Podcast appearances and mentions of John York

Featuring Dr. John York, Dr. Joel Moore, Dr. Matthew Soper, Grant Azbell, Dr. David Fleer, and 1548 StewardsSpeaker: Dr. Kevin Huddleston

It was an extra special treat to have John J. York back on the Podcast! He's one of our all-time favorites and we're honored to hear all about his life, his grandkids, and everything General Hospital! Get the pod straight to your inbox! Sign up for our Newsletters today! https://dailydrama.com/giveaway/

The Air Force Sustainment Center is modernizing supply chain and logistics operations with cloud. Having an efficiently running supply chain and manufacturing operations for supplies and weapons systems is critical to national security. Leaders from the center, John York and Josh Thompson, highlight at AWS Summit some of their priorities around cloud and hybrid cloud. They also detail how developments in the Technology Hosting Environment for NextGen Automation (ATHENA) program is driving cost savings and improving insight into disparate sensors and data hubs for the service.

We spent a couple days in Memphis attending Memphis in May and the inaugural SmokeSlam event. We started off our time talking to one our favorites John York and his Dad, Russell, from Russell's BBQ in Linesville PA. Last year they shocked the BBQ world when they won 1st place in Wings. They talk about coming back to defend and we here the story on how it all started and why they cook on a Primo.

Nick Jonas and Adrienne Warren talk 'The Last Five Years'; 'General Hospital' star John York returns to television after illness; 'Inside Out 2' sparks conversation about teens and emotions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nick Jonas and Adrienne Warren talk 'The Last Five Years'; 'General Hospital' star John York returns to television after illness; 'Inside Out 2' sparks conversation about teens and emotions. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

Sorry for the delayed episode! Gia was in Tennessee and Keisha was eating quite a lot of cake. Both had a date with Harry and David, but don't worry, Keisha only ate one pear. Anyway, Scotty isn't the only one eating his feelings. Just when you thought it wasn't possible to love him more. And are we starting to love Esme a little less now that she's thinking about becoming evil again? Don't do it, Esme? Emotions are running high all over Port Charles! Carly was all set to punch someone until Drew tooted his own horn (yeesh). And you can't spell loose lips without L-O-I-S. Plus Nina is starting to look a bit distracted. Or haunted. Or just plain screwed. Now Felicia. Felicia looks great. Always a spring in her step and a twinkle in her eye. Let's hope for John York continues to feel stronger and healthier. It's always nice when the good guys win. Especially in a year of so much loss. Sorry for the shift over to real life. Rest in peace, Kamar de los Reyes. Another heartbreaking loss. Gia and Keisha wish everyone a happy and healthy 2024. They are about to embark on their scientific experiment involving Neuriva, so perhaps hold off on buying any Neuriva stock until those results are in.    #mauricebenard  #kellythiebaud #rogerhowarth #maurawest #delirious #tshirtgiveaway #barshampoo #daydrinkingwithsethmeyers #hillstreetblues #kinshriner #saveava #nicholaschavez #savediane #stonewallkitchen #hallandoates #superstore #freaksandgeeks #waitingonafriend #memyselfi #freefallin #alanarkin #whosgonnarideyourwildhorses #maneater #whippingpost #colonoscopy #takethenap #alleymills #billylibby #chickadee #fortgorgeous #robertgossett #daydrinkingwithsethandlizzo #marcuscoloma #useastaplegun #riptwitch #ripepiphany #ripsonyaeddy  #waywardchickadee #barshampoo #ripmiffy #lovedogs #justinebateman #brookeshields #neilgaiman #dnice #cq #deborahcox #malcolmjamalwarner #lume #ripjacklynzeman #jasonmomoa #adambelanoff #thecloser #majorcrimes #wings #murphybrown #thecosbyshow #pinkalicious #ripbillymiller #ripmatthewperry #riptylerchristopher #ripandrebraugher 

The 37th Sid Griffin Podcast is ready to be heard and enjoyed. No holiday theme this year as Sid has done in past podcasts but…get ready for a surprise…he HAS done an entire show devoted to his fave act, The Byrds.

Click to Subscribe:  https://bit.ly/Youtube-Subscribe-SoapDirt General Hospital star John J York's health battle continues and we've got the latest update. When will Mac Scorpio exit and return to GH? We've got the scoop.  York was diagnosed with two forms of cancer in December 2022. Despite this, York continues to maintain a positive outlook and remains active, walking three miles daily.  In the meantime, viewers can expect his character's absence to be addressed in the upcoming episodes of GH. York's resilience is a testament to his strength, and the outpouring of support from fans and colleagues alike is a testament to the impact he has made through his role on the ABC soap opera. Visit our General Hospital section of Soap Dirt: https://soapdirt.com/category/general-hospital/ Listen to our Podcasts:  https://soapdirt.podbean.com/ And Check out our always up-to-date General Hospital Spoilers page at: https://soapdirt.com/general-hospital-spoilers/ Check Out our Social Media... Twitter: https://twitter.com/SoapDirtTV Facebook: https://www.facebook.com/SoapDirt Pinterest: https://www.pinterest.com/soapdirt/ TikTok: https://www.tiktok.com/@soapdirt Instagram: https://www.instagram.com/soapdirt/

SARAH MOORHEAD chats to Paul Burke about her new speculative crime thriller   THE TREATMENT, Witness X, Liverpool, teaching, good & evil, Debut 20s and the godfather of the northern crime writing scene, young people today and Wizard of Oz meets Frankenstein. THE TREATMENT: The future of law enforcement has arrived, courtesy of private health contractor Janus Justice. Their ground-breaking ‘Offender Treatment Programme' has been hailed as the most effective way of tackling crime yet.As offenders move through the four-tiered system, their needs are dealt with, each tier more drastic in its methods:Tier One: Low-risk crimes. Physical therapy encouragedTier Two: Trauma and addiction. Emotional and psychological reasons for offending are examinedTier Three: Aversion therapy & moral punishmentTier Four: Siberia, where all hope is lostBut Grace Gunnarsson, one of Janus' most highly regarded rehabilitation psychiatrists, has uncovered a terrible flaw in the system, one that is allowing people to get away with murder...SARAH MOORHEAD - Born in Liverpool, Sarah Moorhead has told stories since childhood and uses writing as bubblegum for her over-active brain – to keep it out of trouble. Fascinated by meaning, motivation and mystery, she studied Theology at university.Over the last twenty seven years, apart from teaching in secondary school, Sarah has attained a black belt in kickboxing, worked as a chaplain, established a Justice and Peace youth group, and written articles for newspapers and magazines about her work in education and religion. She still lives in her beloved hometown.RECOMMENDATIONSSusan Greenfield, John York, Will Storr, Lisa Kron, Stuart Turton, Anthony BurgessFiona Cumming - Into the Dark , All of Us are BrokenPaul Burke writes for Crime Time, Crime Fiction Lover and the European Literature Network. He is also a CWA Historical Dagger Judge 2023.Produced by Junkyard DogMusic courtesy of Southgate and LeighCrime TimeCrime Time FM is the official podcast ofGwyl Crime Cymru Festival 2023CrimeFest 2023&CWA Daggers 2023

You may be the only Bible our neighbors ever read. You know and I know “there is no way to love Christ and not love his church.” But they don't know that. We want people to love Christ. What Christ are they seeing in you and me? Christians are called to live “a life that needs God's love to explain itself.” So be winsome to win some.The sermon today is titled "Having Favor With All." It is the twelfth installment in our "Community" Series. The Scripture reading is from Acts 2:47 (ESV). Originally preached at the West Side Church of Christ (Searcy, AR) on July 9, 2023. All lessons fit under one of 5 broad categories: Begin, Discover, Grow, Learn, and Serve. This sermon is filed under DISCOVER: A New Community.Click here if you would like to watch the sermon or read a transcript.Footnotes (Sources and References Used In Today's Podcast):Beauty is a $1 Billion industry. Josh Howard, "The Ultimate List of Beauty Industry Stats (2023)," March 23, 2023. For direct stats, see, for example, here.Stories told at the door about Christians. Rubel Shelly & John York, The Jesus Community: A Theology of Relational Faith (Siloam Springs, AR: Leafwood, 2004), p. 21.Rating Christians. Pew Center Research Report. "How Americans Feel About Religious Groups." July 16, 2014.3% of young outsiders. David Kinnamn and Gabe Lyons, UnChristian: What a New Generation Really Thinks about Christianity...and Why It Matters (Grand Rapids, MI: Baker, 2007), pp. 24-25. Found in Philip Yancey, Vanishing Grace (2014).[Athenagoras], Epistle to Diognetus, in Early Christian Writings (London: Penguin, 1968), pp. 244-45.J. W. McGarvey, New Commentary on Acts of the Apostles (repr., Gospel Light Publishing Co., 1950), p. 49.I'd love to connect with you!Watch sermons and find transcripts at nathanguy.com.Follow along each Sunday through YouTube livestream and find a study guide and even kids notes on the sermon notes page.Follow me @nathanpguy (facebook/instagram/twitter)Subscribe to my email newsletter on substack.

The Audiobook Lovin' Series is a month long event celebrating audiobooks, brought you by Viviana, Enchantress of Books. Guests: Narrator John York Website Post for more info & giveaway: http://www.vivianaenchantressofbooks.com/2023/06/audiobook-lovin-2023-presents-narrator.html Audiobook Lovin's Main Site: http://www.vivianaenchantressofbooks.com/p/audiobook-lovin-2023.html We hope you have enjoyed this production of Audiobook Lovin' Series. Become a patron at https://www.patreon.com/AudiobookLovin Follow us on: Audible: https://adbl.co/3lbkxl2 Amazon Prime Music: https://amzn.to/32xUgaA Apple Podcasts: https://apple.co/3L3Nf25 Spotify: https://spoti.fi/38l1odY Pocket Casts: https://pca.st/5bmvo1zo Soundcloud: https://bit.ly/AudiobookLovinSoundcloud iHeart Radio Podcast: https://ihr.fm/38qaZ31 Google Podcast: https://bit.ly/AudiobookLovinGooglePodcast Host: Viviana Izzo Podcast Intro & Outro: Narrator Stephen Dexter Podcast Sponsorship: Narrator Jaclyn Kelso Audio Editor: Gabriella Bojorge All rights reserved. This has been an Audiobook Lovin' production Copyright 2017 by Viviana Izzo, Enchantress of Books. Production Copyright 2017 by Audiobook Lovin' Audiobook Lovin' is a division of Viviana, Enchantress of Books. Please visit Viviana, Enchantress of Books to learn more about the Audiobook Lovin' Series. All rights reserved. No part of this publication may be reproduced, modified, copied, distributed, repackaged, shared, displayed, revealed, extracted, emailed, transmitted, sold or otherwise transferred, conveyed or used, in a manner inconsistent with the Agreement, or rights of the copyright owner. You shall not redistribute, repackage, transmit, assign, sell, broadcast, rent, share, lend, modify, extract, reveal, adapt, edit, sub-license or otherwise transfer the Content. You are not granted any synchronization, public performance, promotional use, commercial sale, resale, reproduction or distribution rights for the Content. For permission requests, please visit Viviana, Enchantress of Books for more information.

The battle is over, but the war is far from it. With the hunters dead and the Council's lies out in the open, the entire paranormal community turns on the witches. And none more than the vampires who have a score to settle. The only way to stop them lies in the past. And it's scarier than anything we've ever faced before. But what's scarier is losing Caleb. Will I get to him on time? Can I save my soulmate from the face of true evil? I don't know the answer, but I'll die trying. Vampire Heart is the third book in a gay urban fantasy romance series, and it's best listened to in order. It's filled to the brim with magic, heart-pumping action, and steamy times. Book three ends on a satisfying HFN. ©2020 Rhys Lawless (P)2023 Rhys Lawless

Ken Killip was looking forward to an outing with friends to the Rocky Mountains in August of 1998. He was a firefighter and had some military training and was a generally fit individual. Prior to the trip, many of his friends decided not to go, and as he planned for his departure he had a bad feeling in his gut that he brushed off. He and his friend, John York set out for a hike up Mt. Ida, one that Ken would never forget. --- Support this podcast: https://podcasters.spotify.com/pod/show/kaycee-mcintosh/support

Sam Paddor and John York discuss John's time playing bass for The Byrds, the Mamas and the Papas as well as our shared obsession with Bob Dylan.John York's Website:https://www.johnyorkmusic.comMy Back Pages Website:https://www.mybackpages.org 

On this episode of 49ers Talk, Matt Maiocco and Carlos Ramirez break down the 49ers' huge win over the Cardinals in Mexico City, and the atmosphere at historic Estadio Azteca. Jennifer Lee Chan joins to discuss the 49ers as Super Bowl contenders, and if Jimmy Garoppolo gets enough credit for San Francisco's improved play.1:45 49ers enjoy home-field advantage in Mexico City9:00 49ers' offensive line shows how much improvement they've made since start of season11:30 Breaking down George Kittle's TD and Jimmy Garoppolo's Mahomes-like throw13:30 49ers' defense continues dominance with third-straight 2nd half shutout18:30 49ers' offense spreads the ball around22:10 John York gets game ball for sparing no expense in getting team prepared to play in Mexico City26:30 Is it Super Bowl or bust for 49ers?30:00 Does Jimmy G get enough credit?32:30 Could Jimmy G end up with the NY Jets next season?33:45 Trey Lance updateSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In 1960, Alfred Hitchcock pulled his most famous trick. He hired a major movie star and placed her at the centre of drama about passion and escape. In Psycho, Marian Crane steals $40,000 and flees across the country to marry her lover in California. And you already know what happens next. She's stabbed to death enroute by a motel owner's mother. This is cinema's most famous mid-point twist, the PIVOT around which the story WE THINK we are watching turns into something strange and terrifying. Suddenly, the world isn't what we thought it was. And we lean in. The shower scene is the iceberg in Titanic, the piano sex in Pretty Woman and the T-Rex attack in Jurassic Park. It's the moment that danger increases and attention deepens. John York's brilliant storytelling book, Into the Woods, goes deep on mid-points, quoting Macbeth after the murder of Banquo. "I am in bloodStepp'd in so far, that, should I wade no more,Returning were as tedious as go o'er." Fair enough, but how can this help us tell stories that mean business? Here's one example from the best technology pitch I ever saw. In the early 1990s, I was watching a presentation on this new technology called Virtual Reality. It was the usual dull PowerPoint until – halfway through – the presenter pulled back from the screen to reveal that the presentation was playing on a virtual screen INSIDE a virtual room. Boom. Suddenly, the world wasn't what we thought it was. And we leaned in. Nick

In this episode of 3VB Speaks barristers Philip Hinks and William Day discuss schemes of arrangement and in particular the recent Provident and Amigo cases in which they appeared on behalf of customer advocate John York. The court was considering redress claims against consumer finance companies in relation to unaffordable and unsustainable lending.

In the first episode of Tea Time With Serena, The New York Times bestselling author of the Disney Villains book series hosts her own podcast along with Creepy Kingdom's Gretchen and Tanitia!  In the premiere episode, they take a deep dive into Serena's latest Disney Villains book “Never Never”, chat with John York, the narrator of the “Never Never” audiobook, and give a sneak preview of Serena's next book “Raising the Horseman”! NEVER NEVER SPOILERS BETWEEN 18:33 -33:33 Click to watch the Video Version!

Friend of HD Church, Pastor York, brings the word today.

Caledonia Jane Doe was a teenage girl murdered on November 9, 1979. Her case has become one of the most popular cases of unidentified homicide victims in the world. In this episode, strange clues like tan lines in a cold climate reveal how her identity was discovered after being forgotten for decades. See omnystudio.com/listener for privacy information.

Thank you for tuning in to the message today. We pray that you were blessed by it. Visit hdjax.com to learn more.

eots@email.com Elimination of the Snakes - Home | Facebook Life and political podcast. We took last week off, but we're back. Dan finished book 2 of the John York trilogy. He's doing a give-a-way of book 1 in the Trilogy. Fact or Crap: One right for Dan, none for John this week. Dan reads a bit from his first book. No good news this week. All Covid, all the time. POLITICO Chicago judge rules mom can't see son without COVID vaccine. After 3-week COVID-19 battle, Daytona Beach talk radio host Marc Bernier dies. Texas mask critic Caleb Wallace dies of COVID. Prominent NFL players taking anti-vax stance. An Ohio Judge reverses an earlier order forcing a hospital to administer ivermectin.  

Thank you for tuning into the message today as we continue our Love Leans In series. We hope that you were encouraged by the message. Learn more about us at hdjax.com.

San Francisco 49ers buys into Leeds United Leeds United Football Club is an English professional football club based in the city of Leeds, West Yorkshire. The club was formed in 1919 following the disbanding of Leeds City by the Football League and took over their Elland Road stadium. The San Francisco 49ers are a professional American football team based in the San Francisco Bay Area. They compete in the National Football League as a member of the league's National Football Conference West division. John Edward "Jed" York is an American businessman who is the CEO of the San Francisco 49ers NFL franchise. York is the son of Denise DeBartolo York and John York, and nephew of former 49ers owner Edward J. DeBartolo Jr. Andrea Radrizzani is an Italian businessman and the majority owner of Premier League football club Leeds United. He is also the chairman and founder of the sports broadcasting group Eleven Sports.

Ava Elizabeth Davis York grew up in the city of Chicago but now lives in Atlanta, Ga with her husband, John York. She is a worship leader who is passionate about the power that music has to speak to the heart in ways that words may not. Her heart’s desire is to help cultivate an environment that allows for free, organic, and raw worship. One that draws in anyone from all walks of life. She desires to serve along side those who feel plagued by hopelessness. Ava believes that God didn’t come to save a perfect land full of perfect people per se, but to lead a broken land, full of broken people to his promise of mercy, redemption and grace.

I had the pleasure of chatting with the very talented producer and musician, Chad Watson. I've known Chad and his lovely wife, Pam Loe, for years, and learned so much about him today. Chad plays multiple instruments - bass, trombone, mandolin, among others. He had played with Freebo, Charlie Rich, Kenny O'Dell, Maria Muldair, John York and Barry McGuire, among other country and jazz musicians. Chad and Pam often perform together at The Cowboy Palace in Chatsworth, California. Once the quarantine is over, they will be there once again. Pam Loe, Chad's wife, is a musician in her own right. She is a talented singer, and vocal coach. Pam can be reached at pamloe.com and her facebook is facebook.com/pamloe. Her facebook page highlights both she and Chad singing, and their concerts. Chad can be reached at chadbass@hotmail.com. Cant wait for episode 2. Check it out ! --- Support this podcast: https://anchor.fm/michelemarotta/support

High Sierra lake eskape with a cassette boombox and meditative and spiritual '80s and '90s tapes from Tom Mandel, Martin & Scott, Ron Lloyd, Jai Josefs, John York, George Tortorelli, and Ivan Trilha...

Sean Rafferty is joined by Raphael Wallfisch,John York, Paul Wee and Andreas Scholl.

Steve Cooper talks with musician Rick Roberts. Rick is best known for being a founding member and lead singer of the band Firefall as well as his work with The Flying Burrito Brothers. He was in Firefall from 1974 to 1981 and then again from 1989 to 1992. During his years the band was known for hit singles such as You Are the Woman, Just Remember I Love You and Strange Way and recorded six studio albums. Since then he has recorded two solo albums and played with the likes of Randy Meisner, John York and Rick Danko. He is currently touring with former fellow Firefall member Larry Burnett.  

Sharie and her friends, Ava and John York talk about how to live your best engaged life ever. Ava is a worship leader and John is an Analytical Consultant in Global Financial Crimes and Ava is a worship leader they have been married for less than 6 months so Sharie invited them to share their story of falling in love, dating, and engagement. We discuss how and when to talk about marriage in dating, successes and mistakes in engagement, unexpected expectations, personality differences and a bunch of engagement advice.

As most of you could probably guess, John York is one of the best guys out there. We absolutely loved visiting with him and hearing about his beginnings in Chicago and the path that led him to his almost 30 year run on General Hospital. This week's episode of That's Awesome is brought to you by: Middle of The Magic Travel Start planning your dream Disney vacation with an authorized Disney travel concierge with NO FEE at https://www.middleofthemagictravel.com PLUTO TV Pluto TV is the easy and completely legal way to watch your favorite TV shows and hit movies for free. Check it out at pluto.tv and TRUECAR Experience a better way to sell or trade-in your car. Check out TrueCar today at truecar.com.

Long Live The Electoral College Today's topics include: ...but it may not be for long. Nevada is the latest state to join the Popular Vote Interstate Compact Act. There are already fourteen other states in on the deal...; next, John York (policy analyst at The Heritage Foundation) joins the show to further discuss why the Electoral College is so important in a Democratic Republic; and finally, David Harsanyi (senior editor at The Federalist) joins the show to talk about a recent piece he wrote, regarding the myth of Millennial's 'suffering' in comparison to other generations. See omnystudio.com/listener for privacy information.

Several leading voices on the left have joined together to call for the abolishment of the Electoral College, and replace it with a national popular vote. This week, Dr. John York debunks their arguments, and explains why the Electoral College is still the best system for electing our Presidents. Links: https://www.heritage.org/the-constitution/commentary/no-sen-warren-presidential-candidates-wouldnt-campaign-mississippi-ifhttps://www.heritage.org/election-integrity/report/destroying-the-electoral-college-the-anti-federalist-national-popular See acast.com/privacy for privacy and opt-out information.

Today we’ll talk with Barbara Marlowe, co-author of, A Brave Face: Two Cultures, Two Families, and the Iraqi Girl who Bound Them Together (Thomas Nelson), Policy Analyst, John York, on how campaign finance reform would benefit big media, and David John Seel, Jr., author of, The New Copernicans: Millennials and the Survival of the Church (Thomas Nelson). Dr. Seel will be speaking in Portland, 9 AM-11:45, Friday, March 15, at Mt. Scott Church of God, 10603 SE Henderson Street, Portland 97266.See omnystudio.com/listener for privacy information.

They're Coming For Tucker Carlson Today's topics include: The lovely people at Media Matters for America - a taxpayer funded organization - dug up some old audio from Carlson's past appearance's on a radio show with a guy who called himself 'Bubba The Love Sponge'; next, Nicholas Fondacaro (news analyst at NewsBusters) joins the show to continue the discussion surrounding Tucker Carlson. Fondacaro has been watching the reaction from the non-FOX media outlets, and gives us his update on all the ways the liberal media is slinging mud on Carlson; and finally, John York (policy analyst at The Heritage Foundation) talks about yet another stupid thing that Bernie Sanders can be counted on for saying...which is his call for the elimination of private money in elections. Sanders instead wants them to be funded by the government. York explains why this campaign finance reform would greatly benefit the media.See omnystudio.com/listener for privacy information.

The Heritage Foundation, policy analyst, John York, discusses with John about his new piece "A Better Way to Find and Fix Our Cyber Insecurities".

Chad Watson is a world class bass player, songwriter, sideman and sidekick (just ask his lovely wife, Pam Loe). Artists he’s tour and /or records with include John York, Ronnie Milsap  and Charlie Rich, Freebo and Bonnie Raitt, Ja  mes Lee Stanley, Chris Hillman, The Burrito Brothers, Janis Ian, Ezra Mohawk and others. Some of the things I talk about with Chad include: Playing at one of my favorite venues, Kulak’s Woodshed in North Hollywood with Freebo who used to be Bonnie Raitt’s bass player, and the Kulak’s Woodshed archives, which have been relocated to their Youtube channel,  where you can still see live performances from some of the performers mentioned in our conversation. He also takes about his days on the road with Ronnie Milsap;  A brush with Kim Fowley, reminisces about some of the old clubs like the Palomino and a missed opportunity to sit in with Stuff, the original house band from Saturday night live when we swapped stories about missed opportunities. I mentioned the I chickened out when Marty Rifkin invited me to sit in with the house jam at the Palomino. And then there’s great tale about country star Dale Watson - sorry, no spoilers. Chad is currently working on a few recording projects and has just tapped up a project with James Lee Stanley. He continues to perform live with his lovely wife, Pam Loe. Chad’s Website: http://www.chadwatson.us Your best bet in viewing it is with the Firefox browser. It requires the Flash plugin. KULAK’S WOODSHED ARCHIVES https://www.youtube.com/user/paulkulak1/featured   James Lee Stanley - Freelance Hyman Being https://jamesleestanley.com/

This week I chat with USBC Silver-certified Coach  John York.  You can find York’s writing in Bowling This Month.com.  We discuss a few of his recent articles where he discusses targeting and just important it is these days along with how bowlers can get in that comfort zone when competing on […]

You'll never guess what the rats are.  SMH

You know what they say about non-Euclidian angles....

Happy belated Thanksgiving to all of you! I hope you had a wonderful day. On the podcast today, we are going to be touching on the holiday itself, the idea of progress and some more about those crazy Christians. 1. Americans Say To Pass The Turkey, Not The Politics, At Thanksgiving This Year by Jessica Taylor from NPR 2. Meet the Woman Who Helped Make Thanksgiving a US Holiday by John York from The Daily Signal 3. How Evil Is Tech? by David Brooks from the New York Times 4. Progress Comes Through Conflict? by Devin Foley from Intellectual Takeout 5. The Early Christians Were Odd, Too by Michael Kruger from The Gospel Coalition All music from audionautix.com.

It’s crunch time in Congress for tax reform, Rachel Greszler, research fellow in Heritage’s Center for Data Analysis, joins us to discuss the latest. Plus, John York, research assistant in Heritage’s B. Kenneth Simon Center for Principles and Politics, explains the importance of government reorganization and the role Congress should play. See acast.com/privacy for privacy and opt-out information.

John York

John York

Charles Benjamin Croft was born in 1927 in Enid, Oklahoma. He grew up in the West Texas oilfields and left in 1945 to attend the University of Texas at Austin. He enrolled in the College of Engineering. After serving in the Marine Corps in World War II, he returned to the University of Texas and enrolled in the School of Architecture. He graduated in 1953. Croft’s first job after college was with John Lynn Scott. That job was followed by one at Fehr and Granger. Croft then relocated to the Texas Rio Grande Valley where he worked with John York and then with Alan Taniguchi. He returned to Austin and worked for Jessen and Jessen briefly and then had his own firm for many years. Notable projects are Westlake High School and Robert Mueller Municipal Airport in Austin and Casa del Sol in Harlingen, Texas.

The Oakland Raiders are in the playoffs, my friends, and that in and of itself is big news. The Raiders haven't been to the postseason since 2002, and they were led there by third-year quarterback Derek Carr. Carr is becoming a superstar and the similarities between he and Stephen Curry are glaring. The boys talk about that and also how the Golden State Warriors have now set a standard of excellence that has become overlooked. This team is great and nobody seems to be appreciating them. The 49ers stink, and Jed York is under fire. There are reports he could be stripped of his power by Dr. John York, the owner of the team. But York told the media this past weekend that that reports are untrue. Lastly, how long is too long to stand in line to mail presents back east to your family?

In this week's episode of 49ers Talk, Bay Area News Group beat reporter Cam Inman chats with former 49ers tight end Brent Jones, who was at the 49ers facility this week to unveil the Golden Heart Fund in support of 49ers alumni. Jones, Ronnie Lott, Harris Barton, Ron Ferrari and many others were instrumental in creating the program, which is being funded in part by $1 million pledges from current 49ers owners, John York and Denise DeBartolo York, as well as former owner Eddie DeBartolo. Jones also shared his thoughts about the 49ers current state as they take a 1-12 record and 12-game losing streak into Sunday's visit to the Atlanta Falcons.​

Cellist Raphael Wallfisch and pianist John York explore music written by the British composer Rebecca Clarke on their latest recording, on the Lyrita label. A professional viola player and composer, Clarke is best known for her Viola Sonata, heard here in her transcription for cello, and Piano Trio. But in this disc Wallfisch and York also turn the spotlight on her unpublished Cello Rhapsody. Find out what the BBC Music Magazine editorial team made of the disc, and hear clips from the recording in this podcast. See acast.com/privacy for privacy and opt-out information.

John York, Rhonda Lowry

Dr. John York from Lipscomb University visited Cornerstone this week to share some exciting news about a new path of learning, ministry and growth ahead for our church. In addition, John shares his insight into the final beatitude (Matthew 5:10-11) to conclude this thoughtful series. Jesus states that blessed are those who are persecuted for righteousness; blessed […]

Dr. John York, Guest Minister

My guests are: musician John York ("The Byrds") plus The Experience's resident "Industry Guy" John Scott G ("Golosio Publishing") and our own "Rock 'N' Roll Nurse" Suzanne Graf. Topics: Should A Band Play The Hit Songs Their Fans Love? Is It Okay To “Air Your Dirty Laundry” In Public? To hear this show: http://www.latalkradio.com/Sheena.php For more info: http://www.sheenametalexperience.com