Podcasts about green green

今回はGREENで見つけた面白そうな製品を紹介します。 ▼GREENの紹介ページ https://greenfunding.jp/lab/projects/8635 Song: Sky Modulation - Flehmann Music provided by DOVA-SYNDROME 画像生成：Copilot デザイナー #クラウドファンドでつかまえて

This manga by the author of Beast Children is good, what, how? We and our guest Official Series Letterer Brendon Hull discuss Shonen Jump manga Green Green Greens.    Show Notes: • You can reach us at Twitter @shonenflopcast, Tumblr shonen-flop, or email shonenflop@gmail.com   • You can find our guest at @LettererBrendo and itsbrendo.carrd.co   • Help keep the show running by joining the Shonen Flop Patreon at patreon.com/shonenflop. Get perks like early access to episodes; joining us during recordings, and exclusive episodes on manga like Agravity Boys, Magu-chan: God of Destruction, and PPPPPP.   • Get Shonen Flop merch, including this episode's cover art, on a shirt, mug, print, or whatever else might catch your eye https://www.teepublic.com/stores/shonen-flop?ref_id=22733   • Become a member of our community by joining our Discord. You can hang out with us, submit your questions or six word summaries! Find it at https://discord.com/invite/4hC3SqRw8r   • Want to be a guest? You can ask to be on a future episode at bit.ly/shonen_flop_guest   Credits: • Manga by Terasaka, Kento    • Shonen Flop is hosted by David Weinberger and Jordan Forbes   • Additional editing assistance by Dylan Krider you can find his podcast, Anime Out of Context at animeoutofcontext.com   • Assistance with pronunciation, translation, and other miscellaneous research done by Tucker Whatley and MaxyBee   • Episode art by Merliel (IG: mer_liel)   • Cover art funded by our generous art benefactor Nigel Francis   MAL Description:  Haku Yaesaki is a bored high school student with no direction in life. Right as he starts noticing how all his friends have dreams they are striving for, he meets pro golfer hopeful Nadeshiko Oga and his empty life begins to change. Now, it's time to find a whole new you as this golfing adventure tees off!  

Manga by Terasaka, Kento    Does the author of Beast Children have that dog in him?   David and Jordan give their first thoughts on Shonen Jump manga Green Green Greens. Listen in as they give an overview of the first chapter, where they think it will go from there, and ultimately their “power word” to describe the series so far. They also dive into some listener questions.    Show Notes: • You can reach us at Twitter @shonenflopcast or email us shonenflop@gmail.com   • Help keep the show running by joining the Shonen Flop Patreon at patreon.com/shonenflop. Get perks like early access to episodes; joining us during recordings, and exclusive episodes on manga like Agravity Boys, Magu-chan: God of Destruction, and PPPPPP.   • Become a member of our community by joining our Discord. You can hang out with us, submit your questions or six word summaries! Find it at https://discord.com/invite/4hC3SqRw8r   • Get Shonen Flop merch, including this episode's cover art, on a shirt, mug, print, or whatever else might catch your eye https://www.teepublic.com/stores/shonen-flop?ref_id=22733   • Want to be a guest? You can ask to be on a future episode at bit.ly/shonen_flop_guest   Credits:   • Shonen Flop is hosted by David Weinberger and Jordan Forbes   • Additional editing assistance by Dylan Crider you can find his podcast, Anime Out of Context at animeoutofcontext.com   • Episode art by Shannon (IG: illuminyatea)   MAL Description: Haku Yaesaki is a bored high school student with no direction in life. Right as he starts noticing how all his friends have dreams they are striving for, he meets pro golfer hopeful Nadeshiko Oga and his empty life begins to change. Now, it's time to find a whole new you as this golfing adventure tees off!  

This week in your favorite sports podcast, the crew tees off on a brand new cancelled manga! That's right. Put it in the record book. Once again, we finished an entire story. This one however, is about GOLF. Join us as we explore the story of the cripplingly addictive nature of golf and it's affect on the mind of not only highschoolers, but everyone who plays! Will Haku ever find a sport that makes him want to actually try? Does anyone know how to just have fun playing golf? Is Nate a darn fun hater? (or is he right for disliking this manga?) Can one of these kids teach us how to hit a 300 yard drive? Can one of these kids ever make it to the PGA tour? How can these kids afford a hundred dollar round of golf? Should we all just quit golf and take up Pokewon? Find out this week on That One Time We Read Manga! To join the conversation and connect with the crew, don't forget to follow us on Facebook, instagram, youtube and tiktok Feel free to send us a message with reviews, questions, concerns, or a monologue about your day. Email: thatonetimewereadmanga@gmail.com Also, we have a Patreon now! Join the crew at patreon.com/ThatOneTimeWeReadManga Show art created and distributed by @missgreenkitty. For more dope art, follow @missgreenkitty on Instagram, Twitter, Tumblr, Facebook, and Tiktok.

A conversation with art collector Eric Green. Eric and his wife Debbie are the founders of the Green Family Art Foundation, which they run along with their son Adam Green, an acclaimed art advisor who recently landed on ARTnews' list of Top 75 Art World Professionals. In the episode, we delve into Eric's personal journey as a collector, from his first art history class to the construction of his foundation's prominent exhibition space in the heart of Dallas' museum district. In particular, we discuss the foundation's mission to support underrepresented contemporary artists, how he works with curators to turn the collection into exhibitions, and what makes a great piece of art.https://www.greenfamilyartfoundation.org/https://www.instagram.com/greenfamilyartfoundation/?hl=enhttps://www.greenfamilyartfoundation.org/exhibitions/23-rupture-connection-curated-by-christopher-y.-lew/https://www.adamgreenartadvisory.com/

Chuck Edwards - "Downtown Soulville" - 45 Music behind DJ: Sonny Forrest - "Madame Bootie Green" - 45 Helen Thompson - "Going Down to Big Mary's" - 45 Juanita Nixon - "Stop Knockin'" - 45 Chet "Poison" Ivey & His Fabulous Avengers - "Keep On Keeping On" - 45 The Majestics - "Treat Me Like You Want to Be Treated" - 45 Music behind DJ: Warren Covington and His Orchestra - "Watusi Jo" - 45 Junior Parker - "I'm in Love" - 45 Hoagy Lands - "Baby Let Me Hold Your Hand" - 45 Zenobia Bonner - "All Alone" - 45 Sonny Moore - "Erase and Replace" - 45 Johnny Dollar - "Fool I Want to Be" - 45 Music behind DJ: Junior Mance Trio - "The Uptown" - 45 Josephine Taylor - "Ain't Gonna Cry No More" - 45 Josephine Taylor - "You're the Sweetest Thing" - 45 Josephine Taylor - "Ordinary Guy" - 45 Josephine Taylor - "Smooth Groove" - 45 Josephine Taylor - "What Is Love" - 45 Josephine Taylor - "Good Lovin'" - 45 Josephine Taylor - "Is It Worth a Chance" - 45 Chuck Holiday - "I Still Love You" - 45 Jimmy Thomas - "Springtime" - 45 Lou Gosset - "Hooka' Dooka', Green Green" - 45 https://www.wfmu.org/playlists/shows/138406

We promised and now we deliver! Part 2 of this week's episode with Brandon and Jeremy from the Triumph, Liberty, and the Pursuit of Happiness podcast is here! Get the scoop on our opponents and join in on all of the absurd fun along the way! This one is an absurdly good time!

The CKL crew assembles for another episode, but what's this?!?! It's a two-parter!?!? In Part One we hit you with our first impressions of our newly released away kit and freshly named Jagermeister Cup! We also tackle the pair of recent, tough losses and give you 1.2 billion reasons as to why the panic meter should still be firmly set at "Chill." Look for Part 2 to drop later this week for a special crossover event between CKL and the newly minted "Triumph, Liberty, and the Pursuit of Happiness" pod covering the Greenville Triumph and Greenville Liberty! Brandon and Jeremy know their stuff and it's bound to be the crossover event of the century!

Famous sixties singer Randy Sparks passed away on February 11, 2024, the very day this particular show first aired live over the radio. Randy was founder of The New Christy Minstrels and co-wrote their biggest hit song, Green Green with Barry McGuire. As it happens, Bob's co-host Jim Berrier is good friends with Barry McGuire […]

Famous sixties singer Randy Sparks passed away on February 11, 2024, the very day this particular show first aired live over the radio. Randy was founder of The New Christy Minstrels and co-wrote their biggest hit song, Green Green with Barry McGuire. As it happens, Bob's co-host Jim Berrier is good friends with Barry McGuire […]

It's time to take a shot at Green Green Greens! Kermit D. Grog is at the range with Isekai Sensei-Sama to see if this new series will be a bullseye or end up in the rough.Support the showSugoi Mart is your one-stop shop for the best Japanese snacks, candy, toys, and merch! Click here or use code APR15 at checkout to get 15% off your first order.Check out our website, AnimePodcasterReincarnation.com, to leave a comment or check out our blog posts. Follow on Twitter or Threads and subscribe on YouTube so you don't miss new episodes. You can also follow us on Facebook or Patreon, join our Discord server, or reach us by email at IsekaiSenseiSama@gmail.com.

Quick thoughts on chapter 1 of Golf sports manga, Green Green Greens. Story and Art by Kento Terasaka Published by Shonen Jump ______________________________ If you enjoy what I do and want to support Kofi: https://ko-fi.com/dadneedstotalk Patreon: https://www.patreon.com/Dadneedstotalk Follow me My website: https://dadneedstotalk.com/ Twitter: https://twitter.com/DadNeedsToTalk Instagram: https://www.instagram.com/dadneedstotalkpodcast/ #manga #greengreengreens #golf --- Support this podcast: https://podcasters.spotify.com/pod/show/dadneedstotalkpodcast/support

Kennt ihr schon Max Verstappens Lieblings-Song? Maxi auf jeden Fall nicht - bitter für ihn im Fragespiel. Genau so bitter für Sergio Perez, dass er in der letzten Runde noch vom Rennfuchs Alonso überholt wird. Und Lando Norris? Der wartet immer noch auf seinen ersten Sieg - eigentlich ja wie Maxi, der noch nie das Fragespiel gewinnen konnte...

Roberto Rodriguez is an instructor in the Green Janitor education program at SEIU Local 1 and talks about environmentally friendly cleaning.

In this episode, we discuss the Green Party's new Wealth Tax policy. We look at how this policy would impact property investors if implemented. This includes how one investor's effective tax rate would rise from 2up to 98%. This gives you the facts so you can make an informed decision about whether to invest and what policies to support in the upcoming election.

Photo: No known restrictions on publication. @Batchelorshow Sinapore 1870 #Green: Green electricity is expensive, unready, futuristic. Simon Constable, Occitane, France. https://www.kornferry.com/insights/briefings-magazine/issue-59/the-long-road-to-green-energy

Kristy Drutman, founder of Brown Girl Green and Green Jobs Board, is joining us (irl!) to share perspectives on the green economy, especially through the lens on diversity, equity, and inclusion. She is also sharing an incredible trove of tangible tips on navigating this rapidly changing career field - how to find allies and 'win' within traditional workplace structures; how to find a mentor; how to know what kind of green job is right for you; and so much more. Thanks to our sponsor today! peacecoffee.com promo code ECOCHIC40 Meet me online - @ecochicpodcast on Instagram + @lauraediez on Tiktok. Email me at laura@lauraediez.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

The newly-announced Celtic Freeport which aims to turn South Wales into a colossus of renewable energy is offering grounds for genuine optimism for the South Wales commercial real estate market, according to Jenkins Best director Henry Best, who believes its potential for spin-offs is enormous. Jenkins Best is the highest place regional agent in the Radius On Demand Rankings for South Wales in 2023, with 42,657 sq ft transacted across 11 deals. It finished 2022 with 551,182 sq ft completed across 106 deals. The Celtic Freeport is a joint scheme that would be based at Port Talbot and Milford Haven and Best says enquiries are already coming in for sites in the zone despite the scheme only being given the go-ahead last week. He also says the broader industrial market in the region is ticking along nicely, with particular demand from owner-occupiers.

You Heat or Cool the Planet when You Shop. The host for this show is Howard Wiig. The guests are Gail Grabowsky, Kobe Ngirailemesang, Hina Ioane and Sano Tanna. The responsibility of environmental stewardship lies on us to control and behave and move to ‘green shopping' altering our pampered purchasing habits. Start by auditing your lifestyles and shopping list, and see where improvement can be achieved to reduce pollution.The ThinkTech YouTube Playlist for this show is https://www.youtube.com/playlist?list=PLQpkwcNJny6nMw4RxJwoYzhZyXl8mz7hpPlease visit our ThinkTech website at https://thinktechhawaii.com and see our Think Tech Advisories at https://thinktechadvisories.blogspot.com.

This week we try to dissect the most boring game of the season so far while talking, James Bolton's timely return - Scarr next?, Houghton's Hundred, Goals from crosses, Jordan Garrick's return, Duncan Ferguson's mad post-match interview, No Green at Wembley for the EFL Trophy Final, Jason Banton hanging up his boots, Frank Nouble's Retirement, Pele's Pilgrimage to Plymouth, Ryan Taylor's Grimsby Town's FA Cup run all while previewing our midweek trip to Accrington! #pafc Hosted on Acast. See acast.com/privacy for more information.

In recent decades, companies have moved manufacturing to countries offering low cost labour. Today, as they aim for Net Zero, they must also consider their carbon footprint. And that is almost impossible to do if raw materials are sourced from around the world, from countries with highly emitting energy systems and poor record keeping. Sam...

Speculative thriller about big tech, data manipulation and the undermining of democracy, by Simon Scardifield and Andrew Day. Bryony is increasingly excited by her new role working for Sydney and Shapeshift, using the very latest data manipulation AI. And Sydney's promised to arrange specialist cancer treatment for sister Gaynor in the US. But journalist Sam is on Bryony's tail and she's asking uncomfortable questions. Bryony.....Hannah Daniel Sydney.....Ashleigh Haddad Gaynor.....Sara Gregory Omar.....Danny Ashok Euan…..Jamie Redford Sam…..Claire Cage Production Co-ordinators.....Eleri McAuliffe and Lindsay Rees Sound Design.....Catherine Robinson and Nigel Lewis Directed by Philippa Swallow, John Norton and Emma Harding, BBC Audio Drama Wales

Welcome back to Make Mine Paperback! This week starts a new month and a return to classic comic books. To celebrate St Patrick's Day, coinciding with Spring approaching, the gang is talking about all things green! Kicking off the new theme is Green Goblin #1-4, written by Tom DeFalco with art by Scott McDaniel. This comic is best described as an amalgamation of all things the 90s. From the super slammin' slang to the chaotic panels, this will give listeners a dose of 90s nostalgia. Although this comic may be lacking a compelling backstory for its title character, it does still provide entertainment in the form of explosions and the feeling that one is listening to a guitar riff the entire time due to the rock and roll nature of the time. Listen in as the podcast explores one of the lesser-known Green Goblins, Phil Ulrich!

Environment can use non renewable but in a clean way. Transition to green. Oil and gas will runout

In this episode, host Emma Sheppard is joined by Paul Clifford, Regional CEO at Azets, and Andrea Hartley, CEO of creative social and environmental impact consultancy Skating Panda. They discuss the importance of ESG and sustainability for SME business leaders; some of the low-cost, high impact initiatives that can be used; and how to turn being good to the environment into profitable growth. Bang the Drum has featured at #1 in the Apple Podcast charts for Management podcasts and #19 in the Apple Podcasts charts for Business podcasts. Listen, subscribe, rate and review, and share Bang the Drum with others who you think might enjoy it. Get in touch with Bang the Drum at podcast@azets.co.uk. Bang the Drum is brought to you by Azets, the international outsourcing, compliance, and advisory group. Find out more at azets.com. #BangTheDrum Download our top tips to starting your sustainability journey

Steve has a problem solver for people's health journey.  He will also be special guest on a some talk shows to promote his new product.See omnystudio.com/listener for privacy information.

    The 546th of a series of weekly radio programmes created by :zoviet*france:   First broadcast 24 December 2022 by Resonance 104.4 FM and CJMP 90.1 FM   Thanks to the artists included here for their fine work.   track list 00 [anonymous] - Intro 01 Ryoji Ikeda - - 02 Niels Lyhne Løkkegaard - Sound x Sound – Music for 9 Pianos (Side B: Partial Piece) 03 Runzelstirn & Gurgelstøck - Und 1 ['Ho' track 4] 04 [unknown artist / SE Trains] - sta_ahs 05 Mutant Beatniks - Little Shadows of the Mix Tape [track 1] 06 Rabbitsquirrel - To Drown in Steerage 07 Philippe Neau - Third G 08 Deathprod - Cloud Chamber 09 Michael Begg - Why Fum'th in Fight 10 Raghunath Khe - Bringing Forth 11 Eeem [eim] - Beige ++ [anonymous] - Outro    

In de drieëndertigste aflevering delen IndyCar-commentator René Hoogterp, autosportschrijver Jeroen Demmendaal en presentator Frederik Middelhoff in een feestelijke setting de Green Green Green Awards over het seizoen 2022 uit. Dat en meer in dé Nederlandse IndyCar-podcast!

This week is another exciting chapter of pain; S01E08 (The Green, Green Glow of Home).

✨ Subscribe to the Green Pill Podcast ✨ https://availableon.com/greenpill 

This podcast discusses the show Green Acres. This episode is also available as a blog post: http://thewritelife61.com/2017/10/23/go-green-green-acres-that-is/

This podcast discusses the show Green Acres. This episode is also available as a blog post: http://thewritelife61.com/2017/10/23/go-green-green-acres-that-is/

S2-E37 LEGEND: THE GREEN CHILDREN OF WOOLPIT!!! The children were entirely GREEN in color! Where did they come from? Who or WHAT were they?! They came out of seemingly nowhere and stunned the English townspeople – they were entirely green in skin color and spoke a strange language!! Were they terrestrial or extraterrestrial? Find out in this shortened episode of a very strange legend that astounds the imagination! And as always, you'll also get the answer to this week's Tuesday Quiz from the Facebook Page. RESOURCES: · The Green Children Found in A Cave by Buzzfeed: YouTube Video · The Green Children of Woolpit (a youth book) by J. Anderson Coats: Amazon Book MUSIC: Our intro song: Knockers by Cinco Music from Uppbeat (free for Creators!): https://uppbeat.io/t/cinco/knockers License code: WOV5PUB9XXLYRORN Our outro song: Lost Places Music by Julius H from Pixabay Rebirth by AK Music from Uppbeat (free for Creators!): https://uppbeat.io/t/ak/rebirth License code: SIML2BOTYV7GMHDK Name of the Night by Kisnou Music from Uppbeat (free for Creators!): https://uppbeat.io/t/kisnou/name-of-the-night License code: POXQ4ELOCICXZRNU Haunted House Music by Caffeine Creek Band from Pixabay Drum Roll by Chris Wyman --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/richard-wright15/message

We start season four of A History of Rock Music in Five Hundred Songs with an extra-long look at "San Francisco" by Scott McKenzie, and at the Monterey Pop Festival, and the careers of the Mamas and the Papas and P.F. Sloan. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Up, Up, and Away" by the 5th Dimension. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, all the songs excerpted in the podcast can be heard in full at Mixcloud. Scott McKenzie's first album is available here. There are many compilations of the Mamas and the Papas' music, but sadly none that are in print in the UK have the original mono mixes. This set is about as good as you're going to find, though, for the stereo versions. Information on the Mamas and the Papas came from Go Where You Wanna Go: The Oral History of The Mamas and the Papas by Matthew Greenwald, California Dreamin': The True Story Of The Mamas and Papas by Michelle Phillips, and Papa John by John Phillips and Jim Jerome. Information on P.F. Sloan came from PF - TRAVELLING BAREFOOT ON A ROCKY ROAD by Stephen McParland and What's Exactly the Matter With Me? by P.F. Sloan and S.E. Feinberg. The film of the Monterey Pop Festival is available on this Criterion Blu-Ray set. Sadly the CD of the performances seems to be deleted. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to season four of A History of Rock Music in Five Hundred Songs. It's good to be back. Before we start this episode, I just want to say one thing. I get a lot of credit at times for the way I don't shy away from dealing with the more unsavoury elements of the people being covered in my podcast -- particularly the more awful men. But as I said very early on, I only cover those aspects of their life when they're relevant to the music, because this is a music podcast and not a true crime podcast. But also I worry that in some cases this might mean I'm giving a false impression of some people. In the case of this episode, one of the central figures is John Phillips of the Mamas and the Papas. Now, Phillips has posthumously been accused of some truly monstrous acts, the kind of thing that is truly unforgivable, and I believe those accusations. But those acts didn't take place during the time period covered by most of this episode, so I won't be covering them here -- but they're easily googlable if you want to know. I thought it best to get that out of the way at the start, so no-one's either anxiously waiting for the penny to drop or upset that I didn't acknowledge the elephant in the room. Separately, this episode will have some discussion of fatphobia and diet culture, and of a death that is at least in part attributable to those things. Those of you affected by that may want to skip this one or read the transcript. There are also some mentions of drug addiction and alcoholism. Anyway, on with the show. One of the things that causes problems with rock history is the tendency of people to have selective memories, and that's never more true than when it comes to the Summer of Love, summer of 1967. In the mythology that's built up around it, that was a golden time, the greatest time ever, a period of peace and love where everything was possible, and the world looked like it was going to just keep on getting better. But what that means, of course, is that the people remembering it that way do so because it was the best time of their lives. And what happens when the best time of your life is over in one summer? When you have one hit and never have a second, or when your band splits up after only eighteen months, and you have to cope with the reality that your best years are not only behind you, but they weren't even best years, but just best months? What stories would you tell about that time? Would you remember it as the eve of destruction, the last great moment before everything went to hell, or would you remember it as a golden summer, full of people with flowers in their hair? And would either really be true? [Excerpt: Scott McKenzie, "San Francisco"] Other than the city in which they worked, there are a few things that seem to characterise almost all the important figures on the LA music scene in the middle part of the 1960s. They almost all seem to be incredibly ambitious, as one might imagine. There seem to be a huge number of fantasists among them -- people who will not only choose the legend over reality when it suits them, but who will choose the legend over reality even when it doesn't suit them. And they almost all seem to have a story about being turned down in a rude and arrogant manner by Lou Adler, usually more or less the same story. To give an example, I'm going to read out a bit of Ray Manzarek's autobiography here. Now, Manzarek uses a few words that I can't use on this podcast and keep a clean rating, so I'm just going to do slight pauses when I get to them, but I'll leave the words in the transcript for those who aren't offended by them: "Sometimes Jim and Dorothy and I went alone. The three of us tried Dunhill Records. Lou Adler was the head man. He was shrewd and he was hip. He had the Mamas and the Papas and a big single with Barry McGuire's 'Eve of Destruction.' He was flush. We were ushered into his office. He looked cool. He was California casually disheveled and had the look of a stoner, but his eyes were as cold as a shark's. He took the twelve-inch acetate demo from me and we all sat down. He put the disc on his turntable and played each cut…for ten seconds. Ten seconds! You can't tell jack [shit] from ten seconds. At least listen to one of the songs all the way through. I wanted to rage at him. 'How dare you! We're the Doors! This is [fucking] Jim Morrison! He's going to be a [fucking] star! Can't you see that? Can't you see how [fucking] handsome he is? Can't you hear how groovy the music is? Don't you [fucking] get it? Listen to the words, man!' My brain was a boiling, lava-filled Jell-O mold of rage. I wanted to eviscerate that shark. The songs he so casually dismissed were 'Moonlight Drive,' 'Hello, I Love You,' 'Summer's Almost Gone,' 'End of the Night,' 'I Looked at You,' 'Go Insane.' He rejected the whole demo. Ten seconds on each song—maybe twenty seconds on 'Hello, I Love You' (I took that as an omen of potential airplay)—and we were dismissed out of hand. Just like that. He took the demo off the turntable and handed it back to me with an obsequious smile and said, 'Nothing here I can use.' We were shocked. We stood up, the three of us, and Jim, with a wry and knowing smile on his lips, cuttingly and coolly shot back at him, 'That's okay, man. We don't want to be *used*, anyway.'" Now, as you may have gathered from the episode on the Doors, Ray Manzarek was one of those print-the-legend types, and that's true of everyone who tells similar stories about Lou Alder. But... there are a *lot* of people who tell similar stories about Lou Adler. One of those was Phil Sloan. You can get an idea of Sloan's attitude to storytelling from a story he always used to tell. Shortly after he and his family moved to LA from New York, he got a job selling newspapers on a street corner on Hollywood Boulevard, just across from Schwab's Drug Store. One day James Dean drove up in his Porsche and made an unusual request. He wanted to buy every copy of the newspaper that Sloan had -- around a hundred and fifty copies in total. But he only wanted one article, something in the entertainment section. Sloan didn't remember what the article was, but he did remember that one of the headlines was on the final illness of Oliver Hardy, who died shortly afterwards, and thought it might have been something to do with that. Dean was going to just clip that article from every copy he bought, and then he was going to give all the newspapers back to Sloan to sell again, so Sloan ended up making a lot of extra money that day. There is one rather big problem with that story. Oliver Hardy died in August 1957, just after the Sloan family moved to LA. But James Dean died in September 1955, two years earlier. Sloan admitted that, and said he couldn't explain it, but he was insistent. He sold a hundred and fifty newspapers to James Dean two years after Dean's death. When not selling newspapers to dead celebrities, Sloan went to Fairfax High School, and developed an interest in music which was mostly oriented around the kind of white pop vocal groups that were popular at the time, groups like the Kingston Trio, the Four Lads, and the Four Aces. But the record that made Sloan decide he wanted to make music himself was "Just Goofed" by the Teen Queens: [Excerpt: The Teen Queens, "Just Goofed"] In 1959, when he was fourteen, he saw an advert for an open audition with Aladdin Records, a label he liked because of Thurston Harris. He went along to the audition, and was successful. His first single, released as by Flip Sloan -- Flip was a nickname, a corruption of "Philip" -- was produced by Bumps Blackwell and featured several of the musicians who played with Sam Cooke, plus Larry Knechtel on piano and Mike Deasey on guitar, but Aladdin shut down shortly after releasing it, and it may not even have had a general release, just promo copies. I've not been able to find a copy online anywhere. After that, he tried Arwin Records, the label that Jan and Arnie recorded for, which was owned by Marty Melcher (Doris Day's husband and Terry Melcher's stepfather). Melcher signed him, and put out a single, "She's My Girl", on Mart Records, a subsidiary of Arwin, on which Sloan was backed by a group of session players including Sandy Nelson and Bruce Johnston: [Excerpt: Philip Sloan, "She's My Girl"] That record didn't have any success, and Sloan was soon dropped by Mart Records. He went on to sign with Blue Bird Records, which was as far as can be ascertained essentially a scam organisation that would record demos for songwriters, but tell the performers that they were making a real record, so that they would record it for the royalties they would never get, rather than for a decent fee as a professional demo singer would get. But Steve Venet -- the brother of Nik Venet, and occasional songwriting collaborator with Tommy Boyce -- happened to come to Blue Bird one day, and hear one of Sloan's original songs. He thought Sloan would make a good songwriter, and took him to see Lou Adler at Columbia-Screen Gems music publishing. This was shortly after the merger between Columbia-Screen Gems and Aldon Music, and Adler was at this point the West Coast head of operations, subservient to Don Kirshner and Al Nevins, but largely left to do what he wanted. The way Sloan always told the story, Venet tried to get Adler to sign Sloan, but Adler said his songs stunk and had no commercial potential. But Sloan persisted in trying to get a contract there, and eventually Al Nevins happened to be in the office and overruled Adler, much to Adler's disgust. Sloan was signed to Columbia-Screen Gems as a songwriter, though he wasn't put on a salary like the Brill Building songwriters, just told that he could bring in songs and they would publish them. Shortly after this, Adler suggested to Sloan that he might want to form a writing team with another songwriter, Steve Barri, who had had a similar non-career non-trajectory, but was very slightly further ahead in his career, having done some work with Carol Connors, the former lead singer of the Teddy Bears. Barri had co-written a couple of flop singles for Connors, before the two of them had formed a vocal group, the Storytellers, with Connors' sister. The Storytellers had released a single, "When Two People (Are in Love)" , which was put out on a local independent label and which Adler had licensed to be released on Dimension Records, the label associated with Aldon Music: [Excerpt: The Storytellers "When Two People (Are in Love)"] That record didn't sell, but it was enough to get Barri into the Columbia-Screen Gems circle, and Adler set him and Sloan up as a songwriting team -- although the way Sloan told it, it wasn't so much a songwriting team as Sloan writing songs while Barri was also there. Sloan would later claim "it was mostly a collaboration of spirit, and it seemed that I was writing most of the music and the lyric, but it couldn't possibly have ever happened unless both of us were present at the same time". One suspects that Barri might have a different recollection of how it went... Sloan and Barri's first collaboration was a song that Sloan had half-written before they met, called "Kick That Little Foot Sally Ann", which was recorded by a West Coast Chubby Checker knockoff who went under the name Round Robin, and who had his own dance craze, the Slauson, which was much less successful than the Twist: [Excerpt: Round Robin, "Kick that Little Foot Sally Ann"] That track was produced and arranged by Jack Nitzsche, and Nitzsche asked Sloan to be one of the rhythm guitarists on the track, apparently liking Sloan's feel. Sloan would end up playing rhythm guitar or singing backing vocals on many of the records made of songs he and Barri wrote together. "Kick That Little Foot Sally Ann" only made number sixty-one nationally, but it was a regional hit, and it meant that Sloan and Barri soon became what Sloan later described as "the Goffin and King of the West Coast follow-ups." According to Sloan "We'd be given a list on Monday morning by Lou Adler with thirty names on it of the groups who needed follow-ups to their hit." They'd then write the songs to order, and they started to specialise in dance craze songs. For example, when the Swim looked like it might be the next big dance, they wrote "Swim Swim Swim", "She Only Wants to Swim", "Let's Swim Baby", "Big Boss Swimmer", "Swim Party" and "My Swimmin' Girl" (the last a collaboration with Jan Berry and Roger Christian). These songs were exactly as good as they needed to be, in order to provide album filler for mid-tier artists, and while Sloan and Barri weren't writing any massive hits, they were doing very well as mid-tier writers. According to Sloan's biographer Stephen McParland, there was a three-year period in the mid-sixties where at least one song written or co-written by Sloan was on the national charts at any given time. Most of these songs weren't for Columbia-Screen Gems though. In early 1964 Lou Adler had a falling out with Don Kirshner, and decided to start up his own company, Dunhill, which was equal parts production company, music publishers, and management -- doing for West Coast pop singers what Motown was doing for Detroit soul singers, and putting everything into one basket. Dunhill's early clients included Jan and Dean and the rockabilly singer Johnny Rivers, and Dunhill also signed Sloan and Barri as songwriters. Because of this connection, Sloan and Barri soon became an important part of Jan and Dean's hit-making process. The Matadors, the vocal group that had provided most of the backing vocals on the duo's hits, had started asking for more money than Jan Berry was willing to pay, and Jan and Dean couldn't do the vocals themselves -- as Bones Howe put it "As a singer, Dean is a wonderful graphic artist" -- and so Sloan and Barri stepped in, doing session vocals without payment in the hope that Jan and Dean would record a few of their songs. For example, on the big hit "The Little Old Lady From Pasadena", Dean Torrence is not present at all on the record -- Jan Berry sings the lead vocal, with Sloan doubling him for much of it, Sloan sings "Dean"'s falsetto, with the engineer Bones Howe helping out, and the rest of the backing vocals are sung by Sloan, Barri, and Howe: [Excerpt: Jan and Dean, "The Little Old Lady From Pasadena"] For these recordings, Sloan and Barri were known as The Fantastic Baggys, a name which came from the Rolling Stones' manager Andrew Oldham and Mick Jagger, when the two were visiting California. Oldham had been commenting on baggys, the kind of shorts worn by surfers, and had asked Jagger what he thought of The Baggys as a group name. Jagger had replied "Fantastic!" and so the Fantastic Baggys had been born. As part of this, Sloan and Barri moved hard into surf and hot-rod music from the dance songs they had been writing previously. The Fantastic Baggys recorded their own album, Tell 'Em I'm Surfin', as a quickie album suggested by Adler: [Excerpt: The Fantastic Baggys, "Tell 'Em I'm Surfin'"] And under the name The Rally Packs they recorded a version of Jan and Dean's "Move Out Little Mustang" which featured Berry's girlfriend Jill Gibson doing a spoken section: [Excerpt: The Rally Packs, "Move Out Little Mustang"] They also wrote several album tracks for Jan and Dean, and wrote "Summer Means Fun" for Bruce and Terry -- Bruce Johnston, later of the Beach Boys, and Terry Melcher: [Excerpt: Bruce and Terry, "Summer Means Fun"] And they wrote the very surf-flavoured "Secret Agent Man" for fellow Dunhill artist Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But of course, when you're chasing trends, you're chasing trends, and soon the craze for twangy guitars and falsetto harmonies had ended, replaced by a craze for jangly twelve-string guitars and closer harmonies. According to Sloan, he was in at the very beginning of the folk-rock trend -- the way he told the story, he was involved in the mastering of the Byrds' version of "Mr. Tambourine Man". He later talked about Terry Melcher getting him to help out, saying "He had produced a record called 'Mr. Tambourine Man', and had sent it into the head office, and it had been rejected. He called me up and said 'I've got three more hours in the studio before I'm being kicked out of Columbia. Can you come over and help me with this new record?' I did. I went over there. It was under lock and key. There were two guards outside the door. Terry asked me something about 'Summer Means Fun'. "He said 'Do you remember the guitar that we worked on with that? How we put in that double reverb?' "And I said 'yes' "And he said 'What do you think if we did something like that with the Byrds?' "And I said 'That sounds good. Let's see what it sounds like.' So we patched into all the reverb centres in Columbia Music, and mastered the record in three hours." Whether Sloan really was there at the birth of folk rock, he and Barri jumped on the folk-rock craze just as they had the surf and hot-rod craze, and wrote a string of jangly hits including "You Baby" for the Turtles: [Excerpt: The Turtles, "You Baby"] and "I Found a Girl" for Jan and Dean: [Excerpt: Jan and Dean, "I Found a Girl"] That song was later included on Jan and Dean's Folk 'n' Roll album, which also included... a song I'm not even going to name, but long-time listeners will know the one I mean. It was also notable in that "I Found a Girl" was the first song on which Sloan was credited not as Phil Sloan, but as P.F. Sloan -- he didn't have a middle name beginning with F, but rather the F stood for his nickname "Flip". Sloan would later talk of Phil Sloan and P.F. Sloan as almost being two different people, with P.F. being a far more serious, intense, songwriter. Folk 'n' Roll also contained another Sloan song, this one credited solely to Sloan. And that song is the one for which he became best known. There are two very different stories about how "Eve of Destruction" came to be written. To tell Sloan's version, I'm going to read a few paragraphs from his autobiography: "By late 1964, I had already written ‘Eve Of Destruction,' ‘The Sins Of A Family,' ‘This Mornin',' ‘Ain't No Way I'm Gonna Change My Mind,' and ‘What's Exactly The Matter With Me?' They all arrived on one cataclysmic evening, and nearly at the same time, as I worked on the lyrics almost simultaneously. ‘Eve Of Destruction' came about from hearing a voice, perhaps an angel's. The voice instructed me to place five pieces of paper and spread them out on my bed. I obeyed the voice. The voice told me that the first song would be called ‘Eve Of Destruction,' so I wrote the title at the top of the page. For the next few hours, the voice came and went as I was writing the lyric, as if this spirit—or whatever it was—stood over me like a teacher: ‘No, no … not think of all the hate there is in Red Russia … Red China!' I didn't understand. I thought the Soviet Union was the mortal threat to America, but the voice went on to reveal to me the future of the world until 2024. I was told the Soviet Union would fall, and that Red China would continue to be communist far into the future, but that communism was not going to be allowed to take over this Divine Planet—therefore, think of all the hate there is in Red China. I argued and wrestled with the voice for hours, until I was exhausted but satisfied inside with my plea to God to either take me out of the world, as I could not live in such a hypocritical society, or to show me a way to make things better. When I was writing ‘Eve,' I was on my hands and knees, pleading for an answer." Lou Adler's story is that he gave Phil Sloan a copy of Bob Dylan's Bringing it All Back Home album and told him to write a bunch of songs that sounded like that, and Sloan came back a week later as instructed with ten Dylan knock-offs. Adler said "It was a natural feel for him. He's a great mimic." As one other data point, both Steve Barri and Bones Howe, the engineer who worked on most of the sessions we're looking at today, have often talked in interviews about "Eve of Destruction" as being a Sloan/Barri collaboration, as if to them it's common knowledge that it wasn't written alone, although Sloan's is the only name on the credits. The song was given to a new signing to Dunhill Records, Barry McGuire. McGuire was someone who had been part of the folk scene for years, He'd been playing folk clubs in LA while also acting in a TV show from 1961. When the TV show had finished, he'd formed a duo, Barry and Barry, with Barry Kane, and they performed much the same repertoire as all the other early-sixties folkies: [Excerpt: Barry and Barry, "If I Had a Hammer"] After recording their one album, both Barrys joined the New Christy Minstrels. We've talked about the Christys before, but they were -- and are to this day -- an ultra-commercial folk group, led by Randy Sparks, with a revolving membership of usually eight or nine singers which included several other people who've come up in this podcast, like Gene Clark and Jerry Yester. McGuire became one of the principal lead singers of the Christys, singing lead on their version of the novelty cowboy song "Three Wheels on My Wagon", which was later released as a single in the UK and became a perennial children's favourite (though it has a problematic attitude towards Native Americans): [Excerpt: The New Christy Minstrels, "Three Wheels on My Wagon"] And he also sang lead on their big hit "Green Green", which he co-wrote with Randy Sparks: [Excerpt: The New Christy Minstrels, "Green Green"] But by 1965 McGuire had left the New Christy Minstrels. As he said later "I'd sung 'Green Green' a thousand times and I didn't want to sing it again. This is January of 1965. I went back to LA to meet some producers, and I was broke. Nobody had the time of day for me. I was walking down street one time to see Dr. Strangelove and I walked by the music store, and I heard "Green Green" comin' out of the store, ya know, on Hollywood Boulevard. And I heard my voice, and I thought, 'I got four dollars in my pocket!' I couldn't believe it, my voice is comin' out on Hollywood Boulevard, and I'm broke. And right at that moment, a car pulls up, and the radio is playing 'Chim Chim Cherie" also by the Minstrels. So I got my voice comin' at me in stereo, standin' on the sidewalk there, and I'm broke, and I can't get anyone to sign me!" But McGuire had a lot of friends who he'd met on the folk scene, some of whom were now in the new folk-rock scene that was just starting to spring up. One of them was Roger McGuinn, who told him that his band, the Byrds, were just about to put out a new single, "Mr. Tambourine Man", and that they were about to start a residency at Ciro's on Sunset Strip. McGuinn invited McGuire to the opening night of that residency, where a lot of other people from the scene were there to see the new group. Bob Dylan was there, as was Phil Sloan, and the actor Jack Nicholson, who was still at the time a minor bit-part player in low-budget films made by people like American International Pictures (the cinematographer on many of Nicholson's early films was Floyd Crosby, David Crosby's father, which may be why he was there). Someone else who was there was Lou Adler, who according to McGuire recognised him instantly. According to Adler, he actually asked Terry Melcher who the long-haired dancer wearing furs was, because "he looked like the leader of a movement", and Melcher told him that he was the former lead singer of the New Christy Minstrels. Either way, Adler approached McGuire and asked if he was currently signed -- Dunhill Records was just starting up, and getting someone like McGuire, who had a proven ability to sing lead on hit records, would be a good start for the label. As McGuire didn't have a contract, he was signed to Dunhill, and he was given some of Sloan's new songs to pick from, and chose "What's Exactly the Matter With Me?" as his single: [Excerpt: Barry McGuire, "What's Exactly the Matter With Me?"] McGuire described what happened next: "It was like, a three-hour session. We did two songs, and then the third one wasn't turning out. We only had about a half hour left in the session, so I said 'Let's do this tune', and I pulled 'Eve of Destruction' out of my pocket, and it just had Phil's words scrawled on a piece of paper, all wrinkled up. Phil worked the chords out with the musicians, who were Hal Blaine on drums and Larry Knechtel on bass." There were actually more musicians than that at the session -- apparently both Knechtel and Joe Osborn were there, so I'm not entirely sure who's playing bass -- Knechtel was a keyboard player as well as a bass player, but I don't hear any keyboards on the track. And Tommy Tedesco was playing lead guitar, and Steve Barri added percussion, along with Sloan on rhythm guitar and harmonica. The chords were apparently scribbled down for the musicians on bits of greasy paper that had been used to wrap some takeaway chicken, and they got through the track in a single take. According to McGuire "I'm reading the words off this piece of wrinkled paper, and I'm singing 'My blood's so mad, feels like coagulatin'", that part that goes 'Ahhh you can't twist the truth', and the reason I'm going 'Ahhh' is because I lost my place on the page. People said 'Man, you really sounded frustrated when you were singing.' I was. I couldn't see the words!" [Excerpt: Barry McGuire, "Eve of Destruction"] With a few overdubs -- the female backing singers in the chorus, and possibly the kettledrums, which I've seen differing claims about, with some saying that Hal Blaine played them during the basic track and others saying that Lou Adler suggested them as an overdub, the track was complete. McGuire wasn't happy with his vocal, and a session was scheduled for him to redo it, but then a record promoter working with Adler was DJing a birthday party for the head of programming at KFWB, the big top forty radio station in LA at the time, and he played a few acetates he'd picked up from Adler. Most went down OK with the crowd, but when he played "Eve of Destruction", the crowd went wild and insisted he play it three times in a row. The head of programming called Adler up and told him that "Eve of Destruction" was going to be put into rotation on the station from Monday, so he'd better get the record out. As McGuire was away for the weekend, Adler just released the track as it was, and what had been intended to be a B-side became Barry McGuire's first and only number one record: [Excerpt: Barry McGuire, "Eve of Destruction"] Sloan would later claim that that song was a major reason why the twenty-sixth amendment to the US Constitution was passed six years later, because the line "you're old enough to kill but not for votin'" shamed Congress into changing the constitution to allow eighteen-year-olds to vote. If so, that would make "Eve of Destruction" arguably the single most impactful rock record in history, though Sloan is the only person I've ever seen saying that As well as going to number one in McGuire's version, the song was also covered by the other artists who regularly performed Sloan and Barri songs, like the Turtles: [Excerpt: The Turtles, "Eve of Destruction"] And Jan and Dean, whose version on Folk & Roll used the same backing track as McGuire, but had a few lyrical changes to make it fit with Jan Berry's right-wing politics, most notably changing "Selma, Alabama" to "Watts, California", thus changing a reference to peaceful civil rights protestors being brutally attacked and murdered by white supremacist state troopers to a reference to what was seen, in the popular imaginary, as Black people rioting for no reason: [Excerpt: Jan and Dean, "Eve of Destruction"] According to Sloan, he worked on the Folk & Roll album as a favour to Berry, even though he thought Berry was being cynical and exploitative in making the record, but those changes caused a rift in their friendship. Sloan said in his autobiography "Where I was completely wrong was in helping him capitalize on something in which he didn't believe. Jan wanted the public to perceive him as a person who was deeply concerned and who embraced the values of the progressive politics of the day. But he wasn't that person. That's how I was being pulled. It was when he recorded my actual song ‘Eve Of Destruction' and changed a number of lines to reflect his own ideals that my principles demanded that I leave Folk City and never return." It's true that Sloan gave no more songs to Jan and Dean after that point -- but it's also true that the duo would record only one more album, the comedy concept album Jan and Dean Meet Batman, before Jan's accident. Incidentally, the reference to Selma, Alabama in the lyric might help people decide on which story about the writing of "Eve of Destruction" they think is more plausible. Remember that Lou Adler said that it was written after Adler gave Sloan a copy of Bringing it All Back Home and told him to write a bunch of knock-offs, while Sloan said it was written after a supernatural force gave him access to all the events that would happen in the world for the next sixty years. Sloan claimed the song was written in late 1964. Selma, Alabama, became national news in late February and early March 1965. Bringing it All Back Home was released in late March 1965. So either Adler was telling the truth, or Sloan really *was* given a supernatural insight into the events of the future. Now, as it turned out, while "Eve of Destruction" went to number one, that would be McGuire's only hit as a solo artist. His next couple of singles would reach the very low end of the Hot One Hundred, and that would be it -- he'd release several more albums, before appearing in the Broadway musical Hair, most famous for its nude scenes, and getting a small part in the cinematic masterpiece Werewolves on Wheels: [Excerpt: Werewolves on Wheels trailer] P.F. Sloan would later tell various stories about why McGuire never had another hit. Sometimes he would say that Dunhill Records had received death threats because of "Eve of Destruction" and so deliberately tried to bury McGuire's career, other times he would say that Lou Adler had told him that Billboard had said they were never going to put McGuire's records on the charts no matter how well they sold, because "Eve of Destruction" had just been too powerful and upset the advertisers. But of course at this time Dunhill were still trying for a follow-up to "Eve of Destruction", and they thought they might have one when Barry McGuire brought in a few friends of his to sing backing vocals on his second album. Now, we've covered some of the history of the Mamas and the Papas already, because they were intimately tied up with other groups like the Byrds and the Lovin' Spoonful, and with the folk scene that led to songs like "Hey Joe", so some of this will be more like a recap than a totally new story, but I'm going to recap those parts of the story anyway, so it's fresh in everyone's heads. John Phillips, Scott McKenzie, and Cass Elliot all grew up in Alexandria, Virginia, just a few miles south of Washington DC. Elliot was a few years younger than Phillips and McKenzie, and so as is the way with young men they never really noticed her, and as McKenzie later said "She lived like a quarter of a mile from me and I never met her until New York". While they didn't know who Elliot was, though, she was aware who they were, as Phillips and McKenzie sang together in a vocal group called The Smoothies. The Smoothies were a modern jazz harmony group, influenced by groups like the Modernaires, the Hi-Los, and the Four Freshmen. John Phillips later said "We were drawn to jazz, because we were sort of beatniks, really, rather than hippies, or whatever, flower children. So we used to sing modern harmonies, like Lambert, Hendricks, and Ross. Dave Lambert did a lot of our arrangements for us as a matter of fact." Now, I've not seen any evidence other than Phillips' claim that Dave Lambert ever arranged for the Smoothies, but that does tell you a lot about the kind of music that they were doing. Lambert, Hendricks, and Ross were a vocalese trio whose main star was Annie Ross, who had a career worthy of an episode in itself -- she sang with Paul Whiteman, appeared in a Little Rascals film when she was seven, had an affair with Lenny Bruce, dubbed Britt Ekland's voice in The Wicker Man, played the villain's sister in Superman III, and much more. Vocalese, you'll remember, was a style of jazz vocal where a singer would take a jazz instrumental, often an improvised one, and add lyrics which they would sing, like Lambert, Hendricks, and Ross' version of "Cloudburst": [Excerpt: Lambert, Hendricks, and Ross, "Cloudburst"] Whether Dave Lambert ever really did arrange for the Smoothies or not, it's very clear that the trio had a huge influence on John Phillips' ideas about vocal arrangement, as you can hear on Mamas and Papas records like "Once Was a Time I Thought": [Excerpt: The Mamas and the Papas, "Once Was a Time I Thought"] While the Smoothies thought of themselves as a jazz group, when they signed to Decca they started out making the standard teen pop of the era, with songs like "Softly": [Excerpt, The Smoothies, "Softly"] When the folk boom started, Phillips realised that this was music that he could do easily, because the level of musicianship among the pop-folk musicians was so much lower than in the jazz world. The Smoothies made some recordings in the style of the Kingston Trio, like "Ride Ride Ride": [Excerpt: The Smoothies, "Ride Ride Ride"] Then when the Smoothies split, Phillips and McKenzie formed a trio with a banjo player, Dick Weissman, who they met through Izzy Young's Folklore Centre in Greenwich Village after Phillips asked Young to name some musicians who could make a folk record with him. Weissman was often considered the best banjo player on the scene, and was a friend of Pete Seeger's, to whom Seeger sometimes turned for banjo tips. The trio, who called themselves the Journeymen, quickly established themselves on the folk scene. Weissman later said "we had this interesting balance. John had all of this charisma -- they didn't know about the writing thing yet -- John had the personality, Scott had the voice, and I could play. If you think about it, all of those bands like the Kingston Trio, the Brothers Four, nobody could really *sing* and nobody could really *play*, relatively speaking." This is the take that most people seemed to have about John Phillips, in any band he was ever in. Nobody thought he was a particularly good singer or instrumentalist -- he could sing on key and play adequate rhythm guitar, but nobody would actually pay money to listen to him do those things. Mark Volman of the Turtles, for example, said of him "John wasn't the kind of guy who was going to be able to go up on stage and sing his songs as a singer-songwriter. He had to put himself in the context of a group." But he was charismatic, he had presence, and he also had a great musical mind. He would surround himself with the best players and best singers he could, and then he would organise and arrange them in ways that made the most of their talents. He would work out the arrangements, in a manner that was far more professional than the quick head arrangements that other folk groups used, and he instigated a level of professionalism in his groups that was not at all common on the scene. Phillips' friend Jim Mason talked about the first time he saw the Journeymen -- "They were warming up backstage, and John had all of them doing vocal exercises; one thing in particular that's pretty famous called 'Seiber Syllables' -- it's a series of vocal exercises where you enunciate different vowel and consonant sounds. It had the effect of clearing your head, and it's something that really good operetta singers do." The group were soon signed by Frank Werber, the manager of the Kingston Trio, who signed them as an insurance policy. Dave Guard, the Kingston Trio's banjo player, was increasingly having trouble with the other members, and Werber knew it was only a matter of time before he left the group. Werber wanted the Journeymen as a sort of farm team -- he had the idea that when Guard left, Phillips would join the Kingston Trio in his place as the third singer. Weissman would become the Trio's accompanist on banjo, and Scott McKenzie, who everyone agreed had a remarkable voice, would be spun off as a solo artist. But until that happened, they might as well make records by themselves. The Journeymen signed to MGM records, but were dropped before they recorded anything. They instead signed to Capitol, for whom they recorded their first album: [Excerpt: The Journeymen, "500 Miles"] After recording that album, the Journeymen moved out to California, with Phillips' wife and children. But soon Phillips' marriage was to collapse, as he met and fell in love with Michelle Gilliam. Gilliam was nine years younger than him -- he was twenty-six and she was seventeen -- and she had the kind of appearance which meant that in every interview with an older heterosexual man who knew her, that man will spend half the interview talking about how attractive he found her. Phillips soon left his wife and children, but before he did, the group had a turntable hit with "River Come Down", the B-side to "500 Miles": [Excerpt: The Journeymen, "River Come Down"] Around the same time, Dave Guard *did* leave the Kingston Trio, but the plan to split the Journeymen never happened. Instead Phillips' friend John Stewart replaced Guard -- and this soon became a new source of income for Phillips. Both Phillips and Stewart were aspiring songwriters, and they collaborated together on several songs for the Trio, including "Chilly Winds": [Excerpt: The Kingston Trio, "Chilly Winds"] Phillips became particularly good at writing songs that sounded like they could be old traditional folk songs, sometimes taking odd lines from older songs to jump-start new ones, as in "Oh Miss Mary", which he and Stewart wrote after hearing someone sing the first line of a song she couldn't remember the rest of: [Excerpt: The Kingston Trio, "Oh Miss Mary"] Phillips and Stewart became so close that Phillips actually suggested to Stewart that he quit the Kingston Trio and replace Dick Weissman in the Journeymen. Stewart did quit the Trio -- but then the next day Phillips suggested that maybe it was a bad idea and he should stay where he was. Stewart went back to the Trio, claimed he had only pretended to quit because he wanted a pay-rise, and got his raise, so everyone ended up happy. The Journeymen moved back to New York with Michelle in place of Phillips' first wife (and Michelle's sister Russell also coming along, as she was dating Scott McKenzie) and on New Year's Eve 1962 John and Michelle married -- so from this point on I will refer to them by their first names, because they both had the surname Phillips. The group continued having success through 1963, including making appearances on "Hootenanny": [Excerpt: The Journeymen, "Stack O'Lee (live on Hootenanny)"] By the time of the Journeymen's third album, though, John and Scott McKenzie were on bad terms. Weissman said "They had been the closest of friends and now they were the worst of enemies. They talked through me like I was a medium. It got to the point where we'd be standing in the dressing room and John would say to me 'Tell Scott that his right sock doesn't match his left sock...' Things like that, when they were standing five feet away from each other." Eventually, the group split up. Weissman was always going to be able to find employment given his banjo ability, and he was about to get married and didn't need the hassle of dealing with the other two. McKenzie was planning on a solo career -- everyone was agreed that he had the vocal ability. But John was another matter. He needed to be in a group. And not only that, the Journeymen had bookings they needed to complete. He quickly pulled together a group he called the New Journeymen. The core of the lineup was himself, Michelle on vocals, and banjo player Marshall Brickman. Brickman had previously been a member of a folk group called the Tarriers, who had had a revolving lineup, and had played on most of their early-sixties recordings: [Excerpt: The Tarriers, "Quinto (My Little Pony)"] We've met the Tarriers before in the podcast -- they had been formed by Erik Darling, who later replaced Pete Seeger in the Weavers after Seeger's socialist principles wouldn't let him do advertising, and Alan Arkin, later to go on to be a film star, and had had hits with "Cindy, O Cindy", with lead vocals from Vince Martin, who would later go on to be a major performer in the Greenwich Village scene, and with "The Banana Boat Song". By the time Brickman had joined, though, Darling, Arkin, and Martin had all left the group to go on to bigger things, and while he played with them for several years, it was after their commercial peak. Brickman would, though, also go on to a surprising amount of success, but as a writer rather than a musician -- he had a successful collaboration with Woody Allen in the 1970s, co-writing four of Allen's most highly regarded films -- Sleeper, Annie Hall, Manhattan, and Manhattan Murder Mystery -- and with another collaborator he later co-wrote the books for the stage musicals Jersey Boys and The Addams Family. Both John and Michelle were decent singers, and both have their admirers as vocalists -- P.F. Sloan always said that Michelle was the best singer in the group they eventually formed, and that it was her voice that gave the group its sound -- but for the most part they were not considered as particularly astonishing lead vocalists. Certainly, neither had a voice that stood out the way that Scott McKenzie's had. They needed a strong lead singer, and they found one in Denny Doherty. Now, we covered Denny Doherty's early career in the episode on the Lovin' Spoonful, because he was intimately involved in the formation of that group, so I won't go into too much detail here, but I'll give a very abbreviated version of what I said there. Doherty was a Canadian performer who had been a member of the Halifax Three with Zal Yanovsky: [Excerpt: The Halifax Three, "When I First Came to This Land"] After the Halifax Three had split up, Doherty and Yanovsky had performed as a duo for a while, before joining up with Cass Elliot and her husband Jim Hendricks, who both had previously been in the Big Three with Tim Rose: [Excerpt: Cass Elliot and the Big 3, "The Banjo Song"] Elliot, Hendricks, Yanovsky, and Doherty had formed The Mugwumps, sometimes joined by John Sebastian, and had tried to go in more of a rock direction after seeing the Beatles on Ed Sullivan. They recorded one album together before splitting up: [Excerpt: The Mugwumps, "Searchin'"] Part of the reason they split up was that interpersonal relationships within the group were put under some strain -- Elliot and Hendricks split up, though they would remain friends and remain married for several years even though they were living apart, and Elliot had an unrequited crush on Doherty. But since they'd split up, and Yanovsky and Sebastian had gone off to form the Lovin' Spoonful, that meant that Doherty was free, and he was regarded as possibly the best male lead vocalist on the circuit, so the group snapped him up. The only problem was that the Journeymen still had gigs booked that needed to be played, one of them was in just three days, and Doherty didn't know the repertoire. This was a problem with an easy solution for people in their twenties though -- they took a huge amount of amphetamines, and stayed awake for three days straight rehearsing. They made the gig, and Doherty was now the lead singer of the New Journeymen: [Excerpt: The New Journeymen, "The Last Thing on My Mind"] But the New Journeymen didn't last in that form for very long, because even before joining the group, Denny Doherty had been going in a more folk-rock direction with the Mugwumps. At the time, John Phillips thought rock and roll was kids' music, and he was far more interested in folk and jazz, but he was also very interested in making money, and he soon decided it was an idea to start listening to the Beatles. There's some dispute as to who first played the Beatles for John in early 1965 -- some claim it was Doherty, others claim it was Cass Elliot, but everyone agrees it was after Denny Doherty had introduced Phillips to something else -- he brought round some LSD for John and Michelle, and Michelle's sister Rusty, to try. And then he told them he'd invited round a friend. Michelle Phillips later remembered, "I remember saying to the guys "I don't know about you guys, but this drug does nothing for me." At that point there was a knock on the door, and as I opened the door and saw Cass, the acid hit me *over the head*. I saw her standing there in a pleated skirt, a pink Angora sweater with great big eyelashes on and her hair in a flip. And all of a sudden I thought 'This is really *quite* a drug!' It was an image I will have securely fixed in my brain for the rest of my life. I said 'Hi, I'm Michelle. We just took some LSD-25, do you wanna join us?' And she said 'Sure...'" Rusty Gilliam's description matches this -- "It was mind-boggling. She had on a white pleated skirt, false eyelashes. These were the kind of eyelashes that when you put them on you were supposed to trim them to an appropriate length, which she didn't, and when she blinked she looked like a cow, or those dolls you get when you're little and the eyes open and close. And we're on acid. Oh my God! It was a sight! And everything she was wearing were things that you weren't supposed to be wearing if you were heavy -- white pleated skirt, mohair sweater. You know, until she became famous, she suffered so much, and was poked fun at." This gets to an important point about Elliot, and one which sadly affected everything about her life. Elliot was *very* fat -- I've seen her weight listed at about three hundred pounds, and she was only five foot five tall -- and she also didn't have the kind of face that gets thought of as conventionally attractive. Her appearance would be cruelly mocked by pretty much everyone for the rest of her life, in ways that it's genuinely hurtful to read about, and which I will avoid discussing in detail in order to avoid hurting fat listeners. But the two *other* things that defined Elliot in the minds of those who knew her were her voice -- every single person who knew her talks about what a wonderful singer she was -- and her personality. I've read a lot of things about Cass Elliot, and I have never read a single negative word about her as a person, but have read many people going into raptures about what a charming, loving, friendly, understanding person she was. Michelle later said of her "From the time I left Los Angeles, I hadn't had a friend, a buddy. I was married, and John and I did not hang out with women, we just hung out with men, and especially not with women my age. John was nine years older than I was. And here was a fun-loving, intelligent woman. She captivated me. I was as close to in love with Cass as I could be to any woman in my life at that point. She also represented something to me: freedom. Everything she did was because she wanted to do it. She was completely independent and I admired her and was in awe of her. And later on, Cass would be the one to tell me not to let John run my life. And John hated her for that." Either Elliot had brought round Meet The Beatles, the Beatles' first Capitol album, for everyone to listen to, or Denny Doherty already had it, but either way Elliot and Doherty were by this time already Beatles fans. Michelle, being younger than the rest and not part of the folk scene until she met John, was much more interested in rock and roll than any of them, but because she'd been married to John for a couple of years and been part of his musical world she hadn't really encountered the Beatles music, though she had a vague memory that she might have heard a track or two on the radio. John was hesitant -- he didn't want to listen to any rock and roll, but eventually he was persuaded, and the record was put on while he was on his first acid trip: [Excerpt: The Beatles, "I Want to Hold Your Hand"] Within a month, John Phillips had written thirty songs that he thought of as inspired by the Beatles. The New Journeymen were going to go rock and roll. By this time Marshall Brickman was out of the band, and instead John, Michelle, and Denny recruited a new lead guitarist, Eric Hord. Denny started playing bass, with John on rhythm guitar, and a violinist friend of theirs, Peter Pilafian, knew a bit of drums and took on that role. The new lineup of the group used the Journeymen's credit card, which hadn't been stopped even though the Journeymen were no more, to go down to St. Thomas in the Caribbean, along with Michelle's sister, John's daughter Mackenzie (from whose name Scott McKenzie had taken his stage name, as he was born Philip Blondheim), a pet dog, and sundry band members' girlfriends. They stayed there for several months, living in tents on the beach, taking acid, and rehearsing. While they were there, Michelle and Denny started an affair which would have important ramifications for the group later. They got a gig playing at a club called Duffy's, whose address was on Creeque Alley, and soon after they started playing there Cass Elliot travelled down as well -- she was in love with Denny, and wanted to be around him. She wasn't in the group, but she got a job working at Duffy's as a waitress, and she would often sing harmony with the group while waiting at tables. Depending on who was telling the story, either she didn't want to be in the group because she didn't want her appearance to be compared to Michelle's, or John wouldn't *let* her be in the group because she was so fat. Later a story would be made up to cover for this, saying that she hadn't been in the group at first because she couldn't sing the highest notes that were needed, until she got hit on the head with a metal pipe and discovered that it had increased her range by three notes, but that seems to be a lie. One of the songs the New Journeymen were performing at this time was "Mr. Tambourine Man". They'd heard that their old friend Roger McGuinn had recorded it with his new band, but they hadn't yet heard his version, and they'd come up with their own arrangement: [Excerpt: The New Journeymen, "Mr. Tambourine Man"] Denny later said "We were doing three-part harmony on 'Mr Tambourine Man', but a lot slower... like a polka or something! And I tell John, 'No John, we gotta slow it down and give it a backbeat.' Finally we get the Byrds 45 down here, and we put it on and turn it up to ten, and John says 'Oh, like that?' Well, as you can tell, it had already been done. So John goes 'Oh, ah... that's it...' a light went on. So we started doing Beatles stuff. We dropped 'Mr Tambourine Man' after hearing the Byrds version, because there was no point." Eventually they had to leave the island -- they had completely run out of money, and were down to fifty dollars. The credit card had been cut up, and the governor of the island had a personal vendetta against them because they gave his son acid, and they were likely to get arrested if they didn't leave the island. Elliot and her then-partner had round-trip tickets, so they just left, but the rest of them were in trouble. By this point they were unwashed, they were homeless, and they'd spent their last money on stage costumes. They got to the airport, and John Phillips tried to write a cheque for eight air fares back to the mainland, which the person at the check-in desk just laughed at. So they took their last fifty dollars and went to a casino. There Michelle played craps, and she rolled seventeen straight passes, something which should be statistically impossible. She turned their fifty dollars into six thousand dollars, which they scooped up, took to the airport, and paid for their flights out in cash. The New Journeymen arrived back in New York, but quickly decided that they were going to try their luck in California. They rented a car, using Scott McKenzie's credit card, and drove out to LA. There they met up with Hoyt Axton, who you may remember as the son of Mae Axton, the writer of "Heartbreak Hotel", and as the performer who had inspired Michael Nesmith to go into folk music: [Excerpt: Hoyt Axton, "Greenback Dollar"] Axton knew the group, and fed them and put them up for a night, but they needed somewhere else to stay. They went to stay with one of Michelle's friends, but after one night their rented car was stolen, with all their possessions in it. They needed somewhere else to stay, so they went to ask Jim Hendricks if they could crash at his place -- and they were surprised to find that Cass Elliot was there already. Hendricks had another partner -- though he and Elliot wouldn't have their marriage annulled until 1968 and were still technically married -- but he'd happily invited her to stay with them. And now all her friends had turned up, he invited them to stay as well, taking apart the beds in his one-bedroom apartment so he could put down a load of mattresses in the space for everyone to sleep on. The next part becomes difficult, because pretty much everyone in the LA music scene of the sixties was a liar who liked to embellish their own roles in things, so it's quite difficult to unpick what actually happened. What seems to have happened though is that first this new rock-oriented version of the New Journeymen went to see Frank Werber, on the recommendation of John Stewart. Werber was the manager of the Kingston Trio, and had also managed the Journeymen. He, however, was not interested -- not because he didn't think they had talent, but because he had experience of working with John Phillips previously. When Phillips came into his office Werber picked up a tape that he'd been given of the group, and said "I have not had a chance to listen to this tape. I believe that you are a most talented individual, and that's why we took you on in the first place. But I also believe that you're also a drag to work with. A pain in the ass. So I'll tell you what, before whatever you have on here sways me, I'm gonna give it back to you and say that we're not interested." Meanwhile -- and this part of the story comes from Kim Fowley, who was never one to let the truth get in the way of him taking claim for everything, but parts of it at least are corroborated by other people -- Cass Elliot had called Fowley, and told him that her friends' new group sounded pretty good and he should sign them. Fowley was at that time working as a talent scout for a label, but according to him the label wouldn't give the group the money they wanted. So instead, Fowley got in touch with Nik Venet, who had just produced the Leaves' hit version of "Hey Joe" on Mira Records: [Excerpt: The Leaves, "Hey Joe"] Fowley suggested to Venet that Venet should sign the group to Mira Records, and Fowley would sign them to a publishing contract, and they could both get rich. The trio went to audition for Venet, and Elliot drove them over -- and Venet thought the group had a great look as a quartet. He wanted to sign them to a record contract, but only if Elliot was in the group as well. They agreed, he gave them a one hundred and fifty dollar advance, and told them to come back the next day to see his boss at Mira. But Barry McGuire was also hanging round with Elliot and Hendricks, and decided that he wanted to have Lou Adler hear the four of them. He thought they might be useful both as backing vocalists on his second album and as a source of new songs. He got them to go and see Lou Adler, and according to McGuire Phillips didn't want Elliot to go with them, but as Elliot was the one who was friends with McGuire, Phillips worried that they'd lose the chance with Adler if she didn't. Adler was amazed, and decided to sign the group right then and there -- both Bones Howe and P.F. Sloan claimed to have been there when the group auditioned for him and have said "if you won't sign them, I will", though exactly what Sloan would have signed them to I'm not sure. Adler paid them three thousand dollars in cash and told them not to bother with Nik Venet, so they just didn't turn up for the Mira Records audition the next day. Instead, they went into the studio with McGuire and cut backing vocals on about half of his new album: [Excerpt: Barry McGuire with the Mamas and the Papas, "Hide Your Love Away"] While the group were excellent vocalists, there were two main reasons that Adler wanted to sign them. The first was that he found Michelle Phillips extremely attractive, and the second is a song that John and Michelle had written which he thought might be very suitable for McGuire's album. Most people who knew John Phillips think of "California Dreamin'" as a solo composition, and he would later claim that he gave Michelle fifty percent just for transcribing his lyric, saying he got inspired in the middle of the night, woke her up, and got her to write the song down as he came up with it. But Michelle, who is a credited co-writer on the song, has been very insistent that she wrote the lyrics to the second verse, and that it's about her own real experiences, saying that she would often go into churches and light candles even though she was "at best an agnostic, and possibly an atheist" in her words, and this would annoy John, who had also been raised Catholic, but who had become aggressively opposed to expressions of religion, rather than still having nostalgia for the aesthetics of the church as Michelle did. They were out walking on a particularly cold winter's day in 1963, and Michelle wanted to go into St Patrick's Cathedral and John very much did not want to. A couple of nights later, John woke her up, having written the first verse of the song, starting "All the leaves are brown and the sky is grey/I went for a walk on a winter's day", and insisting she collaborate with him. She liked the song, and came up with the lines "Stopped into a church, I passed along the way/I got down on my knees and I pretend to pray/The preacher likes the cold, he knows I'm going to stay", which John would later apparently dislike, but which stayed in the song. Most sources I've seen for the recording of "California Dreamin'" say that the lineup of musicians was the standard set of players who had played on McGuire's other records, with the addition of John Phillips on twelve-string guitar -- P.F. Sloan on guitar and harmonica, Joe Osborn on bass, Larry Knechtel on keyboards, and Hal Blaine on drums, but for some reason Stephen McParland's book on Sloan has Bones Howe down as playing drums on the track while engineering -- a detail so weird, and from such a respectable researcher, that I have to wonder if it might be true. In his autobiography, Sloan claims to have rewritten the chord sequence to "California Dreamin'". He says "Barry Mann had unintentionally showed me a suspended chord back at Screen Gems. I was so impressed by this beautiful, simple chord that I called Brian Wilson and played it for him over the phone. The next thing I knew, Brian had written ‘Don't Worry Baby,' which had within it a number suspended chords. And then the chord heard 'round the world, two months later, was the opening suspended chord of ‘A Hard Day's Night.' I used these chords throughout ‘California Dreamin',' and more specifically as a bridge to get back and forth from the verse to the chorus." Now, nobody else corroborates this story, and both Brian Wilson and John Phillips had the kind of background in modern harmony that means they would have been very aware of suspended chords before either ever encountered Sloan, but I thought I should mention it. Rather more plausible is Sloan's other claim, that he came up with the intro to the song. According to Sloan, he was inspired by "Walk Don't Run" by the Ventures: [Excerpt: The Ventures, "Walk Don't Run"] And you can easily see how this: [plays "Walk Don't Run"] Can lead to this: [plays "California Dreamin'"] And I'm fairly certain that if that was the inspiration, it was Sloan who was the one who thought it up. John Phillips had been paying no attention to the world of surf music when "Walk Don't Run" had been a hit -- that had been at the point when he was very firmly in the folk world, while Sloan of course had been recording "Tell 'Em I'm Surfin'", and it had been his job to know surf music intimately. So Sloan's intro became the start of what was intended to be Barry McGuire's next single: [Excerpt: Barry McGuire, "California Dreamin'"] Sloan also provided the harmonica solo on the track: [Excerpt: Barry McGuire, "California Dreamin'"] The Mamas and the Papas -- the new name that was now given to the former New Journeymen, now they were a quartet -- were also signed to Dunhill as an act on their own, and recorded their own first single, "Go Where You Wanna Go", a song apparently written by John about Michelle, in late 1963, after she had briefly left him to have an affair with Russ Titelman, the record producer and songwriter, before coming back to him: [Excerpt: The Mamas and the Papas, "Go Where You Wanna Go"] But while that was put out, they quickly decided to scrap it and go with another song. The "Go Where You Wanna Go" single was pulled after only selling a handful of copies, though its commercial potential was later proved when in 1967 a new vocal group, the 5th Dimension, released a soundalike version as their second single. The track was produced by Lou Adler's client Johnny Rivers, and used the exact same musicians as the Mamas and the Papas version, with the exception of Phillips. It became their first hit, reaching number sixteen on the charts: [Excerpt: The 5th Dimension, "Go Where You Wanna Go"] The reason the Mamas and the Papas version of "Go Where You Wanna Go" was pulled was because everyone became convinced that their first single should instead be their own version of "California Dreamin'". This is the exact same track as McGuire's track, with just two changes. The first is that McGuire's lead vocal was replaced with Denny Doherty: [Excerpt: The Mamas and the Papas, "California Dreamin'"] Though if you listen to the stereo mix of the song and isolate the left channel, you can hear McGuire singing the lead on the first line, and occasional leakage from him elsewhere on the backing vocal track: [Excerpt: The Mamas and the Papas, "California Dreamin'"] The other change made was to replace Sloan's harmonica solo with an alto flute solo by Bud Shank, a jazz musician who we heard about in the episode on "Light My Fire", when he collaborated with Ravi Shankar on "Improvisations on the Theme From Pather Panchali": [Excerpt: Ravi Shankar, "Improvisation on the Theme From Pather Panchali"] Shank was working on another session in Western Studios, where they were recording the Mamas and Papas track, and Bones Howe approached him while he was packing his instrument and asked if he'd be interested in doing another session. Shank agreed, though the track caused problems for him. According to Shank "What had happened was that whe

This week, Terry O'Reilly looks at the ever-changing world of Green Marketing. He'll look back at how the green movement started, how it's evolved, how marketers navigate the shoals of green marketing today - and what it all means to everyday consumers. One thing for sure... it's not easy being green. See acast.com/privacy for privacy and opt-out information.

In de dertigste aflevering bereiden IndyCar-commentator René Hoogterp, autosportschrijver Jeroen Demmendaal en presentator Frederik Middelhoff je voor op een drukke IndyCar zomer, met vijf races in vijf weken tijd! Daarnaast delen we rapportcijfers uit voor het eerste half jaar en kijken we naar het silly season voor 2023. Dat en meer in dé Nederlandse IndyCar-podcast!

Business of Cannabis with David & Matt -Tiffay Soper, Nine Point - Jai Kensey, Good Green/Green Thumb Ind

Business of Cannabis with David & Matt -Tiffay Soper, Nine Point - Jai Kensey, Good Green/Green Thumb Ind

Ahman Green joined Hoot in the Sport Deli Podcast. He credits his success in large part to his amazing parents in particular his mother who taught him to set goals which is a skill he has now passed on to his 5 incredible kids (4 girls and 1 boy). We talked about a number of things from how his time in Los Angeles prepared him for high school football after his parents made him move back to Nebraska, his time at Nebraska as a Cornhusker in helping them win 2 National Championships and how much he admired Coach Osborne, his college coach who never cussed according to Green, ever and how incredible it was to play in Lambeau Field. He is now in a leadership position coaching young men and women creating a culture of inclusivity and empathy. He has aspirations to coach in the NFL but like me believes that the white quarterbacks in the NFL should be using their platform more to do more as public white allies. And you don't want to miss our very famous rapid fire "this or that" segment of the podcast. #GreenBay #BlackLivesMatter #NFL #ESPN #Nebraska #Seattle #NCAA Check it out where ever you listen to your audio and video podcasts! (Now on) AUDIBLE: https://lnkd.in/gXAwci_9 Google: https://lnkd.in/gDN-XnKU iHeart: https://lnkd.in/e8SzqHz Apple: https://lnkd.in/gDdqxh8b Spotify: https://lnkd.in/gzR3peVj Check out the Video Podcast at: YOUTUBE: https://lnkd.in/gdUy4iH Instagram: @MikeHootner https://www.instagram.com/mikehootner/ Tik Tok: @MikeHootner https://lnkd.in/gc_dyuwX Twitter: @MikeHootner https://twitter.com/MikeHootner LinkedIn: https://lnkd.in/gnFZGVfH Snapchat: https://lnkd.in/eNdH-YN6 Thanks for the Support! MUCH LOVE! --- Send in a voice message: https://anchor.fm/the-sports-deli/message Support this podcast: https://anchor.fm/the-sports-deli/support

*** Support for The Sons of UCF is brought to you by ​MANSCAPED. Get 20% OFF @manscaped + Free Shipping with promo code SONSOFUCF at MANSCAPED.com! #ad #manscapedpod- Headlines: the end of a GREAT Women's Basketball Season, roster changes again for the Men's team, and UCF wants your $$$- We breakdown the latest in Spring Football, including cadence, positions switches, throwing motions, nicknames, and is Mike ready to declare his breakout player already?- UCF OT Marcus Tatum (20-21) talks about his time at UCF, including playing in the Heupel offense, the outside noise of college sports, why he came back for his last year, his talks with Paul Rubelt, and his signature play at UCF- cow of the week on talent vs morals and a living dead man

We talk about covid restrictions being lessened at Disneyland Paris while at the same time they are increasing at Shanghai Disneyland. The annual stockholder meeting was held this past week with some very surprising takeaways. It feels like Disney has painted every food item some shade of green for the coming St. Patrick's day week. Email: dontdodisney@gmail.com

「本集節目由Surfshark VPN贊助播出」 現在使用此連結：https://surfshark.deals/ARASA 並輸入折扣碼：ARASA，即可享受83% off 以及額外贈送的3個月。 - 「陪你一起放長假的好朋友」 - 本週不但是台灣228連假， 同時也是Green開說九天長假， Green這幾天休假規劃了什麼行程呢？ 這集要跟大家分享一個重磅消息， 全球魂類系列玩家引頸企盼的「艾爾登法環」 在2/25日正式發售，讓我們來聽聽Green解釋， 這款遊戲究竟有什麼迷人之處呢？ 同時，另外一個重磅消息， 全台愛日系旅客引頸企盼的開放入境免隔離條件正式公告！ 日本正式宣布逐步放寬邊境管制， 只要滿足一定條件，現行的7天隔離期將可縮短到3天； 同時符合接種3劑疫苗等條件，更可免除隔離措施。 最後，相信最近大家應該也看到新聞， 烏克蘭與俄羅斯的戰爭消息， 在這邊期盼一切的風風雨雨都可以儘早平息，恢復和平。 - 小額贊助支持本節目： https://pay.firstory.me/user/arasayarou 留言告訴我你對這一集的想法： https://open.firstory.me/story/cl088fvgh3wde082423mldn8d?m=comment Powered by Firstory Hosting

In this episode we discussed “green” wine. Similar to the auburn wine episode Hailey and Ashley each did some independent research and came back to discuss what they learned about Green Wine.  A Guide to Sustainable Wine Certifications (Wine Enthusiast) LIVE Certified Demeter Biodynamic Certification SIP Certified USDA Organic Wine The Rainbow of Wine (Wine Folly) Vinho Verde (wiki) Root, Fruit, Flower and Leaf Days  

Austin and Collin sit down for a sports interview with Packers legend and all-time leading rusher: Ahman Green. Socials: Instagram https://www.instagram.com/inaleagueof... TikTok https://www.tiktok.com/@collin_league... Twitter https://twitter.com/InaLeagueofThe1 Twitch https://www.twitch.tv/inaleagueofthei... Partnerships: Golf Kicks: Use code “OWN20” at checkout for 20% off! https://golfkicks.com/ Cannadips: Use code “LEAGUEOFTHEIROWN15” at checkout for 15% off https://glnk.io/j16w/inaleagueoftheir... Repp Sports: Use code “LEAGUE” at checkout for 15% off! https://bit.ly/3ee1K5Z Streamerloot: Check out our merch to rep the pod! https://www.streamerloot.co/collectio... Intro video created by Jeff Salzbrunn Instagram: @itsjsalz Podcast music created by Ynot Instagram: @ynotcreates #podcast #sportspodcast #sports #sportshighlights #sportsnews #sportstakes #hottakes #football #baseball #hockey #basketball #golf #nfl #nhl #pga #mlb #ncaa #collegefootball #nflnews #nbahighlights #nbanews #nba #trending #viral #trendingsports #youtube #currentevents #sportlife #sportstalk #talkshow #packers #greenbaypackers #brewers #bucks #milwaukeebucks #badgers #wisconsin #wisconsinfootball #news #interview #ahmangreen --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

The Nuggets lose a heartbreaker to the Clippers in the preseason opener... but who cares, because Bones Hyland looked fantastic. Adam and Matt break down Bones Hyland's debut and talk about how to set expectations after such an audacious start. Plus, MPJ had a phenomenal start that went under the radar, the Green-Green lineups have a new nickname, and Matt gets to hate on Facu again.OH AND BOL!Support Us By Supporting Our Sponsors!SweatBlockGet it today for 20% off at SweatBlock.com with promo code LockedOn, or at Amazon and CVS.Built BarBuilt Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKED15” and you'll get 15% off your next order.BetOnline AGThere is only 1 place that has you covered and 1 place we trust. Betonline.ag! Sign up today for a free account at betonline.ag and use that promocode: LOCKEDON for your 50% welcome bonus.Rock AutoAmazing selection. Reliably low prices. All the parts your car will ever need. Visit RockAuto.com and tell them Locked On sent you. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Land and sea meet in a dance of littoral literature on this week's episode, in which two writers train their minds on overlooked expanses. Gillian Osborne considers the American lawn, a private buffer expressing our nostalgia for common spaces. Leanne Shapton takes us into open water, where swimmers find vulnerability, wonder, and a sense of scale. They examine how great writers have drawn inspiration from the outdoors and crafted lyrical prose that unsettles the barriers between humans and nature, past and present, death and life. First, Harper's Magazine web editor Violet Lucca speaks with Leanne Shapton about the work of the writer, activist, and filmmaker Roger Deakin, which Shapton reviewed in the August issue of Harper's. Like Deakin, Shapton is an experienced swimmer (she once participated in two Olympic tryouts), and she uses her marine inclinations to understand Deakin's travel memoir Waterlog: A Swimmer's Journey Through Britain, as well as his life and politics. Only a lucky few can swim regularly from a young age, and Shapton discusses her desire that the experience of open-water swimming—as one means of being “with” nature, rather than “in and on it”—might be made available to people of all ages and cultural backgrounds. Next, Lucca speaks with Gillian Osborne. Last month, Nightboat Books published Osborne's first essay collection, Green Green Green, which was excerpted in the July issue of Harper's. Osborne declares that the color green's “layering of possible meanings is uncanny,” then launches into a poetic history of the American lawn. As she testifies in her conversation, she is interested in the lawn's ability to evoke absence or emptiness—a quality she also finds in great short poetry. For Osborne, who seeks to make space for “responsive” rather than merely “responsible” reading, the experience of literature is always entwined with what writers and readers are not presently looking at—the vibrant vegetal world in which they sit. Read Shapton's review: https://harpers.org/archive/2021/08/writ-in-water-roger-deakin-waterlog/ Read the excerpt of Osborne's essay collection: https://harpers.org/archive/2021/07/green-green-green-gillian-osborne/ This episode was produced by Violet Lucca and Andrew Blevins.

Episode one hundred and twenty-eight of A History of Rock Music in Five Hundred Songs looks at "Mr. Tambourine Man" by the Byrds, and the start of LA folk-rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "I Got You Babe" by Sonny and Cher. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum The version of this originally uploaded got the date of the Dylan tour filmed for Don't Look Back wrong. I edited out the half-sentence in question when this was pointed out to me very shortly after uploading. Resources As usual, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode (with the exception of the early Gene Clark demo snippet, which I've not been able to find a longer version of). For information on Dylan and the song, I've mostly used these books: Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. While for the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. This three-CD set is a reasonable way of getting most of the Byrds' important recordings, while this contains the pre-Byrds recordings the group members did with Jim Dickson. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to take a look at one of the pivotal recordings in folk-rock music, a track which, though it was not by any means the first folk-rock record, came to define the subgenre in the minds of the listening public, and which by bringing together the disparate threads of influence from Bob Dylan, the Searchers, the Beatles, and the Beach Boys, manages to be arguably the record that defines early 1965. We're going to look at "Mr. Tambourine Man" by the Byrds: [Excerpt: The Byrds, "Mr. Tambourine Man"] Folk-rock as a genre was something that was bound to happen sooner rather than later. We've already seen how many of the British R&B bands that were becoming popular in the US were influenced by folk music, with records like "House of the Rising Sun" taking traditional folk songs and repurposing them for a rock idiom. And as soon as British bands started to have a big influence on American music, that would have to inspire a reassessment by American musicians of their own folk music. Because of course, while the British bands were inspired by rock and roll, they were all also coming from a skiffle tradition which saw Woody Guthrie, Lead Belly, Big Bill Broonzy, and the rest as being the people to emulate, and that would show up in their music. Most of the British bands came from the bluesier end of the folk tradition -- with the exception of the Liverpool bands, who pretty much all liked their Black music on the poppy side and their roots music to be more in a country vein -- but they were still all playing music which showed the clear influence of country and folk as well as blues. And that influence was particularly obvious to those American musicians who were suddenly interested in becoming rock and roll stars, but who had previously been folkies. Musicians like Gene Clark. Gene Clark was born in Missouri, and had formed a rock and roll group in his teens called Joe Meyers and the Sharks. According to many biographies, the Sharks put out a record of Clark's song "Blue Ribbons", but as far as I've been able to tell, this was Clark embellishing things a great deal -- the only evidence of this song that anyone has been able to find is a home recording from this time, of which a few seconds were used in a documentary on Clark: [Excerpt: Gene Clark, "Blue Ribbons"] After his period in the Sharks, Clark became a folk singer, starting out in a group called the Surf Riders. But in August 1963 he was spotted by the New Christy Minstrels, a fourteen-piece ultra-commercial folk group who had just released a big hit single, "Green Green", with a lead sung by one of their members, Barry McGuire: [Excerpt: The New Christy Minstrels, "Green Green"] Clark was hired to replace a departing member, and joined the group, who as well as McGuire at that time also included Larry Ramos, who would later go on to join The Association and sing joint lead on their big hit "Never My Love": [Excerpt: The Association, "Never My Love"] Clark was only in the New Christy Minstrels for a few months, but he appeared on several of their albums -- they recorded four albums during the months he was with the group, but there's some debate as to whether he appeared on all of them, as he may have missed some recording sessions when he had a cold. Clark didn't get much opportunity to sing lead on the records, but he was more prominent in live performances, and can be seen and heard in the many TV appearances the group did in late 1963: [Excerpt: The New Christy Minstrels, "Julianne"] But Clark was not a good fit for the group -- he didn't put himself forward very much, which meant he didn't get many lead vocals, which meant in turn that he seemed not to be pulling his weight. But the thing that really changed his mind came in late 1963, on tour in Canada, when he heard this: [Excerpt: The Beatles, "She Loves You"] Clark knew instantly that that was the kind of music he wanted to be making, and when "I Want to Hold Your Hand" came out in the US soon afterwards, it was the impetus that Clark needed in order to quit the group and move to California. There he visited the Troubadour club in Los Angeles, and saw another performer who had been in an ultra-commercial folk group until he had been bitten by the Beatle bug -- Roger McGuinn. One note here -- Roger McGuinn at this point used his birth name, but he changed it for religious reasons in 1967.  I've been unable to find out his views on his old name -- whether he considers it closer to a trans person's deadname which would be disrespectful to mention, or to something like Reg Dwight becoming Elton John or David Jones becoming David Bowie. As I presume everyone listening to this has access to a search engine and can find out his birth name if at all interested, I'll be using "Roger McGuinn" throughout this episode, and any other episodes that deal with him, at least until I find out for certain how he feels about the use of that name. McGuinn had grown up in Chicago, and become obsessed with the guitar after seeing Elvis on TV in 1956, but as rockabilly had waned in popularity he had moved into folk music, taking lessons from Frank Hamilton, a musician who had played in a group with Ramblin' Jack Elliot, and who would later go on to join a 1960s lineup of the Weavers. Hamilton taught McGuinn Lead Belly and Woody Guthrie songs, and taught him how to play the banjo. Hamilton also gave McGuinn an enthusiasm for the twelve-string guitar, an instrument that had been popular among folk musicians like Lead Belly, but which had largely fallen out of fashion. McGuinn became a regular in the audience at the Gate of Horn, a folk club owned by Albert Grossman, who would later become Bob Dylan's manager, and watched performers like Odetta and Josh White. He also built up his own small repertoire of songs by people like Ewan MacColl, which he would perform at coffee shops. At one of those coffee shops he was seen by a member of the Limeliters, one of the many Kingston Trio-alike groups that had come up during the folk boom. The Limeliters were after a guitarist to back them, and offered McGuinn the job. He turned it down at first, as he was still in school, but as it turned out the job was still open when he graduated, and so young McGuinn found himself straight out of school playing the Hollywood Bowl on a bill including Eartha Kitt. McGuinn only played with the Limeliters for six weeks, but in that short time he ended up playing on a top five album, as he was with them at the Ash Grove when they recorded their live album Tonight in Person: [Excerpt: The Limeliters, "Madeira, M'Dear"] After being sacked by the Limeliters, McGuinn spent a short while playing the clubs around LA, before being hired by another commercial folk group, the Chad Mitchell Trio, who like the Limeliters before them needed an accompanist. McGuinn wasn't particularly happy working with the trio, who in his telling regarded themselves as the stars and McGuinn very much as the hired help. He also didn't respect them as musicians, and thought they were little to do with folk music as he understood the term. Despite this, McGuinn stayed with the Chad Mitchell Trio for two and a half years, and played on two albums with them -- Mighty Day on Campus, and Live at the Bitter End: [Excerpt: The Chad Mitchell Trio, "The John Birch Society" ] McGuinn stuck it out with the Chad Mitchell trio until his twentieth birthday, and he was just about to accept an offer to join the New Christy Minstrels himself when he got a better one. Bobby Darin was in the audience at a Chad Mitchell Trio show, and approached McGuinn afterwards. Darin had started out in the music business as a songwriter, working with his friend Don Kirshner, but had had some success in the late fifties and early sixties as one of the interchangeable teen idol Bobbies who would appear on American Bandstand, with records like "Dream Lover" and "Splish Splash": [Excerpt: Bobby Darin, "Splish Splash"] But Darin had always been more musically adventurous than most of his contemporaries, and with his hit version of "Mack the Knife" he had successfully moved into the adult cabaret market. And like other singers breaking into that market, like Sam Cooke, he had decided to incorporate folk music into his act. He would do his big-band set, then there would be a fifteen-minute set of folk songs, backed just by guitar and stand-up bass. Darin wanted McGuinn to be his guitarist and backing vocalist for these folk sets, and offered to double what the Chad Mitchell Trio was paying him. Darin wasn't just impressed with McGuinn's musicianship -- he also liked his showmanship, which came mostly from McGuinn being bored and mildly disgusted with the music he was playing on stage. He would pull faces behind the Chad Mitchell Trio's back, the audience would laugh, and the trio would think the laughter was for them. For a while, McGuinn was happy playing with Darin, who he later talked about as being a mentor. But then Darin had some vocal problems and had to take some time off the road. However, he didn't drop McGuinn altogether -- rather, he gave him a job in the Brill Building, writing songs for Darin's publishing company. One of the songs he wrote there was "Beach Ball", co-written with Frank Gari. A knock-off of "Da Doo Ron Ron", retooled as a beach party song, the recording released as by the City Surfers apparently features McGuinn, Gari, Darin on drums and Terry Melcher on piano: [Excerpt: The City Surfers, "Beach Ball"] That wasn't a hit, but a cover version by Jimmy Hannan was a local hit in Melbourne, Australia: [Excerpt: Jimmy Hannan “Beach Ball”] That record is mostly notable for its backing vocalists, three brothers who would soon go on to become famous as the Bee Gees. Darin soon advised McGuinn that if he really wanted to become successful, he should become a rock and roll singer, and so McGuinn left Darin's employ and struck out as a solo performer, playing folk songs with a rock backbeat around Greenwich Village, before joining a Beatles tribute act playing clubs around New York. He was given further encouragement by Dion DiMucci, another late-fifties singer who like Darin was trying to make the transition to playing for adult crowds. DiMucci had been lead singer of Dion and the Belmonts, but had had more success as a solo act with records like "The Wanderer": [Excerpt: Dion, "The Wanderer"] Dion was insistent that McGuinn had something -- that he wasn't just imitating the Beatles, as he thought, but that he was doing something a little more original. Encouraged by Dion, McGuinn made his way west to LA, where he was playing the Troubadour supporting Roger Miller, when Gene Clark walked in. Clark saw McGuinn as a kindred spirit -- another folkie who'd had his musical world revolutionised by the Beatles -- and suggested that the two become a duo, performing in the style of Peter and Gordon, the British duo who'd recently had a big hit with "World Without Love", a song written for them by Paul McCartney: [Excerpt: Peter and Gordon, "World Without Love"] The duo act didn't last long though, because they were soon joined by a third singer, David Crosby. Crosby had grown up in LA -- his father, Floyd Crosby, was an award-winning cinematographer, who had won an Oscar for his work on Tabu: A Story of the South Seas, and a Golden Globe for High Noon, but is now best known for his wonderfully lurid work on a whole series of films starring Vincent Price, including The Pit and the Pendulum, House of Usher, Tales of Terror, and Comedy of Terrors. Like many children of privilege, David had been a spoiled child, and he had taken to burglary for kicks, and had impregnated a schoolfriend and then run off rather than take responsibility for the child. Travelling across the US as a way to escape the consequences of his actions, he had spent some time hanging out with musicians like Fred Neil, Paul Kantner, and Travis Edmondson, the latter of whom had recorded a version of Crosby's first song, "Cross the Plains": [Excerpt: Travis Edmondson, "Cross the Plains"] Edmondson had also introduced Crosby to cannabis, and Crosby soon took to smoking everything he could, even once smoking aspirin to see if he could get high from that. When he'd run out of money, Crosby, like Clark and McGuinn, had joined an ultra-commercial folk group. In Crosby's case it was Les Baxter's Balladeers, put together by the bandleader who was better known for his exotica recordings. While Crosby was in the Balladeers, they were recorded for an album called "Jack Linkletter Presents A Folk Festival", a compilation of live recordings hosted by the host of Hootenanny: [Excerpt: Les Baxter's Balladeers, "Ride Up"] It's possible that Crosby got the job with Baxter through his father's connections -- Baxter did the music for many films made by Roger Corman, the producer and director of those Vincent Price films. Either way, Crosby didn't last long in the Balladeers. After he left the group, he started performing solo sets, playing folk music but with a jazz tinge to it -- Crosby was already interested in pushing the boundaries of what chords and melodies could be used in folk. Crosby didn't go down particularly well with the folk-club crowds, but he did impress one man. Jim Dickson had got into the music industry more or less by accident -- he had seen the comedian Lord Buckley, a white man who did satirical routines in a hipsterish argot that owed more than a little to Black slang, and had been impressed by him. He had recorded Buckley with his own money, and had put out Buckley's first album Hipsters, Flipsters and Finger Poppin' Daddies, Knock Me Your Lobes on his own label, before selling the rights of the album to Elektra records: [Excerpt: Lord Buckley, "Friends, Romans, Countrymen"] Dickson had gone on to become a freelance producer, often getting his records put out by Elektra, making both jazz records with people like Red Mitchell: [Excerpt: Red Mitchell, "Jim's Blues"] And country, folk, and bluegrass records, with people like the Dillards, whose first few albums he produced: [Excerpt: The Dillards, "Duelling Banjos"] Dickson had also recently started up a publishing company, Tickson Music, with a partner, and the first song they had published had been written by a friend of Crosby's, Dino Valenti, with whom at one point Crosby had shared a houseboat: [Excerpt: Dino Valenti, "Get Together"] Unfortunately for Dickson, before that song became a big hit for the Youngbloods, he had had to sell the rights to it, to the Kingston Trio's managers, as Valenti had been arrested and needed bail money, and it was the only way to raise the funds required. Dickson liked Crosby's performance, and became his manager. Dickson had access to a recording studio, and started recording Crosby singing traditional songs and songs to which Dickson owned the copyright -- at this point Crosby wasn't writing much, and so Dickson got him to record material like "Get Together": [Excerpt: David Crosby, "Get Together"] Unfortunately for Crosby, Dickson's initial idea, to get him signed to Warner Brothers records as a solo artist using those recordings, didn't work out. But Gene Clark had seen Crosby perform live and thought he was impressive. He told McGuinn about him, and the three men soon hit it off -- they were able to sing three-part harmony together as soon as they met. ( This is one characteristic of Crosby that acquaintances often note -- he's a natural harmony singer, and is able to fit his voice into pre-existing groups of other singers very easily, and make it sound natural). Crosby introduced the pair to Dickson, who had a brainwave. These were folkies, but they didn't really sing like folkies -- they'd grown up on rock and roll, and they were all listening to the Beatles now. There was a gap in the market, between the Beatles and Peter, Paul, and Mary, for something with harmonies, a soft sound, and a social conscience, but a rock and roll beat. Something that was intelligent, but still fun, and which could appeal to the screaming teenage girls and to the college kids who were listening to Dylan. In Crosby, McGuinn, and Clark, Dickson thought he had found the people who could do just that. The group named themselves The Jet Set -- a name thought up by McGuinn, who loved flying and everything about the air, and which they also thought gave them a certain sophistication -- and their first demo recording, with all three of them on twelve-string guitars, shows the direction they were going in. "The Only Girl I Adore", written by McGuinn and Clark, has what I can only assume is the group trying for Liverpool accents and failing miserably, and call and response and "yeah yeah" vocals that are clearly meant to evoke the Beatles. It actually does a remarkably good job of evoking some of Paul McCartney's melodic style -- but the rhythm guitar is pure Don Everly: [Excerpt: The Jet Set, "The Only Girl I Adore"] The Jet Set jettisoned their folk instruments for good after watching A Hard Day's Night -- Roger McGuinn traded in his banjo and got an electric twelve-string Rickenbacker just like the one that George Harrison played, and they went all-in on the British Invasion sound, copying the Beatles but also the Searchers, whose jangly sound was perfect for the Rickenbacker, and who had the same kind of solid harmony sound the Jet Set were going for. Of course, if you're going to try to sound like the Beatles and the Searchers, you need a drummer, and McGuinn and Crosby were both acquainted with a young man who had been born Michael Dick, but who had understandably changed his name to Michael Clarke. He was only eighteen, and wasn't a particularly good drummer, but he did have one huge advantage, which is that he looked exactly like Brian Jones. So the Jet Set now had a full lineup -- Roger McGuinn on lead guitar, Gene Clark on rhythm guitar, David Crosby was learning bass, and Michael Clarke on drums. But that wasn't the lineup on their first recordings. Crosby was finding it difficult to learn the bass, and Michael Clarke wasn't yet very proficient on drums, so for what became their first record Dickson decided to bring in a professional rhythm section, hiring two of the Wrecking Crew, bass player Ray Pohlman and drummer Earl Palmer, to back the three singers, with McGuinn and Gene Clark on guitars: [Excerpt: The Beefeaters, "Please Let Me Love You"] That was put out on a one-single deal with Elektra Records, and Jim Dickson made the deal under the condition that it couldn't be released under the group's real name -- he wanted to test what kind of potential they had without spoiling their reputation. So instead of being put out as by the Jet Set, it was put out as by the Beefeaters -- the kind of fake British name that a lot of American bands were using at the time, to try and make themselves seem like they might be British. The record did nothing, but nobody was expecting it to do much, so they weren't particularly bothered. And anyway, there was another problem to deal with. David Crosby had been finding it difficult to play bass and sing -- this was one reason that he only sang, and didn't play, on the Beefeaters single. His bass playing was wooden and rigid, and he wasn't getting better. So it was decided that Crosby would just sing, and not play anything at all. As a result, the group needed a new bass player, and Dickson knew someone who he thought would fit the bill, despite him not being a bass player. Chris Hillman had become a professional musician in his teens, playing mandolin in a bluegrass group called the Scottsville Squirrel Barkers, who made one album of bluegrass standards for sale through supermarkets: [Excerpt: The Scottsville Squirrel Barkers, "Shady Grove"] Hillman had moved on to a group called the Golden State Boys, which featured two brothers, Vern and Rex Gosdin. The Golden State Boys had been signed to a management contract by Dickson, who had renamed the group the Hillmen after their mandolin player -- Hillman was very much in the background in the group, and Dickson believed that he would be given a little more confidence if he was pushed to the front. The Hillmen had recorded one album, which wasn't released until many years later, and which had featured Hillman singing lead on the Bob Dylan song "When the Ship Comes In": [Excerpt: The Hillmen, "When the Ship Comes In"] Hillman had gone on from there to join a bluegrass group managed by Randy Sparks, the same person who was in charge of the New Christy Minstrels, and who specialised in putting out ultra-commercialised versions of roots music for pop audiences. But Dickson knew that Hillman didn't like playing with that group, and would be interested in doing something very different, so even though Hillman didn't play bass, Dickson invited him to join the group. There was almost another lineup change at this point, as well. McGuinn and Gene Clark were getting sick of David Crosby's attitude -- Crosby was the most technically knowledgeable musician in the group, but was at this point not much of a songwriter. He was not at all shy about pointing out what he considered flaws in the songs that McGuinn and Clark were writing, but he wasn't producing anything better himself. Eventually McGuinn and Clark decided to kick Crosby out of the group altogether, but they reconsidered when Dickson told them that if Crosby went he was going too. As far as Dickson was concerned, the group needed Crosby's vocals, and that was an end of the matter. Crosby was back in the group, and all was forgotten. But there was another problem related to Crosby, as the Jet Set found out when they played their first gig, an unannounced spot at the Troubadour. The group had perfected their image, with their Beatles suits and pose of studied cool, but Crosby had never performed without an instrument before. He spent the gig prancing around the stage, trying to act like a rock star, wiggling his bottom in what he thought was a suggestive manner. It wasn't, and the audience found it hilarious. Crosby, who took himself very seriously at this point in time, felt humiliated, and decided that he needed to get an instrument to play. Obviously he couldn't go back to playing bass, so he did the only thing that seemed possible -- he started undermining Gene Clark's confidence as a player, telling him he was playing behind the beat. Clark -- who was actually a perfectly reasonable rhythm player -- was non-confrontational by nature and believed Crosby's criticisms. Soon he *was* playing behind the beat, because his confidence had been shaken. Crosby took over the rhythm guitar role, and from that point on it would be Gene Clark, not David Crosby, who would have to go on stage without an instrument. The Jet Set were still not getting very many gigs, but they were constantly in the studio, working on material. The most notable song they recorded in this period is "You Showed Me", a song written by Gene Clark and McGuinn, which would not see release at the time but which would later become a hit for both the Turtles and the Lightning Seeds: [Excerpt: The Jet Set, "You Showed Me"] Clark in particular was flourishing as a songwriter, and becoming a genuine talent. But Jim Dickson thought that the song that had the best chance of being the Jet Set's breakout hit wasn't one that they were writing themselves, but one that he'd heard Bob Dylan perform in concert, but which Dylan had not yet released himself. In 1964, Dylan was writing far more material than he could reasonably record, even given the fact that his albums at this point often took little more time to record than to listen to. One song he'd written but not yet put out on an album was "Mr. Tambourine Man". Dylan had written the song in April 1964, and started performing it live as early as May, when he was on a UK tour that would later be memorialised in D.A. Pennebaker's film Don't Look Back. That performance was later released in 2014 for copyright extension purposes on vinyl, in a limited run of a hundred copies. I *believe* this recording is from that: [Excerpt: Bob Dylan, "Mr. Tambourine Man (live Royal Festival Hall 1964)"] Jim Dickson remembered the song after seeing Dylan perform it live, and started pushing Witmark Music, Dylan's publishers, to send him a demo of the song. Dylan had recorded several demos, and the one that Witmark sent over was a version that was recorded with Ramblin' Jack Elliot singing harmony, recorded for Dylan's album Another Side of Bob Dylan, but left off the album as Elliot had been off key at points: [Excerpt: Bob Dylan and Ramblin' Jack Elliot, "Mr. Tambourine Man" (from Bootleg Series vol 7)] There have been all sorts of hypotheses about what "Mr. Tambourine Man" is really about. Robert Shelton, for example, suspects the song is inspired by Thomas de Quincey's Confessions of an Opium Eater. de Quincey uses a term for opium, "the dark idol", which is supposedly a translation of the Latin phrase "mater tenebrarum", which actually means "mother of darkness" (or mother of death or mother of gloom). Shelton believes that Dylan probably liked the sound of "mater tenebrarum" and turned it into "Mister Tambourine Man". Others have tried to find links to the Pied Piper of Hamelin, or claimed that Mr. Tambourine Man is actually Jesus. Dylan, on the other hand, had a much more prosaic explanation -- that Mr. Tambourine Man was a friend of his named Bruce Langhorne, who was prominent in the Greenwich Village folk scene. As well as being a guitarist, Langhorne was also a percussionist, and played a large Turkish frame drum, several feet in diameter, which looked and sounded quite like a massively oversized tambourine. Dylan got that image in his head and wrote a song about it. Sometimes a tambourine is just a tambourine. (Also, in a neat little coincidence, Dylan has acknowledged that he took the phrase “jingle jangle” from a routine by Jim Dickson's old client, Lord Buckley.) Dickson was convinced that "Mr. Tambourine Man" would be a massive hit, but the group didn't like it. Gene Clark, who was at this point the group's only lead singer, didn't think it fit his voice or had anything in common with the songs he was writing. Roger McGuinn was nervous about doing a Dylan song, because he'd played at the same Greenwich Village clubs as Dylan when both were starting out -- he had felt a rivalry with Dylan then, and wasn't entirely comfortable with inviting comparisons with someone who had grown so much as an artist while McGuinn was still very much at the beginning of his career. And David Crosby simply didn't think that such a long, wordy, song had a chance of being a hit. So Dickson started to manipulate the group. First, since Clark didn't like singing the song, he gave the lead to McGuinn. The song now had one champion in the band, and McGuinn was also a good choice as he had a hypothesis that there was a space for a vocal sound that split the difference between John Lennon and Bob Dylan, and was trying to make himself sound like that -- not realising that Lennon himself was busily working on making his voice more Dylanesque at the same time. But that still wasn't enough -- even after Dickson worked with the group to cut the song down so it was only two choruses and one verse, and so came in under two minutes, rather than the five minutes that Dylan's original version lasted, Crosby in particular was still agitating that the group should just drop the song. So Dickson decided to bring in Dylan himself. Dickson was acquainted with Dylan, and told him that he was managing a Beatles-style group who were doing one of Dylan's songs, and invited him to come along to a rehearsal. Dylan came, partly out of politeness, but also because Dylan was as aware as anyone of the commercial realities of the music business. Dylan was making most of his money at this point as a songwriter, from having other people perform his songs, and he was well aware that the Beatles had changed what hit records sounded like. If the kids were listening to beat groups instead of to Peter, Paul, and Mary, then Dylan's continued commercial success relied on him getting beat groups to perform his songs. So he agreed to come and hear Jim Dickson's beat group, and see what he thought of what they were doing with his song. Of course, once the group realised that Dylan was going to be coming to listen to them, they decided that they had better actually work on their arrangement of the song. They came up with something that featured McGuinn's Searchers-style twelve-string playing, the group's trademark harmonies, and a rather incongruous-sounding marching beat: [Excerpt: The Jet Set, "Mr. Tambourine Man (early version)"] Dylan heard their performance, and was impressed, telling them "You can DANCE to it!" Dylan went on a charm offensive with the group, winning all of them round except Crosby -- but even Crosby stopped arguing the point, realising he'd lost. "Mr. Tambourine Man" was now a regular part of their repertoire. But they still didn't have a record deal, until one came from an unexpected direction. The group were playing their demos to a local promoter, Benny Shapiro, when Shapiro's teenage daughter came in to the room, excited because the music sounded so much like the Beatles. Shapiro later joked about this to the great jazz trumpet player Miles Davis, and Davis told his record label about this new group, and suddenly they were being signed to Columbia Records. "Mr. Tambourine Man" was going to be their first single, but before that they had to do something about the group's name, as Columbia pointed out that there was already a British group called the Jet Set. The group discussed this over Thanksgiving turkey, and the fact that they were eating a bird reminded Gene Clark of a song by the group's friend Dino Valenti, "Birdses": [Excerpt: Dino Valenti, "Birdses"] Clark suggested "The Birdses", but the group agreed it wasn't quite right -- though McGuinn, who was obsessed with aviation, did like the idea of a name that was associated with flight. Dickson's business partner Eddie Tickner suggested that they just call themselves "The Birds", but the group saw a problem with that, too -- "bird" being English slang for "girl", they worried that if they called themselves that people might think they were gay. So how about messing with the vowels, the same way the Beatles had changed the spelling of their name? They thought about Burds with a "u" and Berds with an "e", before McGuinn hit on Byrds with a y, which appealed to him because of Admiral Byrd, an explorer and pioneering aviator. They all agreed that the name was perfect -- it began with a "b", just like Beatles and Beach Boys, it was a pun like the Beatles, and it signified flight, which was important to McGuinn. As the group entered 1965, another major event happened in McGuinn's life -- the one that would lead to him changing his name. A while earlier, McGuinn had met a friend in Greenwich Village and had offered him a joint. The friend had refused, saying that he had something better than dope. McGuinn was intrigued to try this "something better" and went along with his friend to what turned out to be a religious meeting, of the new religious movement Subud, a group which believes, among other things, that there are seven levels of existence from gross matter to pure spirit, and which often encourages members to change their names. McGuinn was someone who was very much looking for meaning in his life -- around this time he also became a devotee of the self-help writer Norman Vincent Peale thanks to his mother sending him a copy of Peale's book on positive thinking -- and so he agreed to give the organisation a go. Subud involves a form of meditation called the laithan, and on his third attempt at doing this meditation, McGuinn had experienced what he believed was contact with God -- an intense hallucinatory experience which changed his life forever. McGuinn was initiated into Subud ten days before going into the studio to record "Mr. Tambourine Man", and according to his self-description, whatever Bob Dylan thought the song was about, he was singing to God when he sang it -- in earlier interviews he said he was singing to Allah, but now he's a born-again Christian he tends to use "God". The group had been assigned by CBS to Terry Melcher, mostly because he was the only staff producer they had on the West Coast who had any idea at all about rock and roll music, and Melcher immediately started to mould the group into his idea of what a pop group should be. For their first single, Melcher decided that he wasn't going to use the group, other than McGuinn, for anything other than vocals. Michael Clarke in particular was still a very shaky drummer (and would never be the best on his instrument) while Hillman and Crosby were adequate but not anything special on bass and guitar. Melcher knew that the group's sound depended on McGuinn's electric twelve-string sound, so he kept that, but other than that the Byrds' only contribution to the A-side was McGuinn, Crosby, and Clark on vocals. Everything else was supplied by members of the Wrecking Crew -- Jerry Cole on guitar, Larry Knechtel on bass, Leon Russell on electric piano, and Hal Blaine on drums: [Excerpt: The Byrds, "Mr. Tambourine Man"] Indeed, not everyone who performed at the session is even clearly audible on the recording. Both Gene Clark and Leon Russell were actually mixed out by Melcher -- both of them are audible, Clark more than Russell, but only because of leakage onto other people's microphones. The final arrangement was a mix of influences. McGuinn's twelve-string sound was clearly inspired by the Searchers, and the part he's playing is allegedly influenced by Bach, though I've never seen any noticeable resemblance to anything Bach ever wrote. The overall sound was an attempt to sound like the Beatles, while Melcher always said that the arrangement and feel of the track was inspired by "Don't Worry Baby" by the Beach Boys. This is particularly noticeable in the bass part -- compare the part on the Beach Boys record: [Excerpt: The Beach Boys, "Don't Worry Baby (instrumental mix with backing vocals)"] to the tag on the Byrds record: [Excerpt: The Byrds, "Mr. Tambourine Man"] Five days before the Byrds recorded their single, Bob Dylan had finally recorded his own version of the song, with the tambourine man himself, Bruce Langhorne, playing guitar, and it was released three weeks before the Byrds' version, as an album track on Dylan's Bringing it All Back Home: [Excerpt: Bob Dylan, "Mr. Tambourine Man"] Dylan's album would become one of the most important of his career, as we'll discuss in a couple of weeks, when we next look at Dylan. But it also provided an additional publicity boost for the Byrds, and as a result their record quickly went to number one in both the UK and America, becoming the first record of a Dylan song to go to number one on any chart. Dylan's place in the new pop order was now secured; the Byrds had shown that American artists could compete with the British Invasion on its own terms -- that the new wave of guitar bands still had a place for Americans; and folk-rock was soon identified as the next big commercial trend. And over the next few weeks we'll see how all those things played out throughout the mid sixties.

Green Pulse Ep 50: Are electric vehicles really green? 23:08 mins Synopsis: Every first and third Monday of the month, The Straits Times analyses the beat of the changing environment, from biodiversity conservation to climate change. Singapore wants to decarbonise its transport sector, as part of its goal of reaching net-zero emissions as soon as viable in the second half of the century. The Republic plans to phase out all internal combustion engine vehicles by 2040, and has announced initiatives to improve uptake of electric vehicles, including tax incentives and the roll-out of more charging points. But if electric vehicles still draw electricity from the national grid, which in Singapore is still fossil-based, are they really more environmentally friendly? Green Pulse hosts Audrey Tan and David Fogarty chat with Mr Goh Chee Kiong, chief executive of Charge+ , the green mobility arm of Singapore clean energy company Sunseap Group, as they discuss the following points: If electric vehicles draw power from the grid, which is still fossil-based, are they really more environmentally friendly than those that run on petrol? (1:03) Other than fuel source, what other factors make an EV greener than an internal combustion engine vehicle? (7:05) The mining of raw materials for electric vehicles is not known for its environmental credentials. How can pressure on the environment be reduced in the manufacture of electric vehicles? (10:19) Other than benefits to the environment, what are the advantages of electric vehicles to human health? (14:00) Pain points of widespread electric vehicle adoption in Singapore (17:25) Listen to Ep 45: Can an electric vehicle push and petrol duty hike green Singapore's land transport sector? https://omny.fm/shows/green-pulse-1/can-an-electric-vehicle-push-and-petrol-duty-hike Produced by: Audrey Tan (audreyt@sph.com.sg), David Fogarty (dfogarty@sph.com.sg), Ernest Luis and Penelope Lee Edited by: Penelope Lee Subscribe to Green Pulse Podcast series and rate us on your favourite audio apps: Channel: https://str.sg/JWaf Apple Podcasts: https://str.sg/JWaY Spotify: https://str.sg/JWag Google Podcasts: https://str.sg/J6EV  Website: http://str.sg/stpodcasts Feedback to: podcast@sph.com.sg Follow Audrey Tan on Twitter: https://str.sg/JLMB Read her stories: https://str.sg/JLM2 Follow David Fogarty  on Twitter: https://str.sg/JLM6 Read his stories: https://str.sg/JLMu --- Discover more ST podcast series: Asian Insider Podcast: https://str.sg/JWa7 Health Check Podcast: https://str.sg/JWaN ST Sports Talk Podcast: https://str.sg/JWRE Life Weekend Picks Podcast: https://str.sg/JWa2 #PopVultures Podcast: https://str.sg/JWad Bookmark This! Podcast: https://str.sg/JWas Lunch With Sumiko Podcast: https://str.sg/J6hQ Discover BT Podcasts:  http://bt.sg/podcasts Follow our shows then, if you like short, practical podcasts! See omnystudio.com/listener for privacy information.

Just Kimberley and Paul in the hub today and true to form Kimberley has a bit of an abrupt start....but hang in there!  Kimberley and Paul love working with organizations to develop their legacy programs and to help volunteer boards be successful. Their passion for these topics results in a robust conversation that spans from should we be talking about legacies right now to how can you work with a board to move beyond tactical fundraising and become more strategic. As always, we welcome your feedback and hope that you subscribe, like and share this podcast. Thank you for joining us! David Love has actually been fundraising for 51 years and just published his book Green Green, 51 years of raising money for nature. You can buy it here https://hilborn-civilsectorpress.com/collections/featured-books/products/green-green