Podcast appearances and mentions of Ian Dunlop

The Research Director of the Melbourne-based National Centre for Climate Restoration (Breakthrough), David Spratt, has written the stunning and timely report: "Collision Course: 3-degrees of warming & humanity's future".David has said: "We're on track for a 3°C hotter world—unprecedented heat, rising seas drowning cities, food system collapse, and societal instability. This future is fast approaching, with catastrophic risks beyond anything humanity has faced".Former Chair of the Australian Coal Association, Ian Dunlop, has said: "There is a chasm in outlook between the global climate policy-making elite with their focus on distant goals and slow, non-disruptive change, and activists and key researchers who see the world hurtling towards climate breakdown and social collapse.The report is essential reading.

In this episode, art historian Irene Walsh describes the now legendary Armory Show of 1913 in New York City. Irene wrote her PhD on art collector Lillie P Bliss, and she tells us about the groundbreaking show's shock value, the mockery that surrounded some of the paintings in it, and their unexpected effects on the American public and the art market. She tells us how the show led to the founding of New York's MoMa in 1929. Further Reading:The Story of the Armory Show by Milton W Brown, Abbeville Press Inc.,U.S. 1988The Armory Show at 100: Modernism and Revolution by Kushner, Orcutt and Blake, 2013The chapter on the Armory show in The Shock of the New: Seven Historic Exhibitions of Modern Art by Ian Dunlop, 1972 Hosted on Acast. See acast.com/privacy for more information.

Those who understand climate change see adaptation and mitigation as key planks in national security and former international oil, gas and coal industry executive, chair of the Australian Coal Association and CEO of the Australian Institute of Company Directors, Ian Dunlop, writes on Pearls and Irritations - "Climate security risks and Australia's failure"; "Australia's National Defence Strategy: Where ideology trumps strategy"; "As climate change pushes deer north, other animals may lose out"; "Startup mimics nature to produce zero-carbon cement"; "Here's what record-breaking temperatures looked like around the globe"; "8 years into America's e-scooter experiment, what have we learned?"; "Why India is key to heading off climate catastrophe"; "Southern Africa drought flags dilemma for loss and damage fund"; "Where seas are rising at alarming speed"; "Air Pollution Could Potentially Exacerbate Menopause Symptoms, Study Says"; "Girt by Sea: can Australia reduce its dependence on US security?"; "‘Near unliveable' extreme heat poses national security risk"; "Study: Climate change boosted July's heat for 81% of world's population"; "Getting together on climate action"; "ELECTRIC SUV EXPO 24, MELBOURNE"; "Mom fights air pollution in North Denver"; "Welcome to the Regen Learning Hub"; "Surveyors warn EV chargers in old apartment buildings should have fire safety approval"; "Slow Fashion 101: Everything You Need to Know"; "‘Near unliveable' extreme heat poses national security risk"; "Climate-security risks too hot to handle for Australian Government"; "Florida sees thriving future if climate resilience managed, research finds"; "Appeals Court Ordered the Dismissal of a Landmark Youth Climate Court Case"; "Loss and Damage Meeting Shows Signs of Giving Developing Countries a Bigger Voice and Easier Access to Aid"; "Policy Experts Say the UN Climate Talks Need Reform, but Change Would be Difficult in the Current Political Landscape"; "Perth residents question use of groundwater for Coca-Cola bottled water amid record low rainfall"; "Roger Cook faces defamation threat from teen climate protesters"; "Minnesota's biggest solar project will help replace a huge coal plant"; "Texas Companies Eye Pecos River Watershed for Oilfield Wastewater"; "Increasingly Frequent Ocean Heat Waves Trigger Mass Die-Offs of Sealife, and Grief in Marine Scientists"; "First ever planet-wide analysis shows conservation work is making a measurable difference"; "We think we control our health – but corporations selling forever chemicals, fossil fuels and ultra-processed foods have a much greater role"; "Is bioenergy ever truly green? It depends on 5 key questions"; "El Niño not climate change key to drought that caused Panama Canal disruption, study says"; "No Mow May: How to turn your garden into a haven for butterflies this spring"; "How close is the world to securing a global treaty to end plastic pollution?"; "Can Forests Be More Profitable Than Beef?"; "Curbing Contrails: A Climate Solution in the Skies"; "Trains Are Cleaner Than Planes, Right"; "Corn to Power Airplanes? Biden Administration Sets a High Bar."; "Why 40°C is bearable in a desert but lethal in the tropics"; "Sharing the Truth About Electric Vehicles and Clean Energy"; "Transformative Incrementalism: Changing Global Systems By Changing Our Part Of The World". --- Send in a voice message: https://podcasters.spotify.com/pod/show/robert-mclean/message

Malika Browne talks to former art critic Ian Dunlop about the landmark art show for Swinging London at the Tate, in 1964 for which the museum's Duveen Galleries were turned into a claustrophobic labyrinth of new art from America and Europe, putting London firmly on the art map.Further reading:The Shock of the New: Seven Historic Exhibitions of Modern Art by Ian Dunlop, 1972 This is an Ictus Media production, edited by Leo HornakLondon's New Scene: Art and Culture in the 1960s by Professor Lisa Tickner, Yale University Press in 2020.Watching: Pop Goes the Easel by Ken Russell, 1962Blow Up by Michelangelo Antonioni, 1966 Hosted on Acast. See acast.com/privacy for more information.

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

Melbourne's David Spratt (pictured), who co-authored the prescient 2008 book, "Climate Code Red", has questioned the value of the 28th Conference of the Parties (COP) about to begin in the United Arab Emirates. David and a former international oil, gas and coal industry executive, chair of the Australian Coal Association and CEO of the Australian Institute of Company Directors, Ian Dunlop, wrote the Pearls and Irritations article, "COP-out: Why the petrostate-hosted climate talkfest will fail". The BBC reports in a story "COP28: UAE planned to use climate talks to make oil deals", and in a second story, "COP28 ‘moment of truth' for oil industry, says energy boss" casts additional doubt on why the petrostate is hosting this major climate action meeting. From The Washington Post it is "Why an oil kingdom is hosting the COP28 climate summit and other questions answered". New Scientist reports: "COP28: When is the climate summit and why is it being held in Dubai?". The oil states face this piercing question as posed in a Guardian story: "Former world leaders seek $25bn levy on oil states' revenues to pay for climate damage". --- Send in a voice message: https://podcasters.spotify.com/pod/show/robert-mclean/message

They knew it then, they know it now, and yet they still do it. Fossil fuel companies are driving the planet - and us along with it - towards climate induced oblivion. While the anti-science tactics of the tobacco industry inflicts death and illness among a huge number of people, climate change is doing that on a global scale. In the process, they have co-opted the levers of government and public institutions that should be steering us towards a safer future. The question is why? Why drives industry and captive governments towards disaster? In this, the true meaning of 'sustainability' has been ignored. With his history inside the coal industry, Ian Dunlop has a unique insight into this story and today is an ardent voice for action on climate change. Ian Dunlop is a contributing author of Sustainability and the New Economics, edited by Stephen Williams and Rod Taylor. This interview by Rod is one of a series with authors from that book. You'll find more interviews at https://sustainabilityandtheneweconomics.blogspot.com/2022/12/sustainability-and-new-economics.html

Something In The Water cohosts Sean Clark and Uncle Dave Griffin welcome back good friend and songwriting partner from Cornwall, England, Ian Dunlop. Fresh from a showstopping performance at the 25th Annual Gram Parsons Guitar Pull on October 15 in Waycross, Georgia, Ian delves into his personal musical history, beginning with an alto saxophone in the late Fifties. He formed his first band, The Refugees, performing at frat parties in the early Sixties around Boston, Massachusetts and opening for Roy Orbison and The Shirelles. After meeting Gram Parsons in the mid-60s, Ian picked up the bass guitar and found himself in the International Submarine Band for a brief while. An author himself, his book, Breakfast in Nudie Suits, details the origins of ISB, their exploration of country music, the band's move to Los Angeles, and his departure back to New England and eventually to Cornwall, where he resides to this day. In the musical segment, Ian performs “I Like Ike”, his original song about 1950s and President Eisenhower; “I Believe In The Power of Gugle”, a gospel-genre song reflecting on 21st century's unswerving faith in cyber media. We take a peek at “Fishin' For Wishes”, a Sean and Ian original performed with The Pine Box Dwellers at the 25th Annual Gram Parsons Guitar Pull October 15 in Waycross. This episode's Tail of the Weak is dedicated to grandparents around the world or at least those who are watching and listening.https://www.patreon.com/somethinginthewaterhttps://www.facebook.comcautionlightmedia/https://www.instagram.com/somethinginthewaterpodcast/https://www.facebook.com/somethinginthewaterpodcast/somethinginthewaterpodcast@gmail.comhttps://somethinginthewater.captivate.fm

Ian Dunlop (pictured) is the chair of the Australian Security Leaders Climate Group and leads listeners through a webinar during which they hear about the unfolding challenges of climate change. The webinar was entitled "A Nation at Risk". The Melbourne Age newspaper published an editorial today (August 8) pointing out that arrival at a position to tackle climate change will be "messy" - it says: "It's messy, but co-operation on climate is the only way forward". Other climate links are: "Can Kenya's youngest MP candidate step up the climate fight?"; "Grattan on Friday: Government win on climate legislation leaves opposition looking like a stranded asset"; "Scientists Say It's ‘Fatally Foolish' To Not Study Catastrophic Climate Outcomes"; "We're no rubber stamp on climate: Pocock, Lambie warn Labor on climate bill"; "Lest we forget Philip Sutton's Climate Emergency legacy: how we restore a safe climate"; "Why climate change hits some communities harder than others"; "China warns that its temperatures are rising faster than global average"; Enjoy "Music for a Warming World". --- Send in a voice message: https://anchor.fm/robert-mclean/message

Ken's special guest is Colleen Atherton of Eaglewings Travels of Wichita, Kansas. Colleen details her three weeks' tour of the British Isles with stops in England, Wales, Scotland, and Ireland. Colleen expands on the sights and sounds of this three-part tour of which some was self-guided. Learn for whom this type of tour would be best, the time of year to go, what to expect weather-wise, and some recommended sights and activities along the way. It is a great adventure for history buffs but perhaps not for the kids according to Colleen. Timestamps: 0;00 Intro 0;13 Introducing Colleen 0;17 Tour Overview 1:55 Cotswolds & Bath 2:30 Hadrian's Wall 3:34 Best time to go on this type of tour 4:29 Lindisfarne (Holy Island) 5:17 York & Manchester 5:39 Conwy, Wales 6:22 The Guided Tour Highlights ( Liverpool, Edinburgh, etc) 7:20 Is this tour for Families? 7:57 Recommended Sights & Activities 10:34 Discussion on what are the British isles 12:10 How to get about on a self-guided tour 13:37 Planning advice 14:40 Who is best suited for this type of tour 14:58 Packing tips 15:13 Currency 16:25 Stress-free travel advice for the anxious 16:58 Colleen's upcoming visit to the Passion Play (Oberammergau) 17:35 Contact Information Contact Real Travel Experts: questions@realtravelexperts.com https://realtravelexperts.com/​ https://www.facebook.com/RealTravelExperts/ https://www.instagram.com/realtravelexperts/ Contact Eaglewings Travels: eaglewingstravel@gmail.com Eaglewings Travels Website:​ https://eaglewingstravels.com Image Credits: Image by martinhogarth from Pixabay Image by Alberto Barco Figari from Pixabay Image by pauldaley1977 from Pixabay Image by Ian Dunlop from Pixabay Image by Level_Up_Filming from Pixabay Coppa Club London: Courtesy of Conde Naste Traveler Other Images Courtesy of BigStock

Something In The Water Episode 44 is a transatlantic conversation featuring Mr. Ian Dunlop, former bass player for The International Submarine Band with Gram Parsons; songwriter; video artist; graphic artist; author of Breakfast in Nudie Suits; and isolation farmer from Cornwall, England. Ian details the stories behind several tracks from his latest CD, Some Of Us Are Still On The Run, as cohosts Sean Clark and Uncle Dave Griffin preview the associated music videos that were recorded in Cornwall during the Covid shutdown, United Kingdom-style. Still entertaining as ever, Ian sheds a little light on his history in the music business and his friendship with Gram Parsons during the mid-Sixties and early Seventies. Uncle Dave reads the Tail of the Weak along with a nice podcast review from Florida Ramblin' Man. https://www.patreon.com/somethinginthewater https://somethinginthewater.captivate.fm somethinginthewaterpodcast@gmail.com https://www.facebook.com/somethinginthewaterpodcast/ https://www.instagram.com/somethinginthewaterpodcast/ https://www.facebook.com/cautionlightmedia

“Sustainability and the New Economics: Synthesising Ecological Economics and Modern Monetary Theory” is a new book fresh off the print and on the shelves. It is an impressive volume containing chapters from a host of Australian game-changers including Michael Kirby, Ian Dunlop, Will Steffen and last episode's guest Ian Lowe. The book details sobering realities regarding business as usual economics, while offering many realistic and applicable solutions based around ecological economics and modern monetary theory. PGAP spoke with lead editor Stephen Williams to find out more about this impressive book, and why economics is front and foremost of the world's problems and why things need to change. Stephen Williams has a background in newspaper journalism and law. He began his journalism career at The Canberra Times in 2000 and subsequently specialised in environmental matters. His overarching interest is in designing sustainable societies. He believes mainstream economics can only provide a path to collapse. He is the co-editor of Sustainability and the New Economics: Synthesising Ecological Economics and Modern Monetary Theory (Springer, 2022). Want to find out more about “Sustainability and the New Economics: Synthesising Ecological Economics and Modern Monetary Theory”, purchase your own copy or encourage your local library to stock up? Check out the link to the book here (https://link.springer.com/book/10.1007/978-3-030-78795-0) Want to find out more about some of the topics that Stephen brought up in the interview? Modern Money Lab (courses, info): https://modernmoneylab.org.au Herman Daly essay (with top-10 policies): https://www.greattransition.org/publication/economics-for-a-full-world Did you like the economic focus of this episode? You might also like season 2 finale episode with Economic Reform Australia (https://pgap.fireside.fm/era) or The Economics of Arrival with Katherine Trebeck (https://pgap.fireside.fm/arrival). Season 1 has the budget special with unconventional economist Leith van Onselen (https://pgap.fireside.fm/budgetspecial), or reimagining an earth centred economy with Michelle Maloney. (https://pgap.fireside.fm/4) SUPPORT PGAP! Rate and review us on Apple Podcast [here (https://podcasts.apple.com/au/podcast/post-growth-australia-podcast/id1522194099). Subscribe here. (https://pgap.fireside.fm/subscribe) Contact us here (https://pgap.fireside.fm/contact). See you next episode? You wouldn't miss it for the world! PGAP is made possible with the kind support of Sustainable Population Australia (https://population.org.au/). If you would like to find out more about PGAP host Michael Bayliss, his website can be visited here (https://michaelbayliss.org/) (All opinions, publications and positions held by PGAP guests do not necessarily reflect the positions held by PGAP). Special Guest: Stephen Williams.

Crystal Barnes along with Ian Dunlop are on the Creatively Christian podcast, interviewed by Dave Ebert. Crystal and Ian both share their own creative projects and how they became partners in writing a feature film. The group chats about creating art for the Lord, the differences in being a “Christian creative” and being a “Christian who does creative works,” and what defines creative works as being “Christian.” Crystal Barnes, is a writer, producer, director, and the founder of ARK Productions in Chicago. Her credits include the live sketch show Spiritual Night Live, the feature film The Law of Moises, now available on Tubi TV and Pure Flix, and the mini-web-series Churched, available on YouTube and streaming on The Creative Motion Network on Roku. Also joining us is Ian Dunlop, a musician, writer, and director of sound and music ministries at two Indianapolis area churches. Ian has his first Gospel single dropping later this year titled “I Know,” which is based on Jeremiah 29:11.  This episode can also be found on YouTube. Show Notes The following resources were mentioned in the show or are useful resources recommended by the guests. Links might be marked as affiliates, meaning we earn a commission if you buy through the link. The Law of Moises movie - https:///thelawofmoises.com Learn More About Our Guest You can follow this guest on several platforms, including: Facebook for Ark Productions - https://facebook.com/arkproductionschicagoWebsite for Ark Productions - https://arkproductionschicago.comIan Dunlop's email - theminstrelsworkshop@gmail.com Credits This show is produced by Theophany Media. The theme music is by Bill Brooks and Andrea Sandefur. Our logo is by Bill Brooks. This show is hosted by are Brannon Hollingsworth, Andrea Sandefur, Dave Ebert, and Rachel Anna. Jake Doberenz produces. Follow Theophany Media and the podcast on Facebook, Twitter, or Instagram.

Ian and Neill are true Amiga legends having brought us the classic 'Walker'. Adrian invited them on for a chat to talk about the difficulties in bringing something like Walker to life, working on gems like Turok and South Park with some great anecdotes thrown in along the way. Like what we do? Please consider supporting us on Patreon: www.patreon.com/arcadeattack Fancy discussing this podcast? Fancy suggesting a topic of conversation? Please tweet us @arcadeattackUK or catch us on facebook.com/arcadeattackUK All copyrighted material contained within this podcast is the property of their respective rights owners and their use here is protected under ‘fair use' for the purposes of comment or critique.

Cameo Dalley talks to Fred Myers (Silver Professor at New York University) and Jason Gibson (Alfred Deakin Postdoctoral Fellow at Deakin University), both of whom work on Aboriginal Australian ceremony and material culture. The conversation roams over reflections on happenstance in their careers, the making of and reception of their work, and the evolving role of the anthropologist and anthropological knowledge in Indigenous communities. https://www.deakin.edu.au/about-deakin/people/jason-gibson https://as.nyu.edu/content/nyu-as/as/faculty/fred-myers.html Works Mentioned Gibson, Jason M (2020) Ceremony Men Making Ethnography and the Return of the Strehlow Collection, SUNY Press, Albany, N.Y. Myers, Fred (1986) Pintupi Country, Pintupi Self: Sentiment, Place, and Politics among Western Desert Aborigines Smithsonian Institution Press, Wash., D.C. (reprinted in paperback by University of California Press, 1991) Myers, Fred (2002) Painting Culture: The Making of an Aboriginal High Art. Durham: Duke University Press. Myers, Fred (2019) The Difference that Identity Makes: Indigenous Cultural Capital in Australian Cultural Fields. Canberra: Aboriginal Studies Press. Remembering Yayayi (film) Directors, Pip Deveson, Fred Myers, Ian Dunlop. Show Credits This episode was produced by Cameo Dalley on the lands of the Boonwurrung peoples of the Kulin Nation, and it was edited by David Boarder Giles and Mythily Meher.

Climate Change CommenIan Dunlop joined the program ahead of the Geelong Sustainability Forum. His will speak on the issues around energy transition. The post Climate Change Commentator Ian Dunlop appeared first on Mitchell's Front Page.

David Spratt worked with Ian Dunlop to write the "Carbon Budget Briefing Notes for 1.5 and 2 degrees Celsius" for the National Centre for Climate Restoration, Breakthrough. A story about those briefing notes - "Net zero emissions must be reached before 2030 for 2°C target, new analysis says" - was published by Australia's pre-eminent climate website, RenewEconomy. In this episode, David talks about why he and Ian wrote the briefing paper, who it is for and why people should pay attention to their carbon budget. The music for all Climate Conversations episodes comes from "Music for a Warming World".

Melbourne's David Spratt (pictured) took advantage of the city's Covid-19 lockdown to assemble the facts to produce the "Climate Reality Check 2020". David talked about the new report at the November meeting of the Victorian Climate Action Network (VCAN) at which he made reference to a number of relevant publications, among them: What has become known as the "Hothouse Earth" report; A story from The Guardian headed: "Melting Antarctic ice will raise sea level by 2.5 metres – even if Paris climate goals are met, study finds"; A story he and Ian Dunlop wrote and published in The Canberra Times headed: "Net-zero emissions by 2050: leadership or climate colonialism?"; A letter published in The Guardian headed, "Hitting net-zero is not enough – we must restore the climate"; And a story from Earth.org headed: "Climate crisis: University of Cambridge to launch a new centre to explore geoengineering and climate change". See omnystudio.com/listener for privacy information.

BUILDING THE BUSINESS CO-ALITIONMay 18th. Produced by Vivien Langford  and Andy BrittGuests at the Climate Emergency Summit at Melbourne Town HallPaddy ManningIan DunlopPaul GildingHeidi LeeSimon Holmes a CourtThis lively panel discussion, recorded before the pandemic showed us how great shifts can happen suddenly, is even more relevant now. Right now the Climate community is zooming and publishing and trying to influence the stimulus spending towards a livable biosphere. The practical solutions from tonight's panel  shine a light on the path forward.  Ian Dunlop, with his depth of  experience in the fossil fuel industry, speaks of the " predatory delay and moral bankruptcy " of some business leaders,who had the best access to information and knew the risks of rising emissions. He says we must keep talking about the risks as CEOs have not accepted the urgency of emissions reduction. Paul Gilding says " If a country has a good plan, the business community will support it" Heidi Lee finds that " It's not enough to say No. We must find something to say YES to. She gives practical examples of BZE's work with four trade unions and the people of Collie W.A (Hear our broadcast of November 18th 2019). She is more sympathetic to the costs and difficulties faced by industry in transition and she received rousing applause. Her can do message was much appreciated by the well informed audience whose questions showed how the public is way ahead of the politics Simon Holmes a Court reported on the demand internationally for our Green Hydrogen. He asked "are there any transition plans apart from BZEs that see NO role for gas? " And this is highly relevant, as we ease up from the pandemic and the gas lobby is positioning us to depend on it far into the future even for making hydrogen. Paddy Manning was able to  guide the panel to deeply explore the realities we face. His new book "Body Count" show how aware he is of "the hopeless failure to convey the risks of accelerating emissions leads to confusion" Climate change now has its own body count in Australia which is highly exposed and must get better prepared. He said in a previous interview " After 30 years of debate it's not so much climate change that's killing us, It's ignorance and confusion" Thanks to the Sustainable Living Festival  

BUSINESS COLLAPSE and TRANSITION FILM FESTIVAL17th February 2020. Andy Britt -Production Vivien Langford - InterviewsPaul Gilding - Author of Climate Contagion 2020-2025Heidi Lee - BZE Business and Industry ManagerJulian O'Shea - Film "Solar Tuk" Bob Brown -  Film "Convoy"Bruce Shillingsworth - Film " When the rivers run dry"Christine MIlne - Ambassador for International GreensAt the Climate Emergency Summit 14/15th Feb, Paul Gilding showed that the threat of collapsing Fossil Fuel businesses will match the climate disruptions we are already facing. Ian Dunlop, whose association with Shell and the Coal Industry gives us an inside view , said they are engaged in "predatory delay" and must shut down within 2 years. Christine Milne saw signs at Davos of the corporations positioning themselves for bail outs.We ask : Are they too big to fail? Will we let them take us down with them? Please sign the declaration.Meanwhile Heidi Lee is helping business and industry to re imagine themselves using non fossil energy, yes even  green steel. She waxes lyrical over Arc Furnaces and takes us to where things are really molten.  As Simon Holmes a Court said "there is a war on for talent" as coal, oil and gas struggle to find young people who want to work on climate wrecking projects. Heidi is recruiting volunteer engineers to work on projects that leave something to be proud of.Transitions Film Festival starts this week and we speak to Julian O'shea about why he modified a second hand Tuk Tuk to make it go on solar power. He's just been on a tour in India and Thailand. It's a cheaper vehicle than most EVs and will reduce the urban pollution as it beetles about town at 50km p/h. The film Solar Tuk Tuk shows on opening night at the NOVAWe hear Bob Brown calling us to stop  the coal trucks, lock the gates against gas and get in the way of logging in the Tarkine. He calls us Bravehearts and the film "Convoy" celebrates the brave people putting themselves in the way of climate disruptors. He was on the platform beside Adrian Burrugubba of the Wangan and Jagalingou people in the Galilee.Bruce Shillingsworth comes from western NSW where the Darling/ Baarka river is being robbed of its waters. First Nations people feel abandoned and do not acccept the poor conditions that have left them high and dry and have caused widespread deaths of fish and wildlife. He wishes to unify Australians in the restoration of the rivers and the land. You can see it yourself and be part of the discussion, when the film "When the rivers run dry" shows at the  NOVA 

Do yourself a favour and for the first minute or so crank the volume UP! Ian Dunlop and Neill Glancy's side-scrolling shooter captured the imagination of our Adrian and Dylan when they were teenagers. It struck such a chord with Adrian that he's structured a whole podcast about it! Also channelling Scott Johnston's supreme mech animations, Raymond Usher's thumping soundtrack and DMA Design's David Jones pulling the strings, it received 80%+ reviews across the board. The keyboard (or joystick) and mouse combination was revolutionary at the time and made for satisfying action. But was it all a bed of roses? The boys are here to pick it all apart... Fancy discussing this podcast? Fancy suggesting a topic of conversation? Please tweet us @arcadeattackUK or catch us on facebook.com/arcadeattackUK All copyrighted material contained within this podcast is the property of their respective rights owners and their use here is protected under ‘fair use’ for the purposes of comment or critique.

Here’s the link to today’s podcast: https://archive.org/download/cblwr192020/CBLWR%20-%201-9-2020.mp3   Here’s a link to the interview with Ian Dunlop, the senior member of the advisory board for the Breakthrough National Centre for… The post PODCAST: Episode 7 – Identifying Some Ruling Class Propaganda appeared first on Comrade Birb - Working Class Revolution.

Here’s the link to today’s podcast: https://archive.org/download/cblwr192020/CBLWR%20-%201-9-2020.mp3   Here’s a link to the interview with Ian Dunlop, the senior member of the advisory board for the Breakthrough National Centre for… The post PODCAST: Episode 7 – Identifying Some Ruling Class Propaganda appeared first on Comrade Birb - Working Class Revolution.

We're signing off for the year with an episode of highlights from our brilliant array of guests throughout 2019. With sincere thanks for tuning in, continuing to share and rate the podcast, and of course for donating and supporting its production. It couldn't happen without you. Thanks also for getting in touch throughout the year to share stories, questions and insights, and to tell us how much you've valued the podcast. It's been great to see our listener numbers spike further this year, and even more fulfilling to hear how the stories are landing and what the podcast means to you. Thank you very much! You'll see the track list for our 2019 Soundtrack below. Have a wonderful festive season and we hope to join you again for a regenerative new year. 1. Podcast Theme, featuring Let Them Know, by the Public Opinion Afro Orchestra (& a range of guests from the podcast's first year in 2017) 2. Albert Wiggan (young Aboriginal leader from episode #034) 3. Stephen Jenkinson (from #035) 4. Mother Canoe, by Stephen Jenkinson and Gregory Hoskins (Stephen's choice) 5. Michael Shuman (from #036) 6. Nora Bateson (from #037) 7. Damon Gameau (from #038 live at the premiere of the film ‘2040') on Velvet's Unicorn, by Bryony Marks on the ‘2040' original motion picture soundtrack 8. David McLean (from #039) 9. Emma Lee (from #040) 10. Douglas Rushkoff (from #041) 11. Karen O'Brien (from #042) 12. Darren Sharpe (from #043 live at the National Sustainable Living Festival) 13. David Pollock (from #044 at Wooleen Station) 14. Miriam Lyons, Ian Dunlop and Jan Owen AM (from #045 live at the National Sustainable Living Festival) on The System, by the Public Opinion Afro Orchestra 15. Kate Raworth (from #046) 16. Economic Man vs Humanity a Puppet Rap Battle, a collaboration between Kate Raworth, puppet designer Emma Powel, and song-writer Simon Panrucker 17. Amy (from #047 live at the Global Climate Strike) 18. Katherine Trebeck (from #048 live at The Platform in Perth) 19. Frank Fisher (tribute feature from #050 live at Swinburne University in Melbourne) 20. Hazel Henderson (from #049 and #050) 21. What If? (Impact: The Musical), by Jacqueline Emerson and co. (Hazel's choice) 22. Jake Claro (from #051) on Food, by Land of Milk and Honey Due to licencing restrictions, most of our guests' nominated music can only be played on radio or similarly licenced broadcasts. We hope podcast licencing falls into line with this soon. Get more: To access the full catalogue of episodes, head to our website https://www.regennarration.com or wherever you get your podcasts. Title pic: Anthony introducing episode #048 live at The Platform in Perth. (Joni Sercombe) Thanks to our community of donors and partners for making the podcast possible. Please consider joining them by donating or becoming a podcast partner at https://www.regennarration.com/support And say hello & send us your comments by text or audio any time - https://www.regennarration.com/story Thanks for listening!

This is a special extra to podcast 45 with Jan Owen, Ian Dunlop and Miriam Lyons. Here's the rest of the powerful and vital conversation between our panellists and the capacity audience of 300 people at the 2016 National Sustainable Living Festival in Melbourne, Australia. Title slide pic: NASA, from the ABC website https://www.abc.net.au/news/2018-06-02/gdp-flawed-and-out-of-date-why-still-use-it/9821402 Get more: Listen to the main episode – https://www.regennarration.com/episodes/045-economic-growth-to-save-the-planet. Thanks for listening!

Economic growth is stagnating, hitting up against a range of limits. Last week's news that GDP growth in Australia is at its lowest since the GFC, with interest rates already at an unprecedented low of 1% (they are negative in many places around the world), emphasises what is increasingly apparent to people around the world – the old model isn't working, and it's not coming back. So what's the future of the growth-based system, and how do we transition to a new model of work, business and economics, while avoiding collapse? Around 300 people filled the Greenhouse in Melbourne, Australia, at the 2016 National Sustainable Living Festival, with a highly credentialed panel exploring these questions. While the conversation took place a few years ago, its relevance and importance only seem to heighten. You'll hear from: - Jan Owen AM, CEO of the Foundation for Young Australians, the Inaugural Australian Financial Review/Westpac Woman of Influence 2012, and former director for the Australian National Development Index (ANDI). - Miriam Lyons, a campaigns director for the prominent progressive advocacy network GetUp!, co-author of Governomics, and previously the founding CEO of the Centre for Policy Development. - Ian Dunlop, formerly an international oil, gas and coal industry executive, chairman of the Australian Coal Association and CEO of the Australian Institute of Company Directors. He is a director of Australia21 and a Member of the Club of Rome. Each panellist speaks for 10 minutes, leading off with a little story on how they came to do what they do. Then we're into another powerful Q&A with the capacity audience (featuring in a special extra to this podcast). In the words of Ross Gittins, celebrated economics writer and Economics Editor at the Sydney Morning Herald: "The beginning of economic wisdom is to understand that the advanced economies – including ours – have stopped working the way they used to and won't be returning to the old normal." So what is the future of the growth-based economic system? Especially in the context of planetary limits, resource constraints, rising inequality, increased automation, increasing mental illness, and worsening extinction and climate crises. What's an economy even for? And how can we recreate it for the better, and quickly? Thanks to Chris Grose from Scout Films for this recording, and the team at the Understandascope who supported this event. The Understandascope builds on the legacy of the late Professor Frank Fisher. An interim website can be found at https://www.regennarration.com/understandascope. Music: The System, by the Public Opinion Afro Orchestra Get more: Listen to the special extra - https://www.regennarration.com/episodes/045-economic-growth-to-save-the-planet Ian Dunlop - https://www.breakthroughonline.org.au/contributors Miriam Lyons - https://www.getup.org.au/media# Jan Owen AM - https://www.fya.org.au/author/jan-owen-am/ Title slide pic: as used by the National Sustainable Living Festival for this event. Join us at our first live conversation event in Perth, on how we Arrive at Wellbeing Economy, Monday the 23rd of September at The Platform - www.regennarration.com/events/trebeck2019 Say hello & send us your comments by text or audio - www.regennarration.com/story Thanks to our community of listeners and partners for making each episode possible. Please consider supporting the podcast by donating or becoming a podcast partner at www.regennarration.com/support. Thanks for listening!

Ian Dunlop is a former senior Executive of Royal Dutch Shell and has worked in oil, gas and coal exploration and production, and in scenario and long-term energy planning. He chaired the Australian Coal Association 1987-88, and the Australian Greenhouse Office Experts Group on Emissions Trading 1998-2000, which developed the first emissions trading system design for Australia. Ian Dunlop has wide experience in energy resources, infrastructure, and international business. He has worked at senior level in oil, gas and coal exploration and production, in scenario and long-term energy planning, competition reform and privatisation. He is Chairman of Safe Climate Australia, a Director of Australia 21, Deputy Convenor of the Australian Association for the Study of Peak Oil, a Fellow of the Centre for Policy Development, a member of The Club of Rome and of Mikhail Gorbachev’s Climate Change Taskforce. He is a member of the Advisory Board of the Australian Research Council’s Centre of Excellence for Climate System Science at the University of NSW, and an Associate of the Melbourne Sustainable Society Institute at the University of Melbourne, writing extensively on governance and sustainability issues. --- Send in a voice message: https://anchor.fm/environmental-as-anything/message

BZE speaks to David Spratt, Research Director of Breakthrough, National Centre for Climate Restoration and previously author of "Climate Code Red' has written a paper with Ian Dunlop entitled  "The 3rd Degree - Supporting evidence  and Implications for Australia of existential climate-related security risk" 

Hosted by Eiddwen, Rob and Jess [Segment times in brackets] || 3CR is proud to acknowledge the Kulin Nations as true owners and custodians of the lands from which we broadcast. We pay respect to their elders past and present and acknowledge that their sovereignty was never ceded and a treaty has yet to be signed ||[18:15] We listen to Annie McLoughlan speaking about language and oppression at the Fair Go For Pensioners (FGFP) Conference held earlier this July.[38:01] David Spratt talks to us about his report titled The Third Degree, co-written by Ian Dunlop. The report looks into evidence and implications of existential climate-related security risks in Australia. David talks to us about how our current climate estimations are currently predicting a 1.5 degree increase and that we are well on our way to experiencing a 3 degree rise in the near future. [54:35] Toby from Boomerang Alliance in conjunction with the Queensland Government and Australian Packaging Convenant Organisation have created a Plastic Free Council Event Guide in hopes of event organisers working towards zero waste usage when holding events. The guide assists event organisers with adopting the policies in the guide, with hopes of fading out single use plastic from events. Toby from the Boomerang Alliance comes in to speak to us about the guide and how others can join in on the fight towards zero waste usage at events. [74:40] Tilly speaks to us about last weeks protests at the Adani site and the debate surrounding lack of freedom of press in Australia. Music:Soley - I'll Drown SkyHooks - Horror Movie Jose Gonzalez - Cylcing Trivialities Bibio - Down to the sound

Did you hear the news?! Our world could end in 2050 unless we do something about it now! Miles and Annah provide a brief synopsis of the May 2019 analysis, "Existential Climate-Related Security Risk: A Scenario Approach" by David Spratt and Ian Dunlop. AKA: The viral posts on Facebook stating "The end of the world in 2050!" Follow along as they explain the report and share their thoughts! Theme Music: Italian Afternoon by Twin Musicom is licensed under a Creative Commons Attribution license (https://creativecommons.org/licenses/by/4.0/) Artist: http://www.twinmusicom.org/

Las nuevas cifras de la Organización de las Naciones Unidas (ONU) sobre el éxodo venezolano revelan que ya han salido del país más de 4 millones de migrantes. Christian Krüger, director de Migración Colombia; Tamara Taraciuk, investigadora sénior de Human Rights Watch; y Leopoldo Martínez, fundador del Centro para la Democracia y el Desarrollo de las Américas y exdiputado de la Asamblea Nacional de Venezuela se refieren al tema. Un estudio australiano asegura que los desastres naturales producidos por el cambio climático van a crear cada vez más guerras y conflictos entre los países y eso puede llevar a una crisis existencial del planeta en los próximos 30 años. Ian Dunlop, uno de los autores de la investigación, dice que la civilización humana, tal como la conocemos, podría estar en riesgo.

Survival Matters is a podcast series produced by Australia21: a non-profit think tank for the public good. In this episode we speak with Ian Dunlop, an Australia21 Director, former international oil, gas and coal industry executive, chair of the Australian Coal Association, and CEO of the Australian Institute of Company Directors. He speaks to us about the political challenges we face in addressing climate change and related threats to human survival. Credits: Lights by Sappheiros https://soundcloud.com/sappheirosmusic Creative Commons — Attribution 3.0 Unported — CC BY 3.0 http://creativecommons.org/licenses/b... Music promoted by Audio Library https://youtu.be/-lbbHQbZNKg

In 2007, Kevin Rudd famously declared climate change to be “the great moral challenge of our generation” Nevertheless, successive Labor and Coalition governments have failed to act effectively towards action on climate change or mitigating its effects. Corruption, denial and delay have permeated our institutions and have contributed to the current political inertia that has produced both outrage and hopelessness, as well as profound alienation from our democratic system. But it doesn’t have to be this way... Individuals and groups both domestically and overseas are fighting to change the politics of climate change before it is too late. But how do we change climate politics when the power is not with grassroots activists and individual citizens? Who is standing in our way? What makes our democratic system amplify some political points of view and not others? Who has most access to the levers that change political outcomes? What can we do to change that? For a discussion on why so much has gone wrong with the politics of climate change, and where to look to successfully change how climate politics get heard, join us for this event on the 10th of April! Speakers: Victoria McKenzie-McHarg Victoria is currently Manager of Strategy and Planning at Bank Australia. Bank Australia are strongly committed to supporting renewable projects and lending to low-income households for solar installations. Victoria has been chair of the Climate Action Network Australia since October 2015, and is a Board member of the Melbourne Sustainable Society Institute at the University of Melbourne. Her previous positions include Climate Campaigner at Environment Victoria from 2007 to 2013, a Director at the Moreland Energy Foundation from 2011 to 2014, and a Climate Campaign Manager at the Australian Conservation Foundation from 2014 to 2015. David Spratt David has been an important climate activist and author for many years. Best known as co-author of the influential book Climate Code Red, he is Research Director at the Breakthrough Research Centre for Climate Restoration, and authored/co-authored many key reports on the growing significance of the acceleration of climate change, most recently "What Lies Beneath" (co-authored with Ian Dunlop), described as the inside story of how climate policy has become embedded in a culture of failure and scientific reticence. David is a member of the Melbourne Sustainable Society Institute at the University of Melbourne.

"Home Front" is a startling movie and again warns people of the dangers of climate change that are barrelling down the highway; the highway of life that is that will come to a dead end, and abrupt halt unless we change our behaviours.Initiating the warnings is a senior member of the Breakthrough board, and a former international coal oil, coal and gas industry executive, Ian Dunlop (pictured), who has been the chair of the Australian Coal Association and CEO of the Australian Institute of Company Directors.However, beyond Mr Dunlop, it is not just the eccentric fellow from down the street issuing the warnings, they are coming from people who have been in some of the most influential roles in various aspects of administration, both in Australia and around the world.Home Front is the work of the Breakthrough organization that is working on the restoration of a safe climate.

David Spratt had always been obliquely aware of climate change, but then things changed and it became in interest, then a passion and in 2008 he co-authored the book "Climate Code Red" with Phillip Sutton.David is not a climate scientist, but he has a deep and abiding interest in climate science and with a background on economics, and a little dedication, he can make sense of the science that unpins climate change, just as anyone else can who applies themself, he argues.Working with Ian Dunlop, David has compiled and written many reports that have had a major impact on climate change education, both in Australia and around the world.

Monday 3rd Sept 2018Guests:Ian Dunlop –  Former Int Oil, Coal and Gas industry executive.  Now Co author “What lies beneath”Louise FraserLouise Fraser– 350.Org campaigner for RISE FOR CLIMATE  global event   Sarah and Tim – Frontline Action on Coal – They stopped the coal trains into Newcastle for 3.5 hours TODAY!Giles ParkinsonGiles Parkinson –  Editor of Renew Economy.orgDid you know that Australia,  despite our small population,  is NOT a small contributor to climate disruption?Ian Dunlop says that corporations need to rethink their business model as we are fourth in the world league of polluters.  He discusses the rot and incompetence at the top and calls for a Government of National Unity which can implement emergency measures.  As our Bangladeshi climate scientist said we are “climate criminals”. Vivien Langford also speaks to Sarah Barron who stopped the coal trains today.  When she came down from her tripod she said “Mining and exporting coal in the face of what is already a  spiralling climate crisis is to condemn my generation”.Sarah and Tim,  from Frontline Action on Coal speak about the community controlling the resources and justice for energy workers.  They noted that we now have a PM who looks like a front for the  Minerals Council,  a chief of staff who was a former coal boss,  an Energy minister who has campaigned against wind power and an Environment Minister who was a mining industry lawyer…Is disrupting the coal port that disrupts the climate justified?FLAC “It’s time to stand up and take action on climate change!  If not now,  then when?  If not you,  then who?”Louise Fraser speaks about the global  “Rise Up for climate” on 8th September.  The Global Climate Action Summit in San Francisco 12-16 September will take action to the next level. State,  regional  and city governments will show what they have achieved and how we will make the Paris Agreement a reality.Please attend events in your local area. There are at least 6 around Melbourne and in every state. Use this hashtag to invite your friends to step up:   #StepUp2018Giles Parkinson reassures us that there are enough wind and solar projects for the industry to be getting on with while they  play with coal in Canberra.However,  will the renewable industry take its bat and ball and go overseas?Vivien desperately tries to think of something else for them to invest in but Giles is not so anxious.  Although it is frustrating he sees plenty to do on the clean energy front even exports to take the place of coal and gas! He also announced the new Renew Economy website devoted entirely to electric vehicles. Links:350.org “Rise for Climate” document (PDF)What lies beneath by Ian Dunlop and David Spratt ( climateextremes.org.au)FLAC- (www.frontlineaction.org)   Video “End Coal”   12-16th September in Newcastle(Cleanenergycouncil.org.au)WIND FARM OPEN DAY-Sunday 21st October in NSW,  SA, Vic and WAIn Victoria: Bald Hills WindFarm at Tarwin Lower / Cape Nelson South Wind Farm / Mt Gellibrand Wind Farm at Woorndoo.Rise for Climate  – September 7th/8th Find an event near you.People’s Referendum on Coal and Gas (lockthegate.org.au/peoplesreferendum)Clean Energy Council Wind Farm Open Day  Radio team 3rd September:  Andy Britt Producer,  Roger Vize Podcasts,  Vivien Langford – Interviews

Adam, Kate and Jed chat to Ian Dunlop (former corporation executive and head of coal council, turned activist) and David Spratt (climate activist, author and businessman). They unravel risk/scientific/political understatement, and the lack of imagination to think the unpalatable, when it comes to climate change.

This recording is one of my first interviews on the subject of climate change in 2017. There is a transcribed version in my blog. Ian Dunlop is a climate activist with a background in the oil and coal industry. To learn more contact: James Cox Cell: 267 323 6936 Email: james.cox@ffgadvisors.com First Financial Group Advisors 744 W Lancaster Av Suite 235 Wayne, PA 19087 Securities products and advisory services offered through Park Avenue Securities LLC (PAS), member FINRA, SIPC. OSJ: 7101 Wisconsin Ave. Suite 1200, Bethesda MD 20814 (301-907-9030) PAS is an indirect, wholly-owned subsidiary of The Guardian Life Insurance Company of America® (Guardian), New York, NY. Important Disclosures 2019-78223 Exp 4/21

This BZE Radio episode was broadcast on Monday 19th June 2017This episode contains excerpts from the April 2017 national Breakthrough tour by Sherri Goodman and Ian Dunlop with the film The Age of Consequences.Sherri is a former Pentagon and US Dept of Defence official, now heading up the Consortium for Ocean Leadership and getting military minds to understand climate change. GUESTSSherri Goodman – Former US Deputy Under Secretary of Defence, now CEO of the Consortium for Ocean LeadershipDavid Spratt – Author, Climate Code Red and coauthor with Ian Dunlop of new book ‘Disaster Alley‘Ian Dunlop – Ian is a former chair of the Australian Coal AssociationLuke Taylor – Luke is the director of Sustainable Living Foundation and is also a director of Breakthrough, the National Centre for Climate Restoration.Dr Malte Meinshausen – Malte is Senior Researcher at the Potsdam Institute for Climate Impact Research, Germany and Senior Research Fellow at the School of Earth Sciences, University of Melbourne. The Australian-German Climate and Energy College, of which Malte is the director, was one of the Australian hosts for the Breakthrough tour and Ms Goodman.Read more:http://bze.org.au/…/podcast-community-19-june-2017-sherri-…/DISASTER ALLEY: CLIMATE CHANGE, CONFLICT & RISKby Ian Dunlop and David SprattForeword by Sherri GoodmanThe first responsibility of a government is to safeguard the people. But the accelerating impacts of climate change will drive increasingly severe humanitarian crises, political instability and conflict, posing large negative consequences to human society which may never be undone. The Asia–Pacific region is considered to be “Disaster Alley” where some of the worst impacts will be experienced. Australia’s political, bureaucratic and corporate leaders are abrogating their fiduciary responsibilities and are ill-prepared for the real risks of climate change. In this striking new Breakthrough report we look at climate change and conflict issues through the lens of sensible risk-management to draw new conclusions about the challenge we now face.DOWNLOAD reportbreakthroughonline.org.au/disasteralleyGUARDIANhttps://www.theguardian.com/environment/2017/jun/21/australia-warned-it-has-radically-underestimated-climate-change-security-threatSOCIAL MEDIAhttps://twitter.com/djspratt/status/877319859540901889https://www.facebook.com/photo.php?fbid=10154494525095741EXTRACT “Climate change an accelerant to instability in unexpected ways”http://www.climatecodered.org/2017/06/climate-change-accelerant-to.html(more…) 19 Jun 2017|Categories: Community Show

Climate change accelerates instability in unexpected ways. Growing water scarcity, declining crop yields, and rising prices are catalysts for displacement and conflict, as witnessed in recent years in Syria and in the European migration crisis. The national security dimension of climate change receives little attention in Australia, but is the subject of intense focus overseas - particularly in the United States. On 4 April the Lowy Institute screened a condensed version of the 2016 film, The Age of Consequences, which analyses the link between climate change and security, followed by a panel discussion. The panel comprised Sherri Goodman, Founder and Executive Director of the CNA Military Advisory Board; Ian Dunlop, an international oil, gas and coal industry expert and former chair of the Australian Coal Association; and Alan Dupont, Nonresident Fellow at the Lowy Institute and CEO of the Cognoscenti Group.

Viv turned out for a debate at the Sustainable Living Festival earlier this year and in this episode we bring you that recording.  The debate is called Is this the end of economic growth?Growth is stagnating, inequality is rising, resource constraints are pressing, and environmental impacts are worsening. If economic growth is killling us how do we craft an economy we can live with? MC-ed by Anthony James (The Understandascope) with guests: Miriam Lyons (Getup!) Ian Dunlop (member of The Club of Rome, Chairman of Safe Climate Australia) Jan Owens (author of "The Future Chasers")