence has been fed all music ever recorded to train itself to suck the life out of all art everwhere. Sharing mixtapes, though...very bad. Very, very bad.Hear the uninterrupted Jay-curated mixtape here. Stream a playlist of featured artists on Spotify here. Get your vinyl records and vintage wares here. Freedom. Know it while you have it. Get involved.JAY is f#@%ing with Space, Hole, XTC, and The Police.DEON has been into Mackeeper, Helado Negro, National Wake, and Nas.JESS has Halsey, Hemlocke Springs, and Jefferson Starship in heavy rotation.

For the full, ad-free, 61-minute podcast, either subscribe to Discograffiti's Patreon at the Private Tier or higher, or just grab the episode as a one-off at the same link: https://www.patreon.com/discograffiti Purchase the 32-episode Jefferson Airplane series at a 33% discount (hear as they appear): https://www.patreon.com/collection/2123066   New to the show? Start at Jefferson Airplane Part 1. Apple Podcasts: https://podcasts.apple.com/us/podcast/discograffiti/id1592182331?i=1000765230378 Spotify: https://open.spotify.com/episode/5l7O6r4JMTfH7FsGT3EXj3?si=AE4HUYPKSs2Ymc1I8TdSKQ The Full Version: https://www.patreon.com/posts/full-episode-1-1-156815363   Discograffiti is the deep-dive podcast for music obsessives. Feed Your Head: The Great Jefferson Airplane Deep Dive is an audio documentary that was consciously crafted to act as the ultimate repository of fact and opinion on one of the greatest bands to ever walk the face of the earth. It includes long-form interviews, commentary on their history, wild stories, and star ratings for every release.  Part 5 of the series features Jack and I doing a deep, deep dive on the making of the band's debut album. Expect deliriously interesting digressions. Here are just a few of the many things that Jack discusses with Discograffiti in this podcast: Recollections about the contracts he may or may not have signed; The way that the album was recorded; A discussion about the blurb on the back cover, which empties out into a fascinating discussion about the ideals of the 1960s; The differences between Signe Toly and Grace Slick; What Jack felt like they got right in the Sixties; And a conversation that veers so beautifully, so organically, into one of my all-time favorite digressions in Discograffiti history, exploring the legacy of the hippie era. CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon:  https://www.patreon.com/discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti Order the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): https://www.patreon.com/discograffiti/shop/197404 Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzak Order the METAL MACHINE MUZAK Double Vinyl + Digital package: https://www.patreon.com/discograffiti/shop/169954 Merch Shop: https://discograffitipod.myspreadshop.com/all Venmo Dave A Tip: @David-Gebroe Web site: http://discograffiti.com/   CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe There is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about.   If you're already a member, please comment below about your experience.   https://www.patreon.com/discograffiti

Interview with Anne Richmond Boston of Swimming Pool Q's. Anne was born in Louisville, Kentucky. She was a member of the church choir, took violin and ballet lessons all through elementary school. Her father was transferred to Winter Haven, Florida, for one year (where violin and ballet stopped) and then moved the family to Atlanta, Georgia. She was accepted into the high school chorus and was chosen to sing in a special chorus performing Leonard Bernstein's “Chichester Psalms.” Vocal harmonies were something she came to naturally. Perfoming “Going to the Chapel” with a band in the high school talent show was her first experience of being onstage behind a mic. She really dug it. It was about this time that the music of Janis Joplin, Grace Slick, Sandy Denny, Linda Ronstadt, Tammy Wynette, Dolly Parton, Melba Montgomery, Aretha Franklin, Judy Collins, and The Supremes took up residence in her being. She became friends with local Atlanta phenoms Thermos Greenwood (original rock band) and was invited along with a chorus of people to sing on the song “Chocolate City” for their album Pinhead Teddy. Anne was invited to become a member of the newly formed band The Swimming Pool Q's in 1978 and sang on their recordings The Deep End, The Swimming Pool Q's, and Blue Tomorrow. They continue to perform today. As a graphic designer, Anne created much of the early Swimming Pool Q's promotional material, supervised photo sessions, and designed single and album cover packaging. Leaving the Q's in 1987, Anne and her then-husband recorded The Big House of Time which was released on DB Records in 1990. It contained many originals and several cover songs, including “When You Dance” by Neil Young and “Darling Be Home Soon” by John Sebastian. T he follow up was I Should Be Happy. Anne's has had the pleasure of singing either live with, or on recordings by:  Drive-By Truckers, Widespread Panic, Thermos Greenwood, Terry Adams (NRBQ), The Brains, Johnny Jenkins, Marti Jones, Syd Straw, Laurie Sargent, Julie Adams, Kelly Hogan

Party animals! Continuamos nuestra serie de podcasts en los que hablaremos de las andanzas de famosos metidos en todo de jaranas. ¡Grandes borracheras, destrozos de hoteles y otras fechorías! Y como segundo episodio que mejor que echar un vistazo a las estrellas del mundo de la música, siempre bigger than life. Seres por encima del bien y del mal, a la altura de sus personajes. Os descubriremos el Sunset Boulevard (lugar de todo tipo de tropelías), debatimos sobre la destrucción de hoteles de todo tipo de rock y pop stars, seguiremos a Grace Slick intentando "echar droja en el colacao" a Nixon, fliparemos con las cuentas a deber de Billy Idol, seguiremos el rastro de destrucción de Keith Moon de The Who, fliparemos por la fijación con el tequila de Paulina Rubio, nos dejaremos invitar a las fiesta de Freddy Mercury, nos iremos de borrachera con el líder de The Pogues y remataremos con la recuperación de Dj Pastis, uno de los de grandes del sonido mákina. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Making a Scene Presents an Interview with Melody GuyMelody Guy is a Nashville-based Americana singer-songwriter whose unforgettable voice and fearless honesty have powered a life on the road, with more than two million miles of touring across the United States. Blending rock, country, soul, and pop, she delivers songs with the kind of emotional clarity that stops people mid-conversation. Her voice has drawn comparisons to Eva Cassidy, Linda Ronstadt, Bonnie Raitt, and Grace Slick, but her sound is ultimately her own—grounded, dynamic, and deeply human. http://www.makingascene.org

I'm so excited to kick off Season 6 of Roadcase with Grammy winner, Rock and Roll Hall of Famer and founding member of Jefferson Airplane and Hot Tuna, the one and only Jorma Kaukonen!!  Jorma was a true pioneer of the counter-culture era of psychedelic rock in the late 60s San Francisco music scene, and having him on the show is particularly relevant as we sadly just lost another music icon, Bob Weir of the Grateful Dead. I spoke to Jorma in November, thus prior to recent events, and he talked to me about his time in the early days in Palo Alto and Haight Asbury in San Francisco, the founding of Jefferson Airplane and his deep love of blues guitar. Jorma also spoke to me about his reflections on touring, and the historic shows of that period in music, having been one of the few artists to play all three landmark festivals, Monterey Pop, Woodstock and Altamont.Jorma is intellectually curious — a lifelong learner — with a diverse cultural background of both Jewish and Finnish heritage, and having grown up in Pakistan, didn't really learn of the burgeoning modern rock music wave, as it were, until his arrival in the States in 1955. This is a fascinating conversation with a true musical icon of amazing sensibility with a deep historical perspective and tons of mind-blowing stories!! =======================================For more information on Roadcase:https://linktr.ee/roadcasepod and https://www.roadcasepod.comOr contact Roadcase by email:  info@roadcasepod.comRoadcase theme music:  "Eugene (Instrumental)" by Waltzer

Grace Slick guests on this Throwbackness episode of the Fake Show with host Jim Tofte...enjoy!!!

Stu Levitan welcomes back to the program Doug Bradley to discuss his new book The Tracks of My Years: A Music-Based Memoir, just out from the good people at Legacy Book Press. And it is exactly what the subtitle promises – Doug recounting the literal soundtrack of his life, putting the seminal events of his first quarter century or so in the context of the music that  accompanied, or symbolized, those events. And since most of the events recounted took place in the sixties and seventies, it's a pretty great 46-song setlist, which you can find on Spotify.  https://open.spotify.com/playlist/2SiTq5A3GboxJ4uTNdMGJ1 Doug spent his early childhood in Philadelphia with his parents and older doo-wop singing brother, in a house filled with music. The family moved to Ohio for two years, then the Pittsburg suburb  of Clairton, where Doug graduated from Thomas Jefferson HS in 1965, doing some party DJ work along the way, thanks to his brother's record collection. He was admitted to Notre Dame but couldn't afford the tuition; as a scholarship student to Bethany College in Bethany WV, Class of '69, he was a Big Man on Campus as two-term chairman of the Social Committee , booking a lot of major pop acts. That's how he came to share a joint with the Jefferson Airplane's Grace Slick and a drink with jazz legend Count Basie, play some pick-up hoops with Smokey Robinson's Miracles, and hold Dionne Warwick's hand on a tragic night in American history. He was drafted into the US Army in March 1970 and fortunately for him aced the job aptitude test and so was made an Army journalist, first domestically and then in 1970-71 at the Army's Vietnam HQ in Long Binh. After his honorable discharge, he finally acceded to the entreaties of his high school mentor – whose interest in Doug may have been more that academic – and he received an MA in English from Washington State University in 1972. He also acceded to the entreaties of his wife, Pam Shannon, and relocated to Madison in 1974, where he was one of the first employees and later president of the community-based service center Vet's House, which helped him work through some of his postwar issues. Pam also got him to appreciate the Grateful Dead, which gives her bonus points. Never a student at the UW, he spent more than 30 years in various communications and marketing positions there, including 15 years as director of public information at UW Extension, where his father-in-law Ted Shannon was a top administrator. He also for many years co-taught with his co-author Prof. Craig Werner a course based on their award-winning book “We Gotta Get Out of this Place: The Soundtrack of the Vietnam War.” Doug later continued the theme, writing Who'll Stop The Rain: Respect, Remembrance and Reconciliation in post-Vietnam America, both books the subject of a BookBeat episode in February 2020. It's a pleasure to welcome back to Madison BookBeat the 2025 recipient of the Vietnam Veterans of America's Excellence in Arts Award, Doug Bradley

Few yacht rock hits of the 70s have endured as well as Player's 1977 classic "Baby Come Back." While they had a few other hits, they've been completely overshadowed by this monolith. What you may not be as aware of is the vast songwriting career of frontman Peter Beckett. Remember "Twist of Fate" by Olivia Newton-John? That was Peter. Or "Dare to Fall in Love" by Brent Bourgeois? Also Peter. There's also been the Temptations, Commodores, Survivor, Heart. Grace Slick, and Janet and Jermaine Jackson. There was even a stint in Little River Band. These days he's embracing the yacht rock life for all it's worth and tells us stories about all of it including seeing the Beatles at the Cavern! It's stories galore this week! Enjoy!  PETER BECKETT'S PLAYER The Hustle Podcast | creating podcasts | Patreon

National candy corn day. Entertainment from 2002. Time clock invented, Soviets detonate largest nuclear bomb ever, Bosphorous Bridge opened in Turkey. Todays birthdays - John Adams, Ruth Gordon, Patsy Montana, Grace Slick, Otis Williams, Henry Winkler, Harry Hamlin, T. Graham Brown, Kevin Pollack, Gavin Rossdale. Steve Allen died.Intro - God did good - Dianna Corcoran   https://www.diannacorcoran.com/ Candy corn song - JensensDilemma - Nelly   Kelly RowlandSomebody like you - Keith UrbanBirthdays - In da club - 50 Cent      http://50cent.com/I want to be a cowboys sweetheart - Patsy MontanaSomebody to love - Jefferson AirplaneI aint got nothing - The TemptationsHell and High water - T. Graham BrownComedown - BushExit - Single & Stoned  - Robinson Treacher     https://robinsontreacher.com/countryundergroundradio.comHistory & Factoids about today webpage

Send us a textJim Clash covers extreme adventure and classic rock. Over three decades of writing for Forbes, Clash, who holds an MBA from Columbia University, has penned four books, most recently Amazon bestseller “Amplified,” about ‘60s music. His first-person stories include supersonic flights in eight separate aircraft pulling up to 9 Gs and flying to 84,000 ft; driving a Bugatti at 253 mph and Indy cars at 200 mph; expeditions to the North and South Poles; summiting the Matterhorn and 23,000-ft. Aconcagua; a C-130 flight through Category V Hurricane Dorian; chasing tornadoes; riding jet skis on 60-ft waves in Portugal; a U-2 flight to the edge of space; bullfighting; being shot point-blank in a ballistics jacket, and more. Interviews include Neil Armstrong, Mario Andretti, John Glenn, Edmund Hillary, Roger Bannister, Grace Slick, Joe Frazier, Chuck Yeager and Edward Teller. For fun, Jim gives 170-mph rides at Daytona speedway. He's a former director at The Explorers Club.See more of Jim's work at Forbes and on his FaceBook pageGet Jim's books here on AmazonSupport this Podcast:  buy me a coffeeHosted by Michael J. ReinhartMichaelJReinhart.com   Whiskey and a Map:  Stories of Adventure and Exploration.  #space #JamesClash #biggestwaves #supersonicflight

Send us a textIndependent Artist: Sarah Alice - Trust the freefallLinks: www.instagram.com/sarahalicemusic/https://open.spotify.com/album/2H2Yn5Fl3jF8Sebn8y1fdHwww.youtube.com/c/sarahaliceSocialsHosts: Peter Cabral: www.instagram.com/brisbane_north_photography/Nick Cabral: www.instagram.com/nickcabral37/Producer: Darryn Arndt: www.instagram.com/darrynarndt/Theme song: Braden Mutch: www.instagram.com/braden_mutch/Instagram:  www.instagram.com/justhitplaypodcast/Facebook: www.facebook.com/JusthitplaypodcastEmail: justhitplay7300@gmail.comwww.youtube.com/@justhitplaypodcastwww.instagram.com/justhitplaypodcast/

Episode 428 of Friends Talking Nerdy is a celebration of women who didn't just rock the stage but bent the rules of the game, reshaped culture, and left scorch marks on the history of music. Professor Aubrey and Tim the Nerd dive into their favorite women rock and roll stars, not just rattling off names but unpacking what made these artists lightning rods for change.The conversation moves track by track like a lovingly curated mixtape, which they made availble on YouTube. They start with Pat Benatar's anthemic “We Belong,” discussing how Benatar combined powerhouse vocals with a sense of vulnerability that made her a radio staple without softening her edge. From there, they barrel into the raw energy of Janis Joplin's “Move Over,” talking about how Joplin embodied a feral, unapologetic energy that made her voice feel like a declaration of war. Kathleen Hanna and Le Tigre's “Much Finer” prompts Aubrey to bring in the riot grrrl movement, with Tim marveling at how Hanna's blend of activism and art feels more vital now than ever.When Jefferson Airplane's “Somebody to Love” comes up, they highlight Grace Slick's psychedelic snarl and how she stood toe-to-toe with the male counterculture icons of her era. Joan Jett's “Bad Reputation” naturally gets both of them fired up—Tim noting how Jett weaponized punk's simplicity, while Aubrey points out that her career longevity is proof she wasn't just a “bad girl” novelty. They lean into Stevie Nicks' “Edge of Seventeen,” marveling at her voice's mythic qualities and the way she carved out her own witchy rock persona that still resonates across generations.From The Pretenders' “Back on the Chain Gang” to Blondie's “One Way or Another,” the hosts highlight the unique blend of grit and sophistication Chrissie Hynde and Debbie Harry brought to the table. Tina Turner's “Private Dancer” inspires a passionate sidebar on resilience, survival, and the way Turner reinvented herself against impossible odds. And Hole's “Celebrity Skin” brings the discussion full circle, with Aubrey making the case that Courtney Love's voice—half sneer, half scream—was a necessary counterweight to the sanitized pop machine of the late ‘90s.After the amps cool down, the duo pivot to television, giving their first impressions of South Park's Season 27 debut. They note how the new season takes aim at the current American political landscape with a sharpness and weird clarity the show hasn't always nailed in recent years. Tim points out that the difference between South Park's take on the first Trump Administration years and now is like night and day—back then, the writers seemed shell-shocked, unsure how to lampoon chaos that already felt like satire. Professor Aubrey adds that the new season feels more like the show's golden years, where cultural absurdity is filtered through the bizarre but laser-focused worldview of four Colorado kids. Together, they agree that this season might mark a creative resurgence for the long-running series.The episode balances music history and cultural commentary with the usual Friends Talking Nerdy flavor—part nerdy scholarship, part passionate fan energy. By the end, listeners get both a playlist of iconic women who changed the sound of rock forever and a thoughtful dive into how South Park still finds a way to speak to the strange moment we're all living through.As always, we wish to thank Christopher Lazarek for his wonderful theme song. Head to his ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for information on how to purchase his EP, Here's To You, which is available on all digital platforms.Head to Friends Talking Nerdy's⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠for more information on where to find us online.

In this bonus episode, we speak with Cathy Richardson, Lead Singer of Jefferson Starship for the last 17 years.  We discuss how the band is honoring the late Paul Kantner's wishes to keep the music and legacy of Jefferson Starship alive.  We also talk about their Runaway Again tour and their upcoming performance at the Arcada Theatre in St. Charles, IL

It's the "We Built This City on Rock and Roll" show, featuring Grace Slick, Jerry Slick, Darby Slick, and a real slick interview with Megan C. Reynolds, author of "Like: A History of the World's Most Hated and Misunderstood Word." This show could end up feeling as comfy as toilet paper. Give it a roll.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

It's the "We Built This City on Rock and Roll" show, featuring Grace Slick, Jerry Slick, Darby Slick, and a real slick interview with Megan C. Reynolds, author of "Like: A History of the World's Most Hated and Misunderstood Word." This show could end up feeling as comfy as toilet paper. Give it a roll.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Sometimes the universe doesn't operate on a level playing field. What we learned in preschool. Song lyrics that are saving us now. The Thunderbirds at the Chicago Air and Water Show have wrought chaos at Turi's house. Marci admits to liking the Hamburger Helper Hand on her daughter's but...or at least preferring it to the ear guages. 

In this episode, I take you on a journey through the electrifying world of rock music, spotlighting the legendary women who have shaped the genre. From trailblazers like Joan Jett and Stevie Nicks to modern icons like Hayley Williams, I explore their groundbreaking contributions and enduring legacies. Join me as I uncover the stories behind their most famous hits and how they've inspired generations of musicians. Tune in for an unforgettable journey through the powerful voices and unforgettable riffs that define rock history. FEMALE ROCKERS AND SOME TOP SONGS...Janis Joplin - "Piece of my Heart" and "Me and Bobby McGee"Joan Jett - "I Love Rock 'n Roll"Stevie Nicks of Fleetwood Mac - "Rhiannon", "Dreams", and "Edge of Seventeen"Pat Benatar - "Love is a Battlefield"Debbie Harry of Blondie - "Call Me" and "Heart of Glass"Ann Wilson of Heart - "Barracuda"Chrissie Hynde of The Pretenders - "Brass in Pocket"Delores O'Riordan of The Cranberries - "Zombie"Courtney Love of Hole - "Celebrity Skin" and "Violet"Shirley Manson of Garbage - "Only Happy When it Rains"Amy Lee of Evanescence - "Bring Me to Life" and "My Immortal"Hayley Williams of Paramore - "Misery Business"Lzzy Hale of Halestorm - "Darkness Always Wins"Taylor Momsen of The Pretty Reckless - "Heaven Knows" and "Going to Hell"Florence Welch of Florence + The Machine - "Shake it Out" and "What Kind of Man"Grace Slick of Jefferson Airplane - "White Rabbit"Alanis Morissette - Jagged Little Pill albumMelissa Etheridge - "Come to my Window" and "I'm the Only One"Patti Smith - Horses albumKim Deal of Pixies and The Breeders - "Cannonball"What did you think of this episode? Support the showKeep listening, keep grooving, and let the music in you continue to shine. Thank you, and see you soon!CONTACT TERI:Instagram: https://www.instagram.com/terirosborg/Facebook: https://www.facebook.com/teri.rosborgYouTube: The Music in MeTikTok: https://www.tiktok.com/@terirosborgPodcast Facebook Page: The Music in Me Podcast Facebook pageTHEME SONG BY: Hayley GremardINTRODUCTION BY: Gavin Bruno

Lacy J Dalton Meets Gothic Author Alistair Cross Lacy J Dalton Meets Gothic Author Alistair Cross Alistair Cross Early Life and Influences: Born in the western United States, Cross began writing at a young age, inspired by horror novels and movies. His literary influences include authors such as Stephen King, Dean Koontz, John Saul, Tamara Thorne, Ira Levin, and William Peter Blatty. Early Career: Cross' first novel, a collaboration titled "Beautiful Monster," was published in 2012 under the pseudonym Jared S. Anderson. He was first published by Damnation Books in 2012. Collaboration with Tamara Thorne: In 2012, Cross partnered with international bestselling author Tamara Thorne. As "Thorne & Cross," they co-authored the successful Gothic series, The Ravencrest Saga, starting with "The Ghosts of Ravencrest" in 2014. Their collaborative novel, "The Cliffhouse Haunting," became an Amazon bestseller. They have also worked on other projects together, including "Grandma's Rack". Solo Work: Cross' debut solo novel, "The Crimson Corset," a vampire-themed horror story, quickly became a bestseller and received positive reviews from notable authors like Chelsea Quinn Yarbro and Jay Bonansinga. This novel is the first book in The Vampires of Crimson Cove series. "Haunted Nights LIVE!" Radio Show: In 2014, Cross and Thorne started an internet radio show called "Thorne & Cross: Haunted Nights LIVE!", featuring interviews with renowned figures in the horror genre, including authors, paranormal investigators, and discussions of ghost stories. The show has featured guests like Anne Rice, Charlaine Harris, Jeff Lindsay, and Christopher Moore. Current Projects: As of recent accounts, Alistair Cross is continuing to work on both solo novels and new collaborations with Tamara Thorne. He is also noted as the author of dark fiction.  Note: Information regarding hobbies and "turn-ons" listed in some sources (playing with fire, conquering ant colonies, bloodletting, etc.) may be intended for humorous effect and should be interpreted with caution.  LACY J. DALTON BIOGRAPHY Lacy J. Dalton (born Jill Lynne Byrem on October 13, 1946 in Bloomsburg, Pennsylvania), is an American country singer and songwriter with a career that has spanned many decades and touched the hearts of millions of music fans. In March 2017 Lacy J Dalton was inducted into the North American Country Music Association International Hall of Fame, and in 2022 she was awarded a Lifetime Career Achievement Award from the Josie Music Awards, the largest independent music awards show in the country.   She's one of the most instantly recognizable voices in music – the woman People Magazine called “Country's Bonnie Raitt.” From the first time Lacy J Dalton caught the public's ear, that soulful delivery, full of texture and grit, has been a mainstay of Country Music. When you sit to listen to a Lacy J Dalton album, you find yourself pulled in by the very power and heart of this vocalist, because she's not merely performing a ten-song set, she's bringing each and every tune to life. It's as if they were all written especially for her.   Prior to recording with Harbor Records in 1978 as Jill Croston, she like many before her, held many jobs to survive and support her family. As a truck stop waitress and singer, she would wait tables and then take the stage to sing a few songs. In June 1979, Lacy J Dalton was signed by Columbia Records and quickly rose to national prominence with Crazy Blue Eyes, which she wrote with her longest friend, Mary McFadden, and which raced to #7 on the Billboard Country Charts.  Her hard work and dedication paid off in 1979 when she was awarded the Academy of Country Music's Top New Female Vocalist of the Year.   Lacy's success was powered not just by the artist's recordings, but by a stage show that truly electrified audiences. She quickly became one of the few women who could successfully open a show for the likes of Hank Williams, Jr., Willie Nelson, Merle Haggard or Charlie Daniels. Not only could she do it, but she left audiences across the country hollering for more. Her signature song 16th Avenue, became the Anthem for Nashville songwriters.  Her other hit records are legendary million-airplay cuts and include Crazy Blue Eyes, Takin' It Easy, Everybody Makes Mistakes, Hillbilly Girl with the Blues, Hard Times, and the worldwide hit Black Coffee.   In addition to her Top New Female Vocalist award, she also brought home numerous Grammy nominations and 3 prestigious, back to back (1979, 1980, 1981) Bay Area Music Awards for Best Country-Folk Recordings. Lacy appeared on those shows with the likes of Neil Young, The Grateful Dead, Grace Slick and the Jefferson Airplane.   Lacy's collaboration with Willie Nelson on his platinum Half Nelson CD was a high spot for her. Lacy is the only woman featured on that recording (which included singing legends Ray Charles, Neil Diamond, Merle Haggard, Julio Iglesias, George Jones, Leon Russell, Carlos Santana, Mel Tillis, Hank Williams Sr., and Neil Young), and was awarded a Platinum Record for it. She also received a Gold Record from Hank Williams Jr. in 1985 for her support performances throughout his Five-0 Tour, where she opened for him at a time when it was unusual for a woman to do so. Her career includes accomplishments in music, film and radio.  In music, they range from her instantly recognizable charted hit songs to her notable duets recorded with George Jones, Willie Nelson, Bobby Bare, Glen Campbell, Eddie Rabbit, David Allen Coe and many others. Her film debut was in the motion picture Take This Job And Shove It, and her acting has also included live stage and theater performances. Until recently, Lacy J Dalton also hosted a weekly radio show called Mustang Matters.  Podcasts of past shows are available to listeners on the internet at www.americamatters.us   Following a successful career in country music, Lacy decided to draw on all her musical experiences including country, rock and folk, and cross over into the Americana genre.  This blend of musical styles allows her to express herself in a way that demonstrates all the facets of who she is as a singer/songwriter.  She became an independent artist and formed her own label called Song Dog Records.  Under this label, she has released three albums to date.  The first was Wild Horse Crossing in 1999, followed by the Last Wild Place Anthology which went #1 on the World Independent Chart, and a year later went #1 on the American Western Music Chart. Then Allison Eastwood, Clint Eastwood's daughter, used the hit song Slip Away from the Anthology CD on the sound track of her independent film, Don't Tell. In 2010 Lacy also released a tribute to Hank Williams Sr. entitled Here's To Hank.   Today, Lacy continues to record new music and perform live shows whenever possible.  She tours mainly west of the Mississippi and loves small boutique venues and old theaters with great sound quality and warm, receptive audiences she can really connect with.  She recently recorded some electrifying new music for an EP that was released in January 2019.  When hearing the signature song Scarecrow, her good friend Reverend Barbara Ann Fletcher remarked “that song makes you a whole new you, and it makes me a whole new me.”  And that's exactly the response Lacy was hoping for.  In 2024 Lacy released an album titled For The Black Sheep, a collection of songs with meaningful lyrics and messages of unity and acceptance for all of us.   In addition to her musical career, Lacy has been involved in various service projects through several charitable organizations – namely, the Let ‘em Run Foundation, William James Associates Arts in Corrections, and Rotary International. 

Send us a textThis week on Jams 'N' Cocktails Live, we're turning the volume up and the calendar back as we celebrate the rock stars who are still melting faces and defying time. From iconic voices of the ‘60s to pop royalty of the early 2000s, we're giving flowers to the legends who are still kickin', strummin', singin', and straight-up slayin'. I'm joined by Jordyn and Elly—aka the Destruction Crew—as we serve up the ultimate mix of nostalgia, laughs, and one seriously weird cocktail of the week.We're diving into tributes, trading stories, sipping on a boozy candy-inspired concoction, and playing a special edition of Name That Tune featuring the latest tracks by these timeless titans. Plus, the Jordy Files bring the latest entertainment scoop, from Taylor Swift's hospital visit to Mariah Carey's record-setting chart streak. This is one throwback party you don't want to miss.LinksJNC Officialhttps://www.jncpodcast.comSupport us on Patreonhttps://www.patreon.com/jncpodcast

This last-minute interview promoting Jorma's appearance at The Hudson Valley Music Festival thankfully fell into my lap…because it'll be the first in an upcoming Jefferson Airplane Deep Dive Series featuring Jorma, Jack Casady, & (fingers crossed) Grace Slick, all the living members of the classic Airplane line-up.  Tickets to The Hudson Valley Music Festival are going fast, so jump on it now: it's happening this Saturday, June 14th (2025), in Croton Point Park, Croton NY.  Visit hudsonrivermusicfestival.com to check out the killer line-up and buy tickets (Admission is free for children 12 & under.)Here's just a few of the many things that Jorma discusses with Discograffiti in this podcast:Jorma's holy shit moment of creative epiphany that started it all;His early days in the South Bay folk scene coming up with Janis Joplin, Skip Spence, Billy Dean Andrus, and other legendary figures;My live pitch to get a Jefferson Airplane Discograffiti Deep Dive interview series going;How a reluctant Jorma was initially convinced to join the Airplane;The various factors that split up the band;The record of his that's most redolent of the ravages of substance abuse;And the wonders of getting and staying sober.Listen: linktr.ee/discograffitiSubscribe to Discograffiti's Patreon and receive a ceaseless barrage (4 shows a week) of must-hear binge-listening: Patreon.com/DiscograffitiCONNECTJoin our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153Patreon: www.Patreon.com/DiscograffitiPodfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhwInstagram: https://www.instagram.com/discograffitipod/Facebook: https://www.facebook.com/Discograffiti/Twitter: https://twitter.com/DiscograffitiOrder the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): www.patreon.com/discograffiti/shop/197404Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzakOrder the METAL MACHINE MUZAK Double Vinyl + Digital package: www.patreon.com/discograffiti/shop/169954Merch Shop: https://discograffitipod.myspreadshop.com/allVenmo Dave A Tip: @David-GebroeWeb site: http://discograffiti.com/CONTACT DAVEEmail: dave@discograffiti.comFacebook: https://www.facebook.com/hooligandaveInstagram:  https://www.instagram.com/davidgebroe/Twitter: https://twitter.com/DaveGebroeThere is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about.  If you're already a member, please comment below about your experience.  www.Patreon.com/discograffiti#jormakaukonen #jackcasady #jeffersonairplane #graceslick #paulkantner #martybalin #spencerdryden #hottuna #psychedelicrock #vinyl #jerrygarcia ##acidrock #vinylcollection #jeffersonstarship #whiterabbit #classicrock #sanfrancisco #somebodytolove #recordcollection #davidcrosby #woodstock #vinylcollector #haightashbury #rock #papajohncreach #surrealisticpillow #discograffiti #andyourdreamscometrue #weirdherald #billydeanandrus 

Nel 162° episodio di Illuminismo Psichedelico torna a grande richiesta il critico musicale Demented Burrocacao, con cui abbiamo divagato per tutto la puntata tra miti e leggende del rock psichedelico, partendo dall'opera e dalla mitologica biografia di alcuni personaggi chiave degli anni '60 e '70, tra cui Syd Barret, Skip Spence, Grace Slick, Romina Power, Janis Joplin, Brian Wilson e Jimi Hendrix. Non abbiamo alcuna pretesa di esaustività (sarebbe impossibile in così poco tempo), e anzi rivendichiamo il diritto a questo detour intessuto sin dal titolo nella "leggenda". In questa puntata mi sono finalmente ricordato di annunciare che quest'anno è possibile aiutare Illuminismo Psichedelico destinandogli il 5 x 1000. Il Codice Fiscale da indicare per sostenere Illuminismo Psichedelico è: 90072400477

Ain't no interview like a GRACE SLICK interview! That's right — the outspoken Rock-and-Roll-Hall-of-Fame singer of Jefferson Airplane, Jefferson Starship, and Starship, and the voice of the psychedelic rock generation and beyond is on the show. Whether she's talking about the playing of great guitar players she has known (everyone from her legendary Airplane/Starship bandmates to other heroes, including Jimi Hendrix and Jerry Garcia) or tackling any other subject under the sun — sex, drugs, and rock'n'roll; '60s counterculture; DeLoreans; Miles Davis; '80s pop culture; hilarious drummer antics (yes, your ears are burning, Donny Baldwin) — Grace is gloriously unfiltered and a true musical treasure. As guitarist of Jefferson Starship since 2012, I was thrilled to finally dive deep into these topics and more with Grace, who — along with her and Paul Kantner's daughter, China Kantner Isler — I've been lucky enough to call a friend for a decade now. Please help me thank GUITAR PLAYER and guitarplayer.com for making this episode happen. GUITAR PLAYER: Play better, sound better. — Jude Gold | Host/creator, NO GUITAR IS SAFE podcast.

Super-Special-not-so-Secret Friend Don returns to the diningroom table for another thrilling bonus episode. Deon and Jay welcome his ass with arms wide open, as Lightnin' Lickers are want to do. Twelve crackin' tracks are lifted from wax and stitched back onto a mixtape after an in-depth discussion of the artists who created said cuts takes place. It's good to be back. Happy (Merry) St. Patrick's Day (Bay City Christmas)!Sonic contributors to the latest bonus episode of Lightnin'Licks Radio podcast include: Max Heath, Prince and the Revolution, Alan Silvestri, Nitty Gritty Dirt Band, Arc of All, Junkyard Band, Roberta Flack, Donald Trump, Jimmy Webb, The Beatles, Tim Hardin, Holland Dozier Holland, Paul Simon, Art Garfunkel, Chris Whitley, Bonnie Tyler, Jim Steinman, Missing Persons, Mitchell Froom, Guns N' Roses, Stephen Malkmus, the Jicks, KMFDM, MC 900 Ft. Jesus, Beck, Revolting Cocks, Led Zepplin, Greta Van Fleet, Grace Slick, Bjork, Black Flag, Grateful Dead, Henry Rollins Band, Mike Judge's Beavis & Butthead, A Tribe Called Quest, Ubiquity, Digible Planets, Abe Jefferson, Billy Woods, ELUCID, Raekwon the Chef, Outkast, Ms. Judy, Quelle Chris, Don Messick as Zorac, Sade, Mr. K and Boyd Jarvis.Jay noted he was snacking on the sonic deliciousness of theSound Symposium, Noel and the Red Wedge, Wartime, and Fazerdaze.Deon is with Sarah Shook and the Disarmers, Pavement, Roy Ayers, Cavalier and Child Actor. Don suggested checking out the Hard Lessons, Balthazar, S.G. Goodman, and MaidaVale. In a world full of and Stephen Millers and Ted Cruzes, be aMr. Studinger or a Tom Cedarberg. Share joy and buy music from your local record store. We suggest Electric Kitsch in beautiful Bay City, Michigan.  BONUS #25 mixtape:[SIDE 1] (1) S.G. Goodman - If You Were Someone I Loved {edit} (2) Pavement - Grounded (3) Noel & the Red Wedge - Special to You (4) Balthazar - Bunker (5) Roy Ayers - Slow Motion (6) Wartime - The Whole Truth [SIDE 2] (1) The Sound Symposium - America (2) The Hard Lessons - Milk & Sugar (3) Cavalier & Child Actor - Judy is Forever (4) Fazerdaze - A Thousand Years (5) MaidaVale - Daybreak (6) Sarah Shook & the Disarmers - Backsliders

Send us a textAn expanded episode of TrackTalk with my old friend, legendary drummer, Rock & Roll HOF inductee, and returning champion, Aynsley Dunbar! In this episode we do a deep dive into several of Aynsley's iconic recordings including Aynsley Dunbar Retaliation, Frank Zappa, David Bowie, Journey, Jefferson Starship and Whitesnake. I had selected 6-7 songs to discuss, but Aynsley called several "audibles" during the show so this episode is chock full of music! And many laughs! So come along for the ride and please subscribe!  Aynsley was my guest on episode #73 Feb 12, 2022, so be sure to check it that episode!    • E73: Live From My Drum Room With Ayns...  Live From My Drum Room Hoodies are now available!  • NEW Live From My Drum Room Merch!   Made of a soft 52% cotton 48% polyester blend. Sizes: MD, LG & XL = $50 USD (including shipping) *Size 2XL = $55 USD (including shipping) * US orders only. Venmo payment only. Live From My Drum Room T-shirts are made of soft 60%cotton/40% polyester. Available in XS-2XL = $25 (including shipping) * Venmo only. 100% of the proceeds from Live From My Drum Room merchandise goes toward a Live From My Drum Room Scholarship with the Percussive Arts Society! https://pas.org/pasic/scholarships/ Payment with Venmo: @John-DeChristopher-2. Be sure to include your size and shipping address. Very important! Email or text: livefrommydrumroom@gmail.com. Thank you to everyone who's bought a shirt and or hoodie to help support this endeavor!Live From My Drum Room With John DeChristopher! is a series of conversations with legendary drummers and Music Industry icons, hosted by drummer and music industry veteran, John DeChristopher, drawing from his five decades in the Music Industry. Created in 2020, and ranked BEST Drum Podcast, "Live From My Drum Room With John DeChristopher!" gives the audience an insider's view that only John can offer. And no drummers are harmed on any shows! Please subscribe!https://linktr.ee/live_from_my_drum_roomwww.youtube.com/c/JohnDeChristopherLiveFromMyDrumRoom

Even though Grace Slick was not a fan of the song, here's why she did it anyway.

S4-Ep. 4 Jefferson Airplane-Surrealistic Pillow (RCA) Released Feb 1, 1967, and Recorded between October 31-Nov 22, 1966  Surrealistic Pillow (1967) is a defining album of the 1960s psychedelic rock era, marking the debut of Grace Slick as Jefferson Airplane's lead vocalist. The album blends folk, rock, and experimental sounds, with standout tracks like “Somebody to Love” and “White Rabbit,” which became anthems of the counterculture. With contributions from multiple band members, the album offers diverse vocals and songwriting styles, including Grace Slick's powerful delivery, Marty Balin's emotive ballads, and Paul Kantner's folk-rock influences. The album's success helped propel the band into mainstream recognition, while its psychedelic experimentation captured the spirit of the San Francisco scene. Produced with help from Grateful Dead's Jerry Garcia, Surrealistic Pillow is considered a genre masterpiece, with its influence still felt today. The cover art further symbolized the album's surreal, rebellious vibe, marking a cultural milestone in rock history. Signature Tracks "Somebody to Love," "Today,"  "White Rabbit" Playlist YouTube Playlist, Spotify Playlist  Full Album Full Album on YouTube Full Album on Spotify

Mickey Thomas is the former lead singer of Jefferson Starshipbuilt this city on Rock n Roll...Mickey has a new holiday album called,  'A Classic Christmas'Mickey talked:-Christmas album-Danny Kaye from 'White Christmas'-Find your way back, Jane, Rock Music - all his voice-Pete's walk up song at the gym is Mickey's song-Talks #1 hit 'We Built This City, "I never considered 'We Built This City' as a single...a great A & R guy from RCA Records ... picked that as the first single and obviously, he knew what he was doing"-The Beatles were his biggest influence To subscribe to The Pete McMurray Show Podcast just click here

The year is 1967. A lot of popular musicians are moving towards psychedelia. It's kind of a buttoned up movement still--on the surface people still look business casual, even if their hair is getting long. The San Francisco hippie scene hasn't yet merged with the British invasion. But all that would change during the "Summer of Love", when they all came together and made a promise to "turn on, tune in, and drop out." Jefferson Airplane took center stage as the group most representative of that ethos, with their recent addition of model-turned-singer, Grace Slick on vocals. She brought with her a few songs from her previous group, The Great Society that would come to define the hippie movement as a whole; the pop hit "Somebody to Love" and the moody psychedelic anthem "White Rabbit". The concept behind Surrealistic Pillow...? Acid... It's a lot of acid. Links: "White Rabbit" Music Video:https://youtu.be/WANNqr-vcx0?si=-Kwhq_O-c7Onj2iv Full Livestream of the episode: https://youtube.com/live/uWHVQC3hw3M?feature=share OUR DISCORD: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://discord.gg/2stA2P7pTC⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/flyoverstatepark⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ EVERYTHING ELSE: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/FlyoverStatePark⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/albumconcepthour/support

¡bienvenidos!  A little bit of everything, a little bit of nothing. Whakarongo! Mohamad Karzo - C'est La Vie Marlena Shaw - Where Can I go?, California Soul, I'm Satisfied Nathan Haines - Squire for Hire, RIGHT NOW featuring Marlena Shaw Willie West - Baby, Baby I Love You, After The Storm Grace Slick - Didn't Think So, Often As I May, Nature Boy Carlos Dafé - Cantar Com o Coraçā, Bem querer  Kia ora The Tuning Fork !  

Jorma Kaukonen Live on Game Changers With Vicki Abelson Let your fingers do the running to the play button. Please! One of the greatest, funnest, most illuminating conversations I've had the privilege to share, Jorma Kaukonen, iconic legend, musical hero, rock god, (I mean, come on!) exceeded all expectations and then some. From early days in Pakistan with one pop 45 to Ricky Nelson, and Buddy Holly, 15-year-old returning expat Jorma, took up guitar and soon was in his first band, The Triumphs, with bandmate, Jack Casady, still his bandmate and best friend today, 65+ years later. Beyond amazing. And the fact that they were rehearsing moments before Jorma and I went Live blows my mind. A testament to their ongoing greatness. We talked about Antioch, and not exactly being encouraged to return. Janis, and The Typewriter Tape, San Francisco, Monterey, Hendrix, Jerry, Marty, Paul, Grace, and Jorma's nickname that became the Jefferson Airplane - his invite to Jack Casady. Psychedelia, Surrealistic Pillow, the making of––in my top 5, and it was made in less than two weeks! Woodstock - getting in and getting out and Grace Slick's unforgettable - “Good Morning, People.” What was unforgettable for Jorma. Goosebumps for me. Hot Tuna, how and why it started and continues to flourish. Jorma and Jack! The recent end of Hot Tuna Electric - the why - simple - not totally undoable. The Book, Been So Long - chock full of golden nuggets like those shared here. Years of teaching and concerts culminating in The Fur Peace Ranch, now sold, but will be picking up in Jorma and Vanessa's new locale. To keep up with the indefatigable Mr. Kaukonen https://jormakaukonen.com The cherry on top of this chat that seemed to fly by in an instant was Jorma indulging this rabid Airplane/Surrealistic Pillow fan, playing his Embryonic Journey, with a fab Jack sidebar (see the Live comments) and then a gorgeous, Take Your Time, for his daughter. This is one for the books. I'll cherish it always. Because Jorma's so important to me it was important that I do right by him. So grateful it was so much fun. I'm gonna be smiling for a long time to come. Jorma Kaukonen Live on Game Changers With Vicki Abelson Wednesday, 9/18/24, 5 pm PT, 8 pm ET Streamed Live on my Facebook Replay here: https://bit.ly/3XowPt2

Send us a Text Message.Mickey Thomas is a powerhouse vocalist whose distinctive voice became the driving force behind the success of Starship, one of the most iconic rock bands of the 1980s. Born in Cairo, Georgia, Thomas first gained national recognition as the lead vocalist on the 1976 hit “Fooled Around and Fell in Love” with The Elvin Bishop Band. This breakthrough performance showcased his soulful, soaring voice, setting the stage for his future career.In 1979, Thomas joined Jefferson Starship as the lead singer, following the departure of Grace Slick and Marty Balin. His arrival marked a new era for the band, which had been a significant force in the 1970s rock scene. With Thomas at the helm, Jefferson Starship produced several hits, including "Jane," "No Way Out," "Find Your Way Back," "Stranger," and "Layin' It on the Line." His dynamic vocal range and powerful performances breathed new life into the band, helping them maintain their relevance during a time of significant transition in the music industry.In 1985, the band rebranded as Starship, marking a new chapter in its storied history. Under this new name, they achieved immense commercial success, with Thomas's voice leading the charge on a string of chart-topping hits. "We Built This City," "Sara," and "Nothing's Gonna Stop Us Now" became anthems of the era, dominating the airwaves and solidifying Starship's place in rock history. These songs, characterized by their catchy hooks and polished production, became staples on MTV and VH1, further cementing Thomas's reputation as one of rock's most recognizable voices.Today, Mickey Thomas continues to tour with Starship, performing both the classic hits of Starship and Jefferson Starship, along with a few nods to Jefferson Airplane's legacy. His enduring talent and passion for music have kept Starship's legacy alive for new generations of fans.http://www.betterhelp.com/TheBarnThis episode is sponsored by www.betterhelp.com/TheBarn and brought to you as always by The Barn Media Group. YOUTUBE https://www.youtube.com/@TheBarnPodcastNetwork SPOTIFY https://open.spotify.com/show/09neXeCS8I0U8OZJroUGd4?si=2f9b8dfa5d2c4504 APPLE https://podcasts.apple.com/podcast/id1625411141 I HEART RADIO https://www.iheart.com/podcast/97160034/ AMAZON https://music.amazon.com/podcasts/7aff7d00-c41b-4154-94cf-221a808e3595/the-barn

The walls are melting again. Free your mind and feed your head with another episode of THE STORY SONG PODCAST. Join your hosts on a strange journey down the rabbit hole as they conclude THE SUMMER OF SYMBOLISM with a review of the 1967 psychedelic-rock classic, “White Rabbit” by Jefferson Airplane. Nothing's gonna stop us as we get knee-deep in the hoopla to discuss starships, great societies, and Grace Slick's husband's brother's sister-in-law. Don't you want a podcast to love? It's probably this episode of THE STORY SONG PODCAST. Don't believe us? Go ask Alice.  “White Rabbit” by Jefferson Airplane (from the album Surrealistic Pillow) is available on Apple Music, YouTube Music, Amazon Music, Tidal, Pandora, Spotify, or wherever you listen to music. Continue the conversation; follow THE STORY SONG PODCAST on social media. Follow us on Instagram (storysongpodcast), and Facebook (thestorysongpodcast), Threads (storysongpodcast), GoodPods, and Podchaser. Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a Text Message.Melissa Greene-Anderson grew up in the suburbs of Philadelphia. Since high school she was a part of her family's music business; Gotham Distribution, Collectables Records, and the direct-to-consumer website Oldies.com. Melissa's father started in a record store in Times Square NYC. At a very young age, Jerry Greene bought the rights to The Capri's “There's A Moon Out Tonight” which was released in 1959 and didn't chart. He re-released it in 1961 and it went to #3 on the Billboard Charts. With that money, Jerry Greene moved to Philadelphia and opened up a chain of record stores called The Record Museum. As straight as they come, he knew the business and made a killing on selling paraphernalia in the Philadelphia area, which often led to visits from Grace Slick and Jerry Garcia. After spending thousands of dollars on one visit, Jerry Garcia got busted crossing a bridge from Philadelphia to New Jersey with his haul. Melissa was the Executive Vice President of Gotham Distribution and started selling to Tower Records. At one point, she even hired the singles buyer from the brand new Washington DC store to help run their singles business. Licensing songs from labels and making albums and eventually CDs in conjunction with Oldies radio stations helped launch the Collectables album and CD part of the business. Eventually, Melissa got the go-ahead to rack the Tower stores with vinyl singles as cassingles and CD singles were taking over. Remember those bright gold 45 sleeves that got shipped back to send new product? Melissa worked with each store on an individual basis to make sure the program worked. She talks about a humiliating experience with a Tower Manager who refused to deal with her on their rollout. But most of her memories are good ones. Join us for a wide-ranging conversation about music, family, Philadelphia restaurants, and Tower Records. 

Rock & roll journalist, author, and photographer Michael Goldberg is back on the podcast. He's got a brand new book titled Jukebox: 1967-2023 Photographs.Michael is best known as a writer, but for over 50 years he's also been photographing musicians and the photos in Jukebox are drawn from the thousands he's taken over the years. Included are photos of the Sex Pistols, Devo, the Clash, Bruce Springsteen, Jim Morrison, Lou Reed, Janis Joplin, Muddy Waters, Patti Smith, the Who, Neil Young, Jerry Garcia, Bob Dylan, Frank Zappa, Grace Slick and Paul Kantner, Tom Waits, The Ramones, and many many more.Most of the photos in this book have never been seen before, including rare 1970 photos of Jerry Garcia in his Larkspur home months before recording began for the group's classic album, American Beauty. Some of the photographs were taken at the homes of the artists or in their hotel rooms. The Ramones photograph was shot from the doorway of Goldberg's room at the Tropicana in L.A. Michael is here to share some stories behind the photos in the book.Purchase a copy of Jukebox: 1967-2023 Photographs ---------- BookedOnRock.com The Booked On Rock YouTube Channel Follow The Booked On Rock with Eric Senich:FACEBOOKINSTAGRAMTIKTOKX Find Your Nearest Independent Bookstore Contact The Booked On Rock Podcast: thebookedonrockpodcast@gmail.com The Booked On Rock Music: “Whoosh” by Crowander / “Last Train North” & “No Mercy” by TrackTribe

Ubicado en el 3138 de Fillmore Street, en el barrio bohemio de San Francisco, The Matrix fue un pequeño club para apenas 100 personas, con mesitas bajas en las que podías tomarte un cóctel mientras escuchabas bandas en directo. Lo puso en funcionamiento Marty Balin, cantante y líder de Jefferson Airplane, en agosto de 1965 y rápidamente se convirtió en uno de los enclaves más importantes de la ciudad, para acabar siendo reconocido como el lugar desde el que emergió el sonido de San Francisco. El club contaba con una mesa de grabación de cuatro pistas con la que registraron algunos de los conciertos que pasaron por el local. Hoy escuchamos grabaciones en directo de The Great Society en 1966, la banda desde la que emergió la icónica cantante Grace Slick. Y también una actuación de Big Brother and the Holding Company en enero de 1967, con Janis Joplin a la voz antes de que grabaran su primer álbum.Playlist;THE GREAT SOCIETY “Sally go ‘round the roses”THE GREAT SOCIETY “Somebody to love”THE GREAT SOCIETY “Darkly smiling”THE GREAT SOCIETY “Nature boy”THE GREAT SOCIETY “Often as I may”THE GREAT SOCIETY “Father Bruce”THE GREAT SOCIETY “White rabbit”BIG BROTHER and THE HOLDING COMPANY “Bye bye baby”BIG BROTHER and THE HOLDING COMPANY “Turtle blues”BIG BROTHER and THE HOLDING COMPANY “Hi heel sneakers”BIG BROTHER and THE HOLDING COMPANY “It’s a deal”BIG BROTHER and THE HOLDING COMPANY “Caterpillar”Escuchar audio

You can either credit or blame host Abby's middle school guitar teacher for her enduring fascination with today's Doll. It's the Acid Queen herself, Grace Slick! Bold, brazen, and razor-sharp, she was a pioneer of 60s rock music and figurehead of the Summer of Love. Learn about Grace's life and career on episode 2 of the Dolls Podcast!Follow us on Instagram:https://www.instagram.com/thedollspod/

Ann Wilson is the powerhouse lead singer of the band Heart, whose celebrated classic debut album, Dreamboat Annie, came out nearly 50 years ago. Last week we featured an interview with her sister and longtime bandmate Nancy Wilson, so make sure to check that out if you haven't already. Today we'll hear from Ann, who's responsible for belting out and co-writing some of Heart's most iconic early hits, like “Magic Man,” “Barracuda,” and “Crazy On You.” Four years older than Nancy, Ann was the first Wilson sister to join Heart, a band that started out as a cabaret cover band. Despite undergoing multiple lineup changes since the '70s, Heart has released top 10 albums in nearly every decade in the last 50 years, and sold over 20 million albums worldwide. Outside of Heart, Ann has also released solo material, including an album in 2023 with her band, Tripsitter. On today's episode Leah Rose talks to Ann Wilson about Heart's current world tour, and the Elton John album she sings before every show to warm up her voice. Ann also explains how she would strategically place guitars around her house when having parties at her Seattle home in the '90s to encourage jam sessions with guests like Lane Staley and Chris Cornell. And she remembers singing on stage with Grace Slick and Stevie Nicks, who Ann says really is a good witch. You can hear a playlist of some of our favorite Heart songs HERE.See omnystudio.com/listener for privacy information.

Episode 250 is here! Join Joe and Kari for Part One of the milestone episode. They welcome friend of the podcast Michael to the show for a supersized Just a Bit Outside segment, for a look at those songs that hit the Hot 100, but didn't make it to the famed Top 40. You'll hear about songs from Shooting Star, Guy, Grace Slick and the B-52s, among others. Episode 250 is so big, it had to be split into 2 episodes! Stay tuned for the finale next week with some big surprises!

In this 2 part special of Comes A Time, photographer Rosie McGee shares stories behind her iconic photos of the Grateful Dead and San Francisco music scene in the 1960s. She started taking photos at age 12 and lived with the Dead when they moved to LA in 1966, capturing intimate behind-the-scenes moments. Her photos show the band as fresh-faced kids, like a baby-faced Bob Weir looking similar to Mike's daughter. She has great photos of Pigpen, describing him as very sweet and quiet offstage. Some of Rosie's favorite photos include young Jerry Garcia backstage with a Les Paul goldtop and lamb chops, a whimsical Grace Slick looking elf-like in Central Park, Jorma Kaukonen of Jefferson Airplane who she knew before the Dead, and a rare candid of Jerry with Owsley "Bear" Stanley which she slyly shot hiding behind a palm frond since he hated being photographed. The photos provide a fascinating look into the vibrant 1960s San Francisco music scene. Rosie reminisces about the early days and characters like Kesey, the Airplane, and more. Her photos capture intimate unguarded moments that show the humanity and bonds between these legendary figures when they were just young creative souls. Stay tuned for Part 2 with more stories behind Rosie's classic archives. Comes A Time Podcast and content posted by Comes A Time is presented solely for general informational, educational, and entertainment purposes. The use of information on this podcast or materials linked from this podcast is at the user's own risk. It is not intended as a substitute for the advice of a physician, professional coach, psychotherapist, or other qualified professional, diagnosis, or treatment. Users should not disregard or delay in obtaining medical advice for any medical or mental health condition they may have and should seek the assistance of their healthcare professionals for any such conditions. Learn more about your ad choices. Visit megaphone.fm/adchoices

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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 first 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 "My World Fell Down" by Sagittarius. 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 this 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, For future parts of this multi-episode story 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. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we left the Byrds at the end of the episode on "Eight Miles High", they had just released that single, which combined folk-rock with their new influences from John Coltrane and Ravi Shankar, and which was a group composition but mostly written by the group's lead singer, Gene Clark. And also, as we mentioned right at the end of the episode, Clark had left the group. There had been many, many factors leading to Clark's departure. Clark was writing *far* more material than the other band members, of whom only Roger McGuinn had been a writer when the group started, and as a result was making far more money than them, especially with songs like "She Don't Care About Time", which had been the B-side to their number one single "Turn! Turn! Turn!" [Excerpt: The Byrds, "She Don't Care About Time"] Clark's extra income was making the rest of the group jealous, and they also didn't think his songs were particularly good, though many of his songs on the early Byrds albums are now considered classics. Jim Dickson, the group's co-manager, said "Gene would write fifteen to twenty songs a week and you had to find a good one whenever it came along because there were lots of them that you couldn't make head or tail of.  They didn't mean anything. We all knew that. Gene would write a good one at a rate of just about one per girlfriend." Chris Hillman meanwhile later said more simply "Gene didn't really add that much." That is, frankly, hard to square with the facts. There are ten original songs on the group's first two albums, plus one original non-album B-side. Of those eleven songs, Clark wrote seven on his own and co-wrote two with McGuinn. But as the other band members were starting to realise that they had the possibility of extra royalties -- and at least to some extent were starting to get artistic ambitions as far as writing goes -- they were starting to disparage Clark's work as a result, calling it immature. Clark had, of course, been the principal writer for "Eight Miles High", the group's most experimental record to date: [Excerpt: The Byrds, "Eight Miles High"] But there he'd shared co-writing credit with David Crosby and Roger McGuinn, in part because that was the only way he could be sure they would agree to release it as a single. There were also internal rivalries within the band unrelated to songwriting -- as we've touched on, Crosby had already essentially bullied Clark off the guitar and into just playing tambourine (and McGuinn would be dismissive even of Clark's tambourine abilities). Crosby's inability to get on with any other member of any band he was in would later become legendary, but at this point Clark was the major victim of his bullying. According to Dickson "David understood when Gene left that ninety-five percent of why Gene left could be brought back to him." The other five percent, though, came from Clark's fear of flying. Clark had apparently witnessed a plane crash in his youth and been traumatised by it, and he had a general terror of flying and planes -- something McGuinn would mock him for a little, as McGuinn was an aviation buff. Eventually, Clark had a near-breakdown boarding a plane from California to New York for a promotional appearance with Murray the K, and ended up getting off the plane. McGuinn and Michael Clarke almost did the same, but in the end they decided to stay on, and the other four Byrds did the press conference without Gene. When asked where Gene was, they said he'd "broken a wing". He was also increasingly having mental health and substance abuse problems, which were exacerbated by his fear, and in the end he decided he just couldn't be a Byrd any more. Oddly, of all the band members, it was David Crosby who was most concerned about Clark's departure, and who did the most to try to persuade him to stay, but he still didn't do much, and the group decided to carry on as a four-piece and not even make a proper announcement of Clark's departure -- they just started putting out photos with four people instead of five. The main change as far as the group were concerned was that Hillman was now covering Clark's old vocal parts, and so Crosby moved to Clark's old centre mic while Hillman moved from his position at the back of the stage with Michael Clarke to take over Crosby's mic. The group now had three singer-instrumentalists in front, two of whom, Crosby and McGuinn, now thought of themselves as songwriters. So despite the loss of their singer/songwriter/frontman, they moved on to their new single, the guaranteed hit follow-up to "Eight Miles High": [Excerpt: The Byrds, "5D (Fifth Dimension)"] "5D" was written by McGuinn, inspired by a book of cartoons called 1-2-3-4 More More More More by Don Landis, which I haven't been able to track down a copy of, but which seems to have been an attempt to explain the mathematical concept of higher dimensions in cartoon form. McGuinn was inspired by this and by Einstein's theory of relativity -- or at least by his understanding of relativity, which does not seem to have been the most informed take on the topic. McGuinn has said in the past that the single should really have come with a copy of Landis' booklet, so people could understand it. Sadly, without the benefit of the booklet we only have the lyrics plus McGuinn's interviews to go on to try to figure out what he means. As far as I'm able to understand, McGuinn believed -- completely erroneously -- that Einstein had proved that along with the four dimensions of spacetime there is also a fifth dimension which McGuinn refers to as a "mesh", and that "the reason for the speed of light being what it is is because of that mesh." McGuinn then went on to identify this mesh with his own conception of God, influenced by his belief in Subud, and with a Bergsonian idea of a life force. He would talk about how most people are stuck in a materialist scientific paradigm which only admits to  the existence of three dimensions, and how there are people out there advocating for a five-dimensional view of the world. To go along with this mystic view of the universe, McGuinn wanted some music inspired by the greatest composer of sacred music, and he asked Van Dyke Parks, who was brought in to add keyboards on the session, to play something influenced by Bach -- and Parks obliged, having been thinking along the same lines himself: [Excerpt: The Byrds, "5D (Fifth Dimension)"] Unfortunately for the group, McGuinn's lyrical intention wasn't clear enough and the song was assumed to be about drugs, and was banned by many radio stations. That plus the track's basically uncommercial nature meant that it reached no higher than number forty-four in the charts. Jim Dickson, the group's co-manager, pointed to a simpler factor in the record's failure, saying that if the organ outro to the track had instead been the intro, to set a mood for the track rather than starting with a cold vocal open, it would have had more success. The single was followed by an album, called Fifth Dimension, which was not particularly successful. Of the album's eleven songs, two were traditional folk songs, one was an instrumental -- a jam called "Captain Soul" which was a version of Lee Dorsey's "Get Out My Life Woman" credited to the four remaining Byrds, though Gene Clark is very audible on it playing harmonica -- and one more was a jam whose only lyrics were "gonna ride a Lear jet, baby", repeated over and over. There was also "Eight Miles High" and the group's inept and slightly-too-late take on "Hey Joe". It also included a third single, a country track titled "Mr. Spaceman": [Excerpt: The Byrds, "Mr. Spaceman"] McGuinn and, particularly, Hillman, had some country music background, and both were starting to think about incorporating country sounds into the group's style, as after Clark's departure from the group they were moving away from the style that had characterised their first two albums. But the interest in "Mr. Spaceman" was less about the musical style than about the lyrics. McGuinn had written the song in the hopes of contacting extraterrestrial life -- sending them a message in his lyrics so that any aliens listening to Earth radio would come and visit, though he was later disappointed to realise that the inverse-square law means that the signals would be too faint to make out after a relatively short distance: [Excerpt: The Byrds, "Mr. Spaceman"] "Mr. Spaceman" did better on the charts than its predecessor, scraping the lower reaches of the top forty, but it hardly set the world alight, and neither did the album -- a typical review was the one by Jon Landau, which said in part "This album then cannot be considered up to the standards set by the Byrds' first two and basically demonstrates that they should be thinking in terms of replacing Gene Clark, instead of just carrying on without him." Fifth Dimension would be the only album that Allen Stanton would produce for the Byrds, and his replacement had actually just produced an album that was a Byrds record by any other name: [Excerpt: Gene Clark, "So You Say You've Lost Your Baby"] We've looked at Gary Usher before, but not for some time, and not in much detail. Usher was one of several people who were involved in the scene loosely centred on the Beach Boys and Jan and Dean, though he never had much time for Jan Berry and he had got his own start in the music business slightly before the Beach Boys. As a songwriter, his first big successes had come with his collaborations with Brian Wilson -- he had co-written "409" for the Beach Boys, and had also collaborated with Wilson on some of his earliest more introspective songs, like "The Lonely Sea" and "In My Room", for which Usher had written the lyrics: [Excerpt: The Beach Boys, "In My Room"] Usher had built a career as a producer and writer for hire, often in collaboration with Roger Christian, who also wrote with Brian Wilson and Jan Berry. Usher, usually with Christian, and very occasionally Wilson wrote the songs for several of American International Pictures' Beach Party films: [Excerpt: Donna Loren, "Muscle Bustle"] And Usher and Christian had also had bit parts in some of the films, like Bikini Beach, and Usher had produced records for Annette Funicello, the star of the films, often with the Honeys (a group consisting of Brian Wilson's future wife Marilyn plus her sister and cousin) on backing vocals. He had also produced records for the Surfaris, as well as a whole host of studio-only groups like the Four Speeds, the Super Stocks, and Mr. Gasser and the Weirdoes, most of whom were Usher and the same small group of vocalist friends along with various selections of Wrecking Crew musicians making quick themed albums. One of these studio groups, the Hondells, went on to be a real group of sorts, after Usher and the Beach Boys worked together on a film, The Girls on the Beach. Usher liked a song that Wilson and Mike Love had written for the Beach Boys to perform in the film, "Little Honda", and after discovering that the Beach Boys weren't going to release their version as a single, he put together a group to record a soundalike version: [Excerpt: The Hondells, "Little Honda"] "Little Honda" made the top ten, and Usher produced two albums for the Hondells, who had one other minor hit with a cover version of the Lovin' Spoonful's "Younger Girl". Oddly, Usher's friend Terry Melcher, who would shortly produce the Byrds' first few hits, had also latched on to "Little Honda", and produced his own version of the track, sung by Pat Boone of all people, with future Beach Boy Bruce Johnston on backing vocals: [Excerpt: Pat Boone, "Little Honda"] But when Usher had got his version out first, Boone's was relegated to a B-side. When the Byrds had hit, and folk-rock had started to take over from surf rock, Usher had gone with the flow and produced records like the Surfaris' album It Ain't Me Babe, with Usher and his usual gang of backing vocalists augmenting the Surfaris as they covered hits by Dylan, the Turtles, the Beach Boys and the Byrds: [Excerpt: The Surfaris, "All I Really Want to Do"] Usher was also responsible for the Surfaris being the first group to release a version of "Hey Joe" on a major label, as we heard in the episode on that song: [Excerpt: The Surfaris, "Hey Joe"] After moving between Capitol, Mercury, and Decca Records, Usher had left Decca after a round of corporate restructuring and been recommended for a job at Columbia by his friend Melcher, who at that point was producing Paul Revere and the Raiders and the Rip Chords and had just finished his time as the Byrds' producer. Usher's first work at Columbia was actually to prepare new stereo mixes of some Byrds tracks that had up to that point only been issued in mono, but his first interaction with the Byrds themselves came via Gene Clark: [Excerpt: Gene Clark, "So You Say You've Lost Your Baby"] On leaving the Byrds, Clark had briefly tried to make a success of himself as a songwriter-for-hire in much the same mould as Usher, attempting to write and produce a single for two Byrds fans using the group name The Cookie Fairies, while spending much of his time romancing Michelle Phillips, as we talked about in the episode on "San Francisco". When the Cookie Fairies single didn't get picked up by a label, Clark had put together a group with Bill Rinehart from the Leaves, Chip Douglas of the Modern Folk Quartet, and Joel Larson of the Grass Roots. Just called Gene Clark & The Group, they'd played around the clubs in LA and cut about half an album's worth of demos produced by Jim Dickson and Ed Tickner, the Byrds' management team, before Clark had fired first Douglas and then the rest of the group. Clark's association with Douglas did go on to benefit him though -- Douglas went on, as we've seen in other episodes, to produce hits for the Turtles and the Monkees, and he later remembered an old song by Clark and McGuinn that the Byrds had demoed but never released, "You Showed Me", and produced a top ten hit version of it for the Turtles: [Excerpt: The Turtles, "You Showed Me"] Clark had instead started working with two country singers, Vern and Rex Gosdin, who had previously been with Chris Hillman in the country band The Hillmen. When that band had split up, the Gosdin Brothers had started to perform together as a duo, and in 1967 they would have a major country hit with "Hangin' On": [Excerpt: The Gosdin Brothers, "Hangin' On"] At this point though, they were just Gene Clark's backing vocalists, on an album that had been started with producer Larry Marks, who left Columbia half way through the sessions, at which point Usher took over. The album, titled Gene Clark with the Gosdin Brothers, featured a mix of musicians from different backgrounds. There were Larson and Rinehart from Gene Clark and the Group, there were country musicians -- a guitarist named Clarence White and the banjo player Doug Dillard. Hillman and Michael Clarke, the Byrds' rhythm section, played on much of the album as a way of keeping a united front, Glen Campbell, Jerry Cole, Leon Russell and Jim Gordon of the Wrecking Crew contributed, and Van Dyke Parks played most of the keyboards. The lead-off single for Gene Clark with the Gosdin Brothers, "Echoes", is one of the tracks produced by Marks, but in truth the real producer of that track is Leon Russell, who wrote the orchestral arrangement that turned Clark's rough demo into a baroque pop masterpiece: [Excerpt: Gene Clark, "Echoes"] Despite Clark having quit the band, relations between him and the rest were still good enough that in September 1966 he temporarily rejoined the band after Crosby lost his voice, though he was gone again as soon as Crosby was well. But that didn't stop the next Byrds album, which Usher went on to produce straight after finishing work on Clark's record, coming out almost simultaneously with Clark's and, according to Clark, killing its commercial potential. Upon starting to work with the group, Usher quickly came to the conclusion that Chris Hillman was in many ways the most important member of the band. According to Usher "There was also quite a divisive element within the band at that stage which often prevented them working well together. Sometimes everything would go smoothly, but other times it was a hard road. McGuinn and Hillman were often more together on musical ideas. This left Crosby to fend for himself, which I might add he did very well." Usher also said "I quickly came to understand that Hillman was a good stabilising force within the Byrds (when he wanted to be). It was around the time that I began working with them that Chris also became more involved in the songwriting. I think part of that was the fact that he realised how much more money was involved if you actually wrote the songs yourself. And he was a good songwriter." The first single to be released from the new sessions was one that was largely Hillman's work. Hillman and Crosby had been invited by the great South African jazz trumpeter Hugh Masekela to play on some demos for another South African jazzer, singer Letta Mbulu. Details are sparse, but one presumes this was for what became her 1967 album Letta Mbulu Sings, produced by David Axelrod: [Excerpt: Letta Mbulu, "Zola (MRA)"] According to Hillman, that session was an epiphany for him, and he went home and started writing his own songs for the first time. He took one of the riffs he came up with to McGuinn, who came up with a bridge inspired by a song by yet another South African musician, Miriam Makeba, who at the time was married to Masekela, and the two wrote a lyric inspired by what they saw as the cynical manipulation of the music industry in creating manufactured bands like the Monkees -- though they have both been very eager to say that they were criticising the industry, not the Monkees themselves, with whom they were friendly. As Hillman says in his autobiography, "Some people interpreted it as a jab at The Monkees. In reality, we had immense respect for all of them as singers and musicians. We weren't skewering the members of the Monkees, but we were taking a shot at the cynical nature of the entertainment business that will try to manufacture a group like The Monkees as a marketing strategy. For us, it was all about the music, and we were commenting on the pitfalls of the industry rather than on any of our fellow musicians." [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] The track continued the experimentation with sound effects that they had started with the Lear jet song on the previous album. That had featured recordings of a Lear jet, and "So You Want to be a Rock 'n' Roll Star?" featured recordings of audience screams. Those screams were, according to most sources, recorded by Derek Taylor at a Byrds gig in Bournemouth in 1965, but given reports of the tepid response the group got on that tour, that doesn't seem to make sense. Other sources say they're recordings of a *Beatles* audience in Bournemouth in *1963*, the shows that had been shown in the first US broadcast of Beatles footage, and the author of a book on links between the Beatles and Bournemouth says on his blog "In the course of researching Yeah Yeah Yeah: The Beatles & Bournemouth I spoke to two people who saw The Byrds at the Gaumont that August and neither recalled any screaming at all, let alone the wall of noise that can be heard on So You Want To Be A Rock 'n' Roll Star." So it seems likely that screaming isn't for the Byrds, but of course Taylor had also worked for the Beatles. According to Usher "The crowd sound effects were from a live concert that Derek Taylor had taped with a little tape recorder in London. It was some outrageous crowd, something like 20,000 to 30,000 people. He brought the tape in, ran it off onto a big tape, re- EQ'd it, echoed it, cleaned it up and looped it." So my guess is that the audience screams in the Byrds song about the Monkees are for the Beatles, but we'll probably never know for sure: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] The track also featured an appearance by Hugh Masekela, the jazz trumpeter whose invitation to take part in a session had inspired the song: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] While Hillman was starting to lean more towards folk and country music -- he had always been the member of the band least interested in rock music -- and McGuinn was most interested in exploring electronic sounds, Crosby was still pushing the band more in the direction of the jazz experimentation they'd tried on "Eight Miles High", and one of the tracks they started working on soon after "So You Want to be a Rock 'n' Roll Star?" was inspired by another jazz trumpet great. Miles Davis had been partly responsible for getting the Byrds signed to Columbia, as we talked about in the episode on "Mr. Tambourine Man", and so the group wanted to pay him tribute, and they started working on a version of his classic instrumental "Milestones": [Excerpt: Miles Davis, "Milestones"] Sadly, while the group worked on their version for several days -- spurred on primarily by Crosby -- they eventually chose to drop the track, and it has never seen release or even been bootlegged, though there is a tiny clip of it that was used in a contemporaneous documentary, with a commentator talking over it: [Excerpt: The Byrds, "Milestones (TV)"] It was apparently Crosby who decided to stop work on the track, just as working on it was also apparently his idea. Indeed, while the biggest change on the album that would become Younger Than Yesterday was that for the first time Chris Hillman was writing songs and taking lead vocals, Crosby was also writing more than before. Hillman wrote four of the songs on the album, plus his co-write with McGuinn on "So You Want to be a Rock 'n' Roll Star?", but Crosby also supplied two new solo compositions, plus a cowrite with McGuinn, and Crosby and McGuinn's "Why?", the B-side to "Eight Miles High", was also dug up and rerecorded for the album. Indeed, Gary Usher would later say "The album was probably 60% Crosby. McGuinn was not that involved, nor was Chris; at least as far as performing was concerned." McGuinn's only composition on the album other than the co-writes with Crosby and Hillman was another song about contacting aliens, "CTA-102", a song about a quasar which at the time some people were speculating might have been evidence of alien life. That song sounds to my ears like it's had some influence from Joe Meek's similar records, though I've never seen McGuinn mention Meek as an influence: [Excerpt: The Byrds, "CTA-102"] Crosby's growing dominance in the studio was starting to rankle with the other members. In particular two tracks were the cause of conflict. One was Crosby's song "Mind Gardens", an example of his increasing experimentation, a freeform song that ignores conventional song structure, and which he insisted on including on the album despite the rest of the group's objections: [Excerpt: The Byrds, "Mind Gardens"] The other was the track that directly followed "Mind Gardens" on the album. "My Back Pages" was a song from Dylan's album Another Side of Bob Dylan, a song many have seen as Dylan announcing his break with the folk-song and protest movements he'd been associated with up to that point, and his intention to move on in a new direction: [Excerpt: Bob Dylan, "My Back Pages"] Jim Dickson, the Byrds' co-manager, was no longer on speaking terms with the band and wasn't involved in their day-to-day recording as he had been, but he'd encountered McGuinn on the street and rolled down his car window and suggested that the group do the song. Crosby was aghast. They'd already recorded several songs from Another Side of Bob Dylan, and Fifth Dimension had been their first album not to include any Dylan covers. Doing a jangly cover of a Dylan song with a McGuinn lead vocal was something they'd moved on from, and he didn't want to go back to 1964 at the end of 1966. He was overruled, and the group recorded their version, a track that signified something very different for the Byrds than the original had for Dylan: [Excerpt: The Byrds, "My Back Pages"] It was released as the second single from the album, and made number thirty. It was the last Byrds single to make the top forty. While he was working with the Byrds, Usher continued his work in the pop field, though as chart pop moved on so did Usher, who was now making records in a psychedelic sunshine pop style with acts like the Peanut Butter Conspiracy: [Excerpt: The Peanut Butter Conspiracy, "It's a Happening Thing"] and he produced Chad and Jeremy's massive concept album Of Cabbages and Kings, which included a five-song "Progress Suite" illustrating history from the start of creation until the end of the world: [Excerpt: Chad and Jeremy, "Editorial"] But one of the oddest projects he was involved in was indirectly inspired by Roger McGuinn. According to Usher "McGuinn and I had a lot in common. Roger would always say that he was "out of his head," which he thought was good, because he felt you had to go out of your head before you could really find your head! That sums up McGuinn perfectly! He was also one of the first people to introduce me to metaphysics, and from that point on I started reading everything I could get my hands on. His viewpoints on metaphysics were interesting, and, at the time, useful. He was also into Marshall McLuhan; very much into the effects of electronics and the electronic transformation. He was into certain metaphysical concepts before I was, but I was able to turn him onto some abstract concepts as well" These metaphysical discussions led to Usher producing an album titled The Astrology Album, with discussions of the meaning of different star signs over musical backing: [Excerpt: Gary Usher, "Leo"] And with interviews with various of the artists he was working with talking about astrology. He apparently interviewed Art Garfunkel -- Usher was doing some uncredited production work on Simon and Garfunkel's Bookends album at the time -- but Garfunkel declined permission for the interview to be used. But he did get both Chad and Jeremy to talk, along with John Merrill of the Peanut Butter Conspiracy -- and David Crosby: [Excerpt: Gary Usher, "Leo"] One of the tracks from that album, "Libra", became the B-side of a single by a group of studio musicians Usher put together, with Glen Campbell on lead vocals and featuring Bruce Johnston of the Beach Boys prominently on backing vocals. "My World Fell Down" was credited to Sagittarius, again a sign of Usher's current interest in astrology, and featured some experimental sound effects that are very similar to the things that McGuinn had been doing on recent Byrds albums: [Excerpt: Sagittarius, "My World Fell Down"] While Usher was continuing with his studio experimentation, the Byrds were back playing live -- and they were not going down well at all. They did a UK tour where they refused to play most of their old hits and went down as poorly as on their previous tour, and they were no longer the kings of LA. In large part this was down to David Crosby, whose ego was by this point known to *everybody*, and who was becoming hugely unpopular on the LA scene even as he was starting to dominate the band. Crosby was now the de facto lead vocalist on stage, with McGuinn being relegated to one or two songs per set, and he was the one who would insist that they not play their older hit singles live. He was dominating the stage, leading to sarcastic comments from the normally placid Hillman like "Ladies and gentlemen, the David Crosby show!", and he was known to do things like start playing a song then stop part way through a verse to spend five minutes tuning up before restarting. After a residency at the Whisky A-Go-Go where the group were blown off the stage by their support act, the Doors, their publicist Derek Taylor quit, and he was soon followed by the group's co-managers Jim Dickson and Eddie Tickner, who were replaced by Crosby's friend Larry Spector, who had no experience in rock management but did represent Peter Fonda and Dennis Hopper, two young film stars Crosby was hanging round with. The group were particularly annoyed by Crosby when they played the Monterey Pop Festival. Crosby took most lead vocals in that set, and the group didn't go down well, though instrumentally the worst performer was Michael Clarke, who unlike the rest of the band had never become particularly proficient on his instrument: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star (live at Monterey)"] But Crosby also insisted on making announcements from the stage advocating LSD use and describing conspiracy theories about the Kennedy assassination: [Excerpt: David Crosby on the Warren Commission, from the end of "Hey Joe" Monterey] But even though Crosby was trying to be the Byrds' leader on stage, he was also starting to think that they maybe didn't deserve to have him as their leader. He'd recently been spending a lot of time hanging out with Stephen Stills of the Buffalo Springfield, and McGuinn talks about one occasion where Crosby and Stills were jamming together, Stills played a blues lick and said to McGuinn "Can you play that?" and when McGuinn, who was not a blues musician, said he couldn't, Stills looked at him with contempt. McGuinn was sure that Stills was trying to poach Crosby, and Crosby apparently wanted to be poached. The group had rehearsed intensely for Monterey, aware that they'd been performing poorly and not wanting to show themselves up in front of the new San Francisco bands, but Crosby had told them during rehearsals that they weren't good enough to play with him. McGuinn's suspicions about Stills wanting to poach Crosby seemed to be confirmed during Monterey when Crosby joined Buffalo Springfield on stage, filling in for Neil Young during the period when Young had temporarily quit the group, and performing a song he'd helped Stills write about Grace Slick: [Excerpt: Buffalo Springfield, "Rock 'n' Roll Woman (live at Monterey)"] Crosby was getting tired not only of the Byrds but of the LA scene in general. He saw the new San Francisco bands as being infinitely cooler than the Hollywood plastic scene that was LA -- even though Crosby was possibly the single most Hollywood person on that scene, being the son of an Oscar-winning cinematographer and someone who hung out with film stars. At Monterey, the group had debuted their next single, the first one with an A-side written by Crosby, "Lady Friend": [Excerpt: The Byrds, "Lady Friend"] Crosby had thought of that as a masterpiece, but when it was released as a single, it flopped badly, and the rest of the group weren't even keen on the track being included on the next album. To add insult to injury as far as Crosby was concerned, at the same time as the single was released, a new album came out -- the Byrds' Greatest Hits, full of all those singles he was refusing to play live, and it made the top ten, becoming far and away the group's most successful album. But despite all this, the biggest conflict between band members when they came to start sessions for their next album wasn't over Crosby, but over Michael Clarke. Clarke had never been a particularly good drummer, and while that had been OK at the start of the Byrds' career, when none of them had been very proficient on their instruments, he was barely any better at a time when both McGuinn and Hillman were being regarded as unique stylists, while Crosby was writing metrically and harmonically interesting material. Many Byrds fans appreciate Clarke's drumming nonetheless, saying he was an inventive and distinctive player in much the same way as the similarly unskilled Micky Dolenz, but on any measure of technical ability he was far behind his bandmates. Clarke didn't like the new material and wasn't capable of playing it the way his bandmates wanted. He was popular with the rest of the band as a person, but simply wasn't playing well, and it led to a massive row in the first session: [Excerpt: The Byrds, "Universal Mind Decoder (alternate backing track)"] At one point they joke that they'll bring in Hal Blaine instead -- a reference to the recording of "Mr. Tambourine Man", when Clarke and Hillman had been replaced by Blaine and Larry Knechtel -- and Clarke says "Do it. I don't mind, I really don't." And so that ended up happening. Clarke was still a member of the band -- and he would end up playing on half the album's tracks -- but for the next few sessions the group brought in session drummers Hal Blaine and Jim Gordon to play the parts they actually wanted. But that wasn't going to stop the bigger problem in the group, and that problem was David Crosby's relationship with the rest of the band. Crosby was still at this point thinking of himself as having a future in the group, even as he was increasingly convinced that the group themselves were bad, and embarrassed by their live sound. He even, in a show of unity, decided to ask McGuinn and Hillman to collaborate on a couple of songs with him so they would share the royalties equally. But there were two flash-points in the studio. The first was Crosby's song "Triad", a song about what we would now call polyamory, partly inspired by Robert Heinlein's counterculture science fiction novel Stranger in a Strange Land. The song was meant to portray a progressive, utopian, view of free love, but has dated very badly -- the idea that the *only* reason a woman might be unhappy with her partner sleeping with another woman is because of her mother's disapproval possibly reveals more about the mindset of hippie idealists than was intended. The group recorded Crosby's song, but refused to allow it to be released, and Crosby instead gave it to his friends Jefferson Airplane, whose version, by having Grace Slick sing it, at least reverses the dynamics of the relationship: [Excerpt: Jefferson Airplane, "Triad"] The other was a song that Gary Usher had brought to the group and suggested they record, a Goffin and King song released the previous year by Dusty Springfield: [Excerpt: Dusty Springfield, "Goin' Back"] Crosby was incandescent. The group wanted to do this Brill Building pap?! Hell, Gary Usher had originally thought that *Chad and Jeremy* should do it, before deciding to get the Byrds to do it instead. Did they really want to be doing Chad and Jeremy cast-offs when they could be doing his brilliant science-fiction inspired songs about alternative relationship structures? *Really*? They did, and after a first session, where Crosby reluctantly joined in, when they came to recut the track Crosby flat-out refused to take part, leading to a furious row with McGuinn. Since they were already replacing Michael Clarke with session drummers, that meant the only Byrds on "Goin' Back", the group's next single, were McGuinn and Hillman: [Excerpt: The Byrds, "Goin' Back"] That came out in late October 1967, and shortly before it came out, McGuinn and Hillman had driven to Crosby's home. They told him they'd had enough. He was out of the band. They were buying him out of his contract. Despite everything, Crosby was astonished. They were a *group*. They fought, but only the way brothers fight. But McGuinn and Hillman were adamant. Crosby ended up begging them, saying "We could make great music together." Their response was just "And we can make great music without you." We'll find out whether they could or not in two weeks' time.

Wednesday morning news montage. The DHS Secretary delivered non sequiturs in response to important questions about the border crisis. Chinese teenager found alive in Utah woods after cyber-kidnapping scam. // Terror attack in Iran kills over 100. New dart champion is only 16-years-old. One woman was killed and another hurt after shooting on Highway 2 and Bryan speculates it might be gang violence. // Bryan notes the 84th birthday of Jefferson Airplane's lead singer Grace Slick. Aaron Rodgers says it will be revealed that Jimmy Kimmel had connections to Jeffrey Epstein. 

Pat welcomes singer Mickey Thomas to the show to discuss his legendary career in Jefferson Starship/Starship and promote his new holiday release "A Classic Christmas."See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Comedian Rita Rudner joins Mase & Sue on the CULTURE POP PODCAST to discuss her path to becoming a stand-up, why she ditched her Broadway dance career, Woody Allen and Jack Benny's impact on her joke writing, the dynamic of penning scripts with producer husband, Martin Bergman, how he influenced her elegant style of dress on stage and an encounter with former NY Knick, Spencer Hayward. Plus, a ukulele event involving Grace Slick and how quarterback Patrick Mahome's lucky underwear launched into a conversation about an obsession with odd numbers. 

I wanted to re-air John Morris's podcast. I had him on episode 11 back in 2018. John recently passed and was such an interesting human being and I'm so happy that he took the time during Indian Market in 2018 to come talk to me about his life. You know, John was a guy who was intimately involved in the 1969 Woodstock show.He booked all the people he worked with, all the acts. You know, he was if you look at the Woodstock movie. He was a unique man who had multiple interests and never took himself too seriously. He had all these interesting people like Janis Joplin and Jim Morrison or Paul McCartney, at he Rolling Stones, all of these musicians he knew and worked with. I knew him for 15 years before he even discussed the Woodstock. The only reason he did is that I saw the movie and I saw him on the TV. His real gift to our culture and the Native American world was that he loved Native American material and tribal art and he, along with Kim Martindale, promoted shows.They promoted different shows that were the objects of art shows, both in San Francisco as well as in Santa Fe. ohn did one in Seattle as well. So, you know, it's sad when you lose somebody of his magnitude, but I wanted to replay his podcast so we could all bask in the wonderful beauty of John Morris.

What a Creep: Jann WennerSeason 22, Episode 1Jann Wenner was the editor of Rolling Stone magazine from 1967 to 2019, covering everything from the Beatles to Woodstock to Live Aid and even Hip Hop at some point in the 1990s. He made millions as rock culture's gatekeeper and key in developing the Rock and Roll Hall of Fame. For decades, critics derided Rolling Stone as a bastion for a white, male-centered worldview with little appreciation for women or people of color. This past week, his interview with the New York Times over the release of his book The Masters: Conversations with Bono, Dylan, Garcia, Jagger, Lennon, Springsteen, and Townshend, which is a compilation of his interviews with seven artists he considers cultural icons that created the “Zeitgeist” that shines brightly to this day.When asked why he didn't include any women or people of color, his response:“When I was referring to the zeitgeist, I was referring to Black performers, not female performers,. It's not that they're not creative geniuses. It's not that they're inarticulate, although, go have a deep conversation with Grace Slick or Janis Joplin. Please, be my guest…The people I interviewed were the kind of philosophers of rock.Of Black artists — you know, Stevie Wonder, genius, right? I suppose when you use a word as broad as “masters,” the fault is using that word. Maybe Marvin Gaye, or Curtis Mayfield? I mean, they just didn't articulate at that level.Today, we discuss Wenner's long career and where he winds up in the Creep category. Trigger warnings: Racism, Misogyny, and Sexual Harassment.Sources for this episode:· Uproxx· The Daily Beast· NBC News· Vulture · NY Times· NPR· CNN· Vanity Fair· The Atlantic·, Billboard· The Guardian· Daily Kos· The Advocate· The Village Voice· Spin magazine editorial· Sticky Fingers: The Life and Times of Jann Wenner and Rolling Stone Magazine by Joe Hagan· The Masters: Jann WennerBuzzfeed (2017) Be sure to follow us on social media! But don't follow us too closely … don't be a creep about it!Subscribe to us on Apple PodcastsTwitter: https://twitter.com/CreepPod @CreepPodFacebook: Join the private group!Instagram @WhatACreepPodcastVisit our Patreon page: https://www.patreon.com/whatacreepEmail: WhatACreepPodcast@gmail.comWe've got merch here! https://whatacreeppodcast.threadless.com/#Our website is www.whatacreeppodcast.comOur logo was created by Claudia Gomez-Rodriguez Follow her on Instagram @ClaudInCloudThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5394615/advertisement