Podcast appearances and mentions of jim mason

Location: The Seed Sioux Falls, SD Hosts: Heather Karrow & Doug Weingardt Guests: Fr. Jim Mason & Travis Myers

Homeschool freedom came under threat in Virginia earlier this year, and hundreds of families quickly stepped up to defend it—proving that the price of freedom is constant vigilance. In this episode of Homeschool Talks, Callie Chaplow, Director of Government Affairs for the Home Educators Association of Virginia (HEAV) joins Jim Mason, President of HSLDA, to discuss how families rallied at the Virginia statehouse to defend homeschool rights during an active legislative season, particularly families new to homeschooling! Join the conversation on how Virginia's homeschool community made their voices heard—and what we can all learn from their advocacy. “[This bill] was an attack on all homeschoolers. It [attempted to] change the homeschooling process and it added a whole bunch of requirements. [Homeschool families] rallied. In Virginia, about 40% of homeschoolers in Virginia were not homeschooling pre-COVID. That's a gravitational shift in culture of people who have never had to defend their homeschool freedom. This was an opportunity for all these new homeschoolers to really value what we have. And they did. People who had never been involved in the political process, never have come down to the Capitol, never written or called a legislator—they [rose up].”—Callie Chaplow

What does it mean to live a successful life? For the women featured in Hannah's Children: The Women Quietly Defying the Birth Dearth, it means embracing the beauty and challenge of raising a large family. Economist, author, and mother of eight Dr. Catherine Pakaluk sheds light on college-educated women across diverse backgrounds choosing to raise large families in an era of declining birth rates. Through her research, Pakaluk reveals a worldview where children are embraced as these women's purpose, their contribution, and their greatest blessing. Join this thought-provoking, faith-filled vision of family and our future with Catherine and HSLDA President, Jim Mason. They highlight the crucial role of the homeschooling movement, which enables families to educate their children affordably while fostering strong values at home. “The three biggest blessings that God wants to send us are children, good health, and prosperity. The Jewish woman I talked to said, ‘the tradition says that the biggest of these three is children. . .that God really wants to bless us.' If you really believed that children were the greatest blessing that God could send you. . .you would arrange your life to have another child. . .they fit their careers and their professional work around their families rather than fitting their the timing of their children around their careers.”—Dr. Catherine Pakaluk

We continue our episodes of the Auto Remarketing Podcast originating from Used Car Week 2024 in Scottsdale, Ariz., with a panel discussion with a group of dealers and experts explaining how the wholesale and retail markets are uniting nowadays. Moderated by CarOffer CEO Zach Hallowell, the panel featured Muhammet Citiroglu of Marathon Motors, Peter Hermes of DriveTime, Jim Mason of Steven Toyota and Kevin Roberts of CarGurus.

Why did homeschooling succeed without government funding, while “school choice” demands it? We wrap up School Choice Week with Jim Mason, president of the Home School Legal Defense Association (HSLDA), about an alternative to school choice that aligns with limited government principles. Mason breaks down HSLDA's proposal for education tax credits, explains how the homeschool movement succeeded without government funding, and discusses why accepting state money could threaten the educational freedom parents have fought decades to secure.   https://hslda.org/   Choice is good. A good choice is better. Therefore, choose better. Click here to learn more about Education Independence and join the Education Independence Network. We exist to educate, inspire, and equip members to promote and protect education independence in their local government.   https://chooseeducationindependence.com/

In an increasingly interconnected world, we risk losing touch with the roots of our local communities. We've traded face-to-face mentorship and the wisdom of our elders for fleeting digital interactions and virtual acquaintances, while also creating a uniform education system. Nicholas Ellis, Founder of Christian Halls, is on a mission to change that. Through his program, he fosters local mentorships and engagement. By pairing youth with seasoned, knowledgeable advisors, Christian Halls helps to create thriving relationships that will positively impact communities, be rooted in trust, and foster shared experiences and generational wisdom. Join HSLDA President and host, Jim Mason, for an inspiring conversation with Nicholas about higher education and the vital role of passing wisdom from one generation to the next generation. “We've never had a generation that has more access to content and data in the history of the world. Data access, knowledge—access is no longer our problem. And so why, when we look around, do we see foolishness everywhere that we look? I think that a lot of that is coming down to vacating our communities—the natural, multi-generational transfer of wisdom from one generation to the next, by basically sidelining our elders. Our professional structures prefer that the retired elder community not be involved because they frankly take away [time] from that next 35-year-old PhD that's coming up through the system. Our model says that they are the absolute gold of our communities”—Nicholas Ellis

Jim Mason is a lawyer, journalist and animal rights activist. He was introduced to philosopher Peter Singer, guest on Sentientism episodes 156 and 218, in 1974. Their book Animal Factories was first published in 1980 and revised in 1990. It provides a critical review and photographic documentation of factory farming practices in North America. Jim's book, An Unnatural Order: The Roots of Our Destruction of Nature looks at the historical and cultural roots of the Western belief in God-given dominion over the living world. Jim was elected to the U.S. Animal Rights Hall of Fame in 2001. In Sentientist Conversations we talk about the most important questions: “what's real?”, “who matters?” and "how can we make a better world?" Sentientism answers those questions with "evidence, reason & compassion for all sentient beings." The video of our conversation is ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here on YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. 00:00 Clips! 01:15 Welcome 02:47 Jim's Intro - Raised on an animal farm, milking cows, killing chickens - Vegetarian since 1955 and more recently vegan - Born during WWII, growing up in 1940-50s rural America - Religious indoctrination "a family of Bible thumpers... I had to be in church every time the door was open" - Methodist Christianity - "A dual indoctrination of farm culture... and religion... the most intense Christian indoctrination" - "I was brought up on human supremacy and using animals and animal exploitation as a way of life" - Until early 30's "I never really departed from that agrarian mentality" - "I became an atheist at Sunday School" - Mourning the loss of dog Butch "my main companion... a brother to me" - "I asked the preacher... 'Will I see Butch in heaven?'... he finally droned on... 'No we don't see animals in heaven - animals don't have souls'... By the time the service was over I began to consciously think 'I am an atheist - I don't believe this stuff'" - "I have since graduated from atheism to anti-theism... I don't like any form of theism... it's anti-science... we'll find a better kind of based for our spirituality other than superstition." 06:41 What's Real? - "It's human supremacy. We're made in the image of god. And since I've become an atheist I've realised that we've made god in the image of ourselves... We created a god that looked like us to give us power over the world." - Old Testament upbringing... "[not] Christian Nationalist or fundamentalist... good old mainstream Protestants" - Era of segregation and "women's oppression had not occurred to us yet"... Trad Wives "church, children, kitchen" - God, bible, Jesus "we were sinful and we had to come to church to purge ourselves... a whole system to train us to behave..." 26:56 What Matters? 42:20 Who Matters? 01:02:34 A Better World? Follow Jim - JimMason.website - @JimMasonAUO (“reluctantly – I think it's [Twitter] in it's death throes”) - Jim on Wikipedia And more... full show notes at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Sentientism.info⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Sentientism is “Evidence, reason & compassion for all sentient beings.” More at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Sentientism.info⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Join our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠"I'm a Sentientist" wall⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ via ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠this simple form⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Everyone, Sentientist or not, is welcome in our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠groups⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. The biggest so far is ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here on FaceBook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Come join us there!

5 Myths About Your Turkey Dinner by Jessica Scott-Reid at SentientMedia.org Original post: https://sentientmedia.org/5-myths-about-your-turkey-dinner/   14 Vegan Thanksgiving Main Dishes! (from It Doesn't Taste Like Chicken): https://itdoesnttastelikechicken.com/14-vegan-thanksgiving-main-dishes   Related Episodes: 689: Inside a Turkey Factory by Jim Mason posted at All-Creatures.org 672: The Modern Turkey: In Need of Thanksgiving Deliverance by Karen Davis at UPC-Online.org  664: 12 Wonderful Turkey Facts That Will Make Your Thanksgiving a Vegan One by Shriya Swaminathan at VegNews.com 410: The Mother Turkey and Her Young by Karen Davis at UPC-Online.org 409: [Part 2] Dying Traditions: The Truth About Thanksgiving Turkey by Hope Bohanec at FreeFromHarm.org, posted at All-Creatures.org 408: [Part 1] Dying Traditions: The Truth About Thanksgiving Turkey by Hope Bohanec at FreeFromHarm.org, posted at All-Creatures.org 152: The Best Vegan Thanksgiving Roasts: Your Ultimate Taste Test by Anna Keeve at TheBeet.com 121: Turkeys by United Poultry Concerns at UPC-Online.org   76: Infant Indoctrination by Will Tuttle at WorldPeaceDiet.com Sentient Media is a nonprofit news organization that is changing the conversation around animal agriculture across the globe. They seek to create and sustain a sense of global urgency about the agriculture industry's impact on the climate crisis, extraction of natural resources and systematic exploitation of the fringes of society. They're doing this through critical commentary, investigative journalism, creating resources, strengthening the journalist and advocate community, partnering with publishers and holding the media accountable when it fails to report on the most pressing issues of our time.    Follow Plant Based Briefing on social media: YouTube: YouTube.com/PlantBasedBriefing  Facebook: Facebook.com/PlantBasedBriefing  LinkedIn: Plant Based Briefing Podcast Instagram: @PlantBasedBriefing   #vegan #plantbased #plantbasedbriefing #turkey #turkeydinner #thanksgiving #tofurky  

This week, we have the privilege of hosting not one, not two, but three guests! We speak with Jim Mason, the president of the Home School Legal Defense Association, Kathleen Creamer, the managing attorney at Community Legal Services' Family Advocacy Unit, and Martin Guggenheim, the founder and retired co-director of New York University School of Law's Family Defense Clinic.These longtime experts in their fields spend some time with us today discussing best practices for parents and important things to know if CPS shows up at your family's door.The EPPiC Broadcast is hosted by Michael Ramey, president of the Parental Rights Foundation. You can sign up for email alerts to keep yourself informed on parental rights news at https://parentalrightsfoundation.org/get-involved/.Support the show

As homeschooling grows, so does the conversation about how education is defined. Join Dr. Timberly Baker (Associate Professor of Educational Leadership at Arkansas State University) and Jim Mason, HSLDA President, in a discussion on challenging the traditional view of schooling. Many prospective and novice homeschool families can feel insurmountable pressure to create a structured, 8-to-3 schedule. This doesn't need to be! Parents are their child's first teacher, guiding their learning every day! Learning can (and does!) take place anywhere, and a rigid schedule isn't required. The possibilities of homeschooling are endless, and each student's experience is unique. “I often say that we are our children's first teacher. So you've already done much of this work in terms of teaching them what you think that they need to know. You do it all the time anyway! We have to disrupt our thinking that schooling happens in this sort of 8 to 3 structure only, and that if it's not that, then it's not a school, right? And so, once we get to helping folks disrupt that notion, then it becomes a much broader conversation about the possibility of being able to homeschool”—Dr. Timberly Baker

Homeschool moms juggle many different roles, and Anne Miller is no exception! But for her, one of those roles led to becoming a key advocate for homeschooling in her state. Join Anne Miller, Executive Director and President of the Home Educators Association of Virginia (HEAV), and Jim Mason, President of HSLDA, as they reflect on the importance of advocacy, 40 years of homeschool freedom, and the incredible growth of the homeschooling community. Hear Anne's inspiring journey from volunteering with HEAV to leading the organization as Executive Director and President! “There are vast numbers of homeschool families now. We're not alone anymore. I'll tell you, in the 1980s, we felt very alone. We only knew one family. And then we found this small group that we didn't even know existed! But now, everybody knows a homeschooler. There are homeschoolers probably right on your block or around the corner. They're everywhere.”—Anne Miller

Did you know that homeschooling wasn't always legal? Robert interviews Jim Mason, President of HSLDA. They discuss Jim's journey into homeschooling advocacy, the importance of legal support for homeschoolers, and the ongoing challenges to homeschooling freedom in the U.S. Jim shares advice for homeschool parents and emphasizes the need for vigilance in protecting educational liberties, especially with the rise of government regulations.   https://hslda.org/ Pride and Prejudice is a beloved classic novel. The footnotes include word definitions, pronunciations, and historical context to support life-long learning, enabling students to deepen their reading and thinking skills. Wide margins encourage note taking and having “conversations” with the book and its author. Learn more about the Copper Lodge Library at https://copperlodgelibrary.com/.

Jeffrey Lewis, President of Illinois Christian Home Educators (ICHE), joins Jim Mason, President of HSLDA, in this second part on what is happening in Illinois. They discuss the recent call for more homeschool regulations in Illinois, and what homeschool families can do to face this new wave of opposition to homeschool freedom happening in the United States. “Government officials want to do things that are going to make society better. And they feel like counting things, tallying things, registering things is often a way to help. It's an expensive thing to do. But it doesn't always do much other than count things. . .And so all of the families, the thousands and thousands of families in Illinois, who've been doing a great job schooling their children at home, now are going to have an extra burden that could put them in jeopardy if they don't comply. And they haven't done anything wrong.”—Jeffrey Lewis

Meet Jeffrey Lewis, homeschool dad, attorney, and president of Illinois Christian Home Educators (ICHE). In part 1 of this conversation with Jim Mason, HSLDA President, learn about the current legal landscape of homeschooling (especially in Illinois,) the media attention on further restricting home education freedom, and how Illinois homeschool families engage with lawmakers. “We've encouraged our homeschooling families: get to know your local lawmakers, get to know your local senators and representatives, so that they actually know who you are and where you are. Not so they can count you, but so that they know that you're good, upstanding citizens that work in your communities, who vote, and [who] play a role in trying to do the right things that a society needs in order to keep being that society.” — Jeffrey Lewis

What does the future hold as we face a new wave of opposition to homeschooling? In this episode, Jim Mason highlights how homeschooling can provide real solutions for society, and how homeschooling has evolved from a movement into a mature and enduring institution. This transformation is largely due to the crucial role families and state organizations have played in advocating for homeschool freedom alongside HSLDA. “Healthy institutions play a vital role in positively shaping the character of those they serve by encouraging and modeling virtue, which in turn encourages and models virtue to their communities. Could it be that we have already built a new institution, an institution built up around a community voluntarily associating together for a healthy purpose?”—Jim Mason

Whether you homeschool or not, it's crucial for freedom-loving people to be aware of the recent legislative offensive against homeschooling in West Virginia and other states. Tune in to the first part of our series where Kevin Boden, HSLDA Attorney for West Virginia, and Jim Mason, HSLDA President, examine why there has been recent opposition to homeschooling that is making headlines. Kevin and Jim will focus on why West Virginia is pushing for more homeschool regulation and highlight how HSLDA is standing with the homeschool community. Don't miss this essential discussion on safeguarding our rights and freedoms, not just in West Virginia, but across the United States.

How did humans' relationship with the other animals go so completely awry? The incomparable Jim Mason – author, lawyer, thinker, and animal rights OG – joins us to discuss his seminal work, An Unnatural Order: The Roots of Our Destruction of Nature, for a discussion about where humanity went wrong, why it matters now more than ever, and how we can…

Phylicia Masonheimer, homeschool mom, graduate, and founder of Every Woman A Theologian, joins your host Jim Mason, President of HSLDA, in an encouraging conversation about embracing the calling of homeschooling. In this episode, they discuss Phylicia's ministry, how she has learned the importance of patience on her homeschool journey, and her advocacy work for homeschool freedom.  “One of the things that people often say to homeschool parents is, well, I could never do that. I'm not patient enough. And it's a frustrating thing for homeschool parents to hear because it's actually quite dismissive. It says that patience is something inherent, that you're born with it. That is really dismissive of how much work it is for homeschool parents to show up every day. Patience is a discipline. It's a fruit of the spirit. It's something that we have worked in us by doing hard work over and over, by being willing to sacrifice and lay ourselves down. Patience is a muscle. It grows as it is used.”—Phylicia Masonheimer

What is misothery? Akin to misogyny, author Jim Mason has coined "misothery" as the phrase describing how we "other" animals. Mason, a co-author with philosopher Peter Singer on "Animal Factories," has written a new edition of his 1993 classic, "An Unnatural Order--Roots of Our Destruction of Nature." Mason connects our "othering" of animals with racism, colonialism, and white supremacy in this conversation with Emil Guillermo.  Go to PETA.org for more. The PETA Podcast PETA, the world's largest animal rights organization, is nine million strong and growing. This is the place to find out why. Hear from insiders, thought leaders, activists, investigators, politicians, and others why animals need more than kindness—they have the right not to be abused or exploited in any way. Hosted by Emil Guillermo. Powered by PETA activism. Contact us at PETA.org  See Emil's work at www.aaldef.org/blog  Or at www.amok.com See his one man show, "Emil Amok, Lost NPR Host, Wiley Filipino, Vegan Transdad," at the NYC Fringe starting April 5   And at the Orlando Fringe in May. Music provided by CarbonWorks. Please subscribe, rate, and review wherever you get your podcasts.  Thanks for listening to THE PETA PODCAST!  © PETA, 2021-24 All rights reserved. copyright 2021-24

How do we embrace change? Sometimes, it's hardest to do at home. Howard Schmidt joins your host, Jim Mason, to discuss Howard's homeschool journey as a parent, his career as Vice President & General Manager at Lennox International, and his newest adventure working in the academic setting at Patrick Henry College as Executive Vice President. Gain insight into how he is equipping leaders to view challenges as opportunities in an ever-changing environment.  “Maybe you're going through a time of flux [in your home education journey], maybe it's a difficult time. Just hit the slow down [button] (but never [the] stop button) and pray about it! Find some people to sit down and have the discussion. Why are we here? Why do we do this? And I can tell you, the purpose of homeschooling is so immense”—Howard Schmidt

Lauren Gideon saw her children struggling with their workbooks and became determined to find a curriculum that worked for her family. Join Lauren and your host, Jim Mason, as they discuss children's individuality and the need for a unique education that fits their needs. Discover how parents can enjoy the freedom and opportunity to define their educational goals! “Enjoy [homeschooling]. Kids learn a lot more when they're having fun. Assume that you won't get it right the first time! And that's okay. I probably have pivoted more than most in homeschooling, and each time I learn something. I learned what I didn't want to do in my homeschool. And through that, I [have] curated a vision for what I wanted”—Lauren Gideon

Fr. Jim Mason the work of Communio at Holy Spirit Parish in Sioux Falls, SD

Rogers Hellman is an innovator and pioneer for homeschool families and those in need. He initiated a healthcare computer system for underprivileged nations, sowed the seeds of HSLDA's Compassion Fund, and delivered a moving presentation before the Panama parliament. Rogers joins Jim Mason, HSLDA's President, to engage in an uplifting conversation about small beginnings paving the way for the most beautiful and impactful journeys of making a difference in the lives of others. “I try to give myself the same grace that I give others. We're all struggling, but that's okay. You know, we've got a role to do, and we've got things that we need to do. And loving one another and serving one another is way up there on the list”—Rogers Hellman

Inside a Turkey Factory by Jim Mason, originally published in Animal Factories: What Agribusiness is Doing to the Family Farm, posted at All-Creatures.org   Original post: https://www.all-creatures.org/articles/ar-insideaturkey.html Animal Factories book: https://a.co/d/0bfcY5P    What to Eat When You Don't Eat Animals (FREE GUIDE): https://www.all-creatures.org/what-to-eat.html     All-Creatures is a non-profit dedicated to cruelty-free living through a vegan lifestyle according to Judeo-Christian ethics. Their website is filled with vegan resources relating to animal issues, including bible studies, how to stop cruelty in churches, blogs, quotes and poetry, and lots of great resources for animal rights activism as well. How to support the podcast: Share with others. Recommend the podcast on your social media. Follow/subscribe to the show wherever you listen. Buy some vegan/plant based merch: https://www.plantbasedbriefing.com/shop   Follow Plant Based Briefing on social media: Twitter: @PlantBasedBrief YouTube: YouTube.com/PlantBasedBriefing  Facebook: Facebook.com/PlantBasedBriefing  LinkedIn: Plant Based Briefing Podcast Instagram: @PlantBasedBriefing   #vegan #Plantbased #plantbasedbriefing #turkeys #turkeybreeding #turkeyfarm    

Aziza Butler's journey from a public-school teacher in Chicago to a passionate homeschooling advocate is inspirational. Frustrated by the overwhelming focus on managing children rather than actual teaching, Aziza decided to homeschool. In her pursuit, she uncovered a powerful truth: the ultimate qualification for being the best teacher for your child is being their parent.  Join Aziza and Jim Mason, President of HSLDA, as they discuss how your heart for your child and commitment to your child's success that is the center of an excellent education.  “You don't know who your kids will touch because of how you invest in them. You never know who you might impact because you have reached out and told [them] about homeschooling. [You] gave them permission to think and dream differently for their family and for their community.”— Aziza Butler

What is causing the surge in homeschooling? Today, I'll be discussing what parents need to know about the fastest growing educational method with Jim Mason, President of the Home School Legal Defense Association.     Read the full show notes with links here: https://conniealbers.com/homeschool-growth-is-surging/   Thank you for tuning in to Equipped To Be. If you enjoy listening to Equipped To Be would you kindly leave a review and a five-star rating? It is easy and will only take a few seconds. When you do, it helps others see the show in their feed. Also, would you kindly share this with a friend or two? Equipped To Be might be an encouragement to them, too. Thank you ~ Connie   Have a question? Interested in having Connie speak? Send an email to Connie here: https://conniealbers.com/contact/   

Historically, child protective service investigations happen at the school; however, for homeschooling families, education happens in the home. When investigating homeschoolers, officials must knock on the door of the single most protected place under the United States Constitution: the home.  HSLDA President, Jim Mason, shares his first-hand experience with defending member families with a common thread: infringement of their 4th Amendment rights.  Rest assured, HSLDA is just a phone call away to protect your rights and your innocence, and to give you peace of mind just like these families.  “We have [cases like the Berryman's to create precedent] from what happened to the Curry family [from happening again]. But that doesn't happen without years and years and years of laboring in that vineyard and actually understanding the law.” —Jim Mason

This week we talk with Jim Mason, president of the Home School Legal Defense Association and former president of ParentalRights.org and the Parental Rights Foundation. In this episode, Jim explains how homeschooling has grown from its fringe roots in the 70's into an enduring education option today, with abundant resources to help parents best educate their children. He also explains what he believes is next for the homeschooling movement.Support the show

Did you know that HSLDA has helped members in a wide variety of homeschool-related cases from veteran affairs and social security benefits to issues with local school districts? Listen in as Kevin Boden (HSLDA Staff Attorney) and Jim Mason (HSLDA President) discuss past cases that have had significant influence on homeschool freedom and why these cases serve as a reminder that we must, as James Madison said many years ago, “take alarm at the first experiment on our liberties.”  “It would have been really easy [to comply with the school district]. . . . [But] by standing up at that very early intrusion into liberty, not only do other school districts in Virginia not follow suit . . . but it also [tells] these officials that homeschoolers know the law; they respect and follow the law, but they want you to do that too. And they will make you do it if you don't do it in the first place.”—Jim Mason

On today's program: Meg Kilgannon, FRC's Senior Fellow for Education Studies, covers what parents need to know for engaging with their children's education. Ginny Gentles, Director of the Education Freedom Center for the Independent Women's Forum,

Great to catch up with a man who's had a more diversified background with horses than most Australian trainers. The former Olympic show jumping gun and respected horse breaker Greg Eurell turned to the training of thoroughbreds thirty years ago. Nine Gr 1 wins including a Cox Plate are testimony to his talents. Greg talks about the bustling Cranbourne training centre and the facilities available to trainers. He talks of his successful training partnership with Jim Mason. Greg talks of the availability of work riders and the time required to get 60 horses worked. He acknowledges he talents of his wife Danielle who rides daily trackwork before heading off to her day job in Melbourne- a very unlikely day job at that. Greg talks about the accessibility of his preferred race meetings. He takes us back to early days in Sydney's Hills District and his involvement in pony club. The talented horseman is reluctant to talk about his inclusion in the Federation Equestrian team as a teenager. Greg was selected for the Australian squad bound for the Moscow Olympics in 1980. He and team mates were shattered when the Aussie equestrian team withdrew for political reasons. He says it was a long wait for the 1984 LA Games, but he made the squad again and actually took two horses of his own to the USA. One of them didn't make it into the arena. Greg speaks with great reverence of the champion show jumper Johnny Mac, his once in a lifetime horse. He says the horse was discovered by another competitor. He looks back on Johnny Mac's stunning success in elite company, and fondly remembers the presentation of a prized trophy by an iconic figure. Greg discusses Johnny Mac's pedigree and his unlikely colouring. He talks of his late father's busy Sydney plumbing firm. A qualified plumber himself, Greg decided to move away from the family business and set up shop as a horse breaker in Victoria. He finished up in keen demand and breaking horses for some high profile trainers. He talks of his modest transition into training and the horses to kick start his new career. Greg pays tribute to Princess D'Or, the talented mare he brought to Sydney to win an important stakes race at Warwick Farm. He recalls the first time he laid eyes on the spectacularly marked Apache Cat. He still can't believe the brilliant sprinter gave him 8 Gr 1 successes. He talks of the horse's obscure pedigree and his exceptional temperament. The trainer takes us through Apache Cat's amazing career. The horse gave him two major scares during a 19 win career. The former Olympic competitor talks with great affection about the mare who would become Apache Cat's successor at the elite level.  Greg remembers the nightmare that unfolded when Pinker Pinker suffered a fatal reaction to a commonly used injection. The Cranbourne trainer acknowledges a handful of special horses who flew the flag with distinction for the Eurell stable. It's a laid back chat with a master horseman.

How have animal rights and the animal rights movement changed in the last few decades? How has the scale of animal product consumption grown relative to human population growth? On what principles ought animal ethics to be grounded? What features of human psychology enable humans to empathize with and dislike animal suffering and yet also eat animal products regularly? How does the agribusiness industry convince people to make choices that go against their own values? What are some simple changes people can make to their diets if they're not ready yet to go completely vegetarian or vegan but still want to be less responsible for animal suffering? What attitudes should vegetarians and vegans hold towards meat-eaters? When, if ever, is it possible to have done "enough", morally speaking? What are the things that matter intrinsically to humans and other sentient beings? What is the most complex organism that is apparently not conscious? Will we ever have the technology to scan someone's brain and measure how much pleasure or suffering they're experiencing? How uncertain should we be about moral uncertainty? What should we eat if it's eventually discovered that plants can suffer?Peter Singer is a philosopher and the Ira W. DeCamp Professor of Bioethics in the University Center for Human Values at Princeton University. His work focuses on the ethics of human treatment of animals; he is often credited with starting the modern animal rights movement; and his writings have significantly influenced the development of the Effective Altruism movement. In 1971, Peter co-founded the Australian Federation of Animal Societies, now called Animals Australia, the country's largest and most effective animal organization; and in 2013, he founded The Life You Can Save, an organization named after his 2009 book, which aims to spread his ideas about why we should be doing much more to improve the lives of people living in extreme poverty and how we can best do this. In 2021, he received the Berggruen Prize for Philosophy and Culture for his "widely influential and intellectually rigorous work in reinvigorating utilitarianism as part of academic philosophy and as a force for change in the world". He has written, co-authored, edited, or co-edited more than 50 books, including Animal Liberation, The Life You Can Save, Practical Ethics, The Expanding Circle, Rethinking Life and Death, One World, The Ethics of What We Eat (with Jim Mason), and The Point of View of the Universe (with Katarzyna de Lazari-Radek); and his writings have been translated into more than 25 languages. Find out more about him at his website, petersinger.info, or follow him on Facebook, Twitter, or Instagram.[Read more]

Yes, Burning Man has a Chief Technology Officer, and his name is Steven Blumenfeld. In this episode Stuart chats with “Bloom” about art, innovation, immediacy, and the power of the unexpected, with trippy side trips into AR, VR, and AI (and TLA).Yes, we have a CTO. We have all the enterprise tech needs of any not-small non-profit, with the added complications of ridiculously challenging work sites, a staff that's mostly seasonal volunteers, and an ethos rooted in Ten Principles that don't always line up with ideals of Big Tech or engineering efficiency. You don't build a city of 80,000 in the desert — or a global community of dreamers and doers — without bending a few bits and bytes. Or stepping on a few tech-bro toes.Bloom shares stories from his colorful career at the intersection of art and technology, from working with Al Gore at Current Media to pioneering the “always two years away” world of virtual reality. And he does his best to reassure Stuart that AI will not be taking his job… yet.

SHOW NOTESzantyler.com/podcast/039-jim-mason In part 2 of this fascinating conversation with HSLDA President Jim Mason, Zan and Jim explore the way Covid changed the homeschool landscape, drawing many families into this remarkable model of education and creating a number of new opportunities. You'll be inspired as Jim and Zan discuss several legal cases, the ongoing fight to defend homeschool freedom, and HSLDA's dedication to supporting statewide organizations in their quest to fight for freedom and support homeschooling parents.PODCAST SPONSORSpecial Thanks to BJU Press Homeschoolbjupresshomeschool.com CONNECT WITH ZANzantyler.com/podcastJim Mason | How a Christmas Tree Stacker Became a Homeschool Advocate and Defender - Part 2 | Episode 039

SHOW NOTESzantyler.com/podcast/038-jim-mason You'll enjoy getting to know Jim Mason, President of HSLDA, in this two-part discussion with Zan. Jim joined HSLDA in 2001 to lead the litigation team after taking a fascinating and circuitous journey to becoming an attorney … from going to college to serving as an officer in the Navy, from stacking Christmas trees to working in construction while he and his wife Debbie started their family. The Masons homeschooled their seven children through high school. PODCAST SPONSORSpecial Thanks to BJU Press Homeschoolbjupresshomeschool.com CONNECT WITH ZANzantyler.com/podcastJim Mason | How a Christmas Tree Stacker Became a Homeschool Advocate and Defender | Episode 038

What are Education Savings Accounts (ESAs)—and what do they mean for homeschool freedom? Join Amy Buchmeyer (HSLDA Staff Attorney) in this discussion with Jim Mason (HSLDA President). They'll talk about: The arguments surrounding ESAs How public funding for homeschooling could increase regulation What Amy and Jim are seeing in the current 2023 legislative season Why HSLDA, a liberty-based organization, is regularly opposing ESA bills  “Where the focus isn't on liberty, accountability is going to be the focus. And some of these bills, they mean tremendous amounts of money are flowing, which is sort of alarming because I homeschooled seven children over almost 30 years, some of these bills would have brought in tens, maybe hundreds, of thousands of dollars over that time. There's an enormous fiscal impact that I don't hear a lot of people talking about.”—Jim Mason 

Homeschool Talks has reached its 100th episode! To celebrate, Daniel Heffington (of HSLDA's Generation Joshua) is interviewing your host, HSLDA President Jim Mason. Join this entertaining and encouraging conversation to learn more about Jim, his journey to HSLDA and why he became interested in homeschooling law, his thoughts on leadership and seeking out purposeful mentorship, and how the Hardy Boy mysteries helped prepare him for his role as president of HSLDA.   “One of the things that I always have tried to do, and helped me enormously, is to always have a mentor. Go adopt a mentor. Find a mentor. Find somebody [who has] been there, and [has] a different viewpoint. […] Most busy people who have those qualities that you want to learn from, they're more than happy [to meet and are] very generous with their time.” – Jim Mason

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Jim Mason, a co-author with philosopher Peter Singer on "Animal Factories," has come out with a new edition of his 1993 classic, "An Unnatural Order--Roots of Our Destruction of Nature." The book is a history of the evolution of mankind's treatment of animals and how the agrarian culture changed our relationship with animals. Instead of being among the animals, we were in control and had dominion over animals. Mason connects that thinking with racism, colonialism, and white supremacy in this conversation with Emil Guillermo. Go to PETA.org for more. The PETA Podcast PETA, the world's largest animal rights organization, is 6.5 million strong and growing. This is the place to find out why. Hear from insiders, thought leaders, activists, investigators, politicians, and others why animals need more than kindness—they have the right not to be abused or exploited in any way. Hosted by Emil Guillermo. Powered by PETA activism. Contact us at PETA.org Listen to the very first PETA podcast with Ingrid Newkirk Music provided by CarbonWorks. Go to Apple podcasts and subscribe. Contact and follow host Emil Guillermo on Twitter @emilamok Or at www.amok.com Please subscribe, rate and review wherever you get your podcasts. Help us grow the podcast by taking this short survey. Thanks for listening to THE PETA PODCAST! Originally released July 21, 2021  Re-released Sept. 6, 2022 © PETA, 2021-2, All rights reserved. copyright 2022  

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

On today's program: Meg Kilgannon, FRC's Senior Fellow for Education Studies, covers what parents need to know for engaging with their children's education. Ginny Gentles, Director of the Education Freedom Center for the Independent Women's Forum,

This week, the Homeschool Legal Defense Association announced the appointment of a brand new president, Jim Mason! Jim will succeed the organization's longtime president Mike Smith, one of the co-founders of HSLDA (and a past guest on The GenJ Podcast!). When we first recorded this interview, Jim Mason was still Vice President of Litigation at HSLDA. But during post-production, the announcement of the leadership change went into effect as Mike Smith retired after years of faithful service to the organization. In that light, this interview takes on new significance as a glimpse into the heart and mind of HSLDA's new president.We hope you enjoy this episode with Jim!  If you enjoy this episode, go ahead and give us a great review and a 5 star rating! (This helps other people find and enjoy the show.) And be sure to subscribe on your favorite podcast platform to get the next episode in your feed.Email info@generationjoshua.org to let us know how you're liking the show and if you have any suggestions for guests or topics!Links:The Great California Homeschool Case of 2008: https://www.cheaofca.org/2020/06/01/a-look-back-at-the-great-california-homeschool-case-of-2008-and-what-it-means-for-today/HSLDA: https://hslda.org/ HSLDA Instagram: https://www.instagram.com/hslda/?hl=en HSLDA Facebook: https://www.facebook.com/hslda GenJ Instagram:https://www.instagram.com/generationjoshua/GenJ Facebook: http://facebook.com/GenerationJoshuaDaniel's Instagram: https://www.instagram.com/danielhofficial/Note: GenJ believes that it's important to have authentic conversations about ideas that matter. Thus, the viewpoints and policy proposals of our hosts and guests are their own and do not necessarily reflect those of Generation Joshua.Producer: Daniel HeffingtonCopyright 2022 Generation Joshua 

When dynamite is aged the wrong way it gets sweaty with little crystals that can cause spontaneous explosions.Dave X. Man of fire, bacon, and “the ponytail of approachability.” An enigmatic shaman of fireworks, flame effects, and deep thoughts, his stripper name is Sweaty Dynamite. His spiritual calling is to bring joyful, fiery experiences to the masses. His secret weapon: a thick binder. Huh? More on that later. Could one man be a hippie and a redneck, and in charge of Fire Art Safety in Black Rock City, and also fill the role of Cake Marshal for Burning Man Project? Yes, yes he could. A pyrotechnician, a peaceful perturber, and a Burner from days of yore, he bestows his teachings upon Stuart Mangrum. Pro tip: Each of our episodes ends with a bang, especially this one. Burning Man Staff: Dave XBurning Man Journal: Dave XShitDaveXSays.com

Stuart talks with 'Burners Without Borders' co-founder Tom Price, then shares an interview from the deep well of 'Culturally Attuned,' a podcast by the US Institute of Peace in collaboration with Burning Man Project.Tom talks about community resilience and his attempts to bridge cultural gaps around race, color, privilege, and the legacy of colonialism.He extols the need for humility and personal agency, and developing relationships of mutual trust and respect - from Kenya to Liberia, to the Native American lands of Nevada.He also presents Burning Man as a place to practice operating with each other organically, without imposed signifiers of who gets to be in charge. USIP (United States Institute of Peace): Culturally Attuned PodcastUSIP: Culturally Attuned: Benefactor's Dilemma: Am I helping or Am I Wielding Power? (podcast episode)Burners Without Borders: What Does Burning Man Have to Do With Peace? (audio clip)Burning Man LIVE: Culturally Attuned with the US Institute of Peace (2021 podcast episode)Burning Man LIVE: Creative Solutions to Mass Destruction (with Tom Price) (2020 podcast episode)Burning Man Journal: Tom Price ECOSAFI

This episode we talk with one of the OG Westcoast Swimbait fisherman . Jim started throwing swimbaits back in the 80s catching multiple double digits and a 17 LB PB . Not only that, he has been a big part of the channel island sport fishing scene since the landing opened . Learn more about your ad choices. Visit megaphone.fm/adchoices