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4 episodes with Hums
4 episodes with Hums
2 episodes with Hums
2 episodes with Hums
3 episodes with Hums
4 episodes with Hums
2 episodes with Hums
What an amazing year 1966 was in music. Dylan's Blonde on Blonde hit the racks. So did The Beatles' Revolver, The Beach Boys' Pet Sounds, The Stones' Aftermath and so many more.Into this stellar crowd quietly strolled Hums of the Lovin' Spoonful, the third studio album by Greenwich Village's own folk-rock mavens. Today the disc just barely makes it onto a list of the top 50 albums of that lush, flush year, but in its own way, it made wonderful waves.Hums — which would ultimately be the last full project by the Spoonful's original lineup — was the band's concerted effort to record in a wide variety of styles on a single disc. For it, they composed and played pop-, country-, jugband-, folk- and blues-fused tunes.The album spawned four charting singles, including “Summer in the City,” “Rain on the Roof,” “Nashville Cats” and "Full Measure.”Of “Nashville Cats,” principal songwriter John Sebastian said, "We thought our version would cross over to the country market. It never did. So we're always kinda, gee, well, I guess that tells us what we are — and what we aren't."Incidentally, Flatt & Scruggs did take "Nashville Cats" to the country charts, hitting No. 54 with it as a single.And elsewhere in the country crowd, Johnny Cash and June Carter covered Hums' “Darlin' Companion” on 1969's Johnny Cash at San Quentin album.About This Song“Loving You,” Hums' opening track, was never a hit single for the Spoonful, but a month after the disc's release in November 1966, Bobby Darin made the Top 40 with a cover version of the tune. Subsequently, the song also became a good vehicle for four different female vocalists, including Anne Murray (1969), Helen Reddy (1973) and Dolly Parton (1977) and Mary Black (1983).Meanwhile, the song came into the Floodisphere before The Flood was even The Flood.In 1975, after a year of regularly jamming together, Charlie and David started looking for new material to work on beyond their main interests in folk music, and for a brief time they landed on The Lovin' Spoonful's catalog.Here — like the audio version of a crinkled old baby picture — is a sound clip fished from The Flood archives. Click the button below to hear Charlie and Dave sampling the song exactly 50 years ago this week at a jam session at the Peyton House:The Spoonful's Jug Band RootsOnly later did Bowen and Peyton realize that The Lovin' Spoonful had been heavily influenced by some of the same 1920s-'30s jug band tunes that The Flood loves. Before he founded the Spoonful, John Sebastian with his partner Zal Yanovsky, long active in Greenwich Village's folk scene, set out to create an "electric jug band.”"Yanovsky and I were both aware of the fact that this commercial folk music model was about to change again,” Sebastian recalled, “that the four-man band that actually played their own instruments and wrote their own songs was the thing.”In early 1965, as they prepared for their first public performances, Sebastian and Yanovsky along with their new band mates Joe Butler and Steve Boone, searched for a name.It was Fritz Richmond, the washtub bass player for the Jim Kweskin Jug Band, who suggested “The Lovin' Spoonful,” referring to the lyrics of the song "Coffee Blues" by the country blues musician Mississippi John Hurt. It worked and it stuck.Our 2025 Take on the TuneAt last week's rehearsal, The Flood channeled those rich jug band roots of the Spoonful. For this tune, Jack switched from his usual drum kit to those funky wooden spoons and Charlie reached for the five-string. Then Danny, Sam and Randy just did what they always do to make it all work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com
See omnystudio.com/listener for privacy information.
See omnystudio.com/listener for privacy information.
JD and Dieter Hour 1: Immediate reaction to the Niners elimination from playoff contention and Hums from the weekend.See omnystudio.com/listener for privacy information.
See omnystudio.com/listener for privacy information.
JD and Dieter Hour 1: Immediate reaction to the Niners elimination from playoff contention and Hums from the weekend.See omnystudio.com/listener for privacy information.
See omnystudio.com/listener for privacy information.
Louis Navellier, chief investment officer at Navellier & Associates, says investors "have a lot to look forward to," starting with a strong ending to the year and a big January effect, but he notes that conditions are right to keep the economy chugging along and pushing through the occasional stumble and correction. That said, he notes in The Big Interview that he is worried about the potential for trouble in the private credit market — where investors have been chasing super high yields for several years — to potentially create a full-blown market crash, akin to what the market experienced in 2008. Navellier also talks about his stock-picking methodology and his grading system in The Market Call. In the Talking Technicals segment, Xander Gray, founder and chief executive officer at XG Capital Strategies says that there's a recession and significant market drop coming, likely to start before the end of the first quarter of the new year. The recession is the fallout of the inverted yield curve; while many experts have said the economy will avoid the downturn that typically comes with that condition, Gray says there are plenty of reasons why investors should remain defensive now.
Info on the next LIVE SCREAM event. https://weirddarkness.com/LiveScreamDarkness Syndicate members get the ad-free version. https://weirddarkness.com/syndicateIN THIS EPISODE: Shortly after Glen MacPherson started hearing a strange humming noise, he created the World Hum and Database Project so people around the world could document their own experiences. And he received a lot of stories from people hearing a strange humming sound in their towns. (Cracking The Mystery of the ‘Worldwide Hum') *** Plus, we'll dial a few freaky, creepy, haunted, and cursed phone numbers and listen in to what some people say scared them half to death. (Creepy Phone Numbers)SOURCES AND REFERENCES FROM THE EPISODE…“Cracking The Mystery of the Worldwide Hum” by Glen MacPherson for GetPocket.com:https://weirddarkness.tiny.us/kr8bwypn“Creepy Telephone Numbers” by Lucia for TheGhostInMyMachine.com: https://weirddarkness.tiny.us/3cppn9hs,https://weirddarkness.tiny.us/jhefymVIDEO of Wrinkles the Clown doing his thing: https://www.youtube.com/watch?v=n-pHcveHILwAudio for 786-519-3708 from YouTuber Cursed Creepy Numbers: https://www.youtube.com/watch?v=pQLdtbTuHDMAudio for 978-435-0163 from YouTuber Cursed Creepy Numbers: https://www.youtube.com/watch?v=i8aHQvAo0GcAudio for 408-634-2806 from YouTuber MKP Studios: https://www.youtube.com/watch?v=8IRyJQTcNhkAudio for 858-651-5050 from YouTuber Retro Fan: https://www.youtube.com/watch?v=3GP61BZzjz4Audio for 978-435-0163 from YouTuber Cursed Creepy Numbers: https://www.youtube.com/watch?v=i8aHQvAo0GcAudio for 801-820-0263 from Ghost Machine: https://soundcloud.com/user-417570064/801-820-0263a/s-xG0J2Audio for 630-296-7536 from Ghost Machine: https://soundcloud.com/user-417570064/630-296-7536a/s-BGmtrAudio for 786-519-3708 from YouTuber Cursed Creepy Numbers: https://www.youtube.com/watch?v=pQLdtbTuHDMAudio for 701-347-1936 from YouTuber Cursed Creepy Numbers: https://www.youtube.com/watch?v=Gf7UyHxQf4sAudio for 207-301-5797 from YouTuber Cluttered Agenda: https://www.youtube.com/watch?v=9geQwZdBJfAAudio for 828-756-0109 from YouTuber Phreak Show: https://www.youtube.com/watch?v=JGUlpevJj_IAudio for 407-734-0254 from Cursed Creepy Numbers: https://www.youtube.com/watch?v=zUpsauNk6mwAudio for 512-937-2346 from Ghost Machine: https://soundcloud.com/user-417570064/512-937-2346a/s-Dm0f53RKNxJAudio for 508-690-6143 from Ghost Machine: https://soundcloud.com/user-417570064/508-690-6143a/s-m6xeS1iu2M5Audio for 618-625-8313 from Ghost Machine: https://soundcloud.com/user-417570064/baumans-number/s-ZuLz5Audio for 646-868-1844 from Ghost Machine: https://soundcloud.com/user-417570064/646-868-1844a/s-B34csyQ10LgAudio for 1-877-772-7337 from Ghost Machine: https://soundcloud.com/user-417570064/1-877-772-7337a/s-gvx4715k4KBAudio for 951-572-2602 from Ghost Machine: https://soundcloud.com/user-417570064/951-572-2602a/s-J5hS7Audio for 909-390-0003, from YouTuber bigburger boi2005: https://www.youtube.com/watch?v=RuISjziWbhEAudio for 408-634-2806 from YouTuber Cursed Creepy Numbers: https://www.youtube.com/watch?v=iY493Gijd2wAudio for Calling Carrie from YouTuber Adorabot: https://www.youtube.com/watch?v=N5GtWYzDD9cWeird Darkness theme by Alibi Music Library. = = = = =(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2024, Weird Darkness.= = = = =Originally aired: March 09, 2021CUSTOM LANDING PAGE: https://weirddarkness.com/DialingTheDarkness
Suriye'de Esed rejimi karşıtı silahlı gruplar, Halep ve İdlib illerinin ardından, Beşşar Esed rejimi güçlerinin kontrolündeki Hama iline yaklaştı. Öte yandan, Suriye Milli Ordusu (SMO), terör örgütü PKK/YPG'ye karşı başlattığı Özgürlük Şafağı Operasyonu'nda Tel Rıfat ilçe merkezinin tamamına hakim olarak bölgeye girdi. Türkiye Araştırmaları Vakfı (TAV) Araştırmacısı Ahmet Arda Şensoy ile Suriye sahasında yaşanan gelişmeleri konuştuk.
Hour 1: Murph and Markus LIVE FROM HAWAII share their initial thoughts on the 49ers loss to the Seahawks and dive into their Hums and Bums of the weekend.See omnystudio.com/listener for privacy information.
Hour 1: Murph and Markus LIVE FROM HAWAII share their initial thoughts on the 49ers loss to the Seahawks and dive into their Hums and Bums of the weekend.See omnystudio.com/listener for privacy information.
Soft Cock Appreciation Week 2024 is asking you, Are you Ready to break the Sound Barrier? Silent sex is often a habit of circumstance and, for many, vocalizing can feel “unnatural”. Cardiovascular research has shown that the HUM in particular helps the physical functioning of the body by increasing Nitric Oxide, a critical component of erectile health. Like a vibrator, a blindfold, or a cockring, bringing sound into sexual play and exploration also enhances sensory arousal and can be a wonderful addition to have in your pleasure chest. In this conversation Erica Leroye and Jill Carnay, Somatic Vocal Coach and founder of The Vocal Universe, discuss the acoustic nature of the body, humming techniques for better erectile function, and more ways for integrating sound into intimate practices for both those who are uncomfortable making noises and those who love it. Together they explore: The profound connection between sound, breath, and sexuality The essentials of the Hum- what it is, how to do it in practice, and how to apply it during intimacy The relationships between the throat/mouth and pelvis/genitals to maximize what you do above to impact what happens down below Between Silence and “Dirty Talk”-Tapping into the eroticism of vowels as a playful way to connect the body/mind both solo and with partners More Info: To connect with Jill Carnay: www.thevocaluniverse.com @thevocaluniverse For More Information and to Connect With Erica Leroye https://www.flowcode.com/page/creativebodyrelease.com For More Information and to Connect With Soft Cock Appreciation Week https://www.softcockweek.com/ We have MERCH! Check out our storewww.softcockweek.com/store and support both Soft Cock Week and this year's, once we make a profit, partner SELFED (getselfed.org) To Connect with Soft Cock Week: www.softcockweek.com 00:00 Introduction to Soft Cock Appreciation Week 01:30 Exploring Sound and Sexual Health 04:17 The Role of Sound in Sexual Intimacy 05:58 Understanding the Body as an Acoustic Instrument 13:49 The Connection Between Nitric Oxide and Sexual Health 16:42 The Power of Humming in Intimacy 19:05 Connecting Sound to Sensation 22:31 Using Sound as a Tool for Pleasure 28:41 Techniques for Effective Humming 39:20 Integrating Sound into Daily Life 41:34 The Power of Sound and Smiling 43:53 Connecting Breath and Sound in Sexuality 48:05 Mind-Body Connection in Sexual Experiences 51:58 Exploring the Sound Toolbox for Pleasure 57:58 Vowel Sounds and Their Impact on Sexuality 01:04:08 Integrating Sound into Sexual Practices 01:10:02 Breath and Sound During Orgasm 01:13:53 Connecting with Jill Carnay Soft Cock Appreciation Week, sexual health, sound therapy, intimacy, pleasure, nitric oxide, humming, vocal embodiment, somatic practices, erotic wellness, sound, sexuality, breath, pleasure, connection, mindfulness, vocalization, intimacy, orgasm, self-exploration
Join Premium! Ready for an ad-free meditation experience? Join Premium now and get every episode from ALL of our podcasts completely ad-free now! Just a few clicks makes it easy for you to listen on your favorite podcast player. Become a PREMIUM member today by going to --> https://WomensMeditationNetwork.com/premium If you listen real carefully, You can hear it behind the breeze. The calm of the night, Hums with a gentle tease. LONG PAUSE… You'll have to let them go, All those thoughts inside. Releasing all the pressure, You'll have to move them aside. LONG PAUSE… Soften your beautiful body, Relax from head to toe. Imagine you're body melts, Into your bed below. LONG PAUSE… The calm of the night is calling, Inviting you to be, One with its peaceful softness, Completely you and free. Breathe and expand, And gather remains of the day. Breathe and command, Your life is yours today. LONG PAUSE… Come into the calm, By riding streams of air, In and out of your nose, The calm will find you there. PAUSE… Deeper and deeper you breathe, More and more space you feel. Allow it to take over you, And begin to slowly heal. LONG PAUSE… Sometimes it's a fight, To shed all that weight. It prevents sleep from coming, Tries to seal your restless fate. PAUSE… But all of it can't withstand, The power of your breath. The magic of the air, That clears you from the depths. PAUSE… Breathe and expand, And gather remains of the day. Breathe and command, Your life is yours today. LONG PAUSE… Ease yourself right in, To the comforting layers of rest. Let your whole body go, Warmed and gently caressed. PAUSE… Come into the calm, By riding streams of air, In and out of your nose, The calm will find you there. PAUSE… Deeper and deeper you breathe, More and more space you feel. Allow it to take over you, And begin to slowly heal. Namaste, Beautiful
In this program, Joni encourages you to hum a hymn because there are people around you who may need a refreshing word – or song.-------- Thank you for listening! Your support of Joni and Friends helps make this show possible. Joni and Friends envisions a world where every person with a disability finds hope, dignity, and their place in the body of Christ. Become part of the global movement today at www.joniandfriends.org. Find more encouragement on Instagram, TikTok, Facebook, and YouTube.
This episode was inspired by a sentence in Beth Kempton's Wabi Sabi and explores how calendars can connect us more closely to the world around us. Join us tonight as we explore the year through the eyes of some Japanese poets and celebrate the unfolding of the summer. Journal entry: 25th June, Tuesday“First day this summer Of real heat. All day, my shirt has stuck To my back.This evening The clover field Hums with The work of bees.” Episode Information:In this episode I recite a number of Larry Hammer's translations of Japanese poems from the Kokinshū from his (2018) Ice Melts in the Wind published by Cholla Bear Press, as well as haiku from The Four Seasons published (1958) by Peter Pauper Press. I also refer to Lev Parikian's (2021) Light Rains Sometimes Fall published by Elliott and Thompson, and Beth Kempton's (2018) Wabi Sabi published by Piatkus. With special thanks to our lock-wheelers for supporting this podcast.David Dirom Chris and Alan on NB Land of Green Ginger Captain Arlo Rebecca Russell Allison on the narrowboat Mukka Derek and Pauline Watts Anna V. Orange Cookie Donna Kelly Mary Keane. Tony Rutherford. Arabella Holzapfel. Rory with MJ and Kayla. Narrowboat Precious Jet. Linda Reynolds Burkins. Richard Noble. Carol Ferguson. Tracie Thomas Mark and Tricia Stowe Madeleine SmithGeneral DetailsIn the intro and the outro, Saint-Saen's The Swan is performed by Karr and Bernstein (1961) and available on CC at archive.org. Two-stroke narrowboat engine recorded by 'James2nd' on the River Weaver, Cheshire. Uploaded to Freesound.org on 23rd June 2018. Creative Commons Licence. Piano and keyboard interludes composed and performed by Helen Ingram.All other audio recorded on site. Support the Show.Become a 'Lock-Wheeler'Would you like to support this podcast by becoming a 'lock-wheeler' for Nighttime on Still Waters? Find out more: 'Lock-wheeling' for Nighttime on Still Waters.ContactFor pictures of Erica and images related to the podcasts or to contact me, follow me on: Facebook at https://www.facebook.com/noswpod Instagram: https://www.instagram.com/nighttimeonstillwaters/ Twitter: https://twitter.com/NoswPod Mastodon: https://mastodon.world/@nosw I would love to hear from you. You can email me at nighttimeonstillwaters@gmail.com or drop me a line by going to the nowspod website and using either the contact form or, if you prefer, record your message by clicking on the microphone icon. For more information about Nighttime on Still Waters You can find more information and photographs about the podcasts and life aboard the Erica on our website at noswpod.com.
If there's anyone who's documented the groveling Joe Scarborough and his over-the-top admiration of Joe Biden, it's Grace. Now, after the debate, Joe has switched his narrative. It's time to make the decision to replace the president, he says! Visit the Howie Carr Radio Network website to access columns, podcasts, and other exclusive content.
Join Premium! Ready for an ad-free meditation experience? Join Premium now and get every episode from ALL of our podcasts completely ad-free now! Just a few clicks makes it easy for you to listen on your favorite podcast player. Become a PREMIUM member today by going to --> https://WomensMeditationNetwork.com/premium If you listen real carefully, You can hear it behind the breeze. The calm of the night, Hums with a gentle tease. LONG PAUSE… You'll have to let them go, All those thoughts inside. Releasing all the pressure, You'll have to move them aside. LONG PAUSE… Soften your beautiful body, Relax from head to toe. Imagine you're body melts, Into your bed below. LONG PAUSE… The calm of the night is calling, Inviting you to be, One with its peaceful softness, Completely you and free. Breathe and expand, And gather remains of the day. Breathe and command, Your life is yours today. LONG PAUSE… Come into the calm, By riding streams of air, In and out of your nose, The calm will find you there. PAUSE… Deeper and deeper you breathe, More and more space you feel. Allow it to take over you, And begin to slowly heal. LONG PAUSE… Sometimes it's a fight, To shed all that weight. It prevents sleep from coming, Tries to seal your restless fate. PAUSE… But all of it can't withstand, The power of your breath. The magic of the air, That clears you from the depths. PAUSE… Breathe and expand, And gather remains of the day. Breathe and command, Your life is yours today. LONG PAUSE… Ease yourself right in, To the comforting layers of rest. Let your whole body go, Warmed and gently caressed. PAUSE… Come into the calm, By riding streams of air, In and out of your nose, The calm will find you there. PAUSE… Deeper and deeper you breathe, More and more space you feel. Allow it to take over you, And begin to slowly heal. Namaste, Beautiful
The final part to our 4-part series. Feeling like a lot of PUSH energy right now when it comes to makin' sales? In this episode, I share the 3 part system to consider if you'd like to create a sustainable sales system for your business, that isn't reliant on you always having to hustle for more leads. ___ ***We are hosting a free LIVE masterclass on how you can stand out and drive more conversions through psychology and words on the 30th of April. Want in?! Join us now: www.wordfettigroup.com/masterclass***
On episode 8 of SideQuests, we play
Join Premium! Ready for an ad-free meditation experience? Join Premium now and get every episode from ALL of our podcasts completely ad-free now! Just a few clicks makes it easy for you to listen on your favorite podcast player. Become a PREMIUM member today by going to --> https://WomensMeditationNetwork.com/premium
Join Premium! Ready for an ad-free meditation experience? Join Premium now and get every episode from ALL of our podcasts completely ad-free now! Just a few clicks makes it easy for you to listen on your favorite podcast player. Become a PREMIUM member today by going to --> https://WomensMeditationNetwork.com/premium If you listen real carefully, You can hear it behind the breeze. The calm of the night, Hums with a gentle tease. LONG PAUSE… You'll have to let them go, All those thoughts inside. Releasing all the pressure, You'll have to move them aside. LONG PAUSE… Soften your beautiful body, Relax from head to toe. Imagine you're body melts, Into your bed below. LONG PAUSE… The calm of the night is calling, Inviting you to be, One with its peaceful softness, Completely you and free. Breathe and expand, And gather remains of the day. Breathe and command, Your life is yours today. LONG PAUSE… Come into the calm, By riding streams of air, In and out of your nose, The calm will find you there. PAUSE… Deeper and deeper you breathe, More and more space you feel. Allow it to take over you, And begin to slowly heal. LONG PAUSE… Sometimes it's a fight, To shed all that weight. It prevents sleep from coming, Tries to seal your restless fate. PAUSE… But all of it can't withstand, The power of your breath. The magic of the air, That clears you from the depths. PAUSE… Breathe and expand, And gather remains of the day. Breathe and command, Your life is yours today. LONG PAUSE… Ease yourself right in, To the comforting layers of rest. Let your whole body go, Warmed and gently caressed. PAUSE… Come into the calm, By riding streams of air, In and out of your nose, The calm will find you there. PAUSE… Deeper and deeper you breathe, More and more space you feel. Allow it to take over you, And begin to slowly heal. Namaste, Beautiful
Lucas and Shap chat after the Clipeprs blowout the Wizards 140-115 in a game that had mostly good process but featured a big injury to Russell Westbrook. The Big 3 all played well but Russell Westbrook was lost to a left hand fracture and figures to miss extended time. The guys talk about what that means for the rotation, Bones Hyland's opportunity, hand out medals, and more.
Hour 1: Murph and Markus open the show and recap their Hums and Bums from the weekend.See omnystudio.com/listener for privacy information.
Hour 1: Murph and Markus open the show and recap their Hums and Bums from the weekend.See omnystudio.com/listener for privacy information.
Hour 1: Murph and Markus open the show and discuss their Hums and Bums from the weekend.See omnystudio.com/listener for privacy information.
Hour 1: Murph and Markus open the show and discuss their Hums and Bums from the weekend.See omnystudio.com/listener for privacy information.
Hour 1: Murph and Markus give their reaction to the 49ers comeback win and the Hums and Bums of the weekend.See omnystudio.com/listener for privacy information.
Hour 1: Murph and Markus give their reaction to the 49ers comeback win and the Hums and Bums of the weekend.See omnystudio.com/listener for privacy information.
Do you remember when music videos were on cable tv? We don't either! The podcast where we are Bringing Bullying Back. Join us in this podcast where we watch music videos that we haven't seen before and talk ALL about them! Get our reactions and our thoughts and find out if we will stream these songs in the future! Got a video for us to react to? Send it to us on our instagram page @videovirginspod ! This week we are coming to you LIVE from - Gypsy Rose's Hotel Room FOLLOW us @johnbeforedawn and @joeistherealest !!! Follow our special guest @ LAVQUIN and go to feat. Video Virgins | lavquin.com to find ALL of our links THERE! This episode's music videos are: Hands On Me by Jason Derulo ft. Meghan Trainor, Somebody's Daughter by John Duff, Hood Bitch by Fam0us.twinss, Barbie by Jaidyn Alexis ft.Blueface, 7 Years by Lukas Graham, Kitty D*ck by Chio Chicano, Shawty Get the Bag 2.0 & Naruto by Starze Rakkz First Lav gives Meghan her flowers!? Then John Duff is the only gay that we respect. Then Fam0us.twinss are just brothers. Then Jaidyn Alexis really is Stewie! Then Lukas Graham is 60 years old and can't suck dick. Then Chio Chicano has nothing moving but those ankles. Then Starze Rakkz has a meth line. And Starze Rakkz only films in hotels. https://youtu.be/o9mS6DsiuyA?si=vmQwYsE_oRL-79Id https://youtu.be/hZAQVlpaDXI?si=cOtwcFOLkYtgR3oE Fam0us.twinss - Hood Bitch - YouTube JaidynAlexis Barbie Remix Ft Blueface [OFFICIAL MUSIC VIDEO] - YouTube Lukas Graham - 7 Years [Official Music Video] - YouTube CHIO CHICANO - KITTY D*CK | +82 Street performance - YouTube Starze Rakkz - Shawty get the bag 2.0 ( OFFICIAL MUSIC VIDEO ) #reels - YouTube Starze Rakkz - Upgrade ( official music video ) snippet - YouTube Starze Rakkz - Naruto ( official music video ) #naruto - YouTube Dont forget to Like and leave a review! Subscribe to our YOUTUBE - VIDEO VIRGINS and follow our Instagram @VIDEOVIRGINSPOD and our personal instagrams @JOEISTHEREALEST and @JOHNBEFOREDAWN
ALBUM FOCUS Putumayo World Music www.putumayo.com The groundbreaking world music label debuts a fourth full-length digital album "Global Reggae." This collection features songs by ten artists from around the world who have embraced this beloved music genre. Dobet Gnahoré, Kajeem (Côte d'Ivoire) - "Lagô" Angam (France) - "Wala Liam" Nina Ogot (Kenya) - "Pole Pole" Youthie, Kino Doscun (France) - "Inna Ud" Mista Savona, Havana Meets Kingston, Beatriz Márquez (Cuba/Jamaica/Australia) - "Lágrimas Negras" ********************** Black Heart Drifters "Santa Fe" - Under A Western Sky https://www.facebook.com/BlackHeartDrifters/ Izzy Ded & The Existential Dread "All The Good Horses" - What Hurts Most www.izzyded.com Cocktail Slippers "123" - www.cocktailslippers.com Dmitry Wild "Rock-n-Roll Is My Business" - www.dmitrywild.com Michele D'Amour & The Love Dealers "Plum Crazy" - Hot Mess www.micheledamourandthelovedealers.com Laurie Morvan "Gotta Dig Deep" - Gravity www.lauriemorvan.com Goldpine "Scarecrow" - Two www.goldpinemusic.com Jon Shain "Woodsmoke" - Never Found A Way To Tame The Blues www.jonshain.com Katie Curley "Buring The Midnight Oil" - Penny For My Heartbreak www.katiecurley.com ************************ Avi Wisnia "It's Gonna Rain Today" - Catching Leaves www.aviwisnia.com Janie Barnett "Gibbous Moon" - But Longing Is Primal www.janiebarnett.com Ynana Rose "Let Go The Day" - Under A Cathedral Sky www.ynanarose.com Jeff Plankehorn "Bluer Skies" - Alone At Sea www.jeffplankenhorn.com Dan Whitaker "Every Now And Then" - I Won't Play By Your Rules www.danwhitaker.com Terry Klein "Shimmers and Hums" - Leave The Light On www.terykleinmusic.com Tom Paxton & John McCutcheon "Prairie Star" - Together www.folkmusic.com Tret Fure "Waiting All My Life" - Lavender Moonshine www.tretfure.com Closing music: MFSB "My Mood" Running time: 4 hours, 15 minutes --- Send in a voice message: https://podcasters.spotify.com/pod/show/radiocblue/message Support this podcast: https://podcasters.spotify.com/pod/show/radiocblue/support
Kraak & Smack & Turbotito, Alex Metric & Oliver, Suncream, Manu Chao & Francis Mercier, Hums, Skule Toyama, Disclosure and more.Dig in ;)
On this episode we discuss: (10:12) Puff Daddy (45:44) Draymond Green choke out (53:14) Snoop Dogg done with smoke? (55:55) Men tired of being judged (1:09:10) Women nicer than men (1:12:59) Top five white (1:16:02) Losing the love of your life (1:27:31) Senate fight (1:29:31) Keke Palmer mom phone call (1:31:42) Mom sent to jail for child actions (1:35:05) New music (1:53:49) Shoutouts
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We are back and welcome Alicia Hums to the podcast
This week Sierra teaches us about Earth's unidentified hums, a mysterious series of hums that have been heard all over the world. Some people were driven mad by the hum, some didn't hear it at all, but what they do know for sure is they have no idea where is was coming from. Please note that we do play these sounds, so mind your ears. We also discuss some fun grammar tricks, and learn that Sierra was born the day Friends was released.Don't forget to leave a 5 star rating and review, it's the best way to spread the word.If you decide to join Patreon, you can expect welcome goodies and 100+ bonus episodes ready for you to unlock. Thank you for checking it out! www.patreon.com/twistedanduncorkedYou can buy us a drink on Buy Me A Coffee https://www.buymeacoffee.com/twistedpodCheck out our website for sources and photos from todays episode www.twistedanduncorked.comWatch on our YouTube ChannelFollow us on all of the socials:Instagram and TikTok @twistedanduncorkedTwitter @twisted_podFacebook @twistedanduncorkedpodcastThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4751523/advertisement
"Longtime listeners might recognise the hum of Leeton's rice facility from previous projects and this recording includes my army of wind organs, which were installed in the front yard for an Art Trail last weekend. I find their gentle chortling relaxing and my partner Jo described how they became a soundtrack to her dreaming, possibly because of the strong southerlies at that time." Recorded by Bassling. Part of the Music for Sleep project - for more information and to hear more sounds from the collection, visit https://citiesandmemory.com/music-for-sleep/
Hello Friends! We're getting back on the Spoonful train this week with a look at the group's 3rd (and arguably best) LP, the fantastic 'Hums of...' from 1966. Including the hit singles 'Summer in The City' and 'Nashville Cats', the album was originally issued in mono and stereo, with the former single weirdly being in low-fidelity on the LP when compared with the shining mono 45 master. Much like Daydream, these are two mixes of different vibes more than actual differences, but there's still a smattering of these too - and of course that textural difference can make for some vastly different feeling songs too. So grab this LP in Full Measure and let's mess around with Voodoo in the Basement... Happy Listening, Frederick Patreon Email Instagram Back to Mono 25 All-Time Greatest Summer Songs The Ultimate Collection: https://www.discogs.com/release/8318257-Various-25-All-Time-Greatest-Summer-Songs-The-Ultimate-Collection
2023.07.13 – 0924 – Pre-Performance Routines Pre-performance routinesHaving a routine reminds the mind of what's coming next: a live show or a session recording. We've spoken about all of these before: A mental warm-up, perhaps on the bus or train on the way to the studio or sitting in the car outside.Release tension and let go. Imagine you are somewhere warm, maybe on a beach or park. Imagine the sun warming your toes. Focus on the image of loosening and softening and the sun shining and melting any tension away. Repeat while considering your feet, ankles, shins and calves, knees, thighs, pelvis, lower belly and back, ribs, chest and upper back, shoulders, uppers arms, lower arms, hands, neck, face, scalp. A physical warm up: walking to the studio or on a mid-way break through a recording, getting outside for some fresh air and sun.Try a wall lunge: stand a few feet away from a wall with one leg slightly forward, and push against the wall and then relax. This can also lower the amount of tension-inducing hormones in the body, such as cortisol.Shoulder rolls, shaking the hands, and arms and head turns Try clenching each group of muscles from your toes upwards. Tense each group in turn, holding for a count of five and then relax them. Soften the body: are you gripping a mouse or pen, which will give tension in the hand, arms and shoulder. A vocal warm up: Hums in your speaking range, ‘ng' sweepsYawn, stretching the tongue, lip trills. Hosted on Acast. See acast.com/privacy for more information.
Hums are being hired to scout in space. In a habitat on Luna, People take meds to maintain bone and muscle density. Of all the problems caused by living in space, mental health remains the hardest to solve.A couple fall in love, want to have a baby and learn about the embryo screening and germ-line editing options.Many of the characters in this project appear in future episodes. Using storytelling to place you in a time period, this series takes you, year by year, into the future. From 2040 to 2195. If you like emerging tech, eco-tech, futurism, perma-culture, apocalyptic survival scenarios, and disruptive science, sit back and enjoy short stories that showcase my research into how the future may play out. This is Episode 37 of the podcast "In 20xx Scifi and Futurism." The companion site is https://in20xx.com where you can find a timeline of the future, descriptions of future development, and printed fiction.Copyright © Leon Horn 2023. All rights reserved.
Episode Summary James teaches Margaret about sourdough bread. He provides specific instructions on how to start a sourdough starter, keep it alive, and how to then turn the starter into tasty bread. Margaret and James also discuss the intricacies of British vs American English and Margaret learns about a magical Belgian spoon. Guest Info James Stout (He/Him) can be found on Twitter @JamesStout or on the podcast It Could Happen Here. James has a book out called "The Popular Front and the Barcelona 1936 Popular Olympics." You can find it here. Host Info Margaret can be found on twitter @magpiekilljoy or instagram at @margaretkilljoy. Publisher Info This show is published by Strangers in A Tangled Wilderness. We can be found at www.tangledwilderness.org, or on Twitter @TangledWild and Instagram @Tangled_Wilderness. You can support the show on Patreon at www.patreon.com/strangersinatangledwilderness. Transcript Live Like the World is Dying: James on Sourdough Margaret 00:15 Hello and welcome to Live Like the World is Dying, your podcast for what feels like the end times. I'm your host Margaret killjoy, and this week we're talking about that thing you're supposed to conquer: bread. We're talking about bread. Specifically, we're talking about sourdough. And we're talking with James Stout about sourdough. And that's what we're going to talk about. It's gonna be really exciting. I didn't make that sound exciting, but it is. Bread, and baking, and all that shit, something we haven't really covered on here before. And, it's something that I'm really curious about. This podcast is a proud member of the Channel Zero Network of anarchists podcasts, and here's a jingle from another show on the network. [Hums a nondescript "jingle" melody] Margaret 01:36 And we're back. So James, if you would be so kind as to introduce yourself with your name, your pronouns, and then kind of a little bit of your background with I guess, in this case, like bread or preparedness or stuff like that? James 01:49 Yeah, totally. So I'm James. He/him for me. I have my background for this....let me think...I grew up in the countryside. So, I grew up like with animals around, with growing a lot of our own food too, just because that's the way we did stuff. And I think I moved to America in 2008. And without condescending too much, your bread is shit. And so, I was appalled by it. And I've been making my own on and off when I've been home long enough to do it ever since, I guess. And now I still live in the United States in San Diego. And I try and have a little bit of the, like the that sort of, I guess, like preparedness/countryside kind of life. Like, we have we have backyard chickens, and we bake our own bread, and we grow a lot of food too. So, I still try and keep up with all that stuff. Margaret 02:41 And that's inside the city? James 02:43 Yeah, we're not like...I don't want to make it out like we're in a high rise. I have a tiny yard. And then we've, I guess we've liberated the area in between the pavement and the road. I don't know what that area is called. Margaret 02:58 A median. James 02:59 A median. Yeah, it's been...because that's, that's like... Margaret 03:02 Well a medians in the middle of the road. [Sounds unsure] Huh? James 03:04 Yeah. Margaret 03:05 I don't know. I should know. James 03:07 Yeah, you know what I mean, that area that's like liminally public/private. And public, in the sense of owned by the city council, and you can do fuck all with it. Which, you know, isn't great. So, I obtained some lumber and I've tried to put planters out there as well. Margaret 03:24 Oh, nice. What do you grow up? James 03:25 Yeah, So I grow a number of things. I get them from...We actually had a very nice older guy...the other day and an older couple had left their keys in their car. And so I took the keys and put them in the house and left them a note saying, you know, "Come get them." And then they did, and they gave us a voucher when they came and got them, they gave us a voucher for a garden center. So, I'm going to restock my vegetables. But right now I think I've got kale. I like to go...so I do a lot of work in Tucson with a group of indigenous people there, and I like to buy indigenous plants. So there are a couple of nurseries in Tucson and go to. So, I think we have wolfberry. We have agave. We have golden currants. We have carrots. We have kale, Thai chilies, and beetroot. Margaret 04:15 So this is a terrible...I haven't eaten dinner yet. This all sounds very good. James 04:22 Yeah, this is...You're gonna be ruined when I bust out my bread from the oven. Margaret 04:28 I mean, honestly, like bread is...I love bread. I understand that everyone has different body types and different diets. I'm so grateful. I'm not gluten free. James 04:42 Yeah. Margaret 04:43 I love gluten James 04:45 Gluten is my guide star. If someone...I have diabetes, right? And it's like, I think there's a 10% coincidence of autoimmune diabetes and celiac, and I spent some time volunteering with diabetes education and various kinds of places and just...I remember like staying with some folks--and we all have diabetes, so it's fine--I was like, "Fuck, you have celiac as well? That sucks." Like, yeah, it must be profoundly difficult for people, and I'm sorry for them. There are ways to make your own--I think Bob's Red Mill has a pretty good celiac or gluten free blend that you could probably use with a sourdough starter. Certainly, if you fed that starter that flour over time and sort of messed around with your recipe you could probably get something going there. But it's not something I've spent a lot of time with. Fortunately, I'm blessed to be able to digest gluten. Margaret 05:37 So, what is sourdough? Okay, I mean, I sort of know, but I feel like this is a good starting point, right? James 05:45 Yeah. So, it's spontaneous fermentation bread, right? I guess...Like these days, people might be more familiar with like spontaneous fermentation beer like lambics and stuff. Margaret 05:55 No, I don't actually know what spontaneous fermentation means. James 05:58 Okay, so it's when you're capturing wild yeast--and capturing as a strong word--you're encouraging wild yeast from the atmosphere to come and live in a certain place. And then you're using them to ferment you're bread, or your beer, or what have you. Margaret 06:11 Okay, so rather than going and getting yeast you're counting on...This is the way that you make alcohol in prison, right? James 06:18 Yes, yeah. So I'm told. I'm sure. I mean I don't have firsthand experience with it. But yes, it is. And it's a way like ancient Belgian monks would make their beer, right? Like and you hear about back in the day, when people were making beer or making bread they had like a 'magic spoon' that they would stir it with, not knowing that the spoon was like, in fact, what carried the yeast growth from one batch to the next. Margaret 06:44 Oh, that's cool! James 06:46 Yeah. Yeah, it's fun, like a wooden spoon soaking in that yeasty mixture. So yeah, it's basically, your only ingredients for sourdough bread are salt, water, and flour. Margaret 06:59 And so, and also a sourdough starter? But I guess you're saying that you don't start with that. James 07:04 Well, yeah. The only things that you have to purchase or obtain, I guess. Yeah. So you need to get the sourdough starter, which we can get into, like, how do you encourage this bacteria to come and live with you. But you need to obtain it. And then, if you don't make it a favorable atmosphere for them to live, they will just die, right? So you have to keep them alive. And then once you've got those, then you can keep them in your fridge and feed them every week or two. And you can feed them less than that, actually. And yeah, then you've got everything you need, really. You want a big Dutch oven as well. That makes it a lot easier. But yeah, it's you could... Margaret 07:41 Which is a big iron cooking pot with a lid. James 07:44 Exactly. Like a casserole with a lid. Yeah. It's got to have a lid, but you can get those so cheaply now. Like I think I have a large one that is like 35 bucks a Target if you live near a target. I also kind of like to go to thrift stores and buy stuff like that. If I'm out and about I have a special one that I got that I use in like fires and cooking outside. Margaret 08:08 So, why do people make sourdough bread instead of...what is regular [bread]? Because regular bread has yeast in it too, right? James 08:14 Yeah, so it uses...what's the process called...there's a process through which it ferments more rapidly. It's like hyphenated. It's like two names, which...So like my bread--I'm making a batch of bread now, actually--and I started feeding the sourdough [starter] yesterday around around noon, and I build up my starter by adding flour and then I add that to my bulk ferment and then that bulk ferments and it will probably go in the oven tonight. Margaret 08:14 Bog ferment? [Misunderstanding how James says "Bulk"] James 08:33 Bulk. [Emphasizing the word.] Margaret 08:38 Bulk. Sorry. James 08:40 Yeah, like when you're bulking, you know? Yeah, so that...like it'll be the yeast, and the water, and the flour will be in contact for like 24 hours, right? So it's a much slower fermentation. And some people find this more digestively beneficial to them. Chorelywood process is what it's called when you speed ferment the bread. So, if you get your cheap bed, like Bimbo bread or whatever, and you sort of like... Margaret 09:07 Bimbo bread? James 09:08 Yeah, you don't have Bimbo bread? Margaret 09:10 No, what's Bimbo bread? James 09:12 You're from the east coast aren't you. Pan Bimbo? It's a type of bread. It's a little bear thing. I think maybe it's Mexican in origin and it's more in Latino communities or Latinx communities. But yeah. That...if you get your crappy bread.. See I don't know the American brands because I don't buy them, but Bimbo won. It just this sticks out. It sticks out in my mind. Margaret 09:36 Okay, the cliche crappy bread that I don't know anyone who eats is Wonder Bread. James 09:40 Yeah, Wonder Bread. Yeah. They sponsored a cycling team once. It was was very funny. Margaret 09:46 That's funny. James 09:47 Yeah, it's probably...That kind of bread is great to eat when you're like doing intense exercise because it just...[incomprehensible retort] Margaret 09:48 I guess okay...Yeah, it just becomes sugar right away. James 09:47 When I was racing in France, we had these things called quioche de posh, which is like pocket brioche, like the shittiest tier of brioche imaginable. Margaret 09:48 I don't know what brioche is. James 09:48 Okay, brioche like an enriched bread...ah, pretending it's a like anarchist's poor [undecipherable], which like I'm not judging anyone, but it's a like enriched bread. It's a milk bread. Like a sweet bread. Margaret 10:09 Okay, I can't imagine this object. James 10:22 it's just like this big, which is very useful in an audio medium. Yeah, I want to say it's the size of like half a cell phone or mobile phone and...Or a pocket knife, a pocket knife is a good analogy. It's about as big as a pocket knife. And then it's like injection filled with Nutella. It takes like to chews and it just it just goes to a goo. Margaret 10:51 Oh, that sounds really nice actually. James 10:52 Yeah, it's great. You need that while you're riding over mountain France or whatever. So like, cheap bread kind of does that, right? Or like sort of mass produce bread very quickly revert to this kind of pasty thing. Whereas, sourdough bread has a much better structure. And at least like I found it to be it doesn't cause any digestion issues for me. Because it ferments for longer, maybe it breaks down some that stuff a bit more easily. Some people will tell you it's more nutritious. I think that largely depends on the flour use and the ingredients you put in it. You can put other stuff in it like fruit or nuts, right. But, I like it because it's a lot more like...I can't imagine in any like...if you're looking at living more sustainably living more independently from capitalism, like, it's possible that you could grow your own grains and grind your own grains. People have done that for a while. Water would be an issue where I live in Southern California. But you know, if you have access...if you don't have access to water you're fucked anyway. Margaret 11:55 Yeah, you have bigger problems than lack of bread. James 11:58 Yeah. So, it's very sustainable in that sense, right. And I think it just tastes better. And I like making my own stuff like. I have all kinds of things that are...Literally before we spoke, I found a knife on the road, and I was regrinding so I can use it. You know, I like to grow stuff. I like to make stuff. So, it appeals to that side of me too. Yeah. Margaret 12:19 Well, that's good too. Because I feel like there's often this weird gender division within DIY. James 12:25 Yeah, it's strange. Margaret 12:27 Yeah. Like grinding your own knife is allowed to one class of people. But, then gardening is allowed to a different one. You know? That's it. James 12:36 Yeah. I think that's kind of bullshit. Like, you had a tweet today about how like trans ladies are becoming associated with firearms ownership now. Yeah, which I think it's great. Maybe cis men could be associated with doing some domestic labor as well. Margaret 12:50 That would be...you know, the world would work a little better if people were like, "Oh, I don't know. He's just gonna go into the kitchen and do all the dishes." It's like, not even...It's like, I'd make sure I do that before he comes over. Because otherwise he's going to spend the whole party doing the dishes. James 13:03 Yeah, ‘cause he's naturally inclined. Yeah. Margaret 13:07 It's the upper body strength. It really helps get into the.... James 13:10 Yeah. The broad pecs really help get into the lasagna dish. Yeah, they were just made that way. Why are the hands so big? So they can cover a whole dinner plate. Margaret 13:21 Exactly. James 13:22 Yeah. You can't argue with science. Margaret 13:27 Okay, so let's say I want to make sourdough, which I do. And I don't know anything about it. Which I don't. How do I make sourdough? I get flour. James 13:39 Yeah. Margaret 13:39 I get water. Did you say sugar? Did I make that up? James 13:42 No, no, you don't need sugar. Margaret 13:44 Salt? James 13:44 Yeah, you do need a bit of salt. So, let's say you're about starting. Margaret 13:50 Oh, and dutch oven. James 13:52 Yeah, yeah. You're one of the 500 people who texted me this in like March 20th, 2020. It caused me to have a "copy-paste-er" on my phone. So what you would do is you would go out...and I'd say like, if you have all the flours...like say you have a good Co-op or nice supermarket available to you. I would suggest buying to start off with, some rye flour, whole grain rye flour, some bread flour. King Arthur is a good brand. Bob's Red Mill is a good brand. Some supermarkets have their own bread flour. It's just gonna have a little more protein, which is a little more gluten, which will give the bread better structure. And I like to have some all purpose flour as well because it's cheaper. So, like for when I'm just feeding my starter and I'm gonna dump it. If I'm gonna dump it I don't need it to be anything fancy, right? But rye flour is great. Yeasts love rye flour. So, what I start out with is like a jar, a glass jar, preferably you don't want a plastic one. Margaret 14:48 Okay, like a mason jar. James 14:50 Yeah. So a mason jar is great. And you want to be able to....flies, like all the little buggy insects love a sourdough starter. Like, I'll use it to catch them when they're becoming a problem that. But, you don't want them in it. So, you're want to be able to put like a little cheese cloth or something over the top of it. Okay, so mason jar is great, because you can use that sealing ring. Margaret 15:11 Yeah, without anything in the middle. Yeah. James 15:14 Yeah. But you do want to let it breathe. You don't want to close the lid, because then you'll get anaerobic fermentation. So, we're going to express everything that we do in terms of percentages of the weight of the flour. So, we're going to start out with 100% hydration. So that means equal amounts of water and flour. And sometimes I read that you shouldn't use tap water, but I think those people are just kind of getting a bit too namby pamby about things. Like it's fine. It's always been fine for me. If you want to use bottled water, if you have a well, more power to you, but I've used tap water and like our tap water is dogshit in San Diego, and it's been fine. Margaret 15:52 Well, I have a well, so....although, I soften the water. So I don't know if that makes it better or worse. James 15:58 Probably better. Ours very hard. It's certainly better a for your other domestic appliances. Margaret 16:02 Yeah, that's why. Most complicated plumbing job I've set up. James 16:08 Yeah, and it's worth it, though. If you live in a hard water area, and you want an espresso machine, you can normally find one that people think is broken and if you decalcify it it's normally fine. That's a little pro tip. Used to want to have no money. I'd buy them yard sales and fix them and sell them on espresso boards. Margaret 16:28 You've had a lot of jobs. James 16:30 Yeah, a great side hustle. Yeah, didn't have a lot of money so had to have a lot of jobs. So yeah, what we're going to start out doing is we're going to do 100% hydration, right? Margaret 16:40 Okay, 1:1 water and flour. James 16:42 Yes, one to one water and flour. So let's say we're going to do 100 grams of each. It's...you can work in American Standards units, if you really must, but it's so much easier to do percentages, etc, in grams. So, I would just just start there. And then after a day, we're going to dump half of that, and feed it again. Now the stuff that you dump, you can either use to start another starter and give that to a friend or have a backup starter. Or I like to keep it and there are recipes for like making crackers out of it and that kind of thing. And you can do other stuff with it. Margaret 17:14 Wait. So I'm just putting...I'm putting some some flour and some water in a jar with some cheese cloth over it, leaving it, and then throwing half of it out? James 17:23 And then feeding it again. Margaret 17:25 By adding more of everything? James 17:27 More of the flour and the water. So another 100 grams flour, 100 grams of water, and then you're going to dump half and feed again the next day. And the reason you're doing that is to get rid of some of the like metabolites and some of the flour that's been digested. And, you want to keep giving it fresh food and that will encourage the yeast to grow. And so once that starts to fizz and bubble, and you'll kind of see little bubbles and you'll...first it'll smell pretty bad, and then after four or five days normally it starts to smell pretty good. It's kind of got a sweet kind of...people say a green apple smells sometimes. Margaret 18:01 This just seems like magic. You're not adding anything but flour and water to this jar and it's bubbling. James 18:07 Yes, it is. I think...I forget...One of the places that used to say like that yeast was proof of God or something that like....Belgian monks used to make beer this way, right? And they convinced themselves it was either their magic spoon or like God's benevolent love. It's not. Margaret 18:22 I mean, both of those things seem just as realistic as the little tiny things in the air that you can't see are eating the food. James 18:33 Yes, yeah, yeah. Invisible flour eaters. Another way to do it is if you can get nonsulfated dried fruits...so you can...You know when you get the dried apricot and they're brown not orange and they taste better? Those are unsulfated. You can also leave those in a jar. Just close the jar. Leave them in a jar with water and close the jar and after a few days it will start fizzing. Margaret 18:55 Close the jar like cheese cloth? Or like 'close it' close it? James 18:59 Lid it. Lid on. Like screw on the lid. And then after a few days, you'll see that water start fizzing. And that's what's happening there. That's the yeast coming off the skin of the fruit. And then you can use that water to make your starter, right. So mix that with flour and then feed it just like you would before. You can kind of combine these two processes, right. You can do the fruit one first and then do that 100% feed it up. And then after a while that starch is going to start bubbling. This is why you want to use a clear glass jar because you'll see it growing, right. You'll see the bubbles all the way up and you'll see that like oh yeah, this is this is fermenting now. That's what's happening. You can even if you want to you can like Sharpie on the side of the jar, you know, when you feed it and then see if it goes up. And the speed at which it will double in size depends on the temperature where you live, right, and the temperature of the starter itself. So, your that's what you're looking for. You're looking for it to double in size about every eight hours. And that's when you know you've got a good fast smoothing starter. Margaret 20:02 Okay, this totally real thing that happens. I know you're explaining this to me, but in my head this is not...when I go try this later nothing's gonna happen that's how I feel. James 20:11 It will blow your mind. It is it's so cool Margaret 20:15 I'm gonna come back and tell you that I believe in a Belgian God. James 20:19 Yeah, you just become a monk in like West Flanders. Yeah, yeah. Margaret 20:25 Okay. Is this the same yeast that is making that...Is this also alcohol? James 20:33 Yes, it's the same. What? Lactobacillus? Fuck, I used to know what they were called in Latin but I don't anymore, but yes Saccharomyces, I think. Margaret 20:43 Magic sky yeast. James 20:44 Yeah, magic sky yeast. Yes, it is. Yeah, it's the same stuff. Brewers yeast, right when you buy it...So it's just... Margaret 20:54 When I buy it it I can see it. But in the air is just exists? James 20:59 Yeah, it's just floating around. Margaret 21:02 All right. James 21:04 Okay, so the yeast have come to live with you in this jar, right? And they are thriving, and you're feeding them. So now we want to take that to where we can bake from it. So, what we do is we take from us starter and we grab half of it, right? So half of... Margaret 21:19 Half a mason jar? James 21:20 Whatever...400 grams. Yeah, it would be the whole mason jar. But we let's say because we're dumping half and feeding every day, right? So we have that amount that we have, we're gonna split it in half. Margaret 21:31 How many days before it's ready. James 21:34 It kind of depends on the temperature. It will ferment faster in a high temperature. It depends on the yeasts that are available in your area, right. So, if I gave you a sourdough starter today and you took it to where you live, right. I sent it to you in the mail, and you started feeding it, it will become different over time because of the yeast in your area as opposed my area. Margaret 21:52 But, I don't need to start from one that you sent to me. James 21:55 No, you can start from from one that you made yourself. you captured yourself. Right? So, that will probably take five or six days, maybe maybe a week. Some people like to feed it was fruit juice instead of water? I don't know if that helps. Some people put apple peels in the water because there's yeast on the skin. Right. So, let's say you spend the better part of a week...and it's very minimal effort, right, it's about five minutes of your day. And you do that, and you start to see it bubbling up, right, you start seeing in the jar it's bubbling up, okay. Now you could. So you're going to take half of that, dump it in a bowl, and you're going to add 100 grams of flour and 80 grams of water, right? So you're at 80% hydration now. And then the other half that's still in the mason jar, you're going to feed that as you normally would, right, 100, 100. Margaret 22:46 Just to keep it going? James 22:47 To keep it going. Yeah. And then you'll let that sit...I don't know, sometimes I let it sit for four hours. You don't want to let it sit for the full eight hours, because then it would have consumed all the food and it will want feeding again. So let it sit for an hour or two and then I seal it in the mason jar or with a jam jar and I pop that in the fridge. So, that slows down the fermentation. So that now...that doesn't need that....That's what we call your storage starter. And that doesn't need feeding for about a week or two. So basically, if you feed it every time you bake you're going to be okay. Okay, so now we've got this other bowl, right, which has got 100 grams of flour and 80 grams of water in your starter. We're going to mix that up, leave it for eight hours. And at this point, we can transition from using the rye flour to using our all purpose flour. Margaret 23:33 Okay, so the rye flour is just to make the starter? We're not making rye bread. James 23:38 No, well, you can, or if your stater ever gets a bit sluggish, and it's not really fermenting the rye flour will spruce...because rye flour is lower protein, right, lower gluten, it doesn't make as good of bread because gluten is what gives the bread the structure. But the protein is not really digested by the yeast, right? That's why it remains in the bread. So, if we're giving it a flour which is lower protein, there's more of the other stuff that yeast want, and that's where they like the rye flour. But that's also why you can't make your whole bread out of rye flour, or it won't be too good if you do. So. Yeah, at this point, once we've captured our starter, I would start transitioning to the AP for the two feedings that we're going to do to build up... Margaret 24:21 AP is all purpose? James 24:22 All purpose. Yeah, sorry, I'm used to using baker slang. It's how you can tell I'm like down with the kids. So you've moved to your like--what we're doing now is called building a levain. It's a French word. And we're going to do two feedings of that, right? So, we're going to do eight hours spaced apart more or less. We're going to do 100 grams of water, 80 grams all purpose...Sorry, 100 grams of all purpose flour, 80 grams of water. And again, what we're looking for is bubbling up, right. So, you can also do this in glass if you want and you're looking for it to double in size and then you feed it again. But like, it doesn't have to exactly double in size, right? Like I don't really like measure shit. I do weigh stuff, but other than that I kind of...so it's March here. It's pretty cold for San Diego. Like, it'll be in the 40s at night and the 50s in a day. And so it takes a lot longer for my bread to bake now. In the summer, it's just like whipping ass. Like the whole thing is done in like, you know, from getting out the fridge to being done in less than 12 hours. But, it's double that in the winter. Margaret 25:31 Is this making dough? James 25:33 What we're now doing is making a large kind of yeast inoculated...a large yeast culture that we're about to put into the dough. So, the reason we're using AP here is because the yeast will consume more of it, right? And it's...So, then we do that twice, right, we do that feeding twice, which is...so 80% hydration feeding twice. Then, we're going to make the dough itself. I've tried to like refine my process to make it as low stress as possible. And it makes really good bread and it takes not very much time. So, I like to bake with 1500 grams of flour, right? So that's...500 grams of flour is is a good sized loaf, right? Margaret 26:16 So you make three loaves at a time? Okay, James 26:19 Yeah, I make three loaves. I have tried to make one giant choad loaf, but it just sort of...What happens is it will blow the top off your Dutch oven. You'll get like a mushroom. What I do is, I measure up my water first. And if it's cold, I'll use hot water, and if it's hot, I use room temperature water, right. So, right now I run the hot tap a little bit. And then I'm doing the same thing I'm doing 80% hydration, right. So for that, because I'm doing 1500 grams of flour. I want 1200 grams of water. Margaret 26:46 It's so interesting because I usually think of things not in terms of...I don't usually think...I'm not much of a baker, but I don't think of things in terms of the weight of them. I think in terms of the volume of them James 26:55 Weight is so much preferable to volume, like Margaret 26:58 Yeah, no, I believe you. I'm not much of a baker. James 27:02 Yeah, people say that cooking is an art and baking in science. But, I think sourdough was like a vibe...Like once you...once you get it down and you're vibing on the same level as your sourdough starter... Margaret 27:14 Okay, because the other cliche there is, is if you can...if you can bake a cake, you can make a bomb. It's the other cliche. James 27:24 I would not trust this method for bomb making. Margaret 27:27 Yeah, don't vibe with that. James 27:28 Yeah, I'm reminded of...my colleague Robert Evans and I were doing an interview with some some folks who are part of the resistance in Myanmar. They will bomb makers, and one of them's like, "Yeah, man, unfortunately, my friend lost his hand." And we're all sitting around and I know what's coming next, and Robert knows what's coming next, and the guy knows he's gonna have to say it next, and he was like, "We really shouldn't have been smoking, dude." Margaret 27:56 Find out more at https://live-like-the-world-is-dying.pinecast.co
Cocinamos una selección de canciones para escuchar en carretera, canciones para conducir sin pensar en lo que dejamos atrás ni lo que nos espera más adelante.Playlist;(sintonía) JOEL PATERSON “Drive my car” (Let it be guitar, 2019)J.J. CALE “Anyway the wind blows” (Okie, 1974)ERIC CLAPTON “Lonesome and long way from home” (Eric Clapton, 1970)DELANEY and BONNIE and Friends “Comin’ home” (1970)THE LOVIN SPOONFUL “Darlin’ companion” (Hums of the Lovin' Spoonful, 1966)THE DOORS “Roadhouse blues” (Morrison Hotel, 1970)THE FLAMIN’ GROOVIES “Sweet roll me on down” (Flamingo, 1970)ROY LONEY and THE PHANTOM MOVERS “Driving Wheel” (Action shots, 1993)NEIL YOUNG “Everybody knows this is nowhere” (Everybody knows this is nowhere, 1969)BUFFY SAINTE-MARIE “Better to find out for yourself” (Illuminations, 1969)THE GUESS WHO “Bus rider” (Share the land, 1970)CRACKER “Get on down the road” (Berkeley To Bakersfield, 2014)THE MORELLS “The man who has everything” (Shake and push, 1982)BEN VAUGHN “Don’t say you don’t wanna” (Dressed in black, 1990)JOHN FOGHERTI “The old man down the road” Centerfield, 1985)JEFFREY FOUCAULT “Lodi” (Stripping Cane, 2004) Escuchar audio
In the 14th Season of Healing Arts, Shelley introduces a new segment called Book Talk featuring her older books that have been released on Audible. This week she discusses Gemstone Journeys: https://www.amazon.com/Gemstone-Journeys-Shelley-Kaehr-Ph-D-ebook/dp/B003A022EO Order on Audible: https://www.audible.com/pd/B08WJK519P/?source_code=AUDFPWS0223189MWT-BK-ACX0-237564&ref=acx_bty_BK_ACX0_237564_rh_us Part 2 Best of Healing Arts Podcast Shelley picks her favorite interviews from the past two and a half years. Today Shelley welcomes her dear friends, sound pioneers Jonathan & Andi Goldman for a talk about their wonderful book The Humming Effect: Sound Healing for Health & Happiness: https://amzn.to/3eU2r4W Visit Jonathan & Andi online: https://healingsounds.com/ Originally aired June 20, 2021 Watch on YouTube! https://www.youtube.com/c/PastLifeLady PLEASE SUBSCRIBE! Thank You in advance! Visit Shelley online: https://pastlifelady.com Words and images copyright © 2023 by Shelley A. Kaehr, Ph.D. Products and services are not intended to diagnose, treat, cure, or prevent any disease. Always check with a medical professional for your health concerns. By accessing and using this website and its related goods, services, and other connected sites, links, and resources, you agree and accept that Shelley A. Kaehr and any other party involved with creation or management of this site is not liable for any damage or loss in any form arising out of your access or use of this site and its related content and services. You accept all responsibility for your interpretations, decisions, uses, actions, and consequences resulting from your access to this site and its related content in all forms. --- Send in a voice message: https://anchor.fm/healingarts/message
After suffering illness, our guest involved shamanic approaches in his quest to return to full health. During his successful process of recovery he discovered a deep resonance with chanting, which led to an extraordinary experience. Later, on a trip to Iceland, he encountered a couple who showed up out of the blue and disappeared just as curiously. He has always felt, they were not of this world. In the Bonus Episode on Patreon, our guest describes a mysterious face which appeared in a fire. For more information, further reading and show notes go to:https://www.scarlettofthefae.com/ep-50-healing-hums-and-curious-folk/Content warning: These are not fairytales and the content is unsuitable for children. Some episodes may contain details which some may find unsettling or frightening. The Modern Fairy Sightings Podcast is designed for listeners 16 years and older.Podcast intro music: Transmutate by Snowflake (c) copyright 2020 Licensed. This work is licensed under a Creative Commons Attribution 3.0 Unported License.Green Man Artwork: Peter Hall StudiosPlease like, share and subscribe and if you can, please leave a review
Angela gets to speak with long-time acquaintance and classmate, Scott Hums. In today's episode, Scott shares his career journey, the primary difference between a digital director and director of content, and the future of broadcast journalism. Follow Scott's work here: https://www.wthr.com/search?q=Scott+Hums Instagram: https://www.instagram.com/scotthums/ Twitter: https://twitter.com/scotthums WTHR: https://www.wthr.com/ WNDU: https://www.wndu.com/ WSJV: https://tvnewscheck.com/article/tag/wsjv-south-bend/ IUSB: https://www.iusb.edu/ Ball State: https://www.bsu.edu/academics/collegesanddepartments/sjsc Nightline: https://abcnews.go.com/Nightline KUCW, Salt Lake City: https://www.abc4.com/ WISH TV: https://www.wishtv.com/ WTHR: https://www.wthr.com/ TV News Check, Emily Barr, Sympathy for the News Director: https://tvnewscheck.com/journalism/article/281464/ Tegna: https://www.tegna.com/ MMJ car incident video: https://twitter.com/todayshow/status/1484145685423403010?lang=en Shortage of Home Nurses: https://www.wthr.com/article/news/investigations/13-investigates/despite-promises-state-leaders-indiana-families-still-battling-home-nursing-shortage/531-6c25dc85-7fa5-49a4-af19-18c72b55c4e0 Peabody/DuPont Award – Homeless shelter: https://www.wthr.com/article/news/investigations/13-investigates/tracking-your-donations-undercover-video-raises-serious-questions-about-indiana-homeless/531-2902c680-d68c-4f6b-abab-b8a886b6cb40 Thank you for listening! Please take a moment to rate, review and subscribe to the Media in Minutes podcast here or anywhere you get your podcasts: https://podcasts.apple.com/us/podcast/media-in-minutes/id1555710662
The 7th Rule 2 - Reviews of New Star Trek Shows with DS9's Cirroc Lofton!
Cirroc Lofton (Jake Sisko in Star Trek Deep Space Nine), Ryan T. Husk, and associate producer, Dr. Mohamed Noor, review Star Trek Lower Decks, episode 6, "Terminal Provocations." Produced by Ryan T. Husk.Audio Remastered by Scott Jensen. Associate Producers:Ann Marie SegalDennis KochCommander Homer FrizzellYvette BlackmonEve EnglandCarmen ShamwellPJ TomasTJ Jackson-BeyTimothy BaumBill Victor ArucanTitus MohlerRex A. WoodSusan V. GrunerRecorded 9/10/20Every week, we watch an episode of Star Trek: Lower Decks and review it. Join us! Watch every week and get in on the discussion - we'd love to have you!If you enjoy our content please leave us a five star rating and comment/review.Support and join the community here: https://www.patreon.com/The7thRuleWatch the episodes with full video here: https://www.youtube.com/c/The7thRuleListen to all our audio podcast episodes on your favorite podcasting platform here: https://pod.link/1453564609Social media:https://twitter.com/7thRulehttps://www.facebook.com/The7thRule/https://www.facebook.com/groups/The7thRuleGet cool T7R merchandise here: https://the-7th-rule.creator-spring.com/Malissa Longo creates fun and functional Star Trek art at:https://www.walkingartmadebymalissa.com/We continue The 7th Rule journey without our friend, our brother, Aron Eisenberg. He is still with us in spirit, in stories, in laughter, and in memories, and the show must go on.Cirroc's sister, Merone, makes amazing East-African inspired clothing and items for sale at:https://www.abyssiniankiosk.com/Malissa Longo creates fun and functional Star Trek art at:https://www.walkingartmadebymalissa.com/We continue The 7th Rule journey without our friend, our brother, Aron Eisenberg. He is still with us in spirit, in stories, in laughter, and in memories, and the show must go on.
Ben 'n' Henry bring you this week's side-iest of stories: a Murdaugh-Murder Family Update, French Nightclub Needle Attacks, a bottomless Restaurant Window Smasher in Queens, the Mystery of Phantom Hums, yet another Murder for Hire - Gone Wrong, Biohacker Struggles, Hero and Villain Pigs, Rescue Rubble Rats, Listener Stories, and MORE!
Episode 143 of A History of Rock Music in Five Hundred Songs looks at “Summer in the City'”, and at the short but productive career of the Lovin' Spoonful. 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 "The Sun Ain't Gonna Shine Any More" by the Walker Brothers and the strange career of Scott Walker. 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. This box set contains all four studio albums by the Lovin' Spoonful, plus the one album by "The Lovin' Spoonful featuring Joe Butler", while this CD contains their two film soundtracks (mostly inessential instrumental filler, apart from "Darling Be Home Soon") Information about harmonicas and harmonicists comes from Harmonicas, Harps, and Heavy Breathers by Kim Field. There are only three books about the Lovin' Spoonful, but all are worth reading. Do You Believe in Magic? by Simon Wordsworth is a good biography of the band, while his The Magic's in the Music is a scrapbook of press cuttings and reminiscences. Meanwhile Steve Boone's Hotter Than a Match Head: My Life on the Run with the Lovin' Spoonful has rather more discussion of the actual music than is normal in a musician's autobiography. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Let's talk about the harmonica for a while. The harmonica is an instrument that has not shown up a huge amount in the podcast, but which was used in a fair bit of the music we've covered. We've heard it for example on records by Bo Diddley: [Excerpt: Bo Diddley, "I'm a Man"] and by Bob Dylan: [Excerpt: Bob Dylan, "Blowin' in the Wind"] and the Rolling Stones: [Excerpt: The Rolling Stones, "Little Red Rooster"] In most folk and blues contexts, the harmonicas used are what is known as a diatonic harmonica, and these are what most people think of when they think of harmonicas at all. Diatonic harmonicas have the notes of a single key in them, and if you want to play a note in another key, you have to do interesting tricks with the shape of your mouth to bend the note. There's another type of harmonica, though, the chromatic harmonica. We've heard that a time or two as well, like on "Love Me Do" by the Beatles: [Excerpt: The Beatles, "Love Me Do"] Chromatic harmonicas have sixteen holes, rather than the diatonic harmonica's ten, and they also have a slide which you can press to raise the note by a semitone, meaning you can play far more notes than on a diatonic harmonica -- but they're also physically harder to play, requiring a different kind of breathing to pull off playing one successfully. They're so different that John Lennon would distinguish between the two instruments -- he'd describe a chromatic harmonica as a harmonica, but a diatonic harmonica he would call a harp, like blues musicians often did: [Excerpt: The Beatles, "Love These Goon Shows"] While the chromatic harmonica isn't a particularly popular instrument in rock music, it is one that has had some success in other fields. There have been some jazz and light-orchestral musicians who have become famous playing the instrument, like the jazz musician Max Geldray, who played in those Goon Shows the Beatles loved so much: [Excerpt: Max Geldray, "C-Jam Blues"] And in the middle of the twentieth century there were a few musicians who succeeded in making the harmonica into an instrument that was actually respected in serious classical music. By far the most famous of these was Larry Adler, who became almost synonymous with the instrument in the popular consciousness, and who reworked many famous pieces of music for the instrument: [Excerpt: Larry Adler, "Rhapsody in Blue"] But while Adler was the most famous classical harmonicist of his generation, he was not generally considered the best by other musicians. That was, rather, a man named John Sebastian. Sebastian, who chose to take his middle name as a surname partly to Anglicise his name but also, it seems, at least in part as tribute to Johann Sebastian Bach (which incidentally now makes it really, really difficult to search for copies of his masterwork "John Sebastian Plays Bach", as Internet searches uniformly think you're searching just for the composer...) started out like almost all harmonica players as an amateur playing popular music. But he quickly got very, very, good, and by his teens he was already teaching other children, including at a summer camp run by Albert Hoxie, a musician and entrepreneur who was basically single-handedly responsible for the boom in harmonica sales in the 1920s and 1930s, by starting up youth harmonica orchestras -- dozens or even hundreds of kids, all playing harmonica together, in a semi-militaristic youth organisation something like the scouts, but with harmonicas instead of woggles and knots. Hoxie's group and the various organisations copying it led to there being over a hundred and fifty harmonica orchestras in Chicago alone, and in LA in the twenties and thirties a total of more than a hundred thousand children passed through harmonica orchestras inspired by Hoxie. Hoxie's youth orchestras were largely responsible for the popularity of the harmonica as a cheap instrument for young people, and thus for its later popularity in the folk and blues worlds. That was only boosted in the Second World War by the American Federation of Musicians recording ban, which we talked about in the early episodes of the podcast -- harmonicas had never been thought of as a serious instrument, and so most professional harmonica players were not members of the AFM, but were considered variety performers and were part of the American Guild of Variety Artists, along with singers, ukulele players, and musical saw players. Of course, the war did also create a problem, because the best harmonicas were made in Germany by the Hohner company, but soon a lot of American companies started making cheap harmonicas to fill the gap in the market. There's a reason the cliche of the GI in a war film playing a harmonica in the trenches exists, and it's largely because of Hoxie. And Hoxie was based in Philadelphia, where John Sebastian lived as a kid, and he mentored the young player, who soon became a semi-professional performer. Sebastian's father was a rich banker, and discouraged him from becoming a full-time musician -- the plan was that after university, Sebastian would become a diplomat. But as part of his preparation for that role, he was sent to spend a couple of years studying at the universities of Rome and Florence, learning about Italian culture. On the boat back, though, he started talking to two other passengers, who turned out to be the legendary Broadway songwriting team Rodgers and Hart, the writers of such classic songs as "Blue Moon" and "My Funny Valentine": [Excerpt: Ella Fitzgerald, "My Funny Valentine"] Sebastian talked to his new friends, and told them that he was feeling torn between being a musician and being in the foreign service like his father wanted. They both told him that in their experience some people were just born to be artists, and that those people would never actually find happiness doing anything else. He took their advice, and decided he was going to become a full-time harmonica player. He started out playing in nightclubs, initially playing jazz and swing, but only while he built up a repertoire of classical music. He would rehearse with a pianist for three hours every day, and would spend the rest of his time finding classical works, especially baroque ones, and adapting them for the harmonica. As he later said “I discovered sonatas by Telemann, Veracini, Bach, Handel, Vivaldi, Hasse, Marcello, Purcell, and many others, which were written to be played on violin, flute, oboe, musette, even bagpipes... The composer seemed to be challenging each instrument to create the embellishments and ornaments to suit its particular voice. . . . I set about choosing works from this treasure trove that would best speak through my instrument.” Soon his nightclub repertoire was made up entirely of these classical pieces, and he was making records like John Sebastian Plays Bach: [Excerpt: John Sebastian, "Flute Sonata in B Minor BWV1030 (J.S. Bach)"] And while Sebastian was largely a lover of baroque music above all other forms, he realised that he would have to persuade new composers to write new pieces for the instrument should he ever hope for it to have any kind of reputation as a concert instrument, so he persuaded contemporary composers to write pieces like George Kleinsinger's "Street Corner Concerto", which Sebastian premiered with the New York Philharmonic: [Excerpt: John Sebastian, "Street Corner Concerto"] He became the first harmonica player to play an entirely classical repertoire, and regarded as the greatest player of his instrument in the world. The oboe player Jay S Harrison once wrote of seeing him perform "to accomplish with success a program of Mr. Sebastian's scope is nothing short of wizardry. . . . He has vast technical facility, a bulging range of colors, and his intentions are ever musical and sophisticated. In his hands the harmonica is no toy, no simple gadget for the dispensing of homespun tunes. Each single number of the evening was whittled, rounded, polished, and poised. . . . Mr. Sebastian's playing is uncanny." Sebastian came from a rich background, and he managed to earn enough as a classical musician to live the lifestyle of a rich artistic Bohemian. During the forties and fifties he lived in Greenwich Village with his family -- apart from a four-year period living in Rome from 1951 to 55 -- and Eleanor Roosevelt was a neighbour, while Vivian Vance, who played Ethel Mertz on I Love Lucy, was the godmother of his eldest son. But while Sebastian's playing was entirely classical, he was interested in a wider variety of music. When he would tour Europe, he would often return having learned European folk songs, and while he was living in Greenwich Village he would often be visited by people like Burl Ives, Woody Guthrie, and other folk singers living in the area. And that early influence rubbed off on Sebastian's son, John Benson Sebastian, although young John gave up trying to learn the harmonica the first time he tried, because he didn't want to be following too closely in his father's footsteps. Sebastian junior did, though, take up the guitar, inspired by the first wave rock and rollers he was listening to on Alan Freed's show, and he would later play the harmonica, though the diatonic harmonica rather than the chromatic. In case you haven't already figured it out, John Benson Sebastian, rather than his father, is a principal focus of this episode, and so to avoid confusion, from this point on, when I refer to "John Sebastian" or "Sebastian" without any qualifiers, I'm referring to the younger man. When I refer to "John Sebastian Sr" I'm talking about the father. But it was John Sebastian Sr's connections, in particular to the Bohemian folk and blues scenes, which gave his more famous son his first connection to that world of his own, when Sebastian Sr appeared in a TV show, in November 1960, put together by Robert Herridge, a TV writer and producer who was most famous for his drama series but who had also put together documentaries on both classical music and jazz, including the classic performance documentary The Sound of Jazz. Herridge's show featured both Sebastian Sr and the country-blues player Lightnin' Hopkins: [Excerpt: Lightnin' Hopkins, "Blues in the Bottle"] Hopkins was one of many country-blues players whose career was having a second wind after his discovery by the folk music scene. He'd been recording for fourteen years, putting out hundreds of records, but had barely performed outside Houston until 1959, when the folkies had picked up on his work, and in October 1960 he had been invited to play Carnegie Hall, performing with Pete Seeger and Joan Baez. Young John Sebastian had come along with his dad to see the TV show be recorded, and had an almost Damascene conversion -- he'd already heard Hopkins' recordings, but had never seen anything like his live performances. He was at that time attending a private boarding school, Blair Academy, and his roommate at the school also had his own apartment, where Sebastian would sometimes stay. Soon Lightnin' Hopkins was staying there as well, as somewhere he could live rent-free while he was in New York. Sebastian started following Hopkins around and learning everything he could, being allowed by the older man to carry his guitar and buy him gin, though the two never became close. But eventually, Hopkins would occasionally allow Sebastian to play with him when he played at people's houses, which he did on occasion. Sebastian became someone that Hopkins trusted enough that when he was performing on a bill with someone else whose accompanist wasn't able to make the gig and Sebastian put himself forward, Hopkins agreed that Sebastian would be a suitable accompanist for the evening. The singer he accompanied that evening was a performer named Valentine Pringle, who was a protege of Harry Belafonte, and who had a similar kind of sound to Paul Robeson. Sebastian soon became Pringle's regular accompanist, and played on his first album, I Hear America Singing, which was also the first record on which the great trumpet player Hugh Masakela played. Sadly, Paul Robeson style vocals were so out of fashion by that point that that album has never, as far as I can tell, been issued in a digital format, and hasn't even been uploaded to YouTube. But this excerpt from a later recording by Pringle should give you some idea of the kind of thing he was doing: [Excerpt: Valentine Pringle, "Go 'Way From My Window"] After these experiences, Sebastian started regularly going to shows at Greenwich Village folk clubs, encouraged by his parents -- he had an advantage over his peers because he'd grown up in the area and had artistic parents, and so he was able to have a great deal of freedom that other people in their teens weren't. In particular, he would always look out for any performances by the great country blues performer Mississippi John Hurt. Hurt had made a few recordings for Okeh records in 1928, including an early version of "Stagger Lee", titled "Stack O'Lee": [Excerpt: Mississippi John Hurt, "Stack O'Lee Blues"] But those records had been unsuccessful, and he'd carried on working on a farm. and not performed other than in his tiny home town of Avalon, Mississippi, for decades. But then in 1952, a couple of his tracks had been included on the Harry Smith Anthology, and as a result he'd come to the attention of the folk and blues scholar community. They'd tried tracking him down, but been unable to until in the early sixties one of them had discovered a track on one of Hurt's records, "Avalon Blues", and in 1963, thirty-five years after he'd recorded six flop singles, Mississippi John Hurt became a minor star, playing the Newport Folk Festival and appearing on the Tonight Show. By this time, Sebastian was a fairly well-known figure in Greenwich Village, and he had become quite a virtuoso on the harmonica himself, and would walk around the city wearing a holster-belt containing harmonicas in a variety of different keys. Sebastian became a huge fan of Hurt, and would go and see him perform whenever Hurt was in New York. He soon found himself first jamming backstage with Hurt, and then performing with him on stage for the last two weeks of a residency. He was particularly impressed with what he called Hurt's positive attitude in his music -- something that Sebastian would emulate in his own songwriting. Sebastian was soon invited to join a jug band, called the Even Dozen Jug Band. Jug band music was a style of music that first became popular in the 1920s, and had many of the same musical elements as the music later known as skiffle. It was played on a mixture of standard musical instruments -- usually portable, "folky" ones like guitar and harmonica -- and improvised homemade instruments, like the spoons, the washboard, and comb and paper. The reason they're called jug bands is because they would involve someone blowing into a jug to make a noise that sounded a bit like a horn -- much like the coffee pot groups we talked about way back in episode six. The music was often hokum music, and incorporated elements of what we'd now call blues, vaudeville, and country music, though at the time those genres were nothing like as distinct as they're considered today: [Excerpt: Cincinnati Jug Band, "Newport Blues"] The Even Dozen Jug Band actually ended up having thirteen members, and it had a rather remarkable lineup. The leader was Stefan Grossman, later regarded as one of the greatest fingerpicking guitarists in America, and someone who will be coming up in other contexts in future episodes I'm sure, and they also featured David Grisman, a mandolin player who would later play with the Grateful Dead among many others; Steve Katz, who would go on to be a founder member of Blood, Sweat and Tears and produce records for Lou Reed; Maria D'Amato, who under her married name Maria Muldaur would go on to have a huge hit with "Midnight at the Oasis"; and Joshua Rifkin, who would later go on to become one of the most important scholars of Bach's music of the latter half of the twentieth century, but who is best known for his recordings of Scott Joplin's piano rags, which more or less single-handedly revived Joplin's music from obscurity and created the ragtime revival of the 1970s: [Excerpt: Joshua Rifkin, "Maple Leaf Rag"] Unfortunately, despite the many talents involved, a band as big as that was uneconomical to keep together, and the Even Dozen Jug Band only played four shows together -- though those four shows were, as Muldaur later remembered, "Carnegie Hall twice, the Hootenanny television show and some church". The group did, though, make an album for Elektra records, produced by Paul Rothchild. Indeed, it was Rothchild who was the impetus for the group forming -- he wanted to produce a record of a jug band, and had told Grossman that if he got one together, he'd record it: [Excerpt: The Even Dozen Jug Band, "On the Road Again"] On that album, Sebastian wasn't actually credited as John Sebastian -- because he was playing harmonica on the album, and his father was such a famous harmonica player, he thought it better if he was credited by his middle name, so he was John Benson for this one album. The Even Dozen Jug Band split up after only a few months, with most of the band more interested in returning to university than becoming professional musicians, but Sebastian remained in touch with Rothchild, as they both shared an interest in the drug culture, and Rothchild started using him on sessions for other artists on Elektra, which was rapidly becoming one of the biggest labels for the nascent counterculture. The first record the two worked together on after the Even Dozen Jug Band was sparked by a casual conversation. Vince Martin and Fred Neil saw Sebastian walking down the street wearing his harmonica holster, and were intrigued and asked him if he played. Soon he and his friend Felix Pappalardi were accompanying Martin and Neil on stage, and the two of them were recording as the duo's accompanists: [Excerpt: Vince Martin and Fred Neil, "Tear Down the Walls"] We've mentioned Neil before, but if you don't remember him, he was one of the people around whom the whole Greenwich Village scene formed -- he was the MC and organiser of bills for many of the folk shows of the time, but he's now best known for writing the songs "Everybody's Talkin'", recorded famously by Harry Nilsson, and "The Dolphins", recorded by Tim Buckley. On the Martin and Neil album, Tear Down The Walls, as well as playing harmonica, Sebastian acted essentially as uncredited co-producer with Rothchild, but Martin and Neil soon stopped recording for Elektra. But in the meantime, Sebastian had met the most important musical collaborator he would ever have, and this is the start of something that will become a minor trend in the next few years, of important musical collaborations happening because of people being introduced by Cass Elliot. Cass Elliot had been a singer in a folk group called the Big 3 -- not the same group as the Merseybeat group -- with Tim Rose, and the man who would be her first husband, Jim Hendricks (not the more famous guitarist of a similar name): [Excerpt: Cass Elliot and the Big 3, "The Banjo Song"] The Big 3 had split up when Elliot and Hendricks had got married, and the two married members had been looking around for other musicians to perform with, when coincidentally another group they knew also split up. The Halifax Three were a Canadian group who had originally started out as The Colonials, with a lineup of Denny Doherty, Pat LaCroix and Richard Byrne. Byrne didn't turn up for a gig, and a homeless guitar player, Zal Yanovsky, who would hang around the club the group were playing at, stepped in. Doherty and LaCroix, much to Yanovsky's objections, insisted he bathe and have a haircut, but soon the newly-renamed Halifax Three were playing Carnegie Hall and recording for Epic Records: [Excerpt: The Halifax Three, "When I First Came to This Island"] But then a plane they were in crash-landed, and the group took that as a sign that they should split up. So they did, and Doherty and Yanovsky continued as a duo, until they hooked up with Hendricks and Elliot and formed a new group, the Mugwumps. A name which may be familiar if you recognise one of the hits of a group that Doherty and Elliot were in later: [Excerpt: The Mamas and the Papas, "Creeque Alley"] But we're skipping ahead a bit there. Cass Elliot was one of those few people in the music industry about whom it is impossible to find anyone with a bad word to say, and she was friendly with basically everyone, and particularly good at matching people up with each other. And on February the 7th 1964, she invited John Sebastian over to watch the Beatles' first performance on the Ed Sullivan Show. Like everyone in America, he was captivated by the performance: [Excerpt: The Beatles, "I Want to Hold Your Hand (live on the Ed Sullivan Show)"] But Yanovsky was also there, and the two played guitar together for a bit, before retreating to opposite sides of the room. And then Elliot spent several hours as a go-between, going to each man and telling him how much the other loved and admired his playing and wanted to play more with him. Sebastian joined the Mugwumps for a while, becoming one of the two main instrumentalists with Yanovsky, as the group pivoted from performing folk music to performing Beatles-inspired rock. But the group's management team, Bob Cavallo and Roy Silver, who weren't particularly musical people, and whose main client was the comedian Bill Cosby, got annoyed at Sebastian, because he and Yanovsky were getting on *too* well musically -- they were trading blues licks on stage, rather than sticking to the rather pedestrian arrangements that the group was meant to be performing -- and so Silver fired Sebastian fired from the group. When the Mugwumps recorded their one album, Sebastian had to sit in the control room while his former bandmates recorded with session musicians, who he thought were nowhere near up to his standard: [Excerpt: The Mugwumps, "Searchin'"] By the time that album was released, the Mugwumps had already split up. Sebastian had continued working as a session musician for Elektra, including playing on the album The Blues Project, which featured white Greenwich Village folk musicians like Eric Von Schmidt, Dave Van Ronk, and Spider John Koerner playing their versions of old blues records, including this track by Geoff Muldaur, which features Sebastian on harmonica and "Bob Landy" on piano -- a fairly blatant pseudonym: [Excerpt: Geoff Muldaur, "Downtown Blues"] Sebastian also played rhythm guitar and harmonica on the demos that became a big part of Tim Hardin's first album -- and his fourth, when the record company released the remaining demos. Sebastian doesn't appear to be on the orchestrated ballads that made Hardin's name -- songs like "Reason to Believe" and "Misty Roses" -- but he is on much of the more blues-oriented material, which while it's not anything like as powerful as Hardin's greatest songs, made up a large part of his repertoire: [Excerpt: Tim Hardin, "Ain't Gonna Do Without"] Erik Jacobsen, the producer of Hardin's records, was impressed enough by Sebastian that he got Sebastian to record lead vocals, for a studio group consisting of Sebastian, Felix Pappalardi, Jerry Yester and Henry Diltz of the Modern Folk Quartet, and a bass singer whose name nobody could later remember. The group, under the name "Pooh and the Heffalumps", recorded two Beach Boys knockoffs, "Lady Godiva" and "Rooty Toot", the latter written by Sebastian, though he would later be embarrassed by it and claim it was by his cousin: [Excerpt: Pooh and the Heffalumps, "Rooty Toot"] After that, Jacobsen became convinced that Sebastian should form a group to exploit his potential as a lead singer and songwriter. By this point, the Mugwumps had split up, and their management team had also split, with Silver taking Bill Cosby and Cavallo taking the Mugwumps, and so Sebastian was able to work with Yanovsky, and the putative group could be managed by Cavallo. But Sebastian and Yanovsky needed a rhythm section. And Erik Jacobsen knew a band that might know some people. Jacobsen was a fan of a Beatles soundalike group called the Sellouts, who were playing Greenwich Village and who were co-managed by Herb Cohen, the manager of the Modern Folk Quartet (who, as we heard a couple of episodes ago, would soon go on to be the manager of the Mothers of Invention). The Sellouts were ultra-professional by the standards of rock groups of the time -- they even had a tape echo machine that they used on stage to give them a unique sound -- and they had cut a couple of tracks with Jacobsen producing, though I've not been able to track down copies of them. Their leader Skip Boone, had started out playing guitar in a band called the Blue Suedes, and had played in 1958 on a record by their lead singer Arthur Osborne: [Excerpt: Arthur Osborne, "Hey Ruby"] Skip Boone's brother Steve in his autobiography says that that was produced by Chet Atkins for RCA, but it was actually released on Brunswick records. In the early sixties, Skip Boone joined a band called the Kingsmen -- not the same one as the band that recorded "Louie Louie" -- playing lead guitar with his brother Steve on rhythm, a singer called Sonny Bottari, a saxophone player named King Charles, bass player Clay Sonier, and drummer Joe Butler. Sometimes Butler would get up front and sing, and then another drummer, Jan Buchner, would sit in in his place. Soon Steve Boone would replace Bonier as the bass player, but the Kingsmen had no success, and split up. From the ashes of the Kingsmen had formed the Sellouts, Skip Boone, Jerry Angus, Marshall O'Connell, and Joe Butler, who had switched from playing "Peppermint Twist" to playing "I Want to Hold Your Hand" in February 1964. Meanwhile Steve Boone went on a trip to Europe before starting at university in New York, where he hooked up again with Butler, and it was Butler who introduced him to Sebastian and Yanovsky. Sebastian and Yanovsky had been going to see the Sellouts at the behest of Jacobsen, and they'd been asking if they knew anyone else who could play that kind of material. Skip Boone had mentioned his little brother, and as soon as they met him, even before they first played together, they knew from his appearance that he would be the right bass player for them. So now they had at least the basis for a band. They hadn't played together, but Erik Jacobsen was an experienced record producer and Cavallo an experienced manager. They just needed to do some rehearsals and get a drummer, and a record contract was more or less guaranteed. Boone suggested Jan Buchner, the backup drummer from the Kingsmen, and he joined them for rehearsals. It was during these early rehearsals that Boone got to play on his first real record, other than some unreleased demos the Kingsmen had made. John Sebastian got a call from that "Bob Landy" we mentioned earlier, asking if he'd play bass on a session. Boone tagged along, because he was a fan, and when Sebastian couldn't get the parts down for some songs, he suggested that Boone, as an actual bass player, take over: [Excerpt: Bob Dylan, "Maggie's Farm"] But the new group needed a name, of course. It was John Sebastian who came up with the name they eventually chose, The Lovin' Spoonful, though Boone was a bit hesitant about it at first, worrying that it might be a reference to heroin -- Boone was from a very conservative, military, background, and knew little of drug culture and didn't at that time make much of a distinction between cannabis and heroin, though he'd started using the former -- but Sebastian was insistent. The phrase actually referred to coffee -- the name came from "Coffee Blues" by Sebastian's old idol Mississippi John Hurt – or at least Hurt always *said* it was about coffee, though in live performance he apparently made it clear that it was about cunnilingus: [Excerpt: Mississippi John Hurt, "Coffee Blues"] Their first show, at the Night Owl Club, was recorded, and there was even an attempt to release it as a CD in the 1990s, but it was left unreleased and as far as I can tell wasn't even leaked. There have been several explanations for this, but perhaps the most accurate one is just the comment from the manager of the club, who came up to the group after their two sets and told them “Hey, I don't know how to break this to you, but you guys suck.” There were apparently three different problems. They were underrehearsed -- which could be fixed with rehearsal -- they were playing too loud and hurting the patrons' ears -- which could be fixed by turning down the amps -- and their drummer didn't look right, was six years older than the rest of the group, and was playing in an out-of-date fifties style that wasn't suitable for the music they were playing. That was solved by sacking Buchner. By this point Joe Butler had left the Sellouts, and while Herb Cohen was interested in managing him as a singer, he was willing to join this new group at least for the moment. By now the group were all more-or-less permanent residents at the Albert Hotel, which was more or less a doss-house where underemployed musicians would stay, and which had its own rehearsal rooms. As well as the Spoonful, Cass Elliot and Denny Doherty lived there, as did the Paul Butterfield Blues Band. Joe Butler quickly fit into the group, and soon they were recording what became their first single, produced by Jacobsen, an original of Sebastian's called "Do You Believe in Magic?", with Sebastian on autoharp and vocals, Yanovsky on lead guitar and backing vocals, Boone on bass, Butler on drums, and Jerry Yester adding piano and backing vocals: [Excerpt: The Lovin' Spoonful, "Do You Believe in Magic?"] For a long time, the group couldn't get a deal -- the record companies all liked the song, but said that unless the group were English they couldn't sell them at the moment. Then Phil Spector walked into the Night Owl Cafe, where the new lineup of the group had become popular, and tried to sign them up. But they turned him down -- they wanted Erik Jacobsen to produce them; they were a team. Spector's interest caused other labels to be interested, and the group very nearly signed to Elektra. But again, signing to Elektra would have meant being produced by Rothchild, and also Elektra were an album label who didn't at that time have any hit single acts, and the group knew they had hit single potential. They did record a few tracks for Elektra to stick on a blues compilation, but they knew that Elektra wouldn't be their real home. Eventually the group signed with Charley Koppelman and Don Rubin, who had started out as songwriters themselves, working for Don Kirshner. When Kirshner's organisation had been sold to Columbia, Koppelman and Rubin had gone along and ended up working for Columbia as executives. They'd then worked for Morris Levy at Roulette Records, before forming their own publishing and record company. Rather than put out records themselves, they had a deal to license records to Kama Sutra Records, who in turn had a distribution deal with MGM Records. Koppelman and Rubin were willing to take the group and their manager and producer as a package deal, and they released the group's demo of "Do You Believe In Magic?" unchanged as their first single: [Excerpt: The Lovin' Spoonful, "Do You Believe in Magic?"] The single reached the top ten, and the group were soon in the studio cutting their first album, also titled Do You Believe In Magic? The album was a mix of songs that were part of the standard Greenwich Village folkie repertoire -- songs like Mississippi John Hurt's "Blues in the Bottle" and Fred Neil's "The Other Side of This Life" -- and a couple more originals. The group's second single was the first song that Steve Boone had co-written. It was inspired by a date he'd gone on with the photographer Nurit Wilde, who sadly for him didn't go on a second date, and who would later be the mother of Mike Nesmith's son Jason, but who he was very impressed by. He thought of her when he came up with the line "you didn't have to be so nice, I would have liked you anyway", and he and Sebastian finished up a song that became another top ten hit for the group: [Excerpt: (The Good Time Music of) The Lovin' Spoonful, "You Didn't Have to Be So Nice"] Shortly after that song was recorded, but before it was released, the group were called into Columbia TV with an intriguing proposition. Bert Schneider and Bob Rafelson, two young TV producers, were looking at producing a TV show inspired by A Hard Day's Night, and were looking for a band to perform in it. Would the Lovin' Spoonful be up for it? They were interested at first, but Boone and Sebastian weren't sure they wanted to be actors, and also it would involve the group changing its name. They'd already made a name for themselves as the Lovin' Spoonful, did they really want to be the Monkees instead? They passed on the idea. Instead, they went on a tour of the deep South as the support act to the Supremes, a pairing that they didn't feel made much sense, but which did at least allow them to watch the Supremes and the Funk Brothers every night. Sebastian was inspired by the straight four-on-the-floor beat of the Holland-Dozier-Holland repertoire, and came up with his own variation on it, though as this was the Lovin' Spoonful the end result didn't sound very Motown at all: [Excerpt: The Lovin' Spoonful, "Daydream"] It was only after the track was recorded that Yanovsky pointed out to Sebastian that he'd unconsciously copied part of the melody of the old standard "Got a Date With an Angel": [Excerpt: Al Bowlly, "Got a Date With an Angel"] "Daydream" became the group's third top ten hit in a row, but it caused some problems for the group. The first was Kama Sutra's advertising campaign for the record, which had the words "Lovin' Spoonful Daydream", with the initials emphasised. While the group were drug users, they weren't particularly interested in being promoted for that rather than their music, and had strong words with the label. The other problem came with the Beach Boys. The group were supporting the Beach Boys on a tour in spring of 1966, when "Daydream" came out and became a hit, and they got on with all the band members except Mike Love, who they definitely did not get on with. Almost fifty years later, in his autobiography, Steve Boone would have nothing bad to say about the Wilson brothers, but calls Love "an obnoxious, boorish braggart", a "marginally talented hack" and worse, so it's safe to say that Love wasn't his favourite person in the world. Unfortunately, when "Daydream" hit the top ten, one of the promoters of the tour decided to bill the Lovin' Spoonful above the Beach Boys, and this upset Love, who understandably thought that his group, who were much better known and had much more hits, should be the headliners. If this had been any of the other Beach Boys, there would have been no problem, but because it was Love, who the Lovin' Spoonful despised, they decided that they were going to fight for top billing, and the managers had to get involved. Eventually it was agreed that the two groups would alternate the top spot on the bill for the rest of the tour. "Daydream" eventually reached number two on the charts (and number one on Cashbox) and also became the group's first hit in the UK, reaching number two here as well, and leading to the group playing a short UK tour. During that tour, they had a similar argument over billing with Mick Jagger as they'd had with Mike Love, this time over who was headlining on an appearance on Top of the Pops, and the group came to the same assessment of Jagger as they had of Love. The performance went OK, though, despite them being so stoned on hash given them by the wealthy socialite Tara Browne that Sebastian had to be woken up seconds before he started playing. They also played the Marquee Club -- Boone notes in his autobiography that he wasn't impressed by the club when he went to see it the day before their date there, because some nobody named David Bowie was playing there. But in the audience that day were George Harrison, John Lennon, Eric Clapton, Steve Winwood, Spencer Davis, and Brian Jones, most of whom partied with the group afterwards. The Lovin' Spoonful made a big impression on Lennon in particular, who put "Daydream" and "Do You Believe in Magic" in his jukebox at home, and who soon took to wearing glasses in the same round, wiry, style as the ones that Sebastian wore. They also influenced Paul McCartney, who wasn't at that gig, but who soon wrote this, inspired by "Daydream": [Excerpt: The Beatles, "Good Day Sunshine"] Unfortunately, this was more or less the high point of the group's career. Shortly after that brief UK tour, Zal Yanovsky and Steve Boone went to a party where they were given some cannabis -- and they were almost immediately stopped by the police, subjected to an illegal search of their vehicle, and arrested. They would probably have been able to get away with this -- after all, it was an illegal search, even though of course the police didn't admit to that -- were it not for the fact that Yanovsky was a Canadian citizen, and he could be deported and barred from ever re-entering the US just for being arrested. This was the first major drug bust of a rock and roll group, and there was no precedent for the group, their managers, their label or their lawyers to deal with this. And so they agreed to something they would regret for the rest of their lives. In return for being let off, Boone and Yanovsky agreed to take an undercover police officer to a party and introduce him to some of their friends as someone they knew in the record business, so he would be able to arrest one of the bigger dealers. This was, of course, something they knew was a despicable thing to do, throwing friends under the bus to save themselves, but they were young men and under a lot of pressure, and they hoped that it wouldn't actually lead to any arrests. And for almost a year, there were no serious consequences, although both Boone and Yanovsky were shaken up by the event, and Yanovsky's behaviour, which had always been erratic, became much, much worse. But for the moment, the group remained very successful. After "Daydream", an album track from their first album, "Did You Ever Have to Make Up Your Mind?" had been released as a stopgap single, and that went to number two as well. And right before the arrest, the group had been working on what would be an even bigger hit. The initial idea for "Summer in the City" actually came from John Sebastian's fourteen-year-old brother Mark, who'd written a bossa nova song called "It's a Different World". The song was, by all accounts, the kind of thing that a fourteen-year-old boy writes, but part of it had potential, and John Sebastian took that part -- giving his brother full credit -- and turned it into the chorus of a new song: [Excerpt: The Lovin' Spoonful, "Summer in the City"] To this, Sebastian added a new verse, inspired by a riff the session player Artie Schroeck had been playing while the group recorded their songs for the Woody Allen film What's Up Tiger Lily, creating a tenser, darker, verse to go with his younger brother's chorus: [Excerpt: The Lovin' Spoonful, "Summer in the City"] In the studio, Steve Boone came up with the instrumental arrangement, which started with drums, organ, electric piano, and guitar, and then proceeded to bass, autoharp, guitar, and percussion overdubs. The drum sound on the record was particularly powerful thanks to the engineer Roy Halee, who worked on most of Simon & Garfunkel's records. Halee put a mic at the top of a stairwell, a giant loudspeaker at the bottom, and used the stairwell as an echo chamber for the drum part. He would later use a similar technique on Simon and Garfunkel's "The Boxer". The track still needed another section though, and Boone suggested an instrumental part, which led to him getting an equal songwriting credit with the Sebastian brothers. His instrumental piano break was inspired by Gershwin, and the group topped it off with overdubbed city noises: [Excerpt: The Lovin' Spoonful, "Summer in the City"] The track went to number one, becoming the group's only number one record, and it was the last track on what is by far their best album, Hums of the Lovin' Spoonful. That album produced two more top ten hits for the group, "Nashville Cats", a tribute to Nashville session players (though John Sebastian seems to have thought that Sun Records was a Nashville, rather than a Memphis, label), and the rather lovely "Rain on the Roof": [Excerpt: The Lovin' Spoonful, "Rain on the Roof"] But that song caused friction with the group, because it was written about Sebastian's relationship with his wife who the other members of the band despised. They also felt that the songs he was writing about their relationship were giving the group a wimpy image, and wanted to make more rockers like "Summer in the City" -- some of them had been receiving homophobic abuse for making such soft-sounding music. The group were also starting to resent Sebastian for other reasons. In a recent contract renegotiation, a "key member" clause had been put into the group's record contract, which stated that Sebastian, as far as the label was concerned, was the only important member of the group. While that didn't affect decision-making in the group, it did let the group know that if the other members did anything to upset Sebastian, he was able to take his ball away with him, and even just that potential affected the way the group thought about each other. All these factors came into play with a song called "Darling Be Home Soon", which was a soft ballad that Sebastian had written about his wife, and which was written for another film soundtrack -- this time for a film by a new director named Francis Ford Coppola. When the other band members came in to play on the soundtrack, including that track, they found that rather than being allowed to improvise and come up with their own parts as they had previously, they had to play pre-written parts to fit with the orchestration. Yanovsky in particular was annoyed by the simple part he had to play, and when the group appeared on the Ed Sullivan show to promote the record, he mugged, danced erratically, and mimed along mocking the lyrics as Sebastian sang. The song -- one of Sebastian's very best -- made a perfectly respectable number fifteen, but it was the group's first record not to make the top ten: [Excerpt: The Lovin' Spoonful, "Darling Be Home Soon"] And then to make matters worse, the news got out that someone had been arrested as a result of Boone and Yanovsky's efforts to get themselves out of trouble the year before. This was greeted with horror by the counterculture, and soon mimeographed newsletters and articles in the underground papers were calling the group part of the establishment, and calling for a general boycott of the group -- if you bought their records, attended their concerts, or had sex with any of the band members, you were a traitor. Yanovsky and Boone had both been in a bad way mentally since the bust, but Yanovsky was far worse, and was making trouble for the other members in all sorts of ways. The group decided to fire Yanovsky, and brought in Jerry Yester to replace him, giving him a severance package that ironically meant that he ended up seeing more money from the group's records than the rest of them, as their records were later bought up by a variety of shell companies that passed through the hands of Morris Levy among others, and so from the late sixties through the early nineties the group never got any royalties. For a while, this seemed to benefit everyone. Yanovsky had money, and his friendship with the group members was repaired. He released a solo single, arranged by Jack Nitzsche, which just missed the top one hundred: [Excerpt: Zal Yanovsky, "Just as Long as You're Here"] That song was written by the Bonner and Gordon songwriting team who were also writing hits for the Turtles at this time, and who were signed to Koppelman and Rubin's company. The extent to which Yanovsky's friendship with his ex-bandmates was repaired by his firing was shown by the fact that Jerry Yester, his replacement in the group, co-produced his one solo album, Alive and Well in Argentina, an odd mixture of comedy tracks, psychedelia, and tributes to the country music he loved. His instrumental version of Floyd Cramer's "Last Date" is fairly listenable -- Cramer's piano playing was a big influence on Yanovsky's guitar -- but his version of George Jones' "From Brown to Blue" makes it very clear that Zal Yanovsky was no George Jones: [Excerpt: Zal Yanovsky, "From Brown to Blue"] Yanovsky then quit music, and went into the restaurant business. The Lovin' Spoonful, meanwhile, made one further album, but the damage had been done. Everything Playing is actually a solid album, though not as good as the album before, and it produced three top forty hits, but the highest-charting was "Six O'Clock", which only made number eighteen, and the album itself made a pitiful one hundred and eighteen on the charts. The song on the album that in retrospect has had the most impact was the rather lovely "Younger Generation", which Sebastian later sang at Woodstock: [Excerpt: John Sebastian, "Younger Generation (Live at Woodstock)"] But at Woodstock he performed that alone, because by then he'd quit the group. Boone, Butler, and Yester decided to continue, with Butler singing lead, and recorded a single, "Never Going Back", produced by Yester's old bandmate from the Modern Folk Quartet Chip Douglas, who had since become a successful producer for the Monkees and the Turtles, and written by John Stewart of the Kingston Trio, who had written "Daydream Believer" for the Monkees, but the record only made number seventy-eight on the charts: [Excerpt: The Lovin' Spoonful featuring Joe Butler, "Never Going Back"] That was followed by an album by "The Lovin' Spoonful Featuring Joe Butler", Revelation: Revolution 69, a solo album by Butler in all but name -- Boone claims not to have played on it, and Butler is the only one featured on the cover, which shows a naked Butler being chased by a naked woman with a lion in front of them covering the naughty bits. The biggest hit other than "Never Going Back" from the album was "Me About You", a Bonner and Gordon song which only made number ninety-one: [Excerpt: The Lovin' Spoonful Featuring Joe Butler, "Me About You"] John Sebastian went on to have a moderately successful solo career -- as well as his appearance at Woodstock, he released several solo albums, guested on harmonica on records by the Doors, Crosby, Stills, Nash, and Young and others, and had a solo number one hit in 1976 with "Welcome Back", the theme song from the TV show Welcome Back, Kotter: [Excerpt: John Sebastian, "Welcome Back"] Sebastian continues to perform, though he's had throat problems for several decades that mean he can't sing many of the songs he's best known for. The original members of the Lovin' Spoonful reunited for two performances -- an appearance in Paul Simon's film One Trick Pony in 1980, and a rather disastrous induction into the Rock and Roll Hall of Fame in 2000. Zal Yanovsky died of a heart attack in 2002. The remaining band members remained friendly, and Boone, Butler, and Yester reunited as the Lovin' Spoonful in 1991, initially with Yester's brother Jim, who had played in The Association, latterly with other members. One of those other members in the 1990s was Yester's daughter Lena, who became Boone's fourth wife (and is as far as I can discover still married to him). Yester, Boone, and Butler continued touring together as the Lovin' Spoonful until 2017, when Jerry Yester was arrested on thirty counts of child pornography possession, and was immediately sacked from the group. The other two carried on, and the three surviving original members reunited on stage for a performance at one of the Wild Honey Orchestra's benefit concerts in LA in 2020, though that was just a one-off performance, not a full-blown reunion. It was also the last Lovin' Spoonful performance to date, as that was in February 2020, but Steve Boone has performed with John Sebastian's most recent project, John Sebastian's Jug Band Village, a tribute to the Greenwich Village folk scene the group originally formed in, and the two played together most recently in December 2021. The three surviving original members of the group all seem to be content with their legacy, doing work they enjoy, and basically friendly, which is more than can be said for most of their contemporaries, and which is perhaps appropriate for a band whose main songwriter had been inspired, more than anything else, to make music with a positive attitude.
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