Podcast appearances and mentions of John Fleck

Given a looming negotiation deadline and recent changes in federal operations, this is an apt time for us to check back in on how things are going with Colorado River management. Frequent listeners and 10X Summit attendees alike will be well acquainted with how clearly this topic illustrates our collective responsibility to be proactive in the face of the "knowable future".  A 100-year-old miscalculation of water availability and the recent multi-decade drought have put our use of the Colorado River on an unsustainable path. This became apparent in 2021, as critical reservoirs at Lakes Mead and Powell approached a deadpool low-water scenario that would endanger hydropower generation at major dams and water deliveries to users further south. The risk level triggered immediate federal intervention and the renegotiation of a basin-wide agreement for sharing and conserving this vital resource.  Stakeholders now have less than a month to submit a joint management proposal to the Bureau of Reclamation in time to be vetted for a new interstate compact. If this September, 2026 deadline is missed, the cooperative systems and oversight that have protected the Colorado River since 1944 may expire without an immediate replacement.  Meanwhile, major layoffs are planned or underway at the Bureau and the Department of the Interior, and federal funding for river conservation has been frozen. Anne Castle, former U.S. commissioner and chair of the Upper Colorado River Commission is among those employees to have lost their positions in this transition.Three years after their first Ten Across Conversations appearance together, today Anne and fellow renowned Western water policy expert John Fleck revisit the key themes and offer their thoughts on progress toward a positive policy future in the Colorado Basin.  Related articles and resources: Listen to our first episode with Anne and John from 2022  Learn more about the 1994 U.S.-Mexico water treaty in this Ten Across Conversations podcast“Trump admin rejects Colorado River water request from Mexico in first since 1944” (The Hill, March 2025)  “Green Light for Adaptive Policies on the Colorado River” (Anne Castle and John Fleck, 2021) “The Risk of Curtailment under the Colorado River Compact” (Anne Castle and John Fleck, 2019)“Closing the Water Access Gap in the United States: A National Action Plan” (US Water Alliance, 2019)  “Essay: Lessons for the End of the World” (Hanif Abdurraqib, The New Yorker, Feb. 2025)  Credits:  Host: Duke Reiter  Producer and editor: Taylor Griffith  Music by: Lupus Nocte, Tellsonic, and Pearce Roswell  Research and support provided by: Kate Carefoot, Rae Ulrich, and Sabine Butler  About our guests:  Anne Castle is a senior fellow at the Getches-Wilkinson Center for Natural Resources, Energy, and the Environment at the University of Colorado Law School. She is a founding member of the Water Policy Group and co-founder of the initiative on Universal Access to Clean Water for Tribal Communities. From 2022 to 2025, she served as U.S. Commissioner and Chair of the Upper Colorado River Commission and was Assistant Secretary for Water and Science at the U.S. Department of the Interior from 2009 to 2014.  John Fleck is a writer in residence for the Utton Transboundary Resources Center and professor of practice in water policy and governance at the University of Mexico's Department of Economics. He is also the co-author of Science Be Dammed: How Ignoring Inconvenient Science Drained the Colorado River and author of Water is for Fighting Over and Other Myths about Water in the West. John is the former director of the University of New Mexico Water Resources Program, where he continues to teach and advise graduate students.

Alright! You wanted the best, you got the best. The greatest rock n roll horror movies ever in a neat and organised list. It's Horror Rocks. I watched, rated and ordered 74 movies from 1971 to 2024 in order to attempt to figure out just what exactly could be the greatest of them all. Joining me on my journey are several guests, drinking several Jack and Cokes over a glorious 4 episodes full of ripping riffs, pummelling drums and voices so stretched they are at breaking point. This is Horror Rocks. It's a pretty long journey this one, part 2 of 4 in fact. I am going to give you the time codes below so if you don't want spoilers then, please, avert your eyes.You can now support A Year in Horror via the Patreon.Theme Music by Max Newton& Lucy Foster.Email the podcast at ayearinhorror@gmail.comDon't bother following the podcast on Facebook. But feel free to...Follow me on Twitter.Follow me on Instagram.Follow me on Letterboxd.Below are the timecodes for all the different segments and my guest links. Feel free to let me know where you think I got it wrong or right and of course stay safe out there & I'll see you next month.0.31 - Smile 205.35 - Also Rans (Part 3)12.01 - Terror on Tour (w/ John Tantalon)44.29 - Hard Rock Zombies (w/ John Fleck)53.36 - Uncle Peckerhead (w/ Alexander Heff)

John Fleck preaches on 6 aspects of the person and work of Christ, one from each chapter of Ephesians. Ch 1 – the redeeming Christ the answer to slavery, Ch 2 – the reconciling Christ, the answer to hostility, the resident Christ, the answer to rivalry, Ch 4 the resourceful Christ, the answer to lethargy, Ch 5 the reproduced Christ, the answer to impropriety, and Ch 6 the responsive Christ, the answer to anxiety. (Recorded at the Belfast Easter Conference, The post Christ in 6 Aspects (43 min) first appeared on Gospel Hall Audio.

Brought to you by ReytMove: #nogoalsnosleep for our top 39, Bonkers Bob's Board, it's black over Bill Nighy's mother's, EXCLUSIVE getting-to-know-you feature with JOHN FLECK, a LISTENERS' QUESTIONS SPECIAL featuring the best pubs in Town and Manchester before Dunkley's Secret Santa and a Whelan Fortuné!

John Fleck preaches on the subject of self denial in the Christian life. Our culture emphasise our rights, but our example for living the Christian life is One who surrendered His rights – our Lord Jesus Christ. Readings: Matt 5:38-42, Phil 2:5-11. (Recorded in Northern Ireland) The post The Implications of Christ's Self-Denial (50 min) first appeared on Gospel Hall Audio.

Jordan, Jake and Kieron (but not Luke - he's decided to not show up a little bit like MK Dons) return for another week to discuss all of the main talking points in the fourth division, including AFC Wimbledons stunning victory over MK Dons in which Luke lost his head in a pre-recorded video, as well as impressive victories for Notts County, Gillingham and Barrow. Alongside that, we take a look at Swindon's four goal rout over Newport took place, and we also take another look at Grimsby because of course they lost again. - AFC Wimbledon's statement victory over MK Dons - ⁠Is Mike Williamson under pressure at MK? (Involving Luke's pre-recorded video and subsequent headloss) - ⁠Morecambe pick up their first goals (and point!) - ⁠Superb Swindon against a depleted Newport side - ⁠Patience needed at Grimsby? - ⁠Worrying times for Accrington Stanley? - ⁠How can Carlisle stop their early season rot? - ⁠Doncaster faltering? - ⁠How big of a role can John Fleck play for Chesterfield? Hosted on Acast. See acast.com/privacy for more information.

Rovers Reporter Elliott Jackson and Ryan Hildred dissect the key talking points from a first pre-season outing for John Eustace's side. Who were the bright sparks and could some the young Academy talent step up for the first team? There is a big discussion about recruitment. Elliott offers the latest of Kyle McFadzean, John Fleck, incomings and outgoings. Plus, the latest with Venky's, August 20 and what the owners can and can't do in terms of funding Rovers. You can find the Arte et Labore podcast in your app of choice, simply search wherever you get your podcasts. Make sure you subscribe to get the latest episode every week. You can subscribe to The Lancashire Telegraph to get full access to all our Rovers coverage this season and beyond. You'll get full access to our advert-free app, receive exclusive content and there are plenty more perks too. Click here to sign up for an annual or monthly subscription.

John Fleck preaches on the lives of a married couple in the New Testament called Aquila and Priscilla. Their mentions, merchandise, movements, marriage and ministry. (Recorded in Ahoghill Gospel Hall, Northern Ireland). (Photo above: Ancient Corinth) Complete series: Abraham's finest hour Ruth's finest hour David's finest hour Peter's finest hour Aquila and Priscilla's finest hour The post Aquila and Priscilla's Finest Hour (57 min) first appeared on Gospel Hall Audio.

John Fleck preaches on the events of Acts 2, when Peter preached the gospel on the Day of Pentecost in Jerusalem and 3,000 people were saved. The Spirit, the speaker, the sermon and the sequel. (Recorded in Ahoghill Gospel Hall, Northern Ireland) Complete series: Abraham's finest hour Ruth's finest hour David's finest hour Peter's finest hour Aquila and Priscilla's finest hour The post Peter's Finest Hour (54 min) first appeared on Gospel Hall Audio.

John Fleck preaches on the biblical record of the day when David took up the challenge of Goliath the Philistine and overcame him in the name of the God of Israel. Readings: 1 Sam 16:11-17:58. (Recorded in Ahoghill Gospel Hall, Northern Ireland) Complete series: Abraham's finest hour Ruth's finest hour David's finest hour Peter's finest hour Aquila and Priscilla's finest hour The post David's Finest Hour (53 min) first appeared on Gospel Hall Audio.

John Fleck preaches on the choice Ruth made to trust in Naomi's God and take shelter under the wings of the God of Israel. Reading: Ruth 1. (Recorded in Ahoghill Gospel Hall, Northern Ireland) Complete series: Abraham's finest hour Ruth's finest hour David's finest hour Peter's finest hour Aquila and Priscilla's finest hour The post Ruth's Finest Hour (55 min) first appeared on Gospel Hall Audio.

John Fleck preaches on the experience of Abraham as he ascended Mount Moriah to offer Isaac on the altar. Reading: Gen 22. (Recorded in Ahoghill Gospel Hall, Northern Ireland) Complete series: Abraham's finest hour Ruth's finest hour David's finest hour Peter's finest hour Aquila and Priscilla's finest hour The post Abraham's Finest Hour (52 min) first appeared on Gospel Hall Audio.

John Fleck preaches on God's great salvation. Why do I need salvation? Why can I have salvation? How can I receive salvation? Can I really know I have salvation? When can I have salvation? Readings: Rom 4:24-25, 5:1, 6-9. (Recorded at the Belfast Easter Conference, 3rd April 2013) The post God's Great Salvation (33 min) first appeared on Gospel Hall Audio.

John Fleck preaches on the topic of taking public part in assembly gatherings. The problems of taking part, the principles of taking part, and pointers in relation to taking part. Readings: Rom 12:3-6, 1 Thess 5:16-21, 1 Pet 4:10-11, 1 Cor 14:1, 3-4, 7-9, 14, 16-20, 23-27, 33-34, 39-40. (Recorded in Ballymena on 3rd Feb 2024) The post Guidance on Taking Public Part in Meetings (55 min) first appeared on Gospel Hall Audio.

John Fleck preaches on the life and service of the “disciple whom Jesus loved”, who was also the writer of the 4th Gospel, John the son of Zebedee and Salome. Readings: John 1:35-39, 13:1, 19:25-27, 21:20-25. (Recorded at Huyton Gospel Hall, Liverpool, 19th Apr 2019) The post The Disciple Whom Jesus Loved (49 min) first appeared on Gospel Hall Audio.

Ben and Andrew briefly discuss United's disgraceful capitulation at home to Aston Villa, before turning our attention to the surprise (ish?) exit of John Fleck right at the end of the transfer window. We look back on our Scottish hero's highs and lows at United, with our favourite moments, his best goals, and where he ranks in our all-time best United sides. Worraplaya. Thanks for listening, and UTB!

In the second episode during this off season ahead of the return to the Premier League Nick and Oli talk about the lack of signings,  the lack of new contracts, lack of excitement,  how the Sheff United Way Didzy interview actually happened and the fixtures being released.Support the show

John Fleck preaches on the topic consecration under three headings: its motivation, its mindset and its marks. Readings: Rom 12:1-9, 13:1, 14:1-3, 10-12, 15:1-3, 19b-20, 16:1-13. (Message preached in Banbridge Gospel Hall, 28th April 2023) Complete series: Redemption Adoption Election Resurrection Consecration The post Consecration (52 min) first appeared on Gospel Hall Audio.

John Fleck preaches on the topic of the resurrection of Christ and all that flows from it, including the gifts given by the risen Christ to the church. Readings: John 19:40-20:11a, 19-21, Acts 2:23-25, 1 Cor 15:3-8. (Message preached in Banbridge Gospel Hall, 27th April 2023) Complete series: Redemption Adoption Election Resurrection Consecration The post Resurrection (52 min) first appeared on Gospel Hall Audio.

John Fleck preaches on the topic of election. The “problem” over the centuries with this issue, the programme of election, the present election, and the preaching of election. Will help clarify issues regarding Calvinism. Reading: Eph 1:1-4. (Message preached in Banbridge Gospel Hall, 26th April 2023) Complete series: Redemption Adoption Election Resurrection Consecration The post Election (61 min) first appeared on Gospel Hall Audio.

John Fleck preaches on the topic of adoption – sonship – under 6 headings: its Author, its arrival, its assurance, attitude, afflictions and anticipation. Readings: Rom 8:14-23, Gal 4:1-6, Eph 1:3-5. (Message preached in Banbridge Gospel Hall, 25th April 2023) Complete series: Redemption Adoption Election Resurrection Consecration The post Adoption (46 min) first appeared on Gospel Hall Audio.

John Fleck preaches on the topic of redemption, outlining the call for redemption, the character of redemption and the cost of redemption. Readings: Rom 3:23-24, 1 Cor 6:20, Eph 1:7-14, Heb 2:14-15, 1 Pet 1:18-21, 2:1-2. (Message preached in Banbridge Gospel Hall, 24th April 2023) Complete series: Redemption Adoption Election Resurrection Consecration The post Redemption (52 min) first appeared on Gospel Hall Audio.

Ben and Andrew relish United's 4-1 victory lap over a fairly-pathetic Preston, as the promotion party shows no sign of stopping and John Fleck signs off (maybe?) with one last goal for the road. Plus, we compare this promotion to the 2019 Chris Wilder-led one, and also revisit our "How To Win Promotion" blueprint from preseason. Thanks for listening and UTB!

As Colorado continues to grow, one of the key issues the state faces is the reliable availability of water. When investing in our state, developers, businesses, and even the general population all face apprehension with what the future may hold with this key life-giving resource. Water is the lifeblood of any community and how the resource is managed is a subject about which interested entities fight, negotiate, and discuss. On this episode of Common Sense Digest, Host and Chairman Earl Wright welcomes Terry J. Stevinson fellows Jennifer Gimbel and Eric Kuhn to discuss the history, evolution and future of Colorado water. An old saying, incorrectly attributed to Mark Twain, says, "Whiskey's for drinking, water's for fighting." True enough, but the history, reality and path forward for water in Colorado and the West is much more nuanced and fraught than that. Tune in for more detail. Thank you for listening to Common Sense Digest. Please rate, review, and subscribe on your favorite podcatcher. All of our podcasts can be found here.  Jennifer Gimbel is a Senior Water Policy Scholar and former Interim Director and at the Colorado Water Center.  Jennifer has experience in law and policy on national, interstate and state water issues. She was the Principal Deputy Assistant Secretary for Water & Science at the Department of the Interior, overseeing the U.S. Geological Survey and Bureau of Reclamation. She also was Deputy Commissioner for the Bureau of Reclamation and Counselor to the Assistant Secretary. Jennifer was the Director of the Colorado Water Conservation Board, the water policy agency for Colorado. As a water lawyer, she worked for the Attorney General's Offices in Wyoming and Colorado. She has over 35 years of experience on water issues Eric Kuhn is the retired General Manager of the Colorado River Water Conservation District and co-author with John Fleck of Science Be Dammed: How Ignoring Inconvenient Science Drained the Colorado River, University of Arizona Press, 2019. The Colorado River District is the largest and oldest of Colorado's four conservation districts. It covers most of the Colorado River Basin within Colorado. Almost two thirds of the flow at Lee Ferry originates in or flows through the district. Eric started employment with the Colorado River District in 1981 as Assistant Secretary-Engineer. In 1996 he was appointed General Manager, a position he held until his retirement in 2018.  

A mini-episode as Ben and Andrew discuss a largely uneventful game with Coventry, although United still manage to lose the game via Chris Basham's error. RND joins the injury list, Khadra and Brewster remain conspicuously on the bench, although John Fleck returns to action. We also briefly touch on this weekend's match between two of the most out-of-form sides in the league. Thanks for listening, and UTB!

John Fleck concludes his series of helpful messages for new believers by taking up the matter of the Christian and the will of God – knowing the will of God and doing the will of God. Readings: Mark 3:31-33, Rom 12:1-2, 1 Pet 3:17, 4:1-4a, 19, 1 Thess 4:2-3, 8, 5:17-18 (Message preached in Ballymena, 2017) The post How to Know the Will of God (50 min) first appeared on Gospel Hall Audio.

Comments from Aaron Eisenberg, John Fleck, Dan Curry,Marc Bernadin,James McKinnon, Steven Culp,and Ike Eisenmann

Comments from Aaron Eisenberg, John Fleck, Dan Curry,Marc Bernadin,James McKinnon, Steven Culp,and Ike Eisenmann

John Fleck continues his series of messages for new believers with a look at what the Bible says about gender distinctives: in present day culture, in creation, in constitution, in characteristics, in contributions in the home and the assembly. Readings: Gen 1:26-28, 2:8, 18-24a. (Message preached in Ballymena, 2017) The post Gender Distinctives in Scripture (60 min) first appeared on Gospel Hall Audio.

John Fleck continues his series of messages for new believers with a look at the truth of the local assembly – what it is, how it functions and helpful associated themes. Readings: 1 Cor 1:1-10, 10:16-22, 31, 14:16-19, 23a. (Message preached in Ballymena, 2017) The post Fellowship in a Church of God (55 min) first appeared on Gospel Hall Audio.

John Fleck begins a series of helpful messages for new believers by taking up the themes of assurance, sanctification, the flesh and the spirit, the old and the new man, and the need to set our affections on things above. Readings: Rom 4:24b-5:1, 6:3-5, 11, Gal 2:20, 5:16-18, 24, Eph 4:20-30, Col,3:1-4. (Message preached in Ballymena, 2017) The post The New Believer (52 min) first appeared on Gospel Hall Audio.

Ben and Andrew go through the win over Millwall, Ahmedhodzic's brilliant debut, and more encouraging showings from Ciaran Clark, John Fleck and a few others... although that might be the end of Norwood on penalties for a little while. Plus, we look ahead to the cup game with West Brom, and Boro away on Sunday. Thank you for listening, and UTB!

Enjoy this fantastic interview with John Fleck! He is a veteran of the Star Trek universe and has appeared in EVERY Star Trek show from the 90s. He is also well known as being a member of the NEA4 which was made famous as he defended the rights of artists. He now appears as Ambassador K.T.Z from Seth MacFarlane's The Orville! #StarTrek #TheOrville #NEA4 #JohnFleck #SethMacFarlane

This week, as we continue our Summer series, John Fleck looks at how we are to show love to those around us. He takes a look at a few places in the Bible that speak to how we are to love and unpacks those for us. Music: 'In Jesus Name' - Katy Nichole

Years of extreme drought have left the Colorado River at alarmingly low levels. Earlier this month, water management experts testified in front of a Senate energy and Natural Resources Committee that’s seeking ways for the Western United States to drastically cut back water usage. With all the recent reporting on the issue, it’s important to … Continue reading John Fleck: Drought Dilemmas and the Colorado River → This article and podcast John Fleck: Drought Dilemmas and the Colorado River appeared first on Sea Change Radio.

As Pennsylvania approaches its Midterm elections this Fall, both Democrats and Republicans are vying for retiring Republican Senator Pat Toomey's seat. Earlier this month, Dr. Mehmet Oz was declared the Pennsylvania GOP Senate nominee in the hotly contested primary race against his opponent, Dave McCormick. Dr. Oz joins the Rundown to discuss how he's trying to unite Republican voters through his campaign, his reaction to support from former President Trump amid the January 6th hearings, and how he plans on taking on his Democratic opponent, PA Lt. Gov. John Fetterman.   There is a slow-building water crisis in the U.S., as evidenced by dramatic images showing sections of America's largest reservoir in Lake Mead completely dry. Amid concerns about “megadrought” conditions facing the American West, on Tuesday the Department of the Interior announced a $26 million to help boost water efficiency. Resident writer at the University of New Mexico's Utton Center, John Fleck joins the podcast to break down how water usage can be reduced as states face dire water shortages. Later, Associate Director of Research and Education at the California Water Institute, Laura Ramos joins to explain what a megadrought is and what solutions to water shortages look like.   Plus, commentary by Republican strategist Colin Reed. Learn more about your ad choices. Visit megaphone.fm/adchoices

As Pennsylvania approaches its Midterm elections this Fall, both Democrats and Republicans are vying for retiring Republican Senator Pat Toomey's seat. Earlier this month, Dr. Mehmet Oz was declared the Pennsylvania GOP Senate nominee in the hotly contested primary race against his opponent, Dave McCormick. Dr. Oz joins the Rundown to discuss how he's trying to unite Republican voters through his campaign, his reaction to support from former President Trump amid the January 6th hearings, and how he plans on taking on his Democratic opponent, PA Lt. Gov. John Fetterman.   There is a slow-building water crisis in the U.S., as evidenced by dramatic images showing sections of America's largest reservoir in Lake Mead completely dry. Amid concerns about “megadrought” conditions facing the American West, on Tuesday the Department of the Interior announced a $26 million to help boost water efficiency. Resident writer at the University of New Mexico's Utton Center, John Fleck joins the podcast to break down how water usage can be reduced as states face dire water shortages. Later, Associate Director of Research and Education at the California Water Institute, Laura Ramos joins to explain what a megadrought is and what solutions to water shortages look like.   Plus, commentary by Republican strategist Colin Reed. Learn more about your ad choices. Visit megaphone.fm/adchoices

As Pennsylvania approaches its Midterm elections this Fall, both Democrats and Republicans are vying for retiring Republican Senator Pat Toomey's seat. Earlier this month, Dr. Mehmet Oz was declared the Pennsylvania GOP Senate nominee in the hotly contested primary race against his opponent, Dave McCormick. Dr. Oz joins the Rundown to discuss how he's trying to unite Republican voters through his campaign, his reaction to support from former President Trump amid the January 6th hearings, and how he plans on taking on his Democratic opponent, PA Lt. Gov. John Fetterman.   There is a slow-building water crisis in the U.S., as evidenced by dramatic images showing sections of America's largest reservoir in Lake Mead completely dry. Amid concerns about “megadrought” conditions facing the American West, on Tuesday the Department of the Interior announced a $26 million to help boost water efficiency. Resident writer at the University of New Mexico's Utton Center, John Fleck joins the podcast to break down how water usage can be reduced as states face dire water shortages. Later, Associate Director of Research and Education at the California Water Institute, Laura Ramos joins to explain what a megadrought is and what solutions to water shortages look like.   Plus, commentary by Republican strategist Colin Reed. Learn more about your ad choices. Visit megaphone.fm/adchoices

The historic megadrought in the western United States, compounded by human-caused climate change, has curtailed the flow of the Colorado River to critical levels with no relief in sight. However, keen observers predicted this situation over a century ago, so how did we end up here? Listen in as Ten Across founder Duke Reiter talks to water experts Anne Castle and John Fleck about the history and future of the Colorado River including the 40 million people and 5 million acres of farmland that rely on its diminishing water supply.For more information about the Ten Across initiative visit www.10across.com.Read the report “Green Light for Adaptive Policies on the Colorado River” by John Fleck & Anne Castle here: https://www.mdpi.com/2073-4441/14/1/2/htm Science Be Dammed: How Ignoring Inconvenient Science Drained the Colorado River by John Fleck & Eric Kuhn: https://uapress.arizona.edu/book/science-be-dammed

The southwestern United States is in the grips of a historic drought — and now, one of the country's biggest reservoirs, Lake Mead, has seen its water levels plummet. It's the result of a two-decades-long dry spell fuelled by climate change. John Fleck, a professor of water policy and governance at the University of New Mexico, talks about the importance of Lake Mead; and Peter Fiske, director of the National Alliance for Water Innovation and the Water-Energy Resilience Institute, explains why desalination could solve the growing water crisis.

Episode one hundred and forty-eight of A History of Rock Music in Five Hundred Songs looks at “Light My Fire" by the Doors, the history of cool jazz, and Maharishi Mahesh Yogi. 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 "My Friend Jack" by the Smoke. 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, I've put together a Mixcloud mix containing all the music excerpted in this episode and the shorter spoken-word tracks. Information on Dick Bock, World Pacific, and Ravi Shankar came from Indian Sun: The Life and Music of Ravi Shankar by Oliver Craske. Ray Manzarek, John Densmore, and Robby Krieger have all released autobiographies. Densmore's is out of print, but I referred to Manzarek's and Krieger's here. Of the two Krieger's is vastly more reliable. I also used Mick Wall's book on the Doors and Stephen Davis' biography of Jim Morrison. Information about Elektra Records came from Follow the Music by Jac Holzman and Gavan Daws, which is available as a free PDF download on Elektra's website. Biographical information on Maharishi Mahesh Yogi comes from this book, written by one of his followers. The Doors' complete studio albums can be bought as MP3s for £14. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There are two big problems that arise for anyone trying to get an accurate picture of history, and which have certainly arisen for me during the course of this podcast -- things which make sources unreliable enough that you feel you have to caveat everything you say on a subject. One of those is hagiography, and the converse desire to tear heroes down. No matter what one wants to say on, say, the subjects of Jesus or Mohammed or Joseph Smith, the only sources we have for their lives are written either by people who want to present them as unblemished paragons of virtue, or by people who want to destroy that portrayal -- we know that any source is written by someone with a bias, and it might be a bias we agree with, but it's still a bias. The other, related, problem, is deliberate disinformation. This comes up especially for people dealing with military history -- during conflicts, governments obviously don't want their opponents to know when their attacks have caused damage, or to know what their own plans are, and after a war has concluded the belligerent parties want to cover up their own mistakes and war crimes. We're sadly seeing that at the moment in the situation in Ukraine -- depending on one's media diet, one could get radically different ideas of what is actually going on in that terrible conflict. But it happens all the time, in all wars, and on all sides. Take the Vietnam War. While the US was involved on the side of the South Vietnamese government from the start of that conflict, it was in a very minor way, mostly just providing supplies and training. Most historians look at the real start of US involvement in that war as having been in August 1964. President Johnson had been wanting, since assuming the Presidency in November 1963 after the death of John F Kennedy, to get further into the war, but had needed an excuse to do so. The Gulf of Tonkin Incident provided him with that excuse. On August the second, a fleet of US warships entered into what the North Vietnamese considered their territorial waters -- they used a different distance from shore to mark their territorial waters than most other countries used, and one which wasn't generally accepted, but which they considered important. Because of this, some North Vietnamese ships started following the American ones. The American ships, who thought they weren't doing anything wrong, set off what they considered to be warning shots, and the North Vietnamese ships fired back, which to the American ships was considered them attacking. Some fire was exchanged, but not much happened. Two days later, the American ships believed they were getting attacked again, and spent several hours firing at what they believed were North Vietnamese submarines. It was later revealed that this was just the American sonar systems playing up, and that they were almost certainly firing at nothing at all, and some even suspected that at the time -- President Johnson apparently told other people in confidence that in his opinion they'd been firing at stray dolphins. But that second "attack", however flimsy the evidence, was enough that Johnson could tell Congress and the nation that an American fleet had been attacked by the North Vietnamese, and use that as justification to get Congress to authorise him sending huge numbers of troops to Vietnam, and getting America thoroughly embroiled in a war that would cost innumerable lives and billions of dollars for what turned out to be no benefit at all to anyone. The commander of the US fleet involved in the Gulf of Tonkin operation was then-Captain, later Rear Admiral, Steve Morrison: [Excerpt: The Doors, "The End"] We've talked a bit in this podcast previously about the development of jazz in the forties, fifties, and early sixties -- there was a lot of back and forth influence in those days between jazz, blues, R&B, country, and rock and roll, far more than one might imagine looking at the popular histories of these genres, and so we've looked at swing, bebop, and modal jazz before now. But one style of music we haven't touched on is the type that was arguably the most popular and influential style of jazz in the fifties, even though we've mentioned several of the people involved in it. We've never yet had a proper look at Cool Jazz. Cool Jazz, as its name suggests, is a style of music that was more laid back than the more frenetic bebop or hard-edged modal jazz. It was a style that sounded sophisticated, that sounded relaxed, that prized melody and melodic invention over super-fast technical wizardry, and that produced much of what we now think of when we think of "jazz" as a popular style of music. The records of Dave Brubeck, for example, arguably the most popular fifties jazz musician, are very much in the "cool jazz" mode: [Excerpt: The Dave Brubeck Quartet, "Take Five"] And we have mentioned on several occasions the Modern Jazz Quartet, who were cited as influences by everyone from Ray Charles to the Kinks to the Modern Folk Quartet: [Excerpt: The Modern Jazz Quartet, "Regret?"] We have also occasionally mentioned people like Mose Allison, who occasionally worked in the Cool Jazz mode. But we've never really looked at it as a unified thing. Cool Jazz, like several of the other developments in jazz we've looked at, owes its existence to the work of the trumpeter Miles Davis, who was one of the early greats of bop and who later pioneered modal jazz. In 1948, in between his bop and modal periods, Davis put together a short-lived nine-piece group, the Miles Davis Nonette, who performed together for a couple of weeks in late 1948, and who recorded three sessions in 1949 and 1950, but who otherwise didn't perform much. Each of those sessions had a slightly different lineup, but key people involved in the recordings were Davis himself, arranger Gil Evans, piano player John Lewis, who would later go on to become the leader of the Modern Jazz Quartet, and baritone sax player Gerry Mulligan. Mulligan and Evans, and the group's alto player Lee Konitz, had all been working for the big band Claude Thornhill and his Orchestra, a band which along with the conventional swing instruments also had a French horn player and a tuba player, and which had recorded soft, mellow, relaxing music: [Excerpt: Claude Thornhill and his Orchestra, "To Each His Own"] The Davis Nonette also included French horn and tuba, and was explicitly modelled on Thornhill's style, but in a stripped-down version. They used the style of playing that Thornhill preferred, with no vibrato, and with his emphasis on unison playing, with different instruments doubling each other playing the melody, rather than call-and response riffing: [Excerpt: The Miles Davis Nonette, "Venus De Milo"] Those recordings were released as singles in 1949 and 1950, and were later reissued in 1957 as an album titled "Birth of the Cool", by which point Cool Jazz had become an established style, though Davis himself had long since moved on in other musical directions. After the Birth of the Cool sessions, Gerry Mulligan had recorded an album as a bandleader himself, and then had moved to the West Coast, where he'd started writing arrangements for Stan Kenton, one of the more progressive big band leaders of the period: [Excerpt: Stan Kenton, "Young Blood"] While working for Kenton, Mulligan had started playing dates at a club called the Haig, where the headliner was the vibraphone player Red Norvo. While Norvo had started out as a big-band musician, playing with people like Benny Goodman, he had recently started working in a trio, with just a guitarist, initially Tal Farlowe, and bass player, initially Charles Mingus: [Excerpt: Red Norvo, "This Can't Be Love"] By 1952 Mingus had left Norvo's group, but they were still using the trio format, and that meant there was no piano at the venue, which meant that Mulligan had to form a band that didn't rely on the chordal structures that a piano would provide -- the idea of a group with a rhythm section that *didn't* have a piano was quite an innovation in jazz at this time, and freeing themselves from that standard instrument ended up opening up extra possibilities. His group consisted of himself on saxophone, Chet Baker on trumpet, Bob Whitlock on bass and Chico Hamilton on drums. They made music in much the same loose, casual, style as the recordings Mulligan had made with Davis, but in a much smaller group with the emphasis being on the interplay between Mulligan and Baker. And this group were the first group to record on a new label, Pacific Jazz, founded by Dick Bock. Bock had served in the Navy during World War II, and had come back from the South Pacific with two tastes -- a taste for hashish, and for music that was outside the conventional American pop mould. Bock *loved* the Mulligan Quartet, and in partnership with his friend Roy Harte, a notable jazz drummer, he raised three hundred and fifty dollars to record the first album by Mulligan's new group: [Excerpt: Gerry Mulligan Quartet, "Aren't You Glad You're You?"] Pacific Jazz, the label Bock and Harte founded, soon became *the* dominant label for Cool Jazz, which also became known as the West Coast Sound.  The early releases on the label were almost entirely by the Mulligan Quartet, released either under Mulligan's name, as by Chet Baker, or as "Lee Konitz and the Gerry Mulligan Quartet" when Mulligan's old bandmate Konitz joined them. These records became big hits, at least in the world of jazz. But both Mulligan and Baker were heroin addicts, and in 1953 Mulligan got arrested and spent six months in prison. And while he was there, Chet Baker made some recordings in his own right and became a bona fide star. Not only was Baker a great jazz trumpet player, he was also very good looking, and it turned out he could sing too. The Mulligan group had made the song "My Funny Valentine" one of the highlights of its live shows, with Baker taking a trumpet solo: [Excerpt: Gerry Mulligan Quartet, "My Funny Valentine"] But when Baker recorded a vocal version, for his album Chet Baker Sings, it made Baker famous: [Excerpt: Chet Baker, "My Funny Valentine"] When Mulligan got out of prison, he wanted to rehire Baker, but Baker was now topping the popularity polls in all the jazz magazines, and was the biggest breakout jazz star of the early fifties. But Mulligan formed a new group, and this just meant that Pacific Jazz had *two* of the biggest acts in jazz on its books now, rather than just one. But while Bock loved jazz, he was also fascinated by other kinds of music, and while he was in New York at the beginning of 1956 he was invited by his friend George Avakian, a producer who had worked with Miles Davis, Louis Armstrong, and others, to come and see a performance by an Indian musician he was working with. Avakian was just about to produce Ravi Shankar's first American album, The Sounds of India, for Columbia Records. But Columbia didn't think that there was much of a market for Shankar's music -- they were putting it out as a speciality release rather than something that would appeal to the general public -- and so they were happy for Bock to sign Shankar to his own label. Bock renamed the company World Pacific, to signify that it was now going to be putting out music from all over the world, not just jazz, though he kept the Pacific Jazz label for its jazz releases, and he produced Shankar's next album,  India's Master Musician: [Excerpt: Ravi Shankar, "Raga Charu Keshi"] Most of Shankar's recordings for the next decade would be produced by Bock, and Bock would also try to find ways to combine Shankar's music with jazz, though Shankar tried to keep a distinction between the two. But for example on Shankar's next album for World Pacific, Improvisations and Theme from Pather Panchali, he was joined by a group of West Coast jazz musicians including Bud Shank (who we'll hear about again in a future episode) on flute: [Excerpt: Ravi Shankar, "Improvisation on the Theme From Pather Panchali"] But World Pacific weren't just putting out music. They also put out spoken-word records. Some of those were things that would appeal to their jazz audience, like the comedy of Lord Buckley: [Excerpt: Lord Buckley, "Willy the Shake"] But they also put out spoken-word albums that appealed to Bock's interest in spirituality and philosophy, like an album by Gerald Heard. Heard had previously written the liner notes for Chet Baker Sings!, but as well as being a jazz fan Heard was very connected in the world of the arts -- he was a very close friend with Aldous Huxley -- and was also interested in various forms of non-Western spirituality. He practiced yoga, and was also fascinated by Buddhism, Vedanta, and Taoism: [Excerpt: Gerald Heard, "Paraphrased from the Tao te Ching of Lao Tzu"] We've come across Heard before, in passing, in the episode on "Tomorrow Never Knows", when Ralph Mentzner said of his experiments with Timothy Leary and Ram Dass "At the suggestion of Aldous Huxley and Gerald Heard we began using the Bardo Thödol ( Tibetan Book of the Dead) as a guide to psychedelic sessions" -- Heard was friends with both Huxley and Humphrey Osmond, and in fact had been invited by them to take part in the mescaline trip that Huxley wrote about in his book The Doors of Perception, the book that popularised psychedelic drug use, though Heard was unable to attend at that time. Heard was a huge influence on the early psychedelic movement -- though he always advised Leary and his associates not to be so public with their advocacy, and just to keep it to a small enlightened circle rather than risk the wrath of the establishment -- and he's cited by almost everyone in Leary's circle as having been the person who, more than anything else, inspired them to investigate both psychedelic drugs and mysticism. He's the person who connected Bill W. of Alcoholics Anonymous with Osmond and got him advocating LSD use. It was Heard's books that made Huston Smith, the great scholar of comparative religions and associate of Leary, interested in mysticism and religions outside his own Christianity, and Heard was one of the people who gave Leary advice during his early experiments. So it's not surprising that Bock also became interested in Leary's ideas before they became mainstream. Indeed, in 1964 he got Shankar to do the music for a short film based on The Psychedelic Experience, which Shankar did as a favour for his friend even though Shankar didn't approve of drug use. The film won an award in 1965, but quickly disappeared from circulation as its ideas were too controversial: [Excerpt: The Psychedelic Experience (film)] And Heard introduced Bock to other ideas around philosophy and non-Western religions. In particular, Bock became an advocate for a little-known Hindu mystic who had visited the US in 1959 teaching a new style of meditation which he called Transcendental Meditation. A lot is unclear about the early life of Maharishi Mahesh Yogi, even his birth name -- both "Maharishi" and "Yogi" are honorifics rather than names as such, though he later took on both as part of his official name, and in this and future episodes I'll refer to him as "the Maharishi". What we do know is that he was born in India, and had attained a degree in physics before going off to study with Swami Brahmananda Saraswati, a teacher of the Advaita Vedanta school of Hinduism. Now, I am not a Hindu, and only have a passing knowledge of Hindu theology and traditions, and from what I can gather getting a proper understanding requires a level of cultural understanding I don't have, and in particular a knowledge of the Sanskrit language, so my deepest apologies for any mangling I do of these beliefs in trying to talk about them as they pertain to mid-sixties psychedelic rock. I hope my ignorance is forgivable, and seen as what it is rather than malice. But the teachings of this school as I understand them seem to centre around an idea of non-separation -- that God is in all things, and is all things, and that there is no separation between different things, and that you merely have to gain a deep realisation of this. The Maharishi later encapsulated this in the phrase "I am that, thou art that, all this is that", which much later the Beach Boys, several of whom were followers of the Maharishi, would turn into a song: [Excerpt: The Beach Boys, "All This is That"] The other phrase they're singing there, "Jai Guru Dev" is also a phrase from the Maharishi, and refers to his teacher Brahmananda Saraswati -- it means "all hail the divine teacher" or "glory to the heavenly one", and "guru dev" or "guru deva" was the name the Maharishi would use for Saraswati after his death, as the Maharishi believed that Saraswati was an actual incarnation of God. It's that phrase that John Lennon is singing in "Across the Universe" as well, another song later inspired by the Maharishi's teachings: [Excerpt: The Beatles, "Across the Universe"] The Maharishi became, by his own account, Saraswati's closest disciple, advisor, and right-hand man, and was privy to his innermost thoughts. However, on Saraswati's death the leadership of the monastery he led became deeply contested, with two different rivals to the position, and the Maharishi was neither -- the rules of the monastery said that only people born into the Brahmin caste could reach the highest positions in the monastery's structure, and the Maharishi was not a Brahmin. So instead of remaining in the monastery, the Maharishi went out into the world to teach a new form of meditation which he claimed he had learned from Guru Dev, a technique which became known as transcendental meditation. The Maharishi would, for the rest of his life, always claim that the system he taught was Guru Dev's teaching for the world, not his own, though the other people who had been at the monastery with him said different things about what Saraswati had taught -- but of course it's perfectly possible for a spiritual leader to have had multiple ideas and given different people different tasks. The crucial thing about the Maharishi's teaching, the way it differed from everything else in the history of Hindu monasticism (as best I understand this) is that all previous teachers of meditation had taught that to get the benefit of the techniques one had to be a renunciate -- you should go off and become a monk and give up all worldly pleasures and devote your life to prayer and meditation. Traditionally, Hinduism has taught that there are four stages of life -- the student, the householder or married person with a family, the retired person, and the Sanyasi, or renunciate, but that you could skip straight from being a student to being a Sanyasi and spend your life as a monk. The Maharishi, though, said: "Obviously enough there are two ways of life: the way of the Sanyasi and the way of life of a householder. One is quite opposed to the other. A Sanyasi renounces everything of the world, whereas a householder needs and accumulates everything. The one realises, through renunciation and detachment, while the other goes through all attachments and accumulation of all that is needed for physical life." What the Maharishi taught was that there are some people who achieve the greatest state of happiness by giving up all the pleasures of the senses, eating the plainest possible food, having no sexual, familial, or romantic connections with anyone else, and having no possessions, while there are other people who achieve the greatest state of happiness by being really rich and having a lot of nice stuff and loads of friends and generally enjoying the pleasures of the flesh -- and that just as there are types of meditation that can help the first group reach enlightenment, there are also types of meditation that will fit into the latter kind of lifestyle, and will help those people reach oneness with God but without having to give up their cars and houses and money. And indeed, he taught that by following his teachings you could get *more* of those worldly pleasures. All you had to do, according to his teaching, was to sit still for fifteen to twenty minutes, twice a day, and concentrate on a single Sanskrit word or phrase, a mantra, which you would be given after going through a short course of teaching. There was nothing else to it, and you would eventually reach the same levels of enlightenment as the ascetics who spent seventy years living in a cave and eating only rice -- and you'd end up richer, too. The appeal of this particular school is, of course, immediately apparent, and Bock became a big advocate of the Maharishi, and put out three albums of his lectures: [Excerpt: Maharishi Mahesh Yogi, "Deep Meditation"] Bock even met his second wife at one of the Maharishi's lectures, in 1961. In the early sixties, World Pacific got bought up by Liberty Records, the label for which Jan and Dean and others recorded, but Bock remained in charge of the label, and expanded it, adding another subsidiary, Aura Records, to put out rock and roll singles. Aura was much less successful than the other World Pacific labels. The first record the label put out was a girl-group record, "Shooby Dooby", by the Lewis Sisters, two jazz-singing white schoolteachers from Michigan who would later go on to have a brief career at Motown: [Excerpt: The Lewis Sisters, "Shooby Dooby"] The most successful act that Aura ever had was Sonny Knight, an R&B singer who had had a top twenty hit in 1956 with "Confidential", a song he'd recorded on Specialty Records with Bumps Blackwell, and which had been written by Dorinda Morgan: [Excerpt: Sonny Knight, "Confidential"] But Knight's biggest hit on Aura, "If You Want This Love", only made number seventy-one on the pop charts: [Excerpt: Sonny Knight, "If You Want This Love"] Knight would later go on to write a novel, The Day the Music Died, which Greil Marcus described as "the bitterest book ever written about how rock'n'roll came to be and what it turned into". Marcus said it was about "how a rich version of American black culture is transformed into a horrible, enormously profitable white parody of itself: as white labels sign black artists only to ensure their oblivion and keep those blacks they can't control penned up in the ghetto of the black charts; as white America, faced with something good, responds with a poison that will ultimately ruin even honest men". Given that Knight was the artist who did the *best* out of Aura Records, that says a great deal about the label. But one of the bands that Aura signed, who did absolutely nothing on the charts, was a group called Rick and the Ravens, led by a singer called Screamin' Ray Daniels. They were an LA club band who played a mixture of the surf music which the audiences wanted and covers of blues songs which Daniels preferred to sing. They put out two singles on Aura, "Henrietta": [Excerpt: Rick and the Ravens, "Henrietta"] and "Soul Train": [Excerpt: Rick and the Ravens, "Soul Train"] Ray Daniels was a stage name -- his birth name was Ray Manzarek, and he would later return to that name -- and the core of the band was Ray on vocals and his brothers Rick on guitar and Jim on harmonica. Manzarek thought of himself as a pretty decent singer, but they were just a bar band, and music wasn't really his ideal career.  Manzarek had been sent to college by his solidly lower-middle-class Chicago family in the hope that he would become a lawyer, but after getting a degree in economics and a brief stint in the army, which he'd signed up for to avoid getting drafted in the same way people like Dean Torrence did, he'd gone off to UCLA to study film, with the intention of becoming a filmmaker. His family had followed him to California, and he'd joined his brothers' band as a way of making a little extra money on the side, rather than as a way to become a serious musician. Manzarek liked the blues songs they performed, and wasn't particularly keen on the surf music, but thought it was OK. What he really liked, though, was jazz -- he was a particular fan of McCoy Tyner, the pianist on all the great John Coltrane records: [Excerpt: John Coltrane, "My Favorite Things"] Manzarek was a piano player himself, though he didn't play much with the Ravens, and he wanted more than anything to be able to play like Tyner, and so when Rick and the Ravens got signed to Aura Records, he of course became friendly with Dick Bock, who had produced so many great jazz records and worked with so many of the greats of the genre. But Manzarek was also having some problems in his life. He'd started taking LSD, which was still legal, and been fascinated by its effects, but worried that he couldn't control them -- he couldn't tell whether he was going to have a good trip or a bad one. He was wondering if there was a way he could have the same kind of revelatory mystical experience but in a more controlled manner. When he mentioned this to Bock, Bock told him that the best method he knew for doing that was transcendental meditation. Bock gave him a copy of one of the Maharishi's albums, and told him to go to a lecture on transcendental meditation, run by the head of the Maharishi's west-coast organisation, as by this point the Maharishi's organisation, known as Spiritual Regeneration, had an international infrastructure, though it was still nowhere near as big as it would soon become. At the lecture, Manzarek got talking to one of the other audience members, a younger man named John Densmore. Densmore had come to the lecture with his friend Robby Krieger, and both had come for the same reason that Manzarek had -- they'd been having bad trips and so had become a little disillusioned with acid. Krieger had been the one who'd heard about transcendental meditation, while he was studying the sitar and sarod at UCLA -- though Krieger would later always say that his real major had been in "not joining the Army". UCLA had one of the few courses in Indian music available in the US at the time, as thanks in part to Bock California had become the centre of American interest in music from India -- so much so that in 1967 Ravi Shankar would open up a branch of his own Kinnara Music School there. (And you can get an idea of how difficult it is to separate fact from fiction when researching this episode that one of the biographies I've used for the Doors says that Krieger heard about the Maharishi while studying at the Kinnara school. As the only branch of the Kinnara school that was open at this point was in Mumbai, it's safe to say that unless Krieger had a *really* long commute he wasn't studying there at this point.) Densmore and Manzarek got talking, and they found that they shared a lot of the same tastes in jazz -- just as Manzarek was a fan of McCoy Tyner, so Densmore was a fan of Elvin Jones, the drummer on those Coltrane records, and they both loved the interplay of the two musicians: [Excerpt: John Coltrane, "My Favorite Things"] Manzarek was starting to play a bit more keyboards with the Ravens, and he was also getting annoyed with the Ravens' drummer, who had started missing rehearsals -- he'd turn up only for the shows themselves. He thought it might be an idea to get Densmore to join the group, and Densmore agreed to come along for a rehearsal. That initial rehearsal Densmore attended had Manzarek and his brothers, and may have had a bass player named Patricia Hansen, who was playing with the group from time to time around this point, though she was mostly playing with a different bar band, Patty and the Esquires. But as well as the normal group members, there was someone else there, a friend of Manzarek's from film school named Jim Morrison. Morrison was someone who, by Manzarek's later accounts, had been very close to Manzarek at university, and who Manzarek had regarded as a genius, with a vast knowledge of beat poetry and European art film, but who had been regarded by most of the other students and the lecturers as being a disruptive influence. Morrison had been a fat, asthmatic, introverted kid -- he'd had health problems as a child, including a bout of rheumatic fever which might have weakened his heart, and he'd also been prone to playing the kind of "practical jokes" which can often be a cover for deeper problems. For example, as a child he was apparently fond of playing dead -- lying in the corridors at school and being completely unresponsive for long periods no matter what anyone did to move him, then suddenly getting up and laughing at anyone who had been concerned and telling them it was a joke. Given how frequently Morrison would actually pass out in later life, often after having taken some substance or other, at least one biographer has suggested that he might have had undiagnosed epilepsy (or epilepsy that was diagnosed but which he chose to keep a secret) and have been having absence seizures and covering for them with the jokes. Robby Krieger also says in his own autobiography that he used to have the same doctor as Morrison, and the doctor once made an offhand comment about Morrison having severe health problems, "as if it was common knowledge". His health difficulties, his weight, his introversion, and the experience of moving home constantly as a kid because of his father's career in the Navy, had combined to give him a different attitude to most of his fellow students, and in particular a feeling of rootlessness -- he never owned or even rented his own home in later years, just moving in with friends or girlfriends -- and a lack of sense of his own identity, which would often lead to him making up lies about his life and acting as if he believed them. In particular, he would usually claim to friends that his parents were dead, or that he had no contact with them, even though his family have always said he was in at least semi-regular contact. At university, Morrison had been a big fan of Rick and the Ravens, and had gone to see them perform regularly, but would always disrupt the shows -- he was, by all accounts, a lovely person when sober but an aggressive boor when drunk -- by shouting out for them to play "Louie Louie", a song they didn't include in their sets. Eventually one of Ray's brothers had called his bluff and said they'd play the song, but only if Morrison got up on stage and sang it. He had -- the first time he'd ever performed live -- and had surprised everyone by being quite a good singer. After graduation, Morrison and Manzarek had gone their separate ways, with Morrison saying he was moving to New York. But a few weeks later they'd encountered each other on the beach -- Morrison had decided to stay in LA, and had been staying with a friend, mostly sleeping on the friend's rooftop. He'd been taking so much LSD he'd forgotten to eat for weeks at a time, and had lost a great deal of weight, and Manzarek properly realised for the first time that his friend was actually good-looking. Morrison also told Manzarek that he'd been writing songs -- this was summer 1965, and the Byrds' version of "Mr. Tambourine Man", Dylan's "Like a Rolling Stone", and the Stones' "Satisfaction" had all shown him that there was potential for pop songs to have more interesting lyrical content than "Louie Louie". Manzarek asked him to sing some of the songs he'd been writing, and as Manzarek later put it "he began to sing, not in the booze voice he used at the Turkey Joint, but in a Chet Baker voice". The first song Morrison sang for Ray Manzarek was one of the songs that Rick and the Ravens would rehearse that first time with John Densmore, "Moonlight Drive": [Excerpt: Rick and the Ravens, "Moonlight Drive"] Manzarek invited Morrison to move in with him and his girlfriend. Manzarek seems to have thought of himself as a mentor, a father figure, for Morrison, though whether that's how Morrison thought of him is impossible to say. Manzarek, who had a habit of choosing the myth over the truth, would later claim that he had immediately decided that he and Morrison were going to be a duo and find a whole new set of musicians, but all the evidence points to him just inviting Morrison to join the Ravens as the singer Certainly the first recordings this group made, a series of demos, were under Rick and the Ravens' name, and paid for by Aura Records. They're all of songs written by Morrison, and seem to be sung by Morrison and Manzarek in close harmony throughout. But the demos did not impress the head of Liberty Records, which now owned Aura, and who saw no commercial potential in them, even in one that later became a number one hit when rerecorded a couple of years later: [Excerpt: Rick and the Ravens, "Hello I Love You"] Although to be fair, that song is clearly the work of a beginning songwriter, as Morrison has just taken the riff to "All Day and All of the Night" by the Kinks, and stuck new words to it: [Excerpt: The Kinks, "All Day and All of the Night"] But it seems to have been the lack of success of these demos that convinced Manzarek's brothers and Patricia Hansen to quit the band. According to Manzarek, his brothers were not interested in what they saw as Morrison's pretensions towards poetry, and didn't think this person who seemed shy and introverted in rehearsals but who they otherwise knew as a loud annoying drunk in the audience would make a good frontman. So Rick and the Ravens were down to just Jim Morrison, Ray Manzarek, and John Densmore, but they continued shopping their demos around, and after being turned down by almost everyone they were signed by Columbia Records, specifically by Billy James, who they liked because he'd written the liner notes to a Byrds album, comparing them to Coltrane, and Manzarek liked the idea of working with an A&R man who knew Coltrane's work, though he wasn't impressed by the Byrds themselves, later writing "The Byrds were country, they didn't have any black in them at all. They couldn't play jazz. Hell, they probably didn't even know anything about jazz. They were folk-rock, for cri-sake. Country music. For whites only." (Ray Manzarek was white). They didn't get an advance from Columbia, but they did get free equipment -- Columbia had just bought Vox, who made amplifiers and musical instruments, and Manzarek in particular was very pleased to have a Vox organ, the same kind that the Animals and the Dave Clark Five used. But they needed a guitarist and a bass player. Manzarek claimed in his autobiography that he was thinking along the lines of a four-piece group even before he met Densmore, and that his thoughts had been "Someone has to be Thumper and someone has to be Les Paul/Chuck Berry by way of Charlie Christian. The guitar player will be a rocker who knows jazz. And the drummer will be a jazzer who can rock. These were my prerequisites. This is what I had to have to make the music I heard in my head." But whatever Manzarek was thinking, there were only two people who auditioned for the role of the guitar player in this new version of the band, both of them friends of Densmore, and in fact two people who had been best friends since high school -- Bill Wolff and Robby Krieger. Wolff and Krieger had both gone to private boarding school -- they had both originally gone to normal state schools, but their parents had independently decided they were bad influences on each other and sent them away to boarding school to get away from each other, but accidentally sent them to the same school -- and had also learned guitar together. They had both loved a record of flamenco guitar called Dos Flamencos by Jaime Grifo and Nino Marvino: [Excerpt: Jaime Grifo and Nino Marvino, "Caracolés"] And they'd decided they were going to become the new Dos Flamencos. They'd also regularly sneaked out of school to go and see a jug band called Mother McCree's Uptown Jug Champions, a band which featured Bob Weir, who was also at their school, along with Jerry Garcia and Pigpen McKernan. Krieger was also a big fan of folk and blues music, especially bluesy folk-revivalists like Spider John Koerner, and was a massive fan of the Paul Butterfield Blues Band. Krieger and Densmore had known each other before Krieger had been transferred to boarding school, and had met back up at university, where they would hang out together and go to see Charles Mingus, Wes Montgomery, and other jazz musicians. At this time Krieger had still been a folk and blues purist, but then he went to see Chuck Berry live, mostly because Skip James and Big Mama Thornton were also on the bill, and he had a Damascene conversion -- the next day he went to a music shop and traded in his acoustic for a red Gibson, as close to the one Chuck Berry played as he could find. Wolff, Densmore, Krieger, and piano player Grant Johnson had formed a band called the Psychedelic Rangers, and when the Ravens were looking for a new guitarist, it was natural that they tried the two guitarists from Densmore's other band. Krieger had the advantage over Wolff for two reasons -- one of which was actually partly Wolff's doing. To quote Krieger's autobiography: "A critic once said I had 'the worst hair in rock 'n' roll'. It stung pretty bad, but I can't say they were wrong. I always battled with my naturally frizzy, kinky, Jewfro, so one day my friend Bill Wolff and I experimented with Ultra Sheen, a hair relaxer marketed mainly to Black consumers. The results were remarkable. Wolff, as we all called him, said 'You're starting to look like that jerk Bryan MacLean'". According to Krieger, his new hairdo made him better looking than Wolff, at least until the straightener wore off, and this was one of the two things that made the group choose him over Wolff, who was a better technical player. The other was that Krieger played with a bottleneck, which astonished the other members. If you're unfamiliar with bottleneck playing, it's a common technique in the blues. You tune your guitar to an open chord, and then use a resonant tube -- these days usually a specially-made metal slide that goes on your finger, but for older blues musicians often an actual neck of a bottle, broken off and filed down -- to slide across the strings. Slide guitar is one of the most important styles in blues, especially electric blues, and you can hear it in the playing of greats like Elmore James: [Excerpt: Elmore James, "Dust My Broom"] But while the members of the group all claimed to be blues fans -- Manzarek talks in his autobiography about going to see Muddy Waters in a club in the South Side of Chicago where he and his friends were the only white faces in the audience -- none of them had any idea what bottleneck playing was, and Manzarek was worried when Krieger pulled it out that he was going to use it as a weapon, that being the only association he had with bottle necks. But once Krieger played with it, they were all convinced he had to be their guitarist, and Morrison said he wanted that sound on everything. Krieger joining seems to have changed the dynamic of the band enormously. Both Morrison and Densmore would independently refer to Krieger as their best friend in the band -- Manzarek said that having a best friend was a childish idea and he didn't have one. But where before this had been Manzarek's band with Morrison as the singer, it quickly became a band centred around the creative collaboration between Krieger and Morrison. Krieger seems to have been too likeable for Manzarek to dislike him, and indeed seems to have been the peacemaker in the band on many occasions, but Manzarek soon grew to resent Densmore, seemingly as the closeness he had felt to Morrison started to diminish, especially after Morrison moved out of Manzarek's house, apparently because Manzarek was starting to remind him of his father. The group soon changed their name from the Ravens to one inspired by Morrison's reading. Aldous Huxley's book on psychedelic drugs had been titled The Doors of Perception, and that title had in turn come from a quote from The Marriage of Heaven and Hell by the great mystic poet and artist William Blake, who had written "If the doors of perception were cleansed every thing would appear to man as it is, Infinite. For man has closed himself up, till he sees all things thro' narrow chinks of his cavern" (Incidentally, in one of those weird coincidences that I like to note when they come up, Blake's Marriage of Heaven and Hell had also inspired the book The Great Divorce by C.S. Lewis, about the divorce of heaven and hell, and both Lewis and Huxley died on the same date, the twenty-second of November 1963, the same day John F. Kennedy died). Morrison decided that he wanted to rename the group The Doors, although none of the other group members were particularly keen on the idea -- Krieger said that he thought they should name the group Perception instead. Initially the group rehearsed only songs written by Morrison, along with a few cover versions. They worked up a version of Willie Dixon's "Back Door Man", originally recorded by Howlin' Wolf: [Excerpt: Howlin' Wolf, "Back Door Man"] And a version of "Alabama Song", a song written by Bertholt Brecht and Kurt Weill, from the opera The Rise and Fall of the City of Mahagonny, with English language lyrics by  Elisabeth Hauptmann. That song had originally been recorded by Lotte Lenya, and it was her version that the group based their version on, at the suggestion of Manzarek's girlfriend: [Excerpt: Lotte Lenya, "Alabama Song"] Though it's likely given their tastes in jazz that they were also aware of a recent recording of the song by Eric Dolphy and John Lewis: [Excerpt: Eric Dolphy and John Lewis, "Alabama Song"] But Morrison started to get a little dissatisfied with the fact that he was writing all the group's original material at this point, and he started to put pressure on the others to bring in songs. One of the first things they had agreed was that all band members would get equal credit and shares of the songwriting, so that nobody would have an incentive to push their own mediocre song at the expense of someone else's great one, but Morrison did want the others to start pulling their weight. As it would turn out, for the most part Manzarek and Densmore wouldn't bring in many song ideas, but Krieger would, and the first one he brought in would be the song that would make them into stars. The song Krieger brought in was one he called "Light My Fire", and at this point it only had one verse and a chorus. According to Manzarek, Densmore made fun of the song when it was initially brought in, saying "we're not a folk-rock band" and suggesting that Krieger might try selling it to the Mamas and the Papas, but the other band members liked it -- but it's important to remember here that Manzarek and Densmore had huge grudges against each other for most of their lives, and that Manzarek is not generally known as an entirely reliable narrator. Now, I'm going to talk a lot about the influences that have been acknowledged for this song, but before I do there's one that I haven't seen mentioned much but which seems to me to be very likely to have at least been a subconscious influence -- "She's Not There" by the Zombies: [Excerpt: The Zombies, "She's Not There"] Now, there are several similarities to note about the Zombies record. First, like the Doors, the Zombies were a keyboard-driven band. Second, there's the dynamics of the songs -- both have soft, slightly jazzy verses and then a more straight-ahead rock chorus. And finally there's the verse chord sequence. The verse for "She's Not There" goes from Am to D repeatedly: [demonstrates] While the verse for "Light My Fire" goes from Am to F sharp minor -- and for those who don't know, the notes in a D chord are D, F sharp, and A, while the notes in an F sharp minor chord are F sharp, A, and C sharp -- they're very similar chords. So "She's Not There" is: [demonstrates] While "Light My Fire" is: [demonstrates] At least, that's what Manzarek plays. According to Krieger, he played an Asus2 chord rather than an A minor chord, but Manzarek heard it as an A minor and played that instead. Now again, I've not seen anyone acknowledge "She's Not There" as an influence, but given the other influences that they do acknowledge, and the music that was generally in the air at the time, it would not surprise me even the smallest amount if it was. But either way, what Krieger brought in was a simple verse and chorus: [Excerpt: The Doors, "Light My Fire"] Incidentally, I've been talking about the song as having A minor chords, but you'll actually hear the song in two different keys during this episode, even though it's the same performance throughout, and sometimes it might not sound right to people familiar with a particular version of the record. The band played the song with the verse starting with A minor, and that's how the mono single mix was released, and I'll be using excerpts of that in general. But when the stereo version of the album was released, which had a longer instrumental break, the track was mastered about a semitone too slow, and that's what I'll be excerpting when talking about the solos -- and apparently that speed discrepancy has been fixed in more recent remasterings of the album than the one I'm using. So if you know the song and bits of what I play sound odd to you, that's why. Krieger didn't have a second verse, and so writing the second verse's lyrics was the next challenge. There was apparently some disagreement within the band about the lyrics that Morrison came up with, with their references to funeral pyres, but Morrison won the day, insisting that the song needed some darkness to go with the light of the first verse. Both verses would get repeated at the end of the song, in reverse order, rather than anyone writing a third or fourth verse. Morrison also changed the last line of the chorus -- in Krieger's original version, he'd sung "Come on baby, light my fire" three times, but Morrison changed the last line to "try to set the night on fire", which Krieger thought was a definite improvement. They then came up with an extended instrumental section for the band members to solo in. This was inspired by John Coltrane, though I have seen different people make different claims as to which particular Coltrane record it was inspired by. Many sources, including Krieger, say it was based on Coltrane's famous version of "My Favorite Things": [Excerpt: John Coltrane, "My Favorite Things"] But Manzarek in his autobiography says it was inspired by Ole, the track that Coltrane recorded with Eric Dolphy: [Excerpt: John Coltrane, "Ole"] Both are of course similar musical ideas, and either could have inspired the “Light My Fire” instrumental section, though none of the Doors are anything like as good or inventive on their instruments as Coltrane's group (and of course "Light My Fire" is in four-four rather than three-four): [Excerpt: The Doors, "Light My Fire"] So they had a basic verse-chorus song with a long instrumental jam session in the middle. Now comes the bit that there's some dispute over.  Both Ray Manzarek and Robby Krieger agree that Manzarek came up with the melody used in the intro, but differ wildly over who came up with the chord sequence for it and when, and how it was put into the song. According to Manzarek, he came up with the whole thing as an intro for the song at that first rehearsal of it, and instructed the other band members what to do. According to Krieger, though, the story is rather different, and the evidence seems to be weighted in Krieger's favour. In early live performances of the song, they started the song with the Am-F sharp minor shifts that were used in the verse itself, and continued doing this even after the song was recorded: [Excerpt: The Doors, "Light My Fire (live at the Matrix)"] But they needed a way to get back out of the solo section and into the third verse. To do this, Krieger came up with a sequence that starts with a change from G to D, then from D to F, before going into a circle of fifths -- not the ascending circle of fifths in songs like "Hey Joe", but a descending one, the same sequence as in "She Came in Through the Bathroom Window" or "I Will Survive", ending on an A flat: [demonstrates] To get from the A flat to the A minor or Asus2 chord on which the verse starts, he simply then shifted up a semitone from A flat to A major for two bars: [demonstrates] Over the top of that chord sequence that Krieger had come up with, Manzarek put a melody line which was inspired by one of Bach's two-part inventions. The one that's commonly cited is Invention No. 8 in F Major, BWV 779: [Excerpt: Glenn Gould, "Invention No. 8 in F Major, BWV 779"] Though I don't believe Manzarek has ever stated directly which piece he was inspired by other than that it was one of the two-part inventions, and to be honest none of them sound very much like what he plays to my ears, and I think more than anything he was just going for a generalised baroque style rather than anything more specific. And there are certainly stylistic things in there that are suggestive of the baroque -- the stepwise movement, the sort of skipping triplets, and so on: [Excerpt: The Doors, "Light My Fire"] But that was just to get out of the solo section and back into the verses. It was only when they finally took the song into the studio that Paul Rothchild, the producer who we will talk about more later, came up with the idea of giving the song more structure by both starting and ending with that sequence, and formalised it so that rather than just general noodling it was an integral part of the song. They now had at least one song that they thought had the potential to be a big hit. The problem was that they had not as yet played any gigs, and nor did they have a record deal, or a bass player. The lack of a record deal may sound surprising, but they were dropped by Columbia before ever recording for them. There are several different stories as to why. One biography I've read says that after they were signed, none of the label's staff producers wanted to work with them and so they were dropped -- though that goes against some of the other things I've read, which say that Terry Melcher was interested in producing them. Other sources say that Morrison went in for a meeting with some of the company executives while on acid, came out very pleased with himself at how well he'd talked to them because he'd been able to control their minds with his telepathic powers, and they were dropped shortly afterwards. And others say that they were dropped as part of a larger set of cutbacks the company was making, and that while Billy James fought to keep them at Columbia, he lost the fight. Either way, they were stuck without a deal, and without any proper gigs, though they started picking up the odd private party here and there -- Krieger's father was a wealthy aerospace engineer who did some work for Howard Hughes among others, and he got his son's group booked to play a set of jazz standards at a corporate event for Hughes, and they got a few more gigs of that nature, though the Hughes gig didn't exactly go well -- Manzarek was on acid, Krieger and Morrison were on speed, and the bass player they brought in for the gig managed to break two strings, something that would require an almost superhuman effort. That bass player didn't last long, and nor did the next -- they tried several, but found that the addition of a bass player made them sound less interesting, more like the Animals or the Rolling Stones than a group with their own character. But they needed something to hold down the low part, and it couldn't be Manzarek on the organ, as the Vox organ had a muddy sound when he tried to play too many notes at once. But that problem solved itself when they played one of their earliest gigs. There, Manzarek found that another band, who were regulars at the club, had left their Fender keyboard bass there, clipped to the top of the piano. Manzarek tried playing that, and found he could play basslines on that with his left hand and the main parts with his right hand. Krieger got his father to buy one for the group -- though Manzarek was upset that they bought the wrong colour -- and they were now able to perform without a bass player. Not only that, but it gave the group a distinctive sound quite unlike all the other bands. Manzarek couldn't play busy bass lines while also playing lead lines with his right hand, and so he ended up going for simple lines without a great deal of movement, which added to the hypnotic feel of the group's music – though on records they would often be supplemented by a session bass player to give them a fuller sound. While the group were still trying to get a record deal, they were also looking for regular gigs, and eventually they found one. The Sunset Strip was *the* place to be, and they wanted desperately to play one of the popular venues there like the Whisky A-Go-Go, but those venues only employed bands who already had record deals. They did, though, manage to get a residency at a tiny, unpopular, club on the strip called The London Fog, and they played there, often to only a handful of people, while slowly building in confidence as performers. At first, Morrison was so shy that Manzarek had to sing harmony with him throughout the sets, acting as joint frontman. Krieger later said "It's rarely talked about, but Ray was a natural born showman, and his knack for stirring drama would serve the Doors' legacy well in later years" But Morrison soon gained enough confidence to sing by himself. But they weren't bringing in any customers, and the London Fog told them that they were soon going to be dropped -- and the club itself shut not long after. But luckily for the group, just before the end of their booking, the booker for the Whisky A-Go-Go, Ronnie Haran walked in with a genuine pop star, Peter Asher, who as half of Peter & Gordon had had a hit with "A World Without Love", written by his sister's boyfriend, Paul McCartney: [Excerpt: Peter and Gordon, "A World Without Love"] Haran was impressed with the group, and they were impressed that she had brought in a real celebrity. She offered them a residency at the club, not as the headlining act -- that would always be a group that had records out -- but as the consistent support act for whichever big act they had booked. The group agreed -- after Morrison first tried to play it cool and told Haran they would have to consider it, to the consternation of his bandmates. They were thrilled, though, to discover that one of the first acts they supported at the Whisky would be Them, Van Morrison's group -- one of the cover versions they had been playing had been Them's "Gloria": [Excerpt: Them, "Gloria"] They supported Them for two weeks at the Whisky, and Jim Morrison watched Van Morrison intently. The two men had very similar personalities according to the other members of the Doors, and Morrison picked up a lot of his performing style from watching Van on stage every night. The last night Them played the venue, Morrison joined them on stage for an extended version of “Gloria” which everyone involved remembered as the highlight of their time there. Every major band on the LA scene played residencies at the Whisky, and over the summer of 1966 the Doors were the support act for the Mothers of Invention, the Byrds, the Turtles, the Buffalo Springfield, and Captain Beefheart and the Magic Band. This was a time when the Sunset Strip was the centre of Californian musical life, before that centre moved to San Francisco, and the Doors were right at the heart of it. Though it wasn't all great -- this was also the period when there were a series of riots around Sunset Strip, as immortalised in the American International Pictures film Riot on Sunset Strip, and its theme song, by the Standells: [Excerpt: The Standells, "Riot on Sunset Strip"] We'll look at those riots in more detail in a future episode, so I'll leave discussing them for now, but I just wanted to make sure they got mentioned. That Standells song, incidentally, was co-written by John Fleck, who under his old name of John Fleckenstein we saw last episode as the original bass player for Love. And it was Love who ensured that the Doors finally got the record deal they needed. The deal came at a perfect time for the Doors -- just like when they'd been picked up by the Whisky A Go-Go just as they were about to lose their job at the London Fog, so they got signed to a record deal just as they were about to lose their job at the Whisky. They lost that job because of a new song that Krieger and Morrison had written. "The End" had started out as Krieger's attempt at writing a raga in the style of Ravi Shankar, and he had brought it in to one of his increasingly frequent writing sessions with Morrison, where the two of them would work out songs without the rest of the band, and Morrison had added lyrics to it. Lyrics that were partly inspired by his own fraught relationship with his parents, and partly by Oedipus Rex: [Excerpt: The Doors, "The End"] And in the live performance, Morrison had finished that phrase with the appropriate four-letter Oedipal payoff, much to the dismay of the owners of the Whisky A Go Go, who had told the group they would no longer be performing there. But three days before that, the group had signed a deal with Elektra Records. Elektra had for a long time been a folk specialist label, but they had recently branched out into other music, first with the Paul Butterfield Blues Band, a favourite of Robby Krieger's, and then with their first real rock signing, Love. And Love were playing a residency at the Whisky A Go Go, and Arthur Lee had encouraged Jac Holzman, the label's owner, to come and check out their support band, who he thought were definitely worth signing. The first time Holzman saw them he was unimpressed -- they sounded to him just like a bunch of other white blues bands -- but he trusted Arthur Lee's judgement and came back a couple more times. The third time, they performed their version of "Alabama Song", and everything clicked into place for Holzman. He immediately signed the group to a three-album deal with an option to extend it to seven. The group were thrilled -- Elektra wasn't a major label like Columbia, but they were a label that nurtured artists and wouldn't just toss them aside. They were even happier when soon after they signed to Elektra, the label signed up a new head of West Coast A&R -- Billy James, the man who had signed them to Columbia, and who they knew would be in their corner. Jac Holzman also had the perfect producer for the group, though he needed a little persuading. Paul Rothchild had made his name as the producer for the first couple of albums by the Paul Butterfield Blues Band: [Excerpt: The Paul Butterfield Blues Band, "Mary Mary"] They were Robby Krieger's favourite group, so it made sense to have Rothchild on that level. And while Rothchild had mostly worked in New York, he was in LA that summer, working on the debut album by another Elektra signing, Tim Buckley. The musicians on Buckley's album were almost all part of the same LA scene that the Doors were part of -- other than Buckley's normal guitarist Lee Underwood there was keyboard player Van Dyke Parks, bass player Jim Fielder, who had had a brief stint in the Mothers of Invention and was about to join Buffalo Springfield, and drummer Billy Mundi, who was about to join the Mothers of Invention. And Buckley himself sang in a crooning voice extremely similar to that of Morrison, though Buckley had a much larger range: [Excerpt: Tim Buckley, "Aren't You the Girl?"] There was one problem, though -- Rothchild didn't want to do it. He wasn't at all impressed with the band at first, and he wanted to sign a different band, managed by Albert Grossman, instead. But Holzman persuaded him because Rothchild owed him a favour -- Rothchild had just spent several months in prison after a drug bust, and while he was inside Holzman had given his wife a job so she would have an income, and Holzman also did all the paperwork with Rothchild's parole officer to allow him to leave the state. So with great reluctance Rothchild took the job, though he soon came to appreciate the group's music. He didn't appreciate their second session though. The first day, they'd tried recording a version of "The End", but it hadn't worked, so on the second night they tried recording it again, but this time Morrison was on acid and behaving rather oddly. The final version of "The End" had to be cut together from two takes, and the reason is that at the point we heard earlier: [Excerpt: The Doors, "The End"] Morrison was whirling around, thrashing about, and knocked over a TV that the engineer, Bruce Botnick, had brought into the studio so he could watch the baseball game -- which Manzarek later exaggerated to Morrison throwing the TV through the plate glass window between the studio and the control room. According to everyone else, Morrison just knocked it over and they picked it up after the take finished and it still worked fine. But Morrison had taken a *lot* of acid, and on the way home after the session he became convinced that he had a psychic knowledge that the studio was on fire. He got his girlfriend to turn the car back around, drove back to the studio, climbed over the fence, saw the glowing red lightbulbs in the studio, became convinced that they were fires, and sprayed the entire place with the fire extinguisher, before leaving convinced he had saved the band's equipment -- and leaving telltale evidence as his boot got stuck in the fence on the way out and he just left it there. But despite that little hiccup, the sessions generally went well, and the group and label were pleased with the results. The first single released from the album, "Break on Through", didn't make the Hot One Hundred: [Excerpt: The Doors, "Break on Through"] But when the album came out in January 1967, Elektra put all its resources behind the album, and it started to get a bit of airplay as a result. In particular, one DJ on the new FM radio started playing "Light My Fire" -- at this time, FM had only just started, and while AM radio stuck to three-minute singles for the most part, FM stations would play a wider variety of music. Some of the AM DJs started telling Elektra that they would play the record, too, if it was the length of a normal single, and so Rothchild and Botnick went into the studio and edited the track down to half its previous seven-and-a-half-minute length. When the group were called in to hear the edit, they were initially quite excited to hear what kind of clever editing microsurgery had been done to bring the song down to the required length, but they were horrified when Rothchild actually played it for them. As far as the group were concerned, the heart of the song was the extended instrumental improvisation that took up the middle section: [Excerpt: The Doors, "Light My Fire"] On the album version, that lasted over three minutes. Rothchild and Botnick cut that section down to just this: [Excerpt: The Doors, "Light My Fire (single edit)"] The group were mortified -- what had been done to their song? That wasn't the sound of people trying to be McCoy Tyner and Elvin Jones, it was just... a pop song.  Rothchild explained that that was the point -- to get the song played on AM radio and get the group a hit. He pointed out how the Beatles records never had an instrumental section that lasted more than eight bars, and the group eventually talked them

The Colorado River is at its lowest levels. Is climate change the culprit? Unexpected urban growth? Mismanagement over the decades? To sort through these questions, Russell and Alan chat with experts Eric Kuhn and John Fleck, co-authors of “Science Be Dammed,” a look at how this valuable resource has evolved over the past 100 years.

New Mexico is dry. No kidding, right? But have you ever asked yourself how dry is too dry? Or why that actually matters? This week, we're hearing from two people who keep a close watch on the water and the weather in New Mexico. John Fleck is a professor at the University of New Mexico and the Director of Water Resources in the university's Economics Department. John breaks down why it matters when New Mexico gets less rain and snowpack, and shares his concerns over the future of the state's water resources. First-time guest and long-time NMNP listener, KRQE's Chief Meteorologist Grant Tosterud, joins Chris and Gabby with an update on where we stand today. Grant offers background on what the last winter was like (in terms of moisture) and what's ahead for the rest of spring and summer. Stick around to the end of the episode for a recap of what happened in the New Mexico Legislature's one-day special session last week. As mentioned in the episode, here's a link to Curtis Segarra's article titled, "New Mexico tax rebates: How much will you get?" For more information on John Fleck's work, click here to visit his blog on New Mexico water issues. And finally, Grant's forecast and more from KRQE's weather team can be found here on KRQE.com/weather. Got a story idea? A comment? Did you really like an episode we did? Let us know. Email us at chris.mckee@krqe.com or gabrielle.burkhart@krqe.com. We're also on Twitter at @ChrisMcKeeTV and @gburkNM.  For more on this episode and all of our prior episodes, visit our website: KRQE.com/podcasts.

UNM Professor, water expert, and author joins TJ to talk about water issues in NM and abroad and how it will impact our livelihood, on News Radio KKOB See omnystudio.com/listener for privacy information.

Welcome to the Nourishing Our Riverlands Podcast where Jaimie Ritchie interviews people about Riparian Restoration. In this episode, hear why “climate change is water change” and why we don't have to choose between saving the fish and saving the farmers. This episode is a compilation of key points from five interviews covering these topics and more. Jaimie Ritchie interviews Paul Tashjian, Todd Caplan, Peggy Norton, Kim Eichorst, and John Fleck. Go to efla.unm.edu/nourishing-our-riverlands to view this podcast on the EFLA website.

The guys share some bourbon with baddie-Suliban Silik; John Fleck. They answer fan questions, play Trek Trivia and discuss acting, performance art, peeing on cue, and what a heart to heart with dad can be like (and what it inspired). John looks like a teenager, keeps his shirt on and we even get into John's run on the Supreme Court. Warning! The most adult shuttlepod show episode yet!If you enjoy this show, please like and subscribe! It's so important and appreciated!Our show supports the work of Star Trek Enterprise actor, "Dr. Phlox" Mr. John Billingsley with the Hollywood Food Coalition, a non-profit with an amazing mission. Shuttlepod Show is providing financial support to this special organization and we encourage you to do so too. Link below: Hollywood Food Coalition: https://hofoco.org Follow us:Insta: @shuttlepodshowTwitter: @shuttlepodshowFacebook: @shuttlepodshowhttps://www.shuttlepodshow.com

Dennis connects via Zoom with actor-writer-performance artist John Fleck whose musical satire It's Alive, It's ALIVE! is showing at the Odyssey Theatre in Los Angeles through March 20. John talks about the show's central idea; that COVID is here to save us, not hurt us, where the original idea came from and where he got the inflatable COVID headress he wears through much of the show. He also recalls his experience, along with Tim Miller, Karen Finley, Tim Miller and Holly Hughes, as one of the NEA Four, the four artists who had received grants from the National Endowment of the Arts and whose grants were challenged by conservatives like Jesse Helms and others and whose case went all the way to Supreme Court. He talks about how the notoriety led to his first TV job, as a gay secretary in Steven Bochco's Murder One and how he regrets not being present at the Supreme Court hearing because he was working on TV show. John also recalls his early days in Los Angeles in the 1970's, the "radical change" he made that brought him here and opening for Edith Massey, John Waters' Egg Lady, at the One Way punk bar in Silverlake in 1983. Other topics include: embracing imperfection, how having his own shows makes the Hollywood acting hustle less soul-crushing, being an "age pioneer" at 71, the torture and glory of doing alien makeup for multiple Star Trek series and most recently Orville, appearing on projects like Tales of the City, Weeds, Seinfeld, Waterworld and the upcoming Tina Town, vamping in the dark when the power went out during a performance, and the late, great screenwriter who always came to his shows. 

Please join us Right Now, February 14, 2022 at 11:00AM PST as Actor, Director, Producer Bill Duke, Actor, Performance Artist John Fleck and Native Hip Hop Artist, Actor Sten Joddi joins host Ron Brewington on "The Actor's Choice."

Best of Trek Untold in 2021, Part Two Continuing our look back at some of the most memorable moments from Trek Untold in 2021, here are clips from our interviews with Gates McFadden, Walter Koenig, Kitty Swink, Richard Riehle, David Benjamin Tomlinson, John Fleck, Jason Marsden, Patricia Tallman, and Max Cervantes. If you liked what you heard, make sure to check out the archives for the full episodes with all of these guests. Don't forget to listen to the very end to hear the plans for 2022 and a new feature I am working on! ·        Visit Pancan.org to support the Trek against Pancreatic Cancer Please subscribe to our YouTube channel and hit the notifications button to be updated when we go live or upload our next video! Support Trek Untold by checking out our merchandise at https://teespring.com/stores/trekuntold or become a Patreon at Patreon.com/TrekUntold. Trek Untold is sponsored by Triple-Fiction Productions, a US-based company that 3-D prints Trek-inspired prop replicas for fan films and cosplayers, as well as accessories and playsets for all iterations of Trek figures through the years. Visit them at Triple-Fictionproductions.net.   Don't forget to subscribe to the show and leave a rating if you like us!     The views expressed on air during Trek Untold do not represent the views of the RAGE Works staff, partners, or affiliates.   Follow Trek Untold on Social Media Instagram: http://www.instagram.com/trekuntoldTwitter: https://www.twitter.com/trekuntoldFacebook: https://www.facebook.com/trekuntold Follow Nerd News Today on Social Media Twitter:  Twitter.com/NerdNews2Day Instagram: Instagram.com/NerdNewsToday Facebook: Facebook.com/NerdNewsToday Trek Untold is sponsored by Treksphere.com, powered by the RAGE Works Podcast Network, and affiliated with Nerd News Today. Check Out Some of the Other Shows on the RAGE Works Network Call Me When It's Over: https://www.rageworksnetwork.com/show/cmwio/Cheese! A Photography Podcast: https://www.rageworksnetwork.com/show/capp/Black is the New Black: https://www.rageworksnetwork.com/show/bitnb/The Variant Issue: https://www.rageworksnetwork.com/show/tvi/Turnbuckle Tabloid: https://www.rageworksnetwork.com/show/tbt/Toys & Tech of the Trade: https://www.rageworksnetwork.com/show/ttott/The Eat 4 Life Podcast: https://www.rageworksnetwork.com/show/eat4life/    

Continuing our look back at some of the most memorable moments from Trek Untold in 2021, here are clips from our interviews with Gates McFadden, Walter Koenig, Kitty Swink, Richard Riehle, David Benjamin Tomlinson, John Fleck, Jason Marsden, Patricia Tallman, and Max Cervantes. If you liked what you heard, make sure to check out the archives for the full episodes with all of these guests. Don't forget to listen to the very end to hear the plans for 2022 and a new feature I am working on! ·        Visit Pancan.org to support the Trek against Pancreatic Cancer Please subscribe to our YouTube channel and hit the notifications button to be updated when we go live or upload our next video! Support Trek Untold by checking out our merchandise at https://teespring.com/stores/trekuntold or become a Patreon at Patreon.com/TrekUntold. Trek Untold is sponsored by Triple-Fiction Productions, a US-based company that 3-D prints Trek-inspired prop replicas for fan films and cosplayers, as well as accessories and playsets for all iterations of Trek figures through the years. Visit them at Triple-Fictionproductions.net.   Don't forget to subscribe to the show and leave a rating if you like us!   Follow Trek Untold on Social Media Instagram: http://www.instagram.com/trekuntoldTwitter: https://www.twitter.com/trekuntoldFacebook: https://www.facebook.com/trekuntold Follow Nerd News Today on Social Media Twitter: Twitter.com/NerdNews2DayInstagram: Instagram.com/NerdNewsTodayFacebook: Facebook.com/NerdNewsToday Trek Untold is sponsored by Treksphere.com, powered by the RAGE Works Podcast Network, and affiliated with Nerd News Today.

The longtime Albuquerque Journal columnist and now University of New Mexico professor talks with John about the top water myths, why journalism about water is so gloomy, and what the Colorado River needs now.

[00:30] Fainting Footballers (18 minutes)English soccer player John Fleck suddenly collapsed during a game last week and was rushed to the hospital. Fleck is one of many top-tier athletes to collapse over the past few months. Some are wondering if these medical episodes are a result of the vaccine. Former footballer Trevor Sinclair was about to ask that question on air last week, but his mic was cut before he was able to. The Daily Mail wrote, “There has been no suggestion that any of the incidents are linked to the COVID vaccine.” The medical cartel is so desperate to change that lie into truth that news outlets are quickly silencing anyone who would dare say the vaccine is dangerous. [18:40] Tony Fauci's God Complex (19 minutes)The new COVID-19 variant has been named Omicron. Its symptoms are mild, according to the South African doctor who first alerted health authorities of the new variant. But the knee-jerk reaction to this new variant is the same as it has been for every other wave of COVID-19. Be afraid! The United States has halted all air travel from southern Africa. Dr. Anthony Fauci is telling Americans to “prepare for the worst.” He also warns that those undermining him and his COVID-19 recommendations are undermining science. Why? “Because,” he says, “I represent science.” [37:00] Flashback to the Final 2020 Election Debate (5 minutes)During the last election debate of 2020, Joe Biden was quick to draw attention to the 220,000 people who died with COVID-19 under the presidency of Donald Trump who, at the time, did not have a vaccine to distribute. Since Biden has been in office, upwards of 370,000 people have died with COVID-19, according to the New York Times. And this is with the “help” of a vaccine in circulation. [42:40] Bible Study: The Kingdom of God in Embryo (12 minutes)Modern-day Christians believe the Kingdom of God is something to be set up in our hearts, reducing this foundational teaching of Jesus Christ to an ethereal, ambiguous idea. Some believe the Kingdom of God is the Church of God itself. But as Herbert W. Armstrong taught, God's Church is actually the Kingdom of God in embryo. Though it is not yet the Kingdom of God, it will soon become the Kingdom of God!

Jokanovic, I hardly knew ye. Ben and Andrew react to today's surprise news that Jokanovic and Sheffield United are parting ways, as we try to figure out what the hell's going on. We also discuss the win over Reading and how things might go on Sunday against Bristol City. Finally, just to take this opportunity to wish John Fleck a full and speedy recovery, and all the best to him and his family. UTB. Thank you as always for listening to BladesPod! Follow Ben (@bladespod) and Andrew (@panchero) on Twitter, and check out the award-winning www.roysviewfrom.com for all the latest views from opposition fans before and after our games. BladesPod is brought you by NordPass, the new generation password manager where security meets simplicity. Get a special 50% off NordPass at nordpass.com/bladespod or use code bladespod when you sign up - you also get an additional month FREE.

Today we have a special edition of the Destination Angler Podcast on a very important issue affecting our cold-water fisheries – climate change.   Like many of you, over the past few years, I've been watching the news and hearing more and more about our climate.  No matter where you stand on man-made or natural, it's hard to ignore things seem to be warming up, especially this past summer, which was the hottest summer on record.    As I began to look into this I came across a report on the Impact of Global Warming on Trout in the Interior West that 50% of cutthroat trout habitat will be gone by 2080 if nothing is done. Can you imagine a world where half of our Cutthroat trout habitat is gone?    To help us better understand climate change, our guests are Helen Neville, Senior Scientist, and Sara Porterfield, Water Policy Associate with Trout Unlimited.  We debunk fact from fiction, the impact of our warming climate on our cold-water fisheries, and most importantly what we can do about it.  With Host, Steve Haigh Climate Change Resources: Ten Strategies for Climate Resilience in the Colorado River Basin The Yale Climate Communication page, which provides interactive maps that can be parsed in myriad ways to explore public perception of climate change based on their annuals surveys:  https://climatecommunication.yale.edu/visualizations-data/ycom-us/ Intergovernmental Panel on Climate Change Working Group I report, Climate Change 2021: the Physical Science Basis, which was just released:  https://www.ipcc.ch/2021/08/09/ar6-wg1-20210809-pr/ TU National Leadership Climate Change Working Group website, which has recordings and slides of that overview talk I created for them:  https://www.tu.org/get-involved/volunteer-tacklebox/council-leader-resources/national-leadership-council/nlc-conservation-workgroups/climate-change-workgroup/ TU Climate Change take action page:  https://www.tu.org/climate/ Citizen's Climate Lobby, whose Energy Innovation and Carbon Dividend Act (H.R> 2307) TU is supporting among other national policies.  They have local chapters, national meetings, D.C. advocacy days, and sorts of resources that complement TU's work on the issue:  https://citizensclimatelobby.org/ TU's Western Water 101 (blog & podcast series)   Miller Creek blog (BDAs in burned area) Brad Udall doesn't have a website, but this post from John Fleck links to some good work he did with Brad Impact of Global Warming on Trout in the Interior West by the Natural Resources Defense Council and Montana TU Destination Angler: The Destination Angler Website and Show Notes:   http://destinationangler.libsyn.com/ Get updates and pictures of destinations covered on each podcast: @DestinationAnglerPodcast on Instagram and Facebook Join in the conversation with the @DestinationAnglerConnection group on Facebook: Comments & Suggestions:  host, Steve Haigh, email shaigh50@gmail.com Available on Apple, Spotify, or where ever you get your podcasts Recorded September 30, 2021.  Episode 50. Music on the show by A Brother's Fountain, “Hitch Hike-Man”.    Podcast edited by Podcast Volume  https://www.podcastvolume.com/

Tune in to learn more about the magical monsoon phenomenon that has so many of us awed. We talk to Dr.Connie Woodhouse, a professor in the school of geography, development and environment at the University of Arizona, and to John Fleck, director of The University of New Mexico's Water Resources Program. We cover some of what we know about the monsoon, what we don't, how it can't save us from a warmer and drier future, and how in some ways, maybe it can. Join us! John Fleck's book (which he co-authored with Eric Kuhn) "Science be Dammed": https://www.indiebound.org/book/9780816540051?aff=jfleck

In this episode, Miguel interviews three of the original NEA 4: Holly Hughes, John Fleck and Karen Finley. Miguel also speaks with John Frohnmayer, who was the Chairman of the NEA at the time of the infamous attack on un-censored art.

The federal government has declared a water shortage on the Colorado River. How did we get here? We hear what the future holds for water in the West. John Fleck and John F. Ross join Kimberly Atkins Stohr.

John Fleck, Silik on “Star Trek: Enterprise” & Other Aliens on TNG, DS9 and VOY John Fleck has the distinction of being one of the few performers to have roles in every series from the second wave of Trek shows. He was the Romulan Taibak in Star Trek TNG "The Mind's Eye," a Cardassian overseer in DS9 "The Homecoming," as well as Ornithar from "The Search" and another Romulan named Koval from "Inter Arma Enim Silent Leges," Abaddon from Star Trek Voyager "Alice," and Silik, leader of the Suliban and a perpetual thorn in the side of Captain Archer in all four seasons of Star Trek Enterprise.  John tells us all about the different makeup processes for his multitude of alien races, his memories of being on-set in these different series, and working with all of the Trek regulars! Plus, memories of Leslie Nielsen in "The Naked Gun 2 ½", "Howard the Duck," "Pink Cadillac" with Clint Eastwood and Jim Carrey, insight into his performance art career, and the story behind being part of the controversial "NEA Four," a group of artists who took the National Endowment for the Arts to the Supreme Court in a case about censorship that continues to have implications today. Check out John Fleck's documentary "John Fleck Is Who You Want Him To Be" by Kevin Duffy here - https://vimeo.com/ondemand/johnfleckis Visit Pancan.org to support the Trek against Pancreatic Cancer Support Trek Untold by checking out our merchandise at https://teespring.com/stores/trekuntold or become a Patreon at Patreon.com/TrekUntold. Trek Untold is sponsored by Triple-Fiction Productions, a US-based company that 3-D prints Trek-inspired prop replicas for fan films and cosplayers, as well as accessories and playsets for all iterations of Trek figures through the years. Visit them at Triple-Fictionproductions.net.   Don't forget to subscribe to the show and leave a rating if you like us!     The views expressed on air during Trek Untold do not represent the views of the RAGE Works staff, partners, or affiliates.   Follow Trek Untold on Social Media Instagram: http://www.instagram.com/trekuntoldTwitter: https://www.twitter.com/trekuntoldFacebook: https://www.facebook.com/trekuntold Trek Untold is sponsored by Treksphere.com, powered by the RAGE Works Podcast Network, and affiliated with Nerd News Today.

John Fleck has the distinction of being one of the few performers to have roles in every series from the second wave of Trek shows. He was the Romulan Taibak in Star Trek TNG "The Mind's Eye," a Cardassian overseer in DS9 "The Homecoming," as well as Ornithar from "The Search" and another Romulan named Koval from "Inter Arma Enim Silent Leges," Abaddon from Star Trek Voyager "Alice," and Silik, leader of the Suliban and a perpetual thorn in the side of Captain Archer in all four seasons of Star Trek Enterprise.  John tells us all about the different makeup processes for his multitude of alien races, his memories of being on-set in these different series, and working with all of the Trek regulars! Plus, memories of Leslie Nielsen in "The Naked Gun 2 ½", "Howard the Duck," "Pink Cadillac" with Clint Eastwood and Jim Carrey, insight into his performance art career, and the story behind being part of the controversial "NEA Four," a group of artists who took the National Endowment for the Arts to the Supreme Court in a case about censorship that continues to have implications today. Check out John Fleck's documentary "John Fleck Is Who You Want Him To Be" by Kevin Duffy here - https://vimeo.com/ondemand/johnfleckis Visit Pancan.org to support the Trek against Pancreatic Cancer Support Trek Untold by checking out our merchandise at https://teespring.com/stores/trekuntold or become a Patreon at Patreon.com/TrekUntold. Trek Untold is sponsored by Triple-Fiction Productions, a US-based company that 3-D prints Trek-inspired prop replicas for fan films and cosplayers, as well as accessories and playsets for all iterations of Trek figures through the years. Visit them at Triple-Fictionproductions.net.   Don't forget to subscribe to the show and leave a rating if you like us!     The views expressed on air during Trek Untold do not represent the views of the RAGE Works staff, partners, or affiliates.   Follow Trek Untold on Social Media Instagram: http://www.instagram.com/trekuntoldTwitter: https://www.twitter.com/trekuntoldFacebook: https://www.facebook.com/trekuntold Trek Untold is sponsored by Treksphere.com, powered by the RAGE Works Podcast Network, and affiliated with Nerd News Today.

"It is possible to fly without motors, but not without knowledge and skill." Wilbur Wright's quote was proved to be unequivocally correct by the 'ageing' Gareth Bale over the weekend, and as such, Barney and Dan salivate over his performance against Sheffield for the majority of this episode. They also struggle to come to terms with Fleck's petulant stamp on Lo Celso's innocent face, and address the lingering elephant in the room that is the impending Spurs Supporters vs Spurs Board showdown. Barney also caps things off with a wonderfully sung tribute to our man-bunned flying Welshman.A bit Spursy is a Tottenham Hotspur podcast by Barney and Dan. Follow us on Twitter at @a_bit_spursy, and email us at hello@abitspursy.com.

Host Richard Cracknell was joined by Lee McQueen and Antony Costa on this edition of the Last Word On Spurs.Gareth Bale scored a brilliant hat-trick as Tottenham shook off their Carabao Cup final misery and kept alive their Champions League hopes with a 4-0 win over relegated Sheffield United.Bale's 36th-minute opener, a fine instinctive flick from close range, was scant reward for Spurs' first-half dominance, but though Heung-Min Son saw an effort after the break (52) ruled out for offside, the Welshman would strike twice more legitimately and emphatically.Bale brought up his 50th Premier League goal shortly after the hour mark when he was set up by Son on a Spurs breakaway and hit a fierce third without breaking stride (69) to fire a further reminder of his enduring potency.The Blades, for whom John Fleck escaped punishment after a VAR review after catching Giovani Lo Celso on the head, had twice built momentum before conceding but Bale's third goal ended their fleeting resistance and Son completed the rout with a brilliant curled finish 13 minutes from time.#THFC #COYS #TOTTENHAM #HOTSPUR #TOTTENHAMHOTSPUR #SPURS

John Fleck draws help and guidance from the way the Lord taught His disciples in the Upper Room, lessons that guide and help those who teach the Word of God today. Readings: John 13:1, 12-14, 34-35, 14:1, 15-17, 15:7-8, 19, 16:29-31, 17:1, 14-15 (Message preached at the Lurgan Conference 2018) The post Learning to Teach from the Master Teacher (33 min) first appeared on Gospel Hall Audio.

In this ENRG Sport Special, Jack Donnelly and Seán McGill are joined by Gordon Sheach of The Tartan Scarf to discuss one of the biggest talking points of this summer's European Championships - the potential make-up of Scotland's midfield. The guys first have a look at the midfielders that have been in and around Steve Clarke's Scotland squads thus far, considering if John McGinn is a must start in any situation, whether or not Scott McTominay should be playing further forward from his usual right centre back role and weighing up how likely it is that the likes of Kenny McLean and John Fleck receive further call ups. They then consider players who have not yet made it into a Clarke squad, highlighting David Turnbull's 2020/21 form being "impossible" to ignore, considering this as a "now-or-never" moment for Ryan Gauld and confirming how unlikely it is for Billy Gilmour to be included in the Euros squad. You can find The Tartan Scarf online at www.thetartanscarf.com and on socials @TheTartanScarf, as well as Gordon @GSheach. Don't forget to subscribe to the ENRG Sport podcast feed for all of our regular shows and more great specials, and find us online at enrgsport.net and on Twitter @ENRGSport.

John Fleck sets out the course of events that precede the Millennial Kingdom – the rapture, the tribulation and the second advent of Christ – after which the kingdoms of this world will become the kingdom of our God and His Christ. From Psalm 72, John preaches on the standard, the scope and the splendour of Christ's kingdom. (Message preached at Sussex Conference, Canada, 2017) The post The King is Coming! (29 min) first appeared on Gospel Hall Audio.

Host Jim O'Donnell talks with John Fleck, Director of the University of New Mexico Water Resources Program and Eric Kuhn, self-described "Colorado River nerd" about their new book "Science be Dammed: How Ignoring Inconvenient Science Drained the Colorado River" and how the realities of water in the American West run up against the hopes and dreams of developers and land managers. "Science Be Dammed" is an alarming reminder of the high stakes in the management—and perils in the mismanagement—of water in the western United States. This episode was recorded at the studios of Taos Sound and Media in Taos, New Mexico on May 7, 2020. Produced by Jim O'Donnell. Recorded and edited by Brett Tomadin of Taos Sound and Media (www.taossound.com/) Links in this episode: https://uapress.arizona.edu/book/science-be-dammed http://www.inkstain.net/fleck/ https://twitter.com/R_EricKuhn https://twitter.com/jfleck Please support this podcast with a small donation: taoslandtrust.org/donate-form/

Chris Sutton is celebrating Liverpool’s Premier League win by bringing his own winner’s medal to the podcast. He, Alistair Bruce-Ball and Statman Dave assess what impact Liverpool’s triumph will have on the world of Fantasy Football. Chris and Dave take Ali task over an incident involving John Fleck prior to the last GameWeek.And which teams have impressed following the return of the Premier League? The guys give their verdict.

Actor who played Sulibon leader Silik on Star Trek Enterprise talks about that role and his stage experiences.

Sunday evening message from March 8, 2020 by John Fleck from the 1st John series.

Sunday Evening Message from the 1st John series preached on March 1, 2020 by John Fleck

Ben and Andrew discuss an enjoyable if ultimately frustrating draw with Brighton, including their tactical approach, Wilder's tetchy interview, a spotlight on John Fleck celebrating his new contract with another fine display, plus the performances of Berge, McBurnie and Osborne. Finally, a preview of next week's FA Cup tie with Reading. Thanks as always for listening, and UTB!

Sunday Evening Message by John Fleck from 1st John series preached 2/23/20

February 16th Sunday Evening Service by John Fleck

John Fleck, Harvest intern is teaching through the book of 1 John in our evening service. This is the opening message of the series

Water, water everywhere, but not as much as you’d like to think.  That, in a nutshell is the story of the Colorado River Basin, the key water source for economic and population expansion in the American West.  For almost a century, development plans for the Colorado Basin were based on what scientists regularly said was bad data, that overestimated how much water the basin had.  John Fleck, co-author of the new book Science Be Dammed on the trouble ignoring science can cause. 

Rebecca and Alex are back; they may not be able to agree on whose turn it is to make the bed but they're pretty confident of who's winning the Premier League this season. Jose Mourinho couldn't spoil the Liverpool party this time, as Klopp's mentality monsters came through another game with all three points to continue their record breaking run. We delve into Mourinho's tactics at Tottenham, Andy Robertson's shithousery, award winning Jordan Henderson, confidence in possession, and the ridiculous 'Tainted Title' talk. Chelsea got back to winning ways over Burnley and we discuss whether the Blues can maintain this form, the resurgence of Callum Hudson-Odoi, and whether Burnley really are relegation candidates this season. There's plenty to discuss elsewhere too, as Sergio Aguero broke Thierry Henry's Premier League scoring record for Man City, Danny Drinkwater had a nightmare debut for Aston Villa, Declan Rice took on VAR, Ralph Hasenhuttl and Southampton got their revenge over Leicester, and Solskjaer came out with yet more nonsense about Man Utd and their rivals. There's also loads of love for Chris Wilder and John Fleck at Sheffield Utd, chat about players outgrowing clubs, Pepe Reina is back in the Premier League, and in 'Around The World' we look at Barcelona sacking Ernesto Valverde mid-season and how Quique Setién could fare as his replacement. Plus, the best tactical foul of all time, Noah vs the Klopp cardboard cutout, explaining the Europa League to a non-football fan, falling out of canoes, a surprising amount of Neighbours chat, Sexy Star Wars, 'The Origi Arena', velociraptor football, and Sean Dyche's impending music career. **Please take the time to rate and review us on iTunes or wherever you get your podcasts, as it makes it easier for other potential listeners to find us. Thanks!**

This week on New Mexico in Focus, it’s a look at how New Mexico’s oil boom in the Permian Basin is altering life for many in the southeast corner of the state. With people flocking to the area for jobs, community needs like roads, schools and housing are struggling to keep pace. The boom is also filling state government coffers as we head into the legislative session later this month. NMIF correspondent Megan Kamerick talks with journalists Jens Gould of the Santa Fe New Mexican and Dan McKay of the Albuquerque Journal about what this means for the state’s future. In this month’s installment of Our Land, correspondent Laura Paskus sits down with John Fleck, co-author of the new book “Science Be Dammed: How Ignoring Inconvenient Science Drained the Colorado River.” Senior Producer Matt Grubs and The Line opinion panel examine Gov. Michelle Lujan Grisham’s budget plan for 2021 that she will present to the legislature when it convenes Jan. 21, as well as the smaller budget proposed by lawmakers. The Line also debates the shape of the U.S. Senate race in New Mexico, now that former meteorologist Mark Ronchetti has joined other GOP candidates seeking to fill outgoing Democratic Sen. Tom Udall’s seat. The Line also looks at crime in Albuquerque and the rest of our state.

The Blades' 11-month unbeaten away record comes to an end in controversial fashion at the Etihad, and Ben and Andrew pick the bones out of it. We discuss the main incidents, the brilliant bits of play by United, the fact we probably should actually have beaten the defending champions, and a performance for the ages by John Fleck. Thanks for listening to this episode, and for all your support for the podcast in 2019. Here's to a great 2020 - happy new year to you all!

The story of water management in the Western United States is epitomized by the Colorado River. Water managers in the early twentieth century set up structures and policies that would have implications for tens of millions of users across multiple states and countries — and all based upon faulty math. How have the systems and infrastructure along the Colorado River impacted development? How is climate change coming into play? And are there reasons for hope that the story of conflict and mismanagement can become a story of cooperation? In this episode of ClimateReady we are joined by John Fleck, a renowned author, science journalist, and Director of the University of New Mexico's Water Resources Program. We cover a range of topics relating to the Colorado River from transboundary management, to balancing competing water demands, to the role of storytelling in developing good water governance. All of this and more can be found in his new book “Science Be Dammed: How Ignoring Inconvenient Science Drained the Colorado River” (https://uapress.arizona.edu/book/science-be-dammed). We wrap up with another “Climate of Hope” story as part of an ongoing collaboration with the World Youth Parliament for Water. Juliane Schillinger talks about the growing voice of scientists in political movements as a result of the climate crisis and the benefits of stepping out of the “ivory tower.”

Stel, Rhodri Giggs, Andy and Coach Kojo review the weekend's Premier League results with Kevin De Bruyne  taking centre stage after dismantling a hapless Arsenal. The lads discuss Everton's draw at Old Trafford with Duncan Ferguson's treatment of Moise Kean overshadowing David De Gea's poor decision leading to the Toffee's goal. John Fleck's brace in Sheffield United's victory over Aston Villa pleased Stel as it got him 15 FPL points, while Chelsea's loss at home to Bournemouth was put down to missed opportunities. Andy shares his thoughts on Tottenham's impressive win at Molyneux and Mo Salah's return to form. In our European review, Kojo is less than convinced that the Bundesliga title will go anywhere else but back to Bavaria with Bayern. All this plus EUROTRASH! --------------------------------------------------- Danny Fishwick, Mat Pearson and Phil Hayward are running 10k every day in December to raise money for Cure Leukaemia. Please feel free to donate here: https://www.justgiving.com/fundraising/10kdaydecember -------------------------------------------------------- Show sponsored by the Name That Player app. Download here - https://play.google.com/store/apps/details?id=org.julian.ntpnamethatplayer&hl=en_GB - https://apps.apple.com/bt/app/name-that-player/id1422381109 Intro theme is Topps - Social Download here Apple Music - https://music.apple.com/gb/album/social-single/1427419114 Amazon Music - https://www.amazon.co.uk/Social-Topps/dp/B07GHXMSPH

Ben and Andrew digest the defeat to Liverpool - talking Deano's error and the reaction to it (03:10), United's new-found counter-attacking ability and John Fleck's impressive form (23:13), and paying some respect to Virgil Van Dijk (36:30). Then, quick thoughts on the Sunderland game (49:45) before looking ahead to this weekend's meeting with Watford (52:48). Thanks for listening, and UTB!

A wet, cold and extended winter and spring 2019 brought relief from drought to the state of NM, but John Fleck, the veteran journalist, scholar and author of the classic, Water is for Fighting Over and Other Myths About Water in the West says that relief is only short-term.  It only made up for the deficit of the drought year that preceded it, not the several additional dry years that came before.  But Fleck adds, the people of the American Southwest are learning how to deal with this.

Ben and Jay discuss United’s draw with Birmingham and its wider meaning in the promotion race, including a look at the tactical approach of the two teams (02:24) and the difficulty of replacing Jack O’Connell (09:48). Then, we go through player ratings (22:30) including a discussion about John Fleck’s performance (30:23), and the importance of David McGoldrick (40:04). Finally, thoughts on Millwall and the promotion run-in (45:15). Thanks as always for listening, and UTB!

Alex McLeish threw a few curve balls in his squad for the upcoming European Qualifying matches against Kazakhstan and San Marino. There are plenty of familiar faces in the set-up but a few more inexperienced players such as Oli Burke, Kenny McLean, John Fleck and Liam Palmer were all included too. Host Andy Bargh debates McLeish's choices with Media Scotland sports journalist Ben Ramage. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ben and Jay chat about the 4-0 thumping of Reading at the weekend, including another star turn for Gary Madine (06:50), a return to form for John Fleck (17:10), and a brilliant week for Enda Stevens, Jack O’Connell Impersonator (21:55). Next, we take a look at the West Brom game (32:30), chat about United’s accounts (shout-out to Kieran Maguire / @priceoffootball – 42:38)), and finally how we feel about the promotion run-in (48:50). Cheers as always for listening and UTB!

Back with the longest, probably nerdiest episode so far… Ben and Jay discuss the Sheffield Derby, Sharp vs McGoldrick on penalties (08:50), how it might have gone differently (18:00), and John Fleck’s Scotland call-up (25:30). Then, we take a deep-dive into crossing (do United cross too much?) and whether United are good at set-pieces (27:40), and a look ahead to the Rotherham game (43:40). Finally, we answer some listener questions, including those Jermain Defoe / Shane Long rumours (55:30)… As always, thanks for listening and UTB! Follow Ben @bladespod and Jay @blades_analytic on Twitter, and don’t forget to check out www.uptheblades.com and www.eflanalytics.blog for written stuff from us.

Colorado’s governor says taxpayers need to change the state constitution to provide money for schools because it’s largely the reason the state has fallen about $6 billion behind in education funding. "Through hiking" the entire Continental Divide Trail from Canada to Mexico means covering 3,100 miles, and Felicia Hermosillo says there aren’t enough signs. Jess Davidson was sexually assaulted by another student at DU. She's supporting a bill in the state legislature she hopes will help future victims. And, states along the Colorado River have come together in recent years on water conservation experiments. But the University of New Mexico’s John Fleck says there are cracks in the cooperation.

In this episode of Deeply Talks, Ian Evans, Water Deeply’s community editor, speaks with Tara Lohan, Water Deeply’s managing editor and John Fleck, the director of water resources at the University of New Mexico, about the status of this year’s snowpack, what that can tell us about the water year to come and how that fits with long-term climate change trends.

In this episode of Deeply Talks, Ian Evans, Water Deeply’s community editor, speaks with Tara Lohan, Water Deeply’s managing editor and John Fleck, the director of water resources at the University of New Mexico, about the status of this year’s snowpack, what that can tell us about the water year to come and how that fits with long-term climate change trends.

Jay and I recap two great but frustrating performances against Brentford and Cardiff (02:00), Chris Basham as a possible POTY (07:33), and John Fleck being better than Ruben Neves (kinda... 16:20). Then talking about how United never seem to play poorly and win, but often play well and lose (25:04), United's style vs Cardiff's substance (28:28), the difficulty of taking easy chances (38:40) then a look at the EFL team of the season (47:39). Thanks for listening, remember to follow @bladespod and @blades_analytic on Twitter! UTB!

John Fleck, Director of the University of New Mexico's Water Resources Program, author and retired water journalist, joins The Water Values Podcast for a discussion of water journalism and why it (and other areas of journalism) are so important to a citizenry understanding their government. He also delves into his journey where he flipped from seeing a water apocalypse to seeing a world where adaptation and collaboration have produced tremendous water success stories.

John Fleck, Director of the University of New Mexico’s Water Resources Program, author and retired water journalist, joins The Water Values Podcast for a discussion of water journalism and why it (and other areas of journalism) are so important to a citizenry understanding their government. He also delves into his journey where he flipped from seeing a water apocalypse to seeing a world where adaptation and collaboration have produced tremendous water success stories.

Everyone knows the West is running out of water. Everyone knows that people will pump all the water they can get until there is none left. But what if everyone is wrong? Today we talk to John Fleck, author of "Water is for Fighting Over: And Other Myths about Water in the West"

This week: Technical issues still haunt the Niis on this Halloween show, but no such issues are impacting our well-oiled football team, and that's all that really matters. Just 5 points off the play-offs, the chaps discuss the rugged victory over Walsall while fielding some thought-provoking questions. Contains more John Fleck praise. We can't help it.

This week: The Niis attempt to make up for last week by actually recording a show. There's quite a bit to get through, including another mental game at Northampton and a deadline day which kept the crew happy for a range of reasons. Contains tasty descriptions of John Fleck's passing.

This week: It's a full complement of Lamptey boyz again - hoorah. Main topics consuming the Niis this episode include the treatment of McSheffrey, an improved defensive performance and John Fleck: the running brick wall. Contains a special guest appearance by Hartlepool's number 8.

This week: There are two wins for the podders to swoon over, as well as a timely re-assessment of our centre back pairing, and the function of John Fleck in the squad. Contains confectionery snobbery.