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3 episodes with kantner
2 episodes with kantner
2 episodes with kantner
3 episodes with kantner
2 episodes with kantner
2 episodes with kantner
2 episodes with kantner
3 episodes with kantner
References Nature Methods 2019. volume 16, pages 815–829. Chem Biol Drug Des. 2018 Dec 19;93(6):1251–1264 Biosensors & bioelectronics 2024. Vol 249. 18 January. Crosby, Kantner and Still. 1969. "Wooden Ships". Jefferson Airplane https://youtu.be/ROBaoiJK0wc?si=O1ClTiWkEMFpAEGg Telemann, GF. :"Wassermusik" Ouverture in C major TWV 55:C3 https://youtu.be/ki1asCYcH08?si=p0xnxchR8v5XuYk8 --- Support this podcast: https://podcasters.spotify.com/pod/show/dr-daniel-j-guerra/support
In today's episode I will be discussing some of the challenges independent jewelers face today with special guest Liz Kantner. We chat about high gold costs, doing trade shows and social media struggles.Liz Kantner is passionate about working with independent jewelry artists to help them define their voices and thrive in the modern marketplace and has been working with artists since 2012. Liz is the founder of Stay Gold, a community consulting program where she dedicates herself to a select roster of fine jewelry clients, nurturing them to success through digital marketing, trade show strategy, sales-driving techniques, and branding. She also helps to curate emerging brands for Luxury Lifestyle at NY NOW. She also co-hosts the podcast, Success with Jewelry.Connect With LizJoin the Stay Gold Collective and use promo code TRYSTAYGOLD to save 50% off your first two months!Curated at Luxury Lifestyle at NY NOW: https://nynow.com/luxurylifestyle/You can follow Liz in Instagram: @liz_kantner Visit her website: lizkantner.comCheck out her podcast with Laryssa Wirstiuk: Success with JewelrySupporting The PodcastBuy a Metalsmith Society ShirtPlease follow the podcast and leave a rating and review!Join my Patreon as a supporter or with a free membership! https://patreon.com/metalsmithsocietyFollow Metalsmith Society for all the jewelry tips: https://www.instagram.com/metalsmithsocietyMusic attribution: Stock Music provided by RomanSenykMusic, from Pond5
In this episode, Christine Mighion talks with Liz Kantner and Laryssa Wirstiuk about marketing for independent jewelry artists. They discuss the challenges of marketing, the importance of branding, and strategies for building a strong brand presence. They emphasize the need for consistency, knowing your audience, and focusing on the bigger picture. They also address the common challenges of time management and the right time to invest in marketing. As the conversation continues Liz and Laryssa touch on the significance of email marketing and the need to nurture and connect with the audience on a personal level. They advise artists to focus on storytelling and authenticity in their emails rather than just promoting their products. Finally, they discuss the challenges of building engagement and community and share insights from their podcast, Success With Jewelry, and their membership program. The Joy Joya Jewelry Brand Incubator Grant The winner of the grant will receive $18,000 worth of marketing support for six months completely free. Other opportunities are available for grant finalists. The deadline to enter is Friday, July 12th. JewelryBrandIncubator.com You can follow along with Liz & Laryssa with the links below: SuccessWithJewelry.com @successwithjewelry JoyJoya.com @joyjoyamarketing LizKantner.com @liz_kantner If this podcast means something to you and you would like to support it, please take a a moment to give it a few kinds word with a written review on your favorite podcast listening platform. This helps me share the podcast with others. You can also share a favorite episode or consider joining our Slowmade Podcast Patreon community. You support literally makes this podcast possible. Thank you so much! You can follow along or reach out to Christine on Instagram: @christinemighion or @slowmadepodcast or you can send her an email at: info@christinemighion.com
A thousand facets seats with Liz Kantner and Robin Kramer to talk about the Curated at Luxury lifestyle at NY Now. We talked what it is to do a trade show and what are the things artists should look when deciding to do a show, We invited three artists that are doing the show, returning artists Hilary Finck and Tamsin Rasor and newcomer Laurie Reed. I hope you enjoy our conversation. For more information about Curated at Luxury lifestyle at NY Now Please email Liz: liz@staygoldjewelry.com Robin: robin@redbootconsulting.com If you want to see the work of the artists featured please visit: https://hilaryfinck.com/ https://tamsinrasor.com/ https://www.francesreidstudios.com/ Please visit @athousandfacets on Instagram to see some of the work discussed in this episode. Learn more about your ad choices. Visit podcastchoices.com/adchoices
References Front Immunol . 2021 Mar 10:12:613591. Guerra, D. 2020's. Membrane Biochemistry Lectures Crosby, D., Kantner, P., and Stills, S. 1968. "Wooden Ships" [Jefferson Airplane ] from Volunteers lp. https://youtu.be/ROBaoiJK0wc?si=ABsxa4m4AjjAwoms Mendelsshon, F. 1830. "The Hebrides Overture"-Fingal's Cave.OP26. https://youtu.be/MdQyN7MYSN8?si=w9G1d0_5DFJn-tzx --- Send in a voice message: https://podcasters.spotify.com/pod/show/dr-daniel-j-guerra/message Support this podcast: https://podcasters.spotify.com/pod/show/dr-daniel-j-guerra/support
We're excited to introduce you to Matthew Kantner, Marketing and Creative Talent Director at Creative People, in charge of hiring talent across Brand, Growth, Creative, Design, Social, Product Marketing & more for venture-backed startups and public companies. About Creative People: Our mission is to humanize the recruitment experience for both candidates and clients. We eliminate the transactional nature and perception of a recruiter by creating authentic relationships led through integrity and empathy.We are committed to making candidates feel supported, prepared, and confident to be their best selves. We want clients to know they have a trusted and embedded partner who represents their brand, just like we represent c/p.By being human, experts, and very extra, we are here to change the way the recruitment experience works for everyone involved. Creative People's brand clients include Sweetgreen, Seed Health, Warby Parker, Our Place, ClassPass, and more. ____ Say hi! DM us on Instagram and let us know which bonus episodes you're excited for - we can't wait to hear from you! Please also consider rating the show and leaving a review, as that helps us tremendously as we move forward in this Marketing Happy Hour journey and create more content for all of you. Get the latest from MHH, straight to your inbox: Join our email list! Connect with Matt on LinkedIn Check out Creative People: LinkedIn | creativepeopleinc.com Connect with Co-Host Erica: LinkedIn | Instagram Connect with Co-Host Cassie: LinkedIn | Instagram Follow MHH on Social: Instagram | LinkedIn | Threads | Twitter | TikTok | Facebook New to Marketing Happy Hour (or just want more)? Download our Marketing Happy Hour Starter Kit --- Support this podcast: https://podcasters.spotify.com/pod/show/marketinghappyhour/support
TODAY'S PROGRAM...... M1 For What It's Worth (Stephen Stills), Buffalo Springfield, Buffalo Springfield, Released ATCO, LP 1969 (3:00)... M2 Bluebird (Stephen Stills) Buffalo Springfield Again, Released ATCO, LP 1967, (4:28)... M3 Suite: Judy Blue Eyes (Stephen Stills), Just Roll Tape, Recorded 1968, Released Eyewall, LP 2007 (6:33).... M4 Wooden Ships (Stills, Kantner, Crosby) Just Roll Tape, Recorded 1968, Released Eyewall, LP 2007 (2:26)... M5 Carry On (Stephen Stills) Déjà Vu, Crosby Stills Nash & Young Taylor & Reeves, Atlantic LP 1970 (4:25)... M6 4+20 (Stephen Stills), Déjà Vu, Crosby Stills Nash & Young Taylor & Reeves, Atlantic LP 1970 (1:55)... M7 Sugar Babe (Stephen Stills), Stephen Stills 2, Atlantic Records LP, 1971 (4:04). M8 Change Partners, (Stephen Stills), Stephen Stills 2, Atlantic Records LP, 1971 (3:14)... Stephen Stills is an American musician, singer, and songwriter best known for his work with Buffalo Springfield Crosby, Stills & Nash Manassas … and as a SOLO ARTIST. He was born in 1945 in DALLAS TEXAS. He is 78 at the time of this podcast's production. He is still active. He plays guitar, bass guitar, keyboards… he's not only a singer and songwriter… also an arranger and producer. Stills has had a long and prosperous career. Starting out in 1963, he has given us some 60 years of songwriting and musical performance. Today I FEATURE original compositions by singer songwriter Stephen Stills. From my collection we will hear 5 albums: Buffalo Springfield album and For What It's Worth, Buffalo Springfield Again album with Bluebird Stephen Stills' demo tape album JUST ROLL TAPE with Suite: Judy Blue Eyes, and Wooden Ships Crosby Stills Nash and Young's DÉJÀ VU album with 4+20 and Carry On And finally, the STEPHEN STILLS 2 solo album with Sugar Babe and Change Partners. We are now listening to ROCK AND ROLL WOMAN from BUFFALO SPRINGFIELD AGAIN. These selections were each recorded between 1966 and 1971. Just a small time slice of this singer/songwriter's career. Stills was between the ages of 21 and 26. These works are important because these songs are each hand crafted by Stills. I also wanted to showcase his array of talents like multi-instrumental musician, arranger, and producer. In addition to being a successful singer/songwriter, who work has had a large musical impact. Much more for future podcasts. M1 For What It's Worth (Stephen Stills), Buffalo Springfield, Buffalo Springfield, Released ATCO, LP 1969 (3:00) Stephen Stills' first HIT recording was FOR WHAT IT'S WORTH (or “Stop, Hey, What's That Sound”). It was 1966. Stills was just 21 years old. This was his first big break. He had written several songs, by now.. Not only did he have an inventory of original songs, he had helped to form a new band. Along with two other singer-songwriters, Richie Furay and Neil Young… they formed Buffalo Springfield out in Los Angeles. Neil Young came from Winnipeg Alberta, and Furay and Stills left a New York City gig with the Au Go-Go Singers, a 9-member group performing at the Café Au Go-Go. Two other Canadians -- bassist Bruce Palmer and rock drummer Dewey Martin were added --- 5 band members in all. 2 Americans, 3 Canadians. "For What It's Worth" became one of the most recognizable songs of the 1960s. It was first released as a 45 RPM single in late 1966. In t1967, For What It's Worth featured on the first Buffalo Springfield LP. The lyrics in FOR WHAT ITS WORTH are all about a confrontation Stills had with LAPD Riot Police in Los Angeles' earlier that year. There had been many summer nights of rowdy crowds of kids causing late-night traffic issues in the Sunset Strip neighborhood. LA responded by announcing a curfew of 10PM. As a result, there were reported to have been over 1,000 persons out on the Strip protesting and trouble broke out. There were clashes between police and young pe...
Carol is a dear friend that I know from the Dolpehock Sanger Chor (PA Dutch only singing chor). She's the accompanist to the chor as well as Organist at North Heidelberg UCC. Carol's family is 100% PA Dutch and she's aDieffenbach of the Dieffenbach Organs as well as the most famous potato chips!Carol's grandfather was Victor C. Dieffenbach, a Pennsylvania German columnist for the Lebanon Daily News, wrote under the pen name of “Der Alt Bauer” (The Old Farmer) for a number of years. For over 35 years he entertained his readers with his poetry and articles, many of which are reprinted in the book, DER ALT BAUER HOT EPPES ZU SAAGE (co-editors C. Richard Beam and Jennifer L. Trout, available at Masthof press, link below).Carol studied at Millersville University where she met Richard Beam and they developed a life-long friendship through his familiarity with her family and grandfather and her interest in learning more about her Deitsch culture.Carol continues to work on preserving her family's legacy of amazing organs as well as advancing the participation of the larger community to learn more about the Detisch culture and language. In a way taking the torch from her grandfather's work and continued that invaluable work! We enjoyed a lovely chat about all of her experiences in the Bauerei and her work within the Deitsch community.https://www.masthof.com/products/der-alt-bauer-hot-eppes-zu-saagehttps://www.facebook.com/DieffenbachOrganPreservationSociety1/https://www.facebook.com/Pennsylvania-German-Hour-469678339764796/https://www.bctv.org/program/pennsylvania-german/
Tue, 04 Apr 2023 07:15:00 +0000 https://idgtechtalk.podigee.io/80-green-cloud-mit-vanessa-kantner-und-matthias-farwick 37a6f1b321475c3b18e6ca31c6393884 Wie realistisch ist es, die Cloud-Migration nicht nur kosteneffizient, sondern auch umweltfreundlich zu gestalten? Unternehmen, die sich in ihren Cloud Excellence Centers mit FinOps-Ansätzen beschäftigen, sollten das Thema GreenOps gleich mitdenken. Diese Empfehlung geben im Podcast TechTalk von COMPUTERWOCHE, CIO und CSO die Cloud-Transformationsexperten Vanessa Kantner von Reply und Matthias Farwick von txture. full no Green Cloud,Cloud-Migration,FinOps-Ansätze,GreenOps Computerwoche, CIO & CSO
A thousand facets talks to marketing expert and jewelry spokeswoman Liz Kantner about the beginning of her career in marketing, how she found a community in the jewelry industry and how she has made the Stay Gold Collective the best vehicle for artists to find their place in the jewelry world. Liz Kantner's true passion is working with independent jewelry artists to help them thrive in the modern marketplace. While not an artist herself, Liz has the utmost appreciation for fine jewelry makers and loves to work one-on-one with her clients to help them tell their authentic stories and achieve success. She particularly enjoys the opportunity to work with emerging designers who have unique vision and a contagious passion for the work they create. Please visit @athousandfacets on Instagram to see some of the work discussed in this episode. You can find Information of the Stay Gold collective at: https://www.lizkantner.com/ or visit her Instagram page @liz_kantner Music by @chris_keys__ https://youtu.be/nKQHjg_E0yE Learn more about your ad choices. Visit podcastchoices.com/adchoices Learn more about your ad choices. Visit podcastchoices.com/adchoices
They're hard-working, tail-slapping, tree-cutting machines, and they're one of the greatest wildlife recovery stories in North America: Castor canadensis, the North American beaver. And, as if all that weren't enough, apparently their rear ends produce an oil that's vanilla-scented. Join the guys as they keep their puns and innuendos in check and dive into beavers! This episode was recorded on January 28, 2023 at the Beaver Meadow Audubon Center in North Java, NY. Episode NotesBeaver anal glands – which gland is used for which? There was some confusion over the beaver's anal glands and the oils they produce. Some sources stated that beavers have two anal glands that produce oil for waterproofing - the oil that smells like motor oil in male beavers and rancid cheese in females) and two more glands that produce oil (castoreum) for marking their scent mounds. Some sources, however, said the waterproofing oil was also used for scent marking. So, what gives? With a little more research, Bill discovered that he misspoke during the episode. Beavers have two anal glands that produce the waterproofing oil, and two castor sacs (not glands, although they're often referred to as such) that produce castoreum, the oil used for scent-marking. All four structures are located near each other, between the pelvis and the base of the tail. Here's a paper that explains it all. Click the “pdf viewer” tab for a format that is easier to read.Steve recalled hearing how parts of whales were used in perfume production. He was right! “Ambergris [is] a solid waxy substance originating in the intestine of the sperm whale (Physeter catodon). In Eastern cultures ambergris is used for medicines and potions and as a spice; in the West it was used to stabilize the scent of fine perfumes.” From Britannica.comWhen discussing the study that looked at how beaver dams fare during floods, Bill cited that, in one study, 70% of beaver dams remained intact during a flood event. Steve then pointed out that 30% of the dams failing seemed to lend at least some credence to the anecdotal records of beaver dams being unreliable at mitigating flood impacts. If Bill was a quicker thinker, he would have realized that he had JUST SAID that even though 30% of the dams in the study did not remain completely intact, the researchers found that many of them still helped reduce flood impacts downstream.Do wetlands have lower biomass? Steve mentioned he thought this was true, but, after the episode, Bill did a search of general and academic sources and could not find a definitive answer. He was, however, rushing a bit, trying to get this episode released. If you find a source with a concrete answer to this question and send it in (thefieldguides@gmail.com), the guys would definitely give you a shout-out on a future episode! LinksThe Conversation: This is the website Bill mentioned that publishes science articles for the general public, written by academics and researchers. The world's largest beaver dam - 58.2722° N, 112.2521° W A collection of Gerry Rising's nature columns from the Buffalo News (1991-2015). More recently, he wrote for Buffalo Spree, and those articles can be found here.Check out the Outside Chronicles website. You can also follow them on Facebook, YouTube, and Instagram. SupportThe Field Guides PatreonMake a onetime Paypal donation.The Field Guides Merch ShopOur SponsorsGumleaf Boots, USAAlways Wandering Art - Thank you to Always Wandering Art for this month's episode artwork!Works CitedAleksiuk, M., 1970. The function of the tail as a fat storage depot in the beaver (Castor canadensis). Journal of Mammalogy, 51(1), pp.145-148.Lancia, R.A., Dodge, W.E. and Larson, J.S., 1982. Winter activity patterns of two radio-marked beaver colonies. Journal of Mammalogy, 63(4), pp.598-606.Larsen, A., Larsen, J.R. and Lane, S.N., 2021. Dam builders and their works: Beaver influences on the structure and function of river corridor hydrology, geomorphology, biogeochemistry and ecosystems. Earth-Science Reviews, 218, p.103623.Lazar, J.G., Addy, K., Gold, A.J., Groffman, P.M., McKinney, R.A. and Kellogg, D.Q., 2015. Beaver ponds: resurgent nitrogen sinks for rural watersheds in the northeastern United States. Journal of environmental quality, 44(5), pp.1684-1693.Stephenson, A.B., 1969. Temperatures within a beaver lodge in winter. Journal of Mammalogy, 50(1), pp.134-136.Tape, K.D., Clark, J.A., Jones, B.M., Kantner, S., Gaglioti, B.V., Grosse, G. and Nitze, I., 2022. Expanding beaver pond distribution in Arctic Alaska, 1949 to 2019. Scientific Reports, 12(1), pp.1-9.Westbrook, C.J., Ronnquist, A. and Bedard‐Haughn, A., 2020. Hydrological functioning of a beaver dam sequence and regional dam persistence during an extreme rainstorm. Hydrological Processes, 34(18), pp.3726-3737.
At 74 years young, George Copeland still has the fire in his belly to chase the snook tide late into the night. As a young man of 8, he found a passion that would drive him deep into the fishing abyss. On his bike, similar to Steve Huff, he'd race around Ft. Lauderdale looking for snook and tarpon that would regularly be found in Tarpon Bend, New River, and all the canals in the center of a rapidly growing town. He would soon partner up with buddy, Steve Kantner, and spend much of his time bridge fishing where he also met likeminded snook nut, Tommy Greene. These three would refine snook fishing to a religious art form. People would seek them out, bewildered by the size of their trophy fish. They were renowned and eventually became professionals: Copeland and Greene store owners, Kantner a popular author and guide. Before settling into what he'd do for the rest of his life, George tried his hand at guiding for tarpon in the Keys. A prized possession was a boat he purchased from Little John Emory a few days before he passed. He fished with Ralph Delph and other legendary guides, and at 32, he purchased the famous T&R Tackle in Ft. Lauderdale, FL. Today, 42 years later, he's still outfitting some of the biggest and best offshore boats on the billfish circuit. So as we follow up with the history makers of our sport, we'd be remiss without the "George Copeland Story!"
Episode one hundred and fifty-eight of A History of Rock Music in Five Hundred Songs looks at “White Rabbit”, Jefferson Airplane, and the rise of the San Francisco sound. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three-minute bonus episode available, on "Omaha" by Moby Grape. 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/ Erratum I refer to Back to Methuselah by Robert Heinlein. This is of course a play by George Bernard Shaw. What I meant to say was Methuselah's Children. Resources I hope to upload a Mixcloud tomorrow, and will edit it in, but have had some problems with the site today. Jefferson Airplane's first four studio albums, plus a 1968 live album, can be found in this box set. I've referred to three main books here. Got a Revolution!: The Turbulent Flight of Jefferson Airplane by Jeff Tamarkin is written with the co-operation of the band members, but still finds room to criticise them. Jefferson Airplane On Track by Richard Molesworth is a song-by-song guide to the band's music. And Been So Long: My Life and Music by Jorma Kaukonen is Kaukonen's autobiography. Some information on Skip Spence and Matthew Katz also comes from What's Big and Purple and Lives in the Ocean?: The Moby Grape Story, by Cam Cobb, which I also used for this week's bonus. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, I need to confess an important and hugely embarrassing error in this episode. I've only ever seen Marty Balin's name written down, never heard it spoken, and only after recording the episode, during the editing process, did I discover I mispronounce it throughout. It's usually an advantage for the podcast that I get my information from books rather than TV documentaries and the like, because they contain far more information, but occasionally it causes problems like that. My apologies. Also a brief note that this episode contains some mentions of racism, antisemitism, drug and alcohol abuse, and gun violence. One of the themes we've looked at in recent episodes is the way the centre of the musical world -- at least the musical world as it was regarded by the people who thought of themselves as hip in the mid-sixties -- was changing in 1967. Up to this point, for a few years there had been two clear centres of the rock and pop music worlds. In the UK, there was London, and any British band who meant anything had to base themselves there. And in the US, at some point around 1963, the centre of the music industry had moved West. Up to then it had largely been based in New York, and there was still a thriving industry there as of the mid sixties. But increasingly the records that mattered, that everyone in the country had been listening to, had come out of LA Soul music was, of course, still coming primarily from Detroit and from the Country-Soul triangle in Tennessee and Alabama, but when it came to the new brand of electric-guitar rock that was taking over the airwaves, LA was, up until the first few months of 1967, the only city that was competing with London, and was the place to be. But as we heard in the episode on "San Francisco", with the Monterey Pop Festival all that started to change. While the business part of the music business remained centred in LA, and would largely remain so, LA was no longer the hip place to be. Almost overnight, jangly guitars, harmonies, and Brian Jones hairstyles were out, and feedback, extended solos, and droopy moustaches were in. The place to be was no longer LA, but a few hundred miles North, in San Francisco -- something that the LA bands were not all entirely happy about: [Excerpt: The Mothers of Invention, "Who Needs the Peace Corps?"] In truth, the San Francisco music scene, unlike many of the scenes we've looked at so far in this series, had rather a limited impact on the wider world of music. Bands like Jefferson Airplane, the Grateful Dead, and Big Brother and the Holding Company were all both massively commercially successful and highly regarded by critics, but unlike many of the other bands we've looked at before and will look at in future, they didn't have much of an influence on the bands that would come after them, musically at least. Possibly this is because the music from the San Francisco scene was always primarily that -- music created by and for a specific group of people, and inextricable from its context. The San Francisco musicians were defining themselves by their geographical location, their peers, and the situation they were in, and their music was so specifically of the place and time that to attempt to copy it outside of that context would appear ridiculous, so while many of those bands remain much loved to this day, and many made some great music, it's very hard to point to ways in which that music influenced later bands. But what they did influence was the whole of rock music culture. For at least the next thirty years, and arguably to this day, the parameters in which rock musicians worked if they wanted to be taken seriously – their aesthetic and political ideals, their methods of collaboration, the cultural norms around drug use and sexual promiscuity, ideas of artistic freedom and authenticity, the choice of acceptable instruments – in short, what it meant to be a rock musician rather than a pop, jazz, country, or soul artist – all those things were defined by the cultural and behavioural norms of the San Francisco scene between about 1966 and 68. Without the San Francisco scene there's no Woodstock, no Rolling Stone magazine, no Rock and Roll Hall of Fame, no hippies, no groupies, no rock stars. So over the next few months we're going to take several trips to the Bay Area, and look at the bands which, for a brief time, defined the counterculture in America. The story of Jefferson Airplane -- and unlike other bands we've looked at recently, like The Pink Floyd and The Buffalo Springfield, they never had a definite article at the start of their name to wither away like a vestigial organ in subsequent years -- starts with Marty Balin. Balin was born in Ohio, but was a relatively sickly child -- he later talked about being autistic, and seems to have had the chronic illnesses that so often go with neurodivergence -- so in the hope that the dry air would be good for his chest his family moved to Arizona. Then when his father couldn't find work there, they moved further west to San Francisco, in the Haight-Ashbury area, long before that area became the byword for the hippie movement. But it was in LA that he started his music career, and got his surname. Balin had been named Marty Buchwald as a kid, but when he was nineteen he had accompanied a friend to LA to visit a music publisher, and had ended up singing backing vocals on her demos. While he was there, he had encountered the arranger Jimmy Haskell. Haskell was on his way to becoming one of the most prominent arrangers in the music industry, and in his long career he would go on to do arrangements for Bobby Gentry, Blondie, Steely Dan, Simon and Garfunkel, and many others. But at the time he was best known for his work on Ricky Nelson's hits: [Excerpt: Ricky Nelson, "Hello Mary Lou"] Haskell thought that Marty had the makings of a Ricky Nelson style star, as he was a good-looking young man with a decent voice, and he became a mentor for the young man. Making the kind of records that Haskell arranged was expensive, and so Haskell suggested a deal to him -- if Marty's father would pay for studio time and musicians, Haskell would make a record with him and find him a label to put it out. Marty's father did indeed pay for the studio time and the musicians -- some of the finest working in LA at the time. The record, released under the name Marty Balin, featured Jack Nitzsche on keyboards, Earl Palmer on drums, Milt Jackson on vibraphone, Red Callender on bass, and Glen Campbell and Barney Kessell on guitars, and came out on Challenge Records, a label owned by Gene Autry: [Excerpt: Marty Balin, "Nobody But You"] Neither that, nor Balin's follow-up single, sold a noticeable amount of copies, and his career as a teen idol was over before it had begun. Instead, as many musicians of his age did, he decided to get into folk music, joining a vocal harmony group called the Town Criers, who patterned themselves after the Weavers, and performed the same kind of material that every other clean-cut folk vocal group was performing at the time -- the kind of songs that John Phillips and Steve Stills and Cass Elliot and Van Dyke Parks and the rest were all performing in their own groups at the same time. The Town Criers never made any records while they were together, but some archival recordings of them have been released over the decades: [Excerpt: The Town Criers, "900 Miles"] The Town Criers split up, and Balin started performing as a solo folkie again. But like all those other then-folk musicians, Balin realised that he had to adapt to the K/T-event level folk music extinction that happened when the Beatles hit America like a meteorite. He had to form a folk-rock group if he wanted to survive -- and given that there were no venues for such a group to play in San Francisco, he also had to start a nightclub for them to play in. He started hanging around the hootenannies in the area, looking for musicians who might form an electric band. The first person he decided on was a performer called Paul Kantner, mainly because he liked his attitude. Kantner had got on stage in front of a particularly drunk, loud, crowd, and performed precisely half a song before deciding he wasn't going to perform in front of people like that and walking off stage. Kantner was the only member of the new group to be a San Franciscan -- he'd been born and brought up in the city. He'd got into folk music at university, where he'd also met a guitar player named Jorma Kaukonen, who had turned him on to cannabis, and the two had started giving music lessons at a music shop in San Jose. There Kantner had also been responsible for booking acts at a local folk club, where he'd first encountered acts like Mother McCree's Uptown Jug Champions, a jug band which included Jerry Garcia, Pigpen McKernan, and Bob Weir, who would later go on to be the core members of the Grateful Dead: [Excerpt: Mother McCree's Uptown Jug Champions, "In the Jailhouse Now"] Kantner had moved around a bit between Northern and Southern California, and had been friendly with two other musicians on the Californian folk scene, David Crosby and Roger McGuinn. When their new group, the Byrds, suddenly became huge, Kantner became aware of the possibility of doing something similar himself, and so when Marty Balin approached him to form a band, he agreed. On bass, they got in a musician called Bob Harvey, who actually played double bass rather than electric, and who stuck to that for the first few gigs the group played -- he had previously been in a band called the Slippery Rock String Band. On drums, they brought in Jerry Peloquin, who had formerly worked for the police, but now had a day job as an optician. And on vocals, they brought in Signe Toley -- who would soon marry and change her name to Signe Anderson, so that's how I'll talk about her to avoid confusion. The group also needed a lead guitarist though -- both Balin and Kantner were decent rhythm players and singers, but they needed someone who was a better instrumentalist. They decided to ask Kantner's old friend Jorma Kaukonen. Kaukonen was someone who was seriously into what would now be called Americana or roots music. He'd started playing the guitar as a teenager, not like most people of his generation inspired by Elvis or Buddy Holly, but rather after a friend of his had shown him how to play an old Carter Family song, "Jimmy Brown the Newsboy": [Excerpt: The Carter Family, "Jimmy Brown the Newsboy"] Kaukonen had had a far more interesting life than most of the rest of the group. His father had worked for the State Department -- and there's some suggestion he'd worked for the CIA -- and the family had travelled all over the world, staying in Pakistan, the Philippines, and Finland. For most of his childhood, he'd gone by the name Jerry, because other kids beat him up for having a foreign name and called him a Nazi, but by the time he turned twenty he was happy enough using his birth name. Kaukonen wasn't completely immune to the appeal of rock and roll -- he'd formed a rock band, The Triumphs, with his friend Jack Casady when he was a teenager, and he loved Ricky Nelson's records -- but his fate as a folkie had been pretty much sealed when he went to Antioch College. There he met up with a blues guitarist called Ian Buchanan. Buchanan never had much of a career as a professional, but he had supposedly spent nine years studying with the blues and ragtime guitar legend Rev. Gary Davis, and he was certainly a fine guitarist, as can be heard on his contribution to The Blues Project, the album Elektra put out of white Greenwich Village musicians like John Sebastian and Dave Van Ronk playing old blues songs: [Excerpt: Ian Buchanan, "The Winding Boy"] Kaukonen became something of a disciple of Buchanan -- he said later that Buchanan probably taught him how to play because he was such a terrible player and Buchanan couldn't stand to listen to it -- as did John Hammond Jr, another student at Antioch at the same time. After studying at Antioch, Kaukonen started to travel around, including spells in Greenwich Village and in the Philippines, before settling in Santa Clara, where he studied for a sociology degree and became part of a social circle that included Dino Valenti, Jerry Garcia, and Billy Roberts, the credited writer of "Hey Joe". He also started performing as a duo with a singer called Janis Joplin. Various of their recordings from this period circulate, mostly recorded at Kaukonen's home with the sound of his wife typing in the background while the duo rehearse, as on this performance of an old Bessie Smith song: [Excerpt: Jorma Kaukonen and Janis Joplin, "Nobody Loves You When You're Down and Out"] By 1965 Kaukonen saw himself firmly as a folk-blues purist, who would not even think of playing rock and roll music, which he viewed with more than a little contempt. But he allowed himself to be brought along to audition for the new group, and Ken Kesey happened to be there. Kesey was a novelist who had written two best-selling books, One Flew Over The Cuckoo's Nest and Sometimes A Great Notion, and used the financial independence that gave him to organise a group of friends who called themselves the Merry Pranksters, who drove from coast to coast and back again in a psychedelic-painted bus, before starting a series of events that became known as Acid Tests, parties at which everyone was on LSD, immortalised in Tom Wolfe's book The Electric Kool-Aid Acid Test. Nobody has ever said why Kesey was there, but he had brought along an Echoplex, a reverb unit one could put a guitar through -- and nobody has explained why Kesey, who wasn't a musician, had an Echoplex to hand. But Kaukonen loved the sound that he could get by putting his guitar through the device, and so for that reason more than any other he decided to become an electric player and join the band, going out and buying a Rickenbacker twelve-string and Vox Treble Booster because that was what Roger McGuinn used. He would later also get a Guild Thunderbird six-string guitar and a Standel Super Imperial amp, following the same principle of buying the equipment used by other guitarists he liked, as they were what Zal Yanovsky of the Lovin' Spoonful used. He would use them for all his six-string playing for the next couple of years, only later to discover that the Lovin' Spoonful despised them and only used them because they had an endorsement deal with the manufacturers. Kaukonen was also the one who came up with the new group's name. He and his friends had a running joke where they had "Bluesman names", things like "Blind Outrage" and "Little Sun Goldfarb". Kaukonen's bluesman name, given to him by his friend Steve Talbot, had been Blind Thomas Jefferson Airplane, a reference to the 1920s blues guitarist Blind Lemon Jefferson: [Excerpt: Blind Lemon Jefferson, "Match Box Blues"] At the band meeting where they were trying to decide on a name, Kaukonen got frustrated at the ridiculous suggestions that were being made, and said "You want a stupid name? Howzabout this... Jefferson Airplane?" He said in his autobiography "It was one of those rare moments when everyone in the band agreed, and that was that. I think it was the only band meeting that ever allowed me to come away smiling." The newly-named Jefferson Airplane started to rehearse at the Matrix Club, the club that Balin had decided to open. This was run with three sound engineer friends, who put in the seed capital for the club. Balin had stock options in the club, which he got by trading a share of the band's future earnings to his partners, though as the group became bigger he eventually sold his stock in the club back to his business partners. Before their first public performance, they started working with a manager, Matthew Katz, mostly because Katz had access to a recording of a then-unreleased Bob Dylan song, "Lay Down Your Weary Tune": [Excerpt: Bob Dylan, "Lay Down Your Weary Tune"] The group knew that the best way for a folk-rock band to make a name for themselves was to perform a Dylan song nobody else had yet heard, and so they agreed to be managed by Katz. Katz started a pre-publicity blitz, giving out posters, badges, and bumper stickers saying "Jefferson Airplane Loves You" all over San Francisco -- and insisting that none of the band members were allowed to say "Hello" when they answered the phone any more, they had to say "Jefferson Airplane Loves You!" For their early rehearsals and gigs, they were performing almost entirely cover versions of blues and folk songs, things like Fred Neil's "The Other Side of This Life" and Dino Valenti's "Get Together" which were the common currency of the early folk-rock movement, and songs by their friends, like one called "Flower Bomb" by David Crosby, which Crosby now denies ever having written. They did start writing the odd song, but at this point they were more focused on performance than on writing. They also hired a press agent, their friend Bill Thompson. Thompson was friends with the two main music writers at the San Francisco Chronicle, Ralph Gleason, the famous jazz critic, who had recently started also reviewing rock music, and John Wasserman. Thompson got both men to come to the opening night of the Matrix, and both gave the group glowing reviews in the Chronicle. Record labels started sniffing around the group immediately as a result of this coverage, and according to Katz he managed to get a bidding war started by making sure that when A&R men came to the club there were always two of them from different labels, so they would see the other person and realise they weren't the only ones interested. But before signing a record deal they needed to make some personnel changes. The first member to go was Jerry Peloquin, for both musical and personal reasons. Peloquin was used to keeping strict time and the other musicians had a more free-flowing idea of what tempo they should be playing at, but also he had worked for the police while the other members were all taking tons of illegal drugs. The final break with Peloquin came when he did the rest of the group a favour -- Paul Kantner's glasses broke during a rehearsal, and as Peloquin was an optician he offered to take them back to his shop and fix them. When he got back, he found them auditioning replacements for him. He beat Kantner up, and that was the end of Jerry Peloquin in Jefferson Airplane. His replacement was Skip Spence, who the group had met when he had accompanied three friends to the Matrix, which they were using as a rehearsal room. Spence's friends went on to be the core members of Quicksilver Messenger Service along with Dino Valenti: [Excerpt: Quicksilver Messenger Service, "Dino's Song"] But Balin decided that Spence looked like a rock star, and told him that he was now Jefferson Airplane's drummer, despite Spence being a guitarist and singer, not a drummer. But Spence was game, and learned to play the drums. Next they needed to get rid of Bob Harvey. According to Harvey, the decision to sack him came after David Crosby saw the band rehearsing and said "Nice song, but get rid of the bass player" (along with an expletive before the word bass which I can't say without incurring the wrath of Apple). Crosby denies ever having said this. Harvey had started out in the group on double bass, but to show willing he'd switched in his last few gigs to playing an electric bass. When he was sacked by the group, he returned to double bass, and to the Slippery Rock String Band, who released one single in 1967: [Excerpt: The Slippery Rock String Band, "Tule Fog"] Harvey's replacement was Kaukonen's old friend Jack Casady, who Kaukonen knew was now playing bass, though he'd only ever heard him playing guitar when they'd played together. Casady was rather cautious about joining a rock band, but then Kaukonen told him that the band were getting fifty dollars a week salary each from Katz, and Casady flew over from Washington DC to San Francisco to join the band. For the first few gigs, he used Bob Harvey's bass, which Harvey was good enough to lend him despite having been sacked from the band. Unfortunately, right from the start Casady and Kantner didn't get on. When Casady flew in from Washington, he had a much more clean-cut appearance than the rest of the band -- one they've described as being nerdy, with short, slicked-back, side-parted hair and a handlebar moustache. Kantner insisted that Casady shave the moustache off, and he responded by shaving only one side, so in profile on one side he looked clean-shaven, while from the other side he looked like he had a full moustache. Kantner also didn't like Casady's general attitude, or his playing style, at all -- though most critics since this point have pointed to Casady's bass playing as being the most interesting and distinctive thing about Jefferson Airplane's style. This lineup seems to have been the one that travelled to LA to audition for various record companies -- a move that immediately brought the group a certain amount of criticism for selling out, both for auditioning for record companies and for going to LA at all, two things that were already anathema on the San Francisco scene. The only audition anyone remembers them having specifically is one for Phil Spector, who according to Kaukonen was waving a gun around during the audition, so he and Casady walked out. Around this time as well, the group performed at an event billed as "A Tribute to Dr. Strange", organised by the radical hippie collective Family Dog. Marvel Comics, rather than being the multi-billion-dollar Disney-owned corporate juggernaut it is now, was regarded as a hip, almost underground, company -- and around this time they briefly started billing their comics not as comics but as "Marvel Pop Art Productions". The magical adventures of Dr. Strange, Master of the Mystic Arts, and in particular the art by far-right libertarian artist Steve Ditko, were regarded as clear parallels to both the occult dabblings and hallucinogen use popular among the hippies, though Ditko had no time for either, following as he did an extreme version of Ayn Rand's Objectivism. It was at the Tribute to Dr. Strange that Jefferson Airplane performed for the first time with a band named The Great Society, whose lead singer, Grace Slick, would later become very important in Jefferson Airplane's story: [Excerpt: The Great Society, "Someone to Love"] That gig was also the first one where the band and their friends noticed that large chunks of the audience were now dressing up in costumes that were reminiscent of the Old West. Up to this point, while Katz had been managing the group and paying them fifty dollars a week even on weeks when they didn't perform, he'd been doing so without a formal contract, in part because the group didn't trust him much. But now they were starting to get interest from record labels, and in particular RCA Records desperately wanted them. While RCA had been the label who had signed Elvis Presley, they had otherwise largely ignored rock and roll, considering that since they had the biggest rock star in the world they didn't need other ones, and concentrating largely on middle-of-the-road acts. But by the mid-sixties Elvis' star had faded somewhat, and they were desperate to get some of the action for the new music -- and unlike the other major American labels, they didn't have a reciprocal arrangement with a British label that allowed them to release anything by any of the new British stars. The group were introduced to RCA by Rod McKuen, a songwriter and poet who later became America's best-selling poet and wrote songs that sold over a hundred million copies. At this point McKuen was in his Jacques Brel phase, recording loose translations of the Belgian songwriter's songs with McKuen translating the lyrics: [Excerpt: Rod McKuen, "Seasons in the Sun"] McKuen thought that Jefferson Airplane might be a useful market for his own songs, and brought the group to RCA. RCA offered Jefferson Airplane twenty-five thousand dollars to sign with them, and Katz convinced the group that RCA wouldn't give them this money without them having signed a management contract with him. Kaukonen, Kantner, Spence, and Balin all signed without much hesitation, but Jack Casady didn't yet sign, as he was the new boy and nobody knew if he was going to be in the band for the long haul. The other person who refused to sign was Signe Anderson. In her case, she had a much better reason for refusing to sign, as unlike the rest of the band she had actually read the contract, and she found it to be extremely worrying. She did eventually back down on the day of the group's first recording session, but she later had the contract renegotiated. Jack Casady also signed the contract right at the start of the first session -- or at least, he thought he'd signed the contract then. He certainly signed *something*, without having read it. But much later, during a court case involving the band's longstanding legal disputes with Katz, it was revealed that the signature on the contract wasn't Casady's, and was badly forged. What he actually *did* sign that day has never been revealed, to him or to anyone else. Katz also signed all the group as songwriters to his own publishing company, telling them that they legally needed to sign with him if they wanted to make records, and also claimed to RCA that he had power of attorney for the band, which they say they never gave him -- though to be fair to Katz, given the band members' habit of signing things without reading or understanding them, it doesn't seem beyond the realms of possibility that they did. The producer chosen for the group's first album was Tommy Oliver, a friend of Katz's who had previously been an arranger on some of Doris Day's records, and whose next major act after finishing the Jefferson Airplane album was Trombones Unlimited, who released records like "Holiday for Trombones": [Excerpt: Trombones Unlimited, "Holiday For Trombones"] The group weren't particularly thrilled with this choice, but were happier with their engineer, Dave Hassinger, who had worked on records like "Satisfaction" by the Rolling Stones, and had a far better understanding of the kind of music the group were making. They spent about three months recording their first album, even while continually being attacked as sellouts. The album is not considered their best work, though it does contain "Blues From an Airplane", a collaboration between Spence and Balin: [Excerpt: Jefferson Airplane, "Blues From an Airplane"] Even before the album came out, though, things were starting to change for the group. Firstly, they started playing bigger venues -- their home base went from being the Matrix club to the Fillmore, a large auditorium run by the promoter Bill Graham. They also started to get an international reputation. The British singer-songwriter Donovan released a track called "The Fat Angel" which namechecked the group: [Excerpt: Donovan, "The Fat Angel"] The group also needed a new drummer. Skip Spence decided to go on holiday to Mexico without telling the rest of the band. There had already been some friction with Spence, as he was very eager to become a guitarist and songwriter, and the band already had three songwriting guitarists and didn't really see why they needed a fourth. They sacked Spence, who went on to form Moby Grape, who were also managed by Katz: [Excerpt: Moby Grape, "Omaha"] For his replacement they brought in Spencer Dryden, who was a Hollywood brat like their friend David Crosby -- in Dryden's case he was Charlie Chaplin's nephew, and his father worked as Chaplin's assistant. The story normally goes that the great session drummer Earl Palmer recommended Dryden to the group, but it's also the case that Dryden had been in a band, the Heartbeats, with Tommy Oliver and the great blues guitarist Roy Buchanan, so it may well be that Oliver had recommended him. Dryden had been primarily a jazz musician, playing with people like the West Coast jazz legend Charles Lloyd, though like most jazzers he would slum it on occasion by playing rock and roll music to pay the bills. But then he'd seen an early performance by the Mothers of Invention, and realised that rock music could have a serious artistic purpose too. He'd joined a band called The Ashes, who had released one single, the Jackie DeShannon song "Is There Anything I Can Do?" in December 1965: [Excerpt: The Ashes, "Is There Anything I Can Do?"] The Ashes split up once Dryden left the group to join Jefferson Airplane, but they soon reformed without him as The Peanut Butter Conspiracy, who hooked up with Gary Usher and released several albums of psychedelic sunshine pop. Dryden played his first gig with the group at a Republican Party event on June the sixth, 1966. But by the time Dryden had joined, other problems had become apparent. The group were already feeling like it had been a big mistake to accede to Katz's demands to sign a formal contract with him, and Balin in particular was getting annoyed that he wouldn't let the band see their finances. All the money was getting paid to Katz, who then doled out money to the band when they asked for it, and they had no idea if he was actually paying them what they were owed or not. The group's first album, Jefferson Airplane Takes Off, finally came out in September, and it was a comparative flop. It sold well in San Francisco itself, selling around ten thousand copies in the area, but sold basically nothing anywhere else in the country -- the group's local reputation hadn't extended outside their own immediate scene. It didn't help that the album was pulled and reissued, as RCA censored the initial version of the album because of objections to the lyrics. The song "Runnin' Round This World" was pulled off the album altogether for containing the word "trips", while in "Let Me In" they had to rerecord two lines -- “I gotta get in, you know where" was altered to "You shut the door now it ain't fair" and "Don't tell me you want money" became "Don't tell me it's so funny". Similarly in "Run Around" the phrase "as you lay under me" became "as you stay here by me". Things were also becoming difficult for Anderson. She had had a baby in May and was not only unhappy with having to tour while she had a small child, she was also the band member who was most vocally opposed to Katz. Added to that, her husband did not get on well at all with the group, and she felt trapped between her marriage and her bandmates. Reports differ as to whether she quit the band or was fired, but after a disastrous appearance at the Monterey Jazz Festival, one way or another she was out of the band. Her replacement was already waiting in the wings. Grace Slick, the lead singer of the Great Society, had been inspired by going to one of the early Jefferson Airplane gigs. She later said "I went to see Jefferson Airplane at the Matrix, and they were making more money in a day than I made in a week. They only worked for two or three hours a night, and they got to hang out. I thought 'This looks a lot better than what I'm doing.' I knew I could more or less carry a tune, and I figured if they could do it I could." She was married at the time to a film student named Jerry Slick, and indeed she had done the music for his final project at film school, a film called "Everybody Hits Their Brother Once", which sadly I can't find online. She was also having an affair with Jerry's brother Darby, though as the Slicks were in an open marriage this wasn't particularly untoward. The three of them, with a couple of other musicians, had formed The Great Society, named as a joke about President Johnson's programme of the same name. The Great Society was the name Johnson had given to his whole programme of domestic reforms, including civil rights for Black people, the creation of Medicare and Medicaid, the creation of the National Endowment for the Arts, and more. While those projects were broadly popular among the younger generation, Johnson's escalation of the war in Vietnam had made him so personally unpopular that even his progressive domestic programme was regarded with suspicion and contempt. The Great Society had set themselves up as local rivals to Jefferson Airplane -- where Jefferson Airplane had buttons saying "Jefferson Airplane Loves You!" the Great Society put out buttons saying "The Great Society Really Doesn't Like You Much At All". They signed to Autumn Records, and recorded a song that Darby Slick had written, titled "Someone to Love" -- though the song would later be retitled "Somebody to Love": [Excerpt: The Great Society, "Someone to Love"] That track was produced by Sly Stone, who at the time was working as a producer for Autumn Records. The Great Society, though, didn't like working with Stone, because he insisted on them doing forty-five takes to try to sound professional, as none of them were particularly competent musicians. Grace Slick later said "Sly could play any instrument known to man. He could have just made the record himself, except for the singers. It was kind of degrading in a way" -- and on another occasion she said that he *did* end up playing all the instruments on the finished record. "Someone to Love" was put out as a promo record, but never released to the general public, and nor were any of the Great Society's other recordings for Autumn Records released. Their contract expired and they were let go, at which point they were about to sign to Mercury Records, but then Darby Slick and another member decided to go off to India for a while. Grace's marriage to Jerry was falling apart, though they would stay legally married for several years, and the Great Society looked like it was at an end, so when Grace got the offer to join Jefferson Airplane to replace Signe Anderson, she jumped at the chance. At first, she was purely a harmony singer -- she didn't take over any of the lead vocal parts that Anderson had previously sung, as she had a very different vocal style, and instead she just sang the harmony parts that Anderson had sung on songs with other lead vocalists. But two months after the album they were back in the studio again, recording their second album, and Slick sang lead on several songs there. As well as the new lineup, there was another important change in the studio. They were still working with Dave Hassinger, but they had a new producer, Rick Jarrard. Jarrard was at one point a member of the folk group The Wellingtons, who did the theme tune for "Gilligan's Island", though I can't find anything to say whether or not he was in the group when they recorded that track: [Excerpt: The Wellingtons, "The Ballad of Gilligan's Island"] Jarrard had also been in the similar folk group The Greenwood County Singers, where as we heard in the episode on "Heroes and Villains" he replaced Van Dyke Parks. He'd also released a few singles under his own name, including a version of Parks' "High Coin": [Excerpt: Rick Jarrard, "High Coin"] While Jarrard had similar musical roots to those of Jefferson Airplane's members, and would go on to produce records by people like Harry Nilsson and The Family Tree, he wasn't any more liked by the band than their previous producer had been. So much so, that a few of the band members have claimed that while Jarrard is the credited producer, much of the work that one would normally expect to be done by a producer was actually done by their friend Jerry Garcia, who according to the band members gave them a lot of arranging and structural advice, and was present in the studio and played guitar on several tracks. Jarrard, on the other hand, said categorically "I never met Jerry Garcia. I produced that album from start to finish, never heard from Jerry Garcia, never talked to Jerry Garcia. He was not involved creatively on that album at all." According to the band, though, it was Garcia who had the idea of almost doubling the speed of the retitled "Somebody to Love", turning it into an uptempo rocker: [Excerpt: Jefferson Airplane, "Somebody to Love"] And one thing everyone is agreed on is that it was Garcia who came up with the album title, when after listening to some of the recordings he said "That's as surrealistic as a pillow!" It was while they were working on the album that was eventually titled Surrealistic Pillow that they finally broke with Katz as their manager, bringing Bill Thompson in as a temporary replacement. Or at least, it was then that they tried to break with Katz. Katz sued the group over their contract, and won. Then they appealed, and they won. Then Katz appealed the appeal, and the Superior Court insisted that if he wanted to appeal the ruling, he had to put up a bond for the fifty thousand dollars the group said he owed them. He didn't, so in 1970, four years after they sacked him as their manager, the appeal was dismissed. Katz appealed the dismissal, and won that appeal, and the case dragged on for another three years, at which point Katz dragged RCA Records into the lawsuit. As a result of being dragged into the mess, RCA decided to stop paying the group their songwriting royalties from record sales directly, and instead put the money into an escrow account. The claims and counterclaims and appeals *finally* ended in 1987, twenty years after the lawsuits had started and fourteen years after the band had stopped receiving their songwriting royalties. In the end, the group won on almost every point, and finally received one point three million dollars in back royalties and seven hundred thousand dollars in interest that had accrued, while Katz got a small token payment. Early in 1967, when the sessions for Surrealistic Pillow had finished, but before the album was released, Newsweek did a big story on the San Francisco scene, which drew national attention to the bands there, and the first big event of what would come to be called the hippie scene, the Human Be-In, happened in Golden Gate Park in January. As the group's audience was expanding rapidly, they asked Bill Graham to be their manager, as he was the most business-minded of the people around the group. The first single from the album, "My Best Friend", a song written by Skip Spence before he quit the band, came out in January 1967 and had no more success than their earlier recordings had, and didn't make the Hot 100. The album came out in February, and was still no higher than number 137 on the charts in March, when the second single, "Somebody to Love", was released: [Excerpt: Jefferson Airplane, "Somebody to Love"] That entered the charts at the start of April, and by June it had made number five. The single's success also pushed its parent album up to number three by August, just behind the Beatles' Sgt Pepper's Lonely Hearts Club Band and the Monkees' Headquarters. The success of the single also led to the group being asked to do commercials for Levis jeans: [Excerpt: Jefferson Airplane, "Levis commercial"] That once again got them accused of selling out. Abbie Hoffman, the leader of the Yippies, wrote to the Village Voice about the commercials, saying "It summarized for me all the doubts I have about the hippie philosophy. I realise they are just doing their 'thing', but while the Jefferson Airplane grooves with its thing, over 100 workers in the Levi Strauss plant on the Tennessee-Georgia border are doing their thing, which consists of being on strike to protest deplorable working conditions." The third single from the album, "White Rabbit", came out on the twenty-fourth of June, the day before the Beatles recorded "All You Need is Love", nine days after the release of "See Emily Play", and a week after the group played the Monterey Pop Festival, to give you some idea of how compressed a time period we've been in recently. We talked in the last episode about how there's a big difference between American and British psychedelia at this point in time, because the political nature of the American counterculture was determined by the fact that so many people were being sent off to die in Vietnam. Of all the San Francisco bands, though, Jefferson Airplane were by far the least political -- they were into the culture part of the counterculture, but would often and repeatedly disavow any deeper political meaning in their songs. In early 1968, for example, in a press conference, they said “Don't ask us anything about politics. We don't know anything about it. And what we did know, we just forgot.” So it's perhaps not surprising that of all the American groups, they were the one that was most similar to the British psychedelic groups in their influences, and in particular their frequent references to children's fantasy literature. "White Rabbit" was a perfect example of this. It had started out as "White Rabbit Blues", a song that Slick had written influenced by Alice in Wonderland, and originally performed by the Great Society: [Excerpt: The Great Society, "White Rabbit"] Slick explained the lyrics, and their association between childhood fantasy stories and drugs, later by saying "It's an interesting song but it didn't do what I wanted it to. What I was trying to say was that between the ages of zero and five the information and the input you get is almost indelible. In other words, once a Catholic, always a Catholic. And the parents read us these books, like Alice in Wonderland where she gets high, tall, and she takes mushrooms, a hookah, pills, alcohol. And then there's The Wizard of Oz, where they fall into a field of poppies and when they wake up they see Oz. And then there's Peter Pan, where if you sprinkle white dust on you, you could fly. And then you wonder why we do it? Well, what did you read to me?" While the lyrical inspiration for the track was from Alice in Wonderland, the musical inspiration is less obvious. Slick has on multiple occasions said that the idea for the music came from listening to Miles Davis' album "Sketches of Spain", and in particular to Davis' version of -- and I apologise for almost certainly mangling the Spanish pronunciation badly here -- "Concierto de Aranjuez", though I see little musical resemblance to it myself. [Excerpt: Miles Davis, "Concierto de Aranjuez"] She has also, though, talked about how the song was influenced by Ravel's "Bolero", and in particular the way the piece keeps building in intensity, starting softly and slowly building up, rather than having the dynamic peaks and troughs of most music. And that is definitely a connection I can hear in the music: [Excerpt: Ravel, "Bolero"] Jefferson Airplane's version of "White Rabbit", like their version of "Somebody to Love", was far more professional, far -- and apologies for the pun -- slicker than The Great Society's version. It's also much shorter. The version by The Great Society has a four and a half minute instrumental intro before Slick's vocal enters. By contrast, the version on Surrealistic Pillow comes in at under two and a half minutes in total, and is a tight pop song: [Excerpt: Jefferson Airplane, "White Rabbit"] Jack Casady has more recently said that the group originally recorded the song more or less as a lark, because they assumed that all the drug references would mean that RCA would make them remove the song from the album -- after all, they'd cut a song from the earlier album because it had a reference to a trip, so how could they possibly allow a song like "White Rabbit" with its lyrics about pills and mushrooms? But it was left on the album, and ended up making the top ten on the pop charts, peaking at number eight: [Excerpt: Jefferson Airplane, "White Rabbit"] In an interview last year, Slick said she still largely lives off the royalties from writing that one song. It would be the last hit single Jefferson Airplane would ever have. Marty Balin later said "Fame changes your life. It's a bit like prison. It ruined the band. Everybody became rich and selfish and self-centred and couldn't care about the band. That was pretty much the end of it all. After that it was just working and living the high life and watching the band destroy itself, living on its laurels." They started work on their third album, After Bathing at Baxter's, in May 1967, while "Somebody to Love" was still climbing the charts. This time, the album was produced by Al Schmitt. Unlike the two previous producers, Schmitt was a fan of the band, and decided the best thing to do was to just let them do their own thing without interfering. The album took months to record, rather than the weeks that Surrealistic Pillow had taken, and cost almost ten times as much money to record. In part the time it took was because of the promotional work the band had to do. Bill Graham was sending them all over the country to perform, which they didn't appreciate. The group complained to Graham in business meetings, saying they wanted to only play in big cities where there were lots of hippies. Graham pointed out in turn that if they wanted to keep having any kind of success, they needed to play places other than San Francisco, LA, New York, and Chicago, because in fact most of the population of the US didn't live in those four cities. They grudgingly took his point. But there were other arguments all the time as well. They argued about whether Graham should be taking his cut from the net or the gross. They argued about Graham trying to push for the next single to be another Grace Slick lead vocal -- they felt like he was trying to make them into just Grace Slick's backing band, while he thought it made sense to follow up two big hits with more singles with the same vocalist. There was also a lawsuit from Balin's former partners in the Matrix, who remembered that bit in the contract about having a share in the group's income and sued for six hundred thousand dollars -- that was settled out of court three years later. And there were interpersonal squabbles too. Some of these were about the music -- Dryden didn't like the fact that Kaukonen's guitar solos were getting longer and longer, and Balin only contributed one song to the new album because all the other band members made fun of him for writing short, poppy, love songs rather than extended psychedelic jams -- but also the group had become basically two rival factions. On one side were Kaukonen and Casady, the old friends and virtuoso instrumentalists, who wanted to extend the instrumental sections of the songs more to show off their playing. On the other side were Grace Slick and Spencer Dryden, the two oldest members of the group by age, but the most recent people to join. They were also unusual in the San Francisco scene for having alcohol as their drug of choice -- drinking was thought of by most of the hippies as being a bit classless, but they were both alcoholics. They were also sleeping together, and generally on the side of shorter, less exploratory, songs. Kantner, who was attracted to Slick, usually ended up siding with her and Dryden, and this left Balin the odd man out in the middle. He later said "I got disgusted with all the ego trips, and the band was so stoned that I couldn't even talk to them. Everybody was in their little shell". While they were still working on the album, they released the first single from it, Kantner's "The Ballad of You and Me and Pooneil". The "Pooneil" in the song was a figure that combined two of Kantner's influences: the Greenwich Village singer-songwriter Fred Neil, the writer of "Everybody's Talkin'" and "Dolphins"; and Winnie the Pooh. The song contained several lines taken from A.A. Milne's children's stories: [Excerpt: Jefferson Airplane, "The Ballad of You and Me and Pooneil"] That only made number forty-two on the charts. It was the last Jefferson Airplane single to make the top fifty. At a gig in Bakersfield they got arrested for inciting a riot, because they encouraged the crowd to dance, even though local by-laws said that nobody under sixteen was allowed to dance, and then they nearly got arrested again after Kantner's behaviour on the private plane they'd chartered to get them back to San Francisco that night. Kantner had been chain-smoking, and this annoyed the pilot, who asked Kantner to put his cigarette out, so Kantner opened the door of the plane mid-flight and threw the lit cigarette out. They'd chartered that plane because they wanted to make sure they got to see a new group, Cream, who were playing the Fillmore: [Excerpt: Cream, "Strange Brew"] After seeing that, the divisions in the band were even wider -- Kaukonen and Casady now *knew* that what the band needed was to do long, extended, instrumental jams. Cream were the future, two-minute pop songs were the past. Though they weren't completely averse to two-minute pop songs. The group were recording at RCA studios at the same time as the Monkees, and members of the two groups would often jam together. The idea of selling out might have been anathema to their *audience*, but the band members themselves didn't care about things like that. Indeed, at one point the group returned from a gig to the mansion they were renting and found squatters had moved in and were using their private pool -- so they shot at the water. The squatters quickly moved on. As Dryden put it "We all -- Paul, Jorma, Grace, and myself -- had guns. We weren't hippies. Hippies were the people that lived on the streets down in Haight-Ashbury. We were basically musicians and art school kids. We were into guns and machinery" After Bathing at Baxter's only went to number seventeen on the charts, not a bad position but a flop compared to their previous album, and Bill Graham in particular took this as more proof that he had been right when for the last few months he'd been attacking the group as self-indulgent. Eventually, Slick and Dryden decided that either Bill Graham was going as their manager, or they were going. Slick even went so far as to try to negotiate a solo deal with Elektra Records -- as the voice on the hits, everyone was telling her she was the only one who mattered anyway. David Anderle, who was working for the label, agreed a deal with her, but Jac Holzman refused to authorise the deal, saying "Judy Collins doesn't get that much money, why should Grace Slick?" The group did fire Graham, and went one further and tried to become his competitors. They teamed up with the Grateful Dead to open a new venue, the Carousel Ballroom, to compete with the Fillmore, but after a few months they realised they were no good at running a venue and sold it to Graham. Graham, who was apparently unhappy with the fact that the people living around the Fillmore were largely Black given that the bands he booked appealed to mostly white audiences, closed the original Fillmore, renamed the Carousel the Fillmore West, and opened up a second venue in New York, the Fillmore East. The divisions in the band were getting worse -- Kaukonen and Casady were taking more and more speed, which was making them play longer and faster instrumental solos whether or not the rest of the band wanted them to, and Dryden, whose hands often bled from trying to play along with them, definitely did not want them to. But the group soldiered on and recorded their fourth album, Crown of Creation. This album contained several songs that were influenced by science fiction novels. The most famous of these was inspired by the right-libertarian author Robert Heinlein, who was hugely influential on the counterculture. Jefferson Airplane's friends the Monkees had already recorded a song based on Heinlein's The Door Into Summer, an unintentionally disturbing novel about a thirty-year-old man who falls in love with a twelve-year-old girl, and who uses a combination of time travel and cryogenic freezing to make their ages closer together so he can marry her: [Excerpt: The Monkees, "The Door Into Summer"] Now Jefferson Airplane were recording a song based on Heinlein's most famous novel, Stranger in a Strange Land. Stranger in a Strange Land has dated badly, thanks to its casual homophobia and rape-apologia, but at the time it was hugely popular in hippie circles for its advocacy of free love and group marriages -- so popular that a religion, the Church of All Worlds, based itself on the book. David Crosby had taken inspiration from it and written "Triad", a song asking two women if they'll enter into a polygamous relationship with him, and recorded it with the Byrds: [Excerpt: The Byrds, "Triad"] But the other members of the Byrds disliked the song, and it was left unreleased for decades. As Crosby was friendly with Jefferson Airplane, and as members of the band were themselves advocates of open relationships, they recorded their own version with Slick singing lead: [Excerpt: Jefferson Airplane, "Triad"] The other song on the album influenced by science fiction was the title track, Paul Kantner's "Crown of Creation". This song was inspired by The Chrysalids, a novel by the British writer John Wyndham. The Chrysalids is one of Wyndham's most influential novels, a post-apocalyptic story about young children who are born with mutant superpowers and have to hide them from their parents as they will be killed if they're discovered. The novel is often thought to have inspired Marvel Comics' X-Men, and while there's an unpleasant eugenic taste to its ending, with the idea that two species can't survive in the same ecological niche and the younger, "superior", species must outcompete the old, that idea also had a lot of influence in the counterculture, as well as being a popular one in science fiction. Kantner's song took whole lines from The Chrysalids, much as he had earlier done with A.A. Milne: [Excerpt: Jefferson Airplane, "Crown of Creation"] The Crown of Creation album was in some ways a return to the more focused songwriting of Surrealistic Pillow, although the sessions weren't without their experiments. Slick and Dryden collaborated with Frank Zappa and members of the Mothers of Invention on an avant-garde track called "Would You Like a Snack?" (not the same song as the later Zappa song of the same name) which was intended for the album, though went unreleased until a CD box set decades later: [Excerpt: Grace Slick and Frank Zappa, "Would You Like a Snack?"] But the finished album was generally considered less self-indulgent than After Bathing at Baxter's, and did better on the charts as a result. It reached number six, becoming their second and last top ten album, helped by the group's appearance on the Ed Sullivan Show in September 1968, a month after it came out. That appearance was actually organised by Colonel Tom Parker, who suggested them to Sullivan as a favour to RCA Records. But another TV appearance at the time was less successful. They appeared on the Smothers Brothers Comedy Hour, one of the most popular TV shows among the young, hip, audience that the group needed to appeal to, but Slick appeared in blackface. She's later said that there was no political intent behind this, and that she was just trying the different makeup she found in the dressing room as a purely aesthetic thing, but that doesn't really explain the Black power salute she gives at one point. Slick was increasingly obnoxious on stage, as her drinking was getting worse and her relationship with Dryden was starting to break down. Just before the Smothers Brothers appearance she was accused at a benefit for the Whitney Museum of having called the audience "filthy Jews", though she has always said that what she actually said was "filthy jewels", and she was talking about the ostentatious jewellery some of the audience were wearing. The group struggled through a performance at Altamont -- an event we will talk about in a future episode, so I won't go into it here, except to say that it was a horrifying experience for everyone involved -- and performed at Woodstock, before releasing their fifth studio album, Volunteers, in 1969: [Excerpt: Jefferson Airplane, "Volunteers"] That album made the top twenty, but was the last album by the classic lineup of the band. By this point Spencer Dryden and Grace Slick had broken up, with Slick starting to date Kantner, and Dryden was also disappointed at the group's musical direction, and left. Balin also left, feeling sidelined in the group. They released several more albums with varying lineups, including at various points their old friend David Frieberg of Quicksilver Messenger Service, the violinist Papa John Creach, and the former drummer of the Turtles, Johnny Barbata. But as of 1970 the group's members had already started working on two side projects -- an acoustic band called Hot Tuna, led by Kaukonen and Casady, which sometimes also featured Balin, and a project called Paul Kantner's Jefferson Starship, which also featured Slick and had recorded an album, Blows Against the Empire, the second side of which was based on the Robert Heinlein novel Back to Methuselah, and which became one of the first albums ever nominated for science fiction's Hugo Awards: [Excerpt: Jefferson Starship, "Have You Seen The Stars Tonite"] That album featured contributions from David Crosby and members of the Grateful Dead, as well as Casady on two tracks, but in 1974 when Kaukonen and Casady quit Jefferson Airplane to make Hot Tuna their full-time band, Kantner, Slick, and Frieberg turned Jefferson Starship into a full band. Over the next decade, Jefferson Starship had a lot of moderate-sized hits, with a varying lineup that at one time or another saw several members, including Slick, go and return, and saw Marty Balin back with them for a while. In 1984, Kantner left the group, and sued them to stop them using the Jefferson Starship name. A settlement was reached in which none of Kantner, Slick, Kaukonen, or Casady could use the words "Jefferson" or "Airplane" in their band-names without the permission of all the others, and the remaining members of Jefferson Starship renamed their band just Starship -- and had three number one singles in the late eighties with Slick on lead, becoming far more commercially successful than their precursor bands had ever been: [Excerpt: Starship, "We Built This City on Rock & Roll"] Slick left Starship in 1989, and there was a brief Jefferson Airplane reunion tour, with all the classic members but Dryden, but then Slick decided that she was getting too old to perform rock and roll music, and decided to retire from music and become a painter, something she's stuck to for more than thirty years. Kantner and Balin formed a new Jefferson Starship, called Jefferson Starship: The Next Generation, but Kantner died in January 2016, coincidentally on the same day as Signe Anderson, who had occasionally guested with her old bandmates in the new version of the band. Balin, who had quit the reunited Jefferson Starship due to health reasons, died two years later. Dryden had died in 2005. Currently, there are three bands touring that descend directly from Jefferson Airplane. Hot Tuna still continue to perform, there's a version of Starship that tours featuring one original member, Mickey Thomas, and the reunited Jefferson Starship still tour, led by David Frieberg. Grace Slick has given the latter group her blessing, and even co-wrote one song on their most recent album, released in 2020, though she still doesn't perform any more. Jefferson Airplane's period in the commercial spotlight was brief -- they had charting singles for only a matter of months, and while they had top twenty albums for a few years after their peak, they really only mattered to the wider world during that brief period of the Summer of Love. But precisely because their period of success was so short, their music is indelibly associated with that time. To this day there's nothing as evocative of summer 1967 as "White Rabbit", even for those of us who weren't born then. And while Grace Slick had her problems, as I've made very clear in this episode, she inspired a whole generation of women who went on to be singers themselves, as one of the first prominent women to sing lead with an electric rock band. And when she got tired of doing that, she stopped, and got on with her other artistic pursuits, without feeling the need to go back and revisit the past for ever diminishing returns. One might only wish that some of her male peers had followed her example.
Na koniec października mamy dla was kolejny odcinek z serii "Wykłady Radio Proza". Tym razem w podróż po literackim świecie Olgi Tokarczuk zabiera nas Katarzyna Kantner, literaturoznawczyni i copywriterka, autorka pracy doktorskiej poświęconej twórczości Tokarczuk. W naszym najnowszym odcinku prezentuje ona kluczowe nurty w pisarstwie noblistki. Udanego odsłuchu!
Steve Kantner has one of the greatest fishing spirits I know of, and his spectrum of ability on and off the water is legendary. For many decades he's been known as “The Land Captain”, fishing on foot, out of his car, in the surf, off piers, canal banks and canoes, but sadly the great Captain has been grounded, if you will, because of the debilitating Parkinson's disease. Steve is famous in South Florida, and was on my radar well before I produced two television shows with him. The finished product was one of the most popular of the thirteen we delivered to the network that year. He was brilliant, informative, humorous and he was good on his promises. We caught a pile of fish driving around in his land vessel, his car. He's been predominantly a writer most his life, and has written for many South Florida fishing publications. He also has a technical background with a degree in science. With all this in his back pocket, he's authored four books and wrote the history of tarpon chapter for, A Passion for Tarpon. Steve is a fascinating friend who has always been there for many of us, and it gives me great pleasure to have him on our podcast today...
Dee Kantner is one of the greatest basketball officials of all time on any level. Some of her amazing accomplishments include 25 NCAA Final Fours and 14 National title games. She just completed her 33rd season at the Division 1 level while showing no signs of slowing down by working the 2022 NCAA Final Four in Minneapolis, MN. To go along with her legendary college career, Dee and Violet Palmer also held the distinction of being the first female officials to work in a men's professional sports league. Dee spent 5 years officiating in the NBA from 1997-2002 and also worked as the WNBA Supervisor of Officials. In 2002, she made her return to the NCAA Women's game and hasn't looked back since. She's continued to #servethegame and pay it forward by sharing her knowledge and helping to develop and inspire a generation of basketball officials. In this episode, we discuss how to avoid bad partnering, not letting your ego get in the way, and Dee breaks down the O.I.L. strategy as an effective way to process situations more clearly. We also discuss several more topics like why coaches are not your friends, how to recover from disappointment, things to stop saying about coaches, and the correlation between over-selling and incorrect calls. --- Send in a voice message: https://anchor.fm/crown-refs/message Support this podcast: https://anchor.fm/crown-refs/support
I was honored to have one of my mentors, Steve Kantner, on as a guest. Steve is a gifted author, outdoor magazine writer and editor, and long-time fishing guide. We discuss multiple topics in this one including; fly-fishing and guiding in the Everglades via foot and canoe, Skunk Ape and Big Foot sightings, outdoor writing, innovative fly tying, and more. This is one of my favorite episodes to date! Thanks for listening. Here are a few of Steve's books: https://www.amazon.com/Ultimate-Guide-Fishing-South-Florida/dp/0811712532/ref=sr_1_1?adgrpid=1337006706729398&hvadid=83562990587058&hvbmt=be&hvdev=c&hvlocint=4089&hvlocphy=56448&hvnetw=o&hvqmt=e&hvtargid=kwd-83563271410669%3Aloc-190&hydadcr=22629_10476998&keywords=ultimate+guide+to+fishing+south+florida+on+foot&qid=1656963283&sr=8-1 https://www.amazon.com/Fifty-Women-Fish-Steve-Kantner/dp/0999309331/ref=sr_1_1?crid=1YQBZEXECJAM8&keywords=fifty+women+who+fish&qid=1656963433&sprefix=fifty+women+who+fish%2Caps%2C66&sr=8-1 https://www.amazon.com/Backcountry-Flies-Fishing-Florida-Patterns/dp/081173711X/ref=sr_1_3?crid=AGWEEQYCROLW&keywords=backcountry+flies+book&qid=1656963475&sprefix=backcountry+flies+book%2Caps%2C86&sr=8-3 --- Support this podcast: https://anchor.fm/james-dussias/support
In 1997 Dee Kantner made history by becoming one of the first female officials in the NBA. She takes us through her journey to becoming a referee and gives insight into what it takes to do one of the most criticized and challenging jobs in basketball. We'll also hear from Monty McCutchen, senior vice president and head of referee development and training for the NBA, to talk about the current state of diversity within the league's officiating ranks.
We are feeling extremely communitarian in this episode of Rough Cut, comrades! Join us - JB Jones and Alain Simic - for a chat about community, instagram, selling online and building meaningful, longterm industry relationships. We are joined by our dear friend, https://www.lizkantner.com/ (Liz Kantner) of https://www.lizkantner.com/staygoldcollective (The Stay Gold Collective), and many other ventures, though we prefer to call her the queen of community! Learn more about everything WE do at https://nycjewelryweek.com/ (http://nycjewelryweek.com) Follow us on IG https://instagram.com/nycjewelryweek?igshid=YmMyMTA2M2Y=https://instagram.com/nycjewelryweek?igshid=YmMyMTA2M2Y= (@nycjewelryweek) + https://nycjewelryweek.com/ (www.nycjewelryweek.com) For Alain's work https://instagram.com/alainsimic?igshid=YmMyMTA2M2Y= (@alainsimic) + https://instagram.com/alainsimic?igshid=YmMyMTA2M2Y= (www.alainsimic.com) For JB Jones https://instagram.com/j_b_j_o_n_e_s?igshid=YmMyMTA2M2Y= (@j_b_j_o_n_e_s)
I got to speak to Jon Kantner! Jon is an incredibly prolific creator, and I believe has the most appearances in the CodePen Spark of any creator. Like so many other creators I’ve talked to Jon also shares what he knows in a variety of ways, like writing (see his personal site, or articles he […]
Start Artist Song Time Album Year Kantner, Slick & Freiberg Across The Board 4:28 Baron Von Tollbooth & The Chrome Nun 1973 0:07:32 Kaos Moon Nobody's Perfect 7:14 After The Storm 1994 0:15:24 Kaprekar's Constant Hallsands 14:05 Fate Outsmarts Desire 2017 0:29:29 Kaprekar's Constant Rosherville, Part 2 9:20 Depth Of Field 2019 0:38:49 Kaprekar's Constant […]
I share my interview with jewelry marketer Liz Kantner. It will be the second time Liz will be joining me on the podcast (episode #92 is our first interview), and today we're also going to be sharing a very exciting announcement about a collaboration that Liz and I will be doing. Liz shares her top five areas of focus for jewelry marketing in 2022. Links mentioned in this episode Success With Jewelry Webinar Series - https://www.successwithjewelry.com/ Stay Gold Collective - https://www.lizkantner.com/ Sparkle Award Winner - https://studs.com/ Podcast Transcript - https://joyjoya.com/liz-kantner-jewelry-marketing
This week's Outdoor Explorer features Seth Kantner, Author of Ordinary Wolves and his latest book A Thousand Trails Home. Host Paul Twardock and Seth discuss his life and insights of growing up and living on the Kobuk River.
Welcome to the Best of 2021 compilation. This episode includes over 3 hours of our best moments from this past year featuring Maia Chaka, Dee Kantner, Natasha Camy, Lisa Mattingly, Roger Ayers, J.B. Caldwell, Tyler Ford, Bill Spooner, and the whole Crown Refs community of officials. We hope you enjoy it and thank you so much for your appreciation & support.
Author Seth Kantner was born and raised in Alaska, among the animals and the wilderness, and his writing reflects that. It draws from personal experience, often dealing with themes that involve animals, the environment and living off the land. He says that when he was a kid, his family was entirely attached to the seasons and food from the land. Both decided what they would do every day, be it hunting, fishing, picking berries or chopping wood. Seth continues to live this way of life. In the winter, he hunts for caribou and chops wood for the fire that heats his cabin and in the summer he works as a commercial fisherman. Writing, he says, is what he does after he's done working for the day. Seth says that he's meticulous with his writing, that keeping the messiness and the irreverence and the beauty all mixed together is important to expressing an authentic image of remote Alaska. One that shows the reality of living in harsh, inhospitable environments, not just the beauty of things like the Northern Lights and flawless wilderness. Having grown up on the land, and remaining so close to it today, he's watched how much everything has changed as a result of human encroachment and climate change. His writing details these observations and what it's like to have, as he says, modernity bumping up against his life. Photo by Kiliii Yuyan
Dan Bittner narrates Seth Kantner's eloquent evocation of life in the Alaskan outback in the clearest of tones and an assured style. Host Jo Reed and AudioFile's Alan Minskoff discuss how Bittner's voice expresses the elemental beauty and fierce exigencies of growing up in the wilds of the tundra, accompanied by the planet's vastest herd of caribou. Kantner bears witness to how his home state—and especially the noble arctic caribou—are being challenged by modernity and climate change. Read the full review of the audiobook on AudioFile's website. Published by Blackstone Audio. Find more audiobook recommendations at audiofilemagazine.com Support for Behind the Mic comes from Oasis Audio, publisher of Heavenly Mortal a suspenseful story of the battle between light and darkness by Jack Cavanaugh. Learn more about your ad choices. Visit megaphone.fm/adchoices
In this episode, Cody talks to Alaskan author Seth Kantner. Seth was born and raised in Alaska, among the animals and the wilderness, and his writing reflects that. It draws from personal experience, often dealing with themes that involve animals, the environment and living off the land. He says that when he was a kid, his family was entirely attached to the seasons and food from the land. Both decided what they would do every day, be it hunting, fishing, picking berries or chopping wood. Seth continues to live this way of life. In the winter, he hunts for caribou and chops wood for the fire that heats his cabin, and in the summer he works as a commercial fisherman. Writing, he says, is what he does after he's done working for the day. Seth says that he's meticulous with his writing, that keeping the messiness and the irreverence and the beauty all mixed together is important to expressing an authentic image of remote Alaska. One that shows the reality of living in harsh, inhospitable environments, not just the beauty of things like the Northern Lights and flawless wilderness. Having grown up on the land, and remaining so close to it today, he's watched how much everything has changed as a result of human encroachment and climate change. His writing details these observations and what it's like to have, as he says, modernity bumping up against his life. Photo by Kiliii Yuyan
The web of life is sometimes freezing. Take, for instance, what's happening in the Alaska Arctic. In one of the largest remaining wilderness ecosystems on the planet, the frigid place is home to the Western Arctic Caribou Herd, and is also a hotspot to study the effects of climate change. What becomes of the caribou if climate change continues unabated? Further, what becomes of those that live, and depend, on the caribou, like the indigenous Iñupiat people, if the caribou disappear? The interconnectedness of us all is hanging by a thread. Seth Kantner was born and raised in northern Alaska and has worked as a trapper, wilderness guide, wildlife photographer, gardening teacher, and adjunct professor. His writing has appeared in The New York Times, Outside, Orion, and Smithsonian. Kantner is the author of the award-winning novel Ordinary Wolves, memoir Shopping for Porcupine, and collection of essays Swallowed by the Great Land: And Other Dispatches from Alaska's Frontier. He has been a commercial fisherman in Kotzebue Sound for more than four decades and lives in the Northwest Arctic. Bellamy Pailthorp covers the environment beat from the Seattle offices of KNKX Public Radio News, where she has worked since 1999. She also has a deep interest in indigenous affairs and the Salish Sea. Buy the Book: A Thousand Trails Home: Living with Caribou [Hardcover] from Mountaineers Books Presented by Town Hall Seattle. To become a member or make a donation click here.
This week on the Coffee Table, we welcome Alaskan writer and photographer Seth Kantner, to discuss his new book, A Thousand Trails Home. The book addresses subsistence, caribou, climate change, and growing up in the Arctic.
In 1970, Paul Kantner assembled an all-star musical cast including Grace Slick, Jerry Garcia, David Crosby and many others to create the Hugo Award nominated concept album - and first to mention the Jefferson Starship moniker - 'Blows Against The Empire'. Our guest, advertising art director and self-described 'art guy with a love for science and techie stuff' Michael Lebron, describes his quantum entanglement with Kantner over the years and hips us as to why this sci-fi counter-culture oddity STILL gets him high. Songs featured in this episode: It's All Over Now - The Rolling Stones; Somebody To Love, Crown Of Creation - Jefferson Airplane; Goodnight, Irene - The Weavers; Mau Mau (Amerikon), The Baby Tree, Let's Go Together, A Child Is Coming, Sunrise, Hijack, Home, Have You Seen the Stars Tonite?, XM, Starship - Paul Kantner; Simple Man - Graham Nash; Miracles - Jefferson Starship; We Built This City - Starship; Starship (Live) - Paul Kantner
Dee Kantner recently joined the audio experience for basketball officials to share a wealth of knowledge and experience with our passionate community of referees. We took this 10-minute clip that is loaded with nuggets from Dee's bag of tricks as she details some of the foundational qualities that have helped her officiate at the highest level for over 30 years. We are very appreciative of Dee Kantner's contributions to our program. Sit back and enjoy one of the greatest officials of all time who is still in her prime! For the full 90-minute interview please join our community on Patreon.com/crownrefs --- Send in a voice message: https://anchor.fm/crown-refs/message Support this podcast: https://anchor.fm/crown-refs/support
Radio Flow Online y Visual, la Primera Radio Visual de Misiones
Starship es una banda estadounidense de rock, establecida en 1983 a raíz de la salida de Paul Kantner de la banda Jefferson Starship (quien fuera fundador de la legendaria banda Jefferson Airplane) y que ocasionó problemas legales con el uso del nombre, lo que generó que el cambio en su estilo musical, la ausencia de personalidades importantes de Jefferson Starship y su nuevo nombre, le dieron una nueva identidad. " Sara " es una canción grabada por la banda de rock estadounidense Starship que alcanzó el número uno en la lista Billboard Hot 100 de EE. UU . El 15 de marzo de 1986. Fue cantada por Mickey Thomas , de la banda recientemente renombrada Starship, de su primer álbum Knee En lo profundo del alboroto ; para este single, Grace Slick proporcionó los coros. "Jefferson Starship" mas tarde "Starship", es una banda de pop rock resultado de las sucesivos y dramaticos cambios sufridos por la banda "Jefferson Airplane" formada en San francisco en 1965 .Esta banda cosecho grandes éxitos de venta y critica durante su historia pero ,como siempre , los enfrentamientos motivados por cuestiones musicales y personales terminaron rompiendo la bandaEn los años 80 y después de que Balin y Grace Slick , dos de los casi fundadores de la banda , abandonaran la formacion, Mickey Thomas se convirtió en el líder del grupo.Slick se unió a la banda mas tarde , pero Kantner , viendo que las cosas no iban como el quería , se marcho poco tiempo después y emprendió acciones legales contra el resto de laa banda por el uso del nombre "Jefferson".Después de que Kantner ganara su demanda legal la banda tuvo que cambiar su nombre y se convirtió en "Starship",a secas ,...Mickey Thomas se convirtió en el vocalista de la banda y es en esta epoca cuando consiguieron el exito con “Nothing's Gonna Stop Us Now”. "Starship" grabo una cadena de éxitos que incluia temas tan conocidos como “No Way Out”, “We Built This City”, “Sara”, y una nominación al Oscar para la mejor cancion para el single “Nothing's Gonna Stop Us” para la película “Mannequin”. Otros grandes exitos de esta banda fueron “Find Your Way Back”, “Stranger”, “Laying It On The Line”, y “It's Not Over Till It's Over” . Todos estos temas se encuentran incluidos en alguno de los tres álbumes que la banda lanzó como Starship: Knee Deep in the Hoopla (1985), No Protection (1987) y Love Among the Cannibals (1989). A principios de 1988, Grace Slick abandono "Starship" A falta de la posterior incorporacion de dos musicos mas la banda se convierte en trio durante un breve espacio de tiempo...Thomas, Craig Chaquico, y Donny Baldwin son sus miembros Los tres miembros de la banda decidieron incorporar , por necesidades musicales, a dos miembros mas, Mark Morgan (teclado) y Brett Bloomfield (bajo). Esta seria la formacion que grabaría , en 1989 , el álbum “Love Among the Cannibals”...el tercer album de la banda . --- Send in a voice message: https://anchor.fm/radioflowok/message
Today on the Reel Guy Podcast we sit down with South Florida fishing legend Steve Kantner. Steve has guided us through the fishing scene since the 70's writing for almost every fishing magazine ever published. Kantner is the author of 4 published books and is self publishing his 5th right now. His stories have intrigued anglers for over 5 decades and we a re proud to have him on the Reel Guy Podcast Learn more about your ad choices. Visit megaphone.fm/adchoices
Mo Kantner (Director of State & Local Initiatives at New American Economy) and Rational Middle's very own Gregory Kallenberg wrap the Immigration Mythbusting limited series with a close look at why the myth that immigrants don't want to integrate, learn English, or participate in American culture continues to persist in the minds of many.
We're back in Fear in our Romantic Relationships! This week we talk with Leslyn Kantner about fear in Romantic Relationships! It gets good you guys! Hope you like it. Check Leslyn out at:https://www.linkedin.com/in/leslynkantnerhttp://www.westgrovetherapy.comExternal linkCheck out MPW @www.mimi.link/themainweirdowww.manicpixieweirdopodcast.com@MPWeirdoPodcast - Twitterthe_main_weirdo1- Instagramhttps://www.youtube.com/channel/UCMAVX4EWIWE-ywNoJbOzYKg - Youtubeor email us at ManicPixieWeirdo@protonmail.com
Season 2, Episode 21! Carol is a dear friend that I know from the Dolpehock Sanger Chor (PA Dutch only singing chor). She's the accompanist to the chor as well as Organist at North Heidelberg UCC. Carol's family is 100% PA Dutch and she's aDieffenbach of the Dieffenbach Organs as well as the most famous potato chips!Carol's grandfather was Victor C. Dieffenbach, a Pennsylvania German columnist for the Lebanon Daily News, wrote under the pen name of “Der Alt Bauer” (The Old Farmer) for a number of years. For over 35 years he entertained his readers with his poetry and articles, many of which are reprinted in the book, DER ALT BAUER HOT EPPES ZU SAAGE (co-editors C. Richard Beam and Jennifer L. Trout, available at Masthof press, link below). Carol studied at Millersville University where she met Richard Beam and they developed a life-long friendship through his familiarity with her family and grandfather and her interest in learning more about her Deitsch culture. Carol continues to work on preserving her family's legacy of amazing organs as well as advancing the participation of the larger community to learn more about the Detisch culture and language. In a way taking the torch from her grandfather's work and continued that invaluable work! We enjoyed a lovely chat about all of her experiences in the Bauerei and her work within the Deitsch community. https://www.masthof.com/products/der-alt-bauer-hot-eppes-zu-saagehttps://www.facebook.com/DieffenbachOrganPreservationSociety1/https://www.facebook.com/Pennsylvania-German-Hour-469678339764796/https://www.bctv.org/program/pennsylvania-german/
In the second half of my conversation with my sweet sister, Karlene Kantner, we pick up our reflections, this time talking about imagination and its relationship to the themes we discussed last week. Karlene beautifully reads and analyzes a rarely appreciated poem and, weaving the threads of our whole conversation together, Karlene and I work to articulate a "third way" of being that accounts for a fullness of dignity and a more just society. Grab a cup of coffee. We're talkin' about a revolution of love. One of my favorite things about my conversation with Karlene is the natural love she models for others, whether they be people, animals, or the natural world. She has a way of relating to people that I might call "anti-defensiveness": her relationships are an intentional practice and she treats people beginning, not with skepticism or transaction, but with deep love and respect. My conversation with Karlene treats love as the foundation of human interaction, which is something we can all learn from.
From Mary Kantner's website: Mary Kantner is a portrait photographer based out of Los Angeles, CA. She is inspired by “imperfections”, in-between moments, and telling a story in her photographs. She uses both film and digital photography fluently within her work.Mary joins the Montana Diaries podcast to discuss, well, everything. We talk about being multi-passionate artists in an industry that demands niching down, and how we must allow our human selves to be more complicated than our brands. Mary attempts to put words to what draws her to photography legend Annie Leibovitz, which prompts a fumbling talk where we dissect the difference between technical excellence and emotional authenticity. This conversation is one of my favorites so far on the podcast, and I can't wait to hear what you take from it. https://www.montanadiaries.com/creativebusinessblog/6FREE CLASS FOR PHOTOGRAPHERS! https://www.montanadiaries.com/learnvideo SIGN UP FOR 1X1 MENTOR CALLS: https://www.montanadiaries.com/coaching
This week we diverge from our regular method, and I welcome a an incredibly special person to talk with me about the themes of this project. This is part one of our conversation. We spoke, as we must during a pandemic, over the phone, about what it means to mother when you don't have biological children of your own. We also explore themes of intention and potential, unlearning efficiency, and a concept she terms "self-attachment." Karlene Kantner is a master of mindfulness; it's an approach she takes to every person and every thing she encounters. She may be my younger sister, but I look up to her every day. Savor this one with me, dear listener, and be sure to catch the second half of our reflections next week.
Carol is a dear friend that I know from the Dolpehock Sanger Chor (PA Dutch only singing chor). She's the accompanist to the chor as well as Organist at North Heidelberg UCC. Carol's family is 100% PA Dutch and she's a Dieffenbach of the Dieffenbach Organs as well as the most famous potato chips!Carol's grandfather was Victor C. Dieffenbach, a Pennsylvania German columnist for the Lebanon Daily News, wrote under the pen name of “Der Alt Bauer” (The Old Farmer) for a number of years. For over 35 years he entertained his readers with his poetry and articles, many of which are reprinted in the book, DER ALT BAUER HOT EPPES ZU SAAGE (co-editors C. Richard Beam and Jennifer L. Trout, available at Masthof press, link below). Carol studied at Millersville University where she met Richard Beam and they developed a life-long friendship through his familiarity with her family and grandfather and her interest in learning more about her Deitsch culture. Carol continues to work on preserving her family's legacy of amazing organs as well as advancing the participation of the larger community to learn more about the Detisch culture and language. In a way taking the torch from her grandfather's work and continued that invaluable work! We enjoyed a lovely chat about all of her experiences in the Bauerei and her work within the Deitsch community. https://www.masthof.com/products/der-alt-bauer-hot-eppes-zu-saage https://www.facebook.com/DieffenbachOrganPreservationSociety1/ https://www.facebook.com/Pennsylvania-German-Hour-469678339764796/ https://www.bctv.org/program/pennsylvania-german/
"This game gave me more than I could have ever given back to it." - Dee Kantner, NBA & NCAA Referee If you thought last week's discussion with PRO GM, Howard Webb was good just wait until you meet Dee Kantner! Stock up on wood and join Mr. Fireside in the 3rd episode of Fireside Chats as he hosts 23X NCAA Final Four Official, including 15 National Championships and pure legend on the court, Dee Kantner. If you don't know her for her NCAA tours, you may recognize her as one of the first women in the NBA in 1997, or perhaps the 1998 FIBA World Championship and the 2000 Summer Olympics. You can expect candid conversations that cross the court to the pitch, including keys to success in officiating and breaking down barriers. NISOA proudly presents this unique learning experience in an intimate setting to our family, bringing you the greatest officiating minds on the pitch, court, and arena right to your screen. #DeeKantner #NBA #NCAA #NISOA #MLS Read more: https://nisoa.com/2020/09/29/fireside... Like us on Facebook: https://www.facebook.com/NISOAReferees Tweet us: https://twitter.com/nisoadotcom?lang=en
This week's conversation is with Elizabeth Kantner. Kantner is a math teacher who is currently teaching Geometry and PreCalc Honors. This year she is also teaching a section of Economics. In our conversation, Kantner talks about her time living overseas, both in the Peace Corps teaching multi-leveled classes in Namibia as well as living in Germany. She discusses how she is able to get kids comfortable in making mistakes in math without feeling penalized and celebrating multiple approaches to arrive at the correct solution. She also talks about the importance of using our limited amount of time with students this year to its fullest and really taking the time to build connections with students since everyone is different.
We interview Liz Kantner, a self-described marketer, content creator, jewelry brand advocate, and more. Though not a jewelry designer herself, Liz is passionate about helping independent jewelry artists - especially emerging designers - thrive in the modern marketplace. After graduating college with a degree in marketing and communications and then building her work experience in marketing, Liz took her first jewelry industry job as Digital Marketing Manager for Todd Reed in Boulder Colorado. In 2016, she left Todd Reed to launch Stay Gold, which allows her to accept new jewelry clients and work independently. Throughout her career in the industry, she's curated the New Designer Gallery for JA New York and the Designer Jewelry section of Premiere. In addition, she’s been featured in JCK Magazine, INSTORE Magazine, and National Jeweler. Check out the accompanying blog post here: https://joyjoya.com/2020/08/13/interview-with-liz-kantner-jewelry-marketer-and-designer-advocate/
The Lunkerdog and World Famous Steve Kantner sit down and hash it out. Kantner schools Captain Jeff on women and fishing. Kantner also reveals 50 women anglers in a new book. It was great to finally sit down and have a REEL discussion with Steve . I have known him for many years but never had a chance to sit down and talk like we did in this podcast. I hope you enjoy Learn more about your ad choices. Visit megaphone.fm/adchoices
Playlist: 1. Jefferson Starship, Have you seen the stars tonight 2. Jefferson Airplane, Triad 3. Grace Slick, Jay 4. Kantner and Slick, Silver Spoon 5. Jefferson Airplane, When the earth moves again 6. Grace Slick, Theme from the movie_Manhole
Playlist: 1. Jefferson Starship, Have you seen the stars tonight 2. Jefferson Airplane, Triad 3. Grace Slick, Jay 4. Kantner and Slick, Silver Spoon 5. Jefferson Airplane, When the earth moves again 6. Grace Slick, Theme from the movie_Manhole
Playlist: 1. Jefferson Starship, Have you seen the stars tonight 2. Jefferson Airplane, Triad 3. Grace Slick, Jay 4. Kantner and Slick, Silver Spoon 5. Jefferson Airplane, When the earth moves again 6. Grace Slick, Theme from the movie_Manhole
Inside Jewelry Trade Shows & Marketing With Liz Kantner, Curator & Designer Consultant for the Premier Show Liz Kantner is the designer consultant to rising, independent designers for Emerald Exposition’s jewelry trade shows, JA New York, and is heading up their debut Premier Show in Las Vegas, May 30 through June 3rd, 2019. A few of the designers attending the show have been guests on Jewelry Navigator Podcast, like Samantha Jackson of Heavenly Vices Fine Jewelry, and Kate Hubley of K8Jewelry. Other designers featured are Emily Kuvin Jewelry, and Debra Halperin of May Came Home Jewelry, as well as industry insiders, Roger and Rachel Dery of Gem Legacy, and Roger Dery Gems. Liz had extensive experience with digital marketing before she started her journey in the jewelry industry. She moved to Denver from Philadelphia, and answered a Craig’s List ad for a social media and marketing position with Todd Reed Jewelry. She advanced to marketing manager for Todd Reed. She compared her time at Todd Reed to a master’s program in luxury marketing and the jewelry industry.There, she covered all aspects of marketing, while connecting them with sales strategy. With a large staff of experienced jewelers, she familiarized with jewelry design and fabrication processes. Since her time at Todd Reed, Liz has moved back to the East Coast. She found her current roll with Emerald Expositions after the unfortunate and untimely passing of Cindy Edelstein, the former curator and mentor to designers featured in the jewelry shows represented by Emerald Expositions. Liz does her best to follow in the steps of Cindy by nurturing new and rising jewelry designers featured in her shows. Her drive to serve the designers in the shows she curates is inspiring. Besides sharing her experience as a new shop owner in Asheville, NC, we discuss how designers can use the shift in retail trends to their advantage through trade shows and marketing. You can find Liz on Instagram@liz_kantner Premier@premier.shows Watch their feeds for exciting coverage of the exclusive Premier Show in Las Vegas! Email her at elizabeth.kantner@gmail.com for questions regarding future trade shows and her consulting services. The sponsor for this podcast is the Spring Fling Jewelry & Accessory Guide, featuring gifts perfect for the special events and occasions in spring, like father’s day, graduations, anniversaries, weddings, and birth gifts. I feature some of my favorite designers, many of whom have been guests on the podcast, like CRASH Jewelry, Mary van der Aa, Emily Kuvin Jewelry, Hania Kuzbari, Sarah Michikos, Nayla Shami,and MINTON. You can find the guide under the Special Features tab in the main menu on my website or click here https://jewelrynavigator.com/spring-fling-jewelry-accessory-gift-guide/ Thanks so much for joining me today - I know you have a choice in what you listen to, and if you like jewelry, you’re in for a treat - so sit back, relax, and enjoy the episode! One more thing! Do you have jewelry questions, or are you an emerging jewelry designer who needs a boost? Future Jewelry Navigator Podcasts are in the works, and scheduling is open for a short time. Reach out to me with questions and queries at brenna@jewelrynavigator.com.
We've got a lot of insight into a real special slice of TMBG esoterica today, as we interview Julie Kantner, incredible songwriter and past member of John Flansburgh's college dorm band, The Turtlenecks! Jordan and Dave talk to Julie about songwriting, playing live, and we devote a lot of wide-eyed attention to the six-song Turtlenecks EP from 1981, put up by Julie on her Bandcamp page! We learn about some of the earliest unheard Flansburgh (and Linnell!) songs, and hear a lot of crazy and funny anecdotes about her and the college-aged pre-TMBGer! In the latter portion of the episode, Julie tells us about the inspiration behind some of her best songs released through her bands Fertile Virgin, Twig, and Uranium Daughters! She writes short, catchy, fun and lyrically complex rock songs, and we think all TMBG fans would go nuts for her music! Check out all of her stuff, including the Turtlenecks EP, at https://uraniumdaughters.bandcamp.com ! --- Support this podcast: https://anchor.fm/dontletsstart/support
Although Liz Kantner has always had a passion for jewelry, she began her career as a Content Manager for big consumer brands. She made the switch to the jewelry industry when she had the opportunity to work as Marketing Manager for Todd Reed. During her time there she learned many aspects of the fine jewelry industry including public relations, advertising, sales and trade shows. Liz moved on to start her on consulting business, STAY GOLD and curates JA New York's New Designer Gallery as well as PREMIER, a new show launching in Vegas in 2019. Her passion for jewelry continues to grow!instagram.com/liz_kantnerlizkantner.cominstagram.com/premier.showsPerceived Value is an Official Partner of NYC Jewelry Week!à Nov. 12th – 18th 2018www.nycjewelryweek.com@nycjewelryweekDon't forget to Rate AND Review us on iTunes!SUPPORT PERCEIVED VALUE!www.patreon.com/perceivedvaluewww.perceivedvaluepodcast.com/how-to-support-donate/Instagram + Facebook: @perceivedvalueFind your Host:sarahrachelbrown.comInstagram: @sarahrachelbrownThe music you hear on Perceived Value is by the Seattle group Song Sparrow Research.All You Need to Know off of their album Sympathetic Buzz.Find them on Spotify!
In this episode, we had beach fishing author, local legend, and fishing on foot master "The Land Captain" Steve Kantner on the show to have some fun telling stories about beach/surf fishing.
China Isler—ne, Kantner—is someone I've known for a while...since I was 10, as a matter of fact. This is because we went to the same grammar school and despite the fact that the place where I grew up was somewhat sophisticated and jaded, our school was often abuzz over the fact that rock star royalty—the daughter of Jefferson Starship's Paul Kantner and Grace Slick—was among us. Despite how China appeared—I remember her being bubbly and cool beyond belief—she had her first drink at two, was "uncomfortable" by four and was drinking regularly by 12. And so she found sobriety at an early age—in high school—and watched her life take off. Suddenly she was the youngest MTV DJ ever and discovering how much she loved acting. An acting career as well as a relapse followed—after which China took a look at her life and decided what she really wanted to do was a lot more spiritual than saying someone else's lines in front of a camera. And so she became...a pastor. No, it's not the typical path for the daughter of two rock stars. But the Minister of Substance Use Disorder and Recovery at UrbanMission in Pomona is as passionate about recovery as anyone I've ever met. Sober since 1998, she's now the Faith Leader/Liaison at Facing Addiction.
Jefferson Airplane是旧金山最早为全美国熟知的迷幻摇滚乐队，他们代表了一个时代。 乐队由创作歌手Marty Balin成立于1965年夏，共6人。起先他们在俱乐部演奏一些民谣摇滚和披头士的歌曲，后来与RCA唱片公司签约.1966年乐队在RCA旗下发行《Takes Off》，在商业上小有收获。1967年2月，乐队参加了金门公园的海特阿伯莱音乐会，引起轰动，被传媒当成一个神圣文化潮流的领袖。乐队得到了唱片公司的重视，得以录制下一张专辑《Surrealistic Pillow》。这时的乐队阵容是：歌手Marty Balin、吉他手/歌手Paul Kantner、吉他手/歌手Jorma Kaukonen、鼓手Spencer Dryden、贝司手Jack Casady、女歌手Grace Slick。《Surrealistic Pillow》是乐队推出的最重要的一张唱片，它为旧金山乐派开辟了第一片天空，“旧金山迷幻摇滚出师表”之称毫不过份。它充分开发了乐器演奏的无限可能性，并以此激发了超出日常经验的想象力。金唱片销量和长久传唱的名曲“Somebody to Love”、“White Rabbit”只是这张唱片表面上的成功，实际上在此之下是1967年“爱的夏天”、为迷幻摇滚疯狂的美国、迅速蔓延的嬉皮生活方式、数目猛涨的瘾君子。在其后的时间中，乐队经历了极为频繁的人员变动，只有Kantner一人始终留在乐队中。乐队在七十年代末开始向硬摇滚方向演化，并更名为Jefferson Starship，最后称为Starship。1989年，原Jefferson Airplane成员Balin、Kantner、Kaukonen、Casady和Slick重组，并录制了《Jefferson Airplane》，虽然专辑已失去往日吸引力，但巡演却比较成功。1995年，Kantner、Balin、Casady组成了新的Jefferson Starship，并发行了《Deep Space/Virgin Sky》。
Jefferson Airplane是旧金山最早为全美国熟知的迷幻摇滚乐队，他们代表了一个时代。 乐队由创作歌手Marty Balin成立于1965年夏，共6人。起先他们在俱乐部演奏一些民谣摇滚和披头士的歌曲，后来与RCA唱片公司签约.1966年乐队在RCA旗下发行《Takes Off》，在商业上小有收获。1967年2月，乐队参加了金门公园的海特阿伯莱音乐会，引起轰动，被传媒当成一个神圣文化潮流的领袖。乐队得到了唱片公司的重视，得以录制下一张专辑《Surrealistic Pillow》。这时的乐队阵容是：歌手Marty Balin、吉他手/歌手Paul Kantner、吉他手/歌手Jorma Kaukonen、鼓手Spencer Dryden、贝司手Jack Casady、女歌手Grace Slick。《Surrealistic Pillow》是乐队推出的最重要的一张唱片，它为旧金山乐派开辟了第一片天空，“旧金山迷幻摇滚出师表”之称毫不过份。它充分开发了乐器演奏的无限可能性，并以此激发了超出日常经验的想象力。金唱片销量和长久传唱的名曲“Somebody to Love”、“White Rabbit”只是这张唱片表面上的成功，实际上在此之下是1967年“爱的夏天”、为迷幻摇滚疯狂的美国、迅速蔓延的嬉皮生活方式、数目猛涨的瘾君子。在其后的时间中，乐队经历了极为频繁的人员变动，只有Kantner一人始终留在乐队中。乐队在七十年代末开始向硬摇滚方向演化，并更名为Jefferson Starship，最后称为Starship。1989年，原Jefferson Airplane成员Balin、Kantner、Kaukonen、Casady和Slick重组，并录制了《Jefferson Airplane》，虽然专辑已失去往日吸引力，但巡演却比较成功。1995年，Kantner、Balin、Casady组成了新的Jefferson Starship，并发行了《Deep Space/Virgin Sky》。
PR & Marketing “Todd Reed Style” with Liz Kantner
Radio Wolinsky 8: A conversation with Paul Kantner, hosted by Richard A. Lupoff and Richard Wolinsky, recorded in Marin County, February 9, 1984. Paul Kantner, who died on January 28, 2016 at the age of 74, was one of the founding members of the great San Francisco band, Jefferson Airplane, and later one of the founders of Jefferson Starship. A legendary vocalist and songwriter, Kantner was known for his melding of rock and roll and science fiction in his lyrics. On February 9th, 1984, science fiction author Richard A. Lupoff was hired by Heavy Metal magazine to interview Paul about the relationship of science fiction and rock and roll, accompanied by Richard Wolinsky, his co-host for the Probabilities radio program on KPFA. The interview was recorded in a barn, and the microphone was set on a tree stump halfway between the three. The interview was not meant for airplay, and the conversation was more free-ranging than focused. For the remastering, the recording used noise reduction, and the flanging re-filtered if the dialogue remained audible. Levels were reformulated and filters were added using Cool Edit 2000 and Adobe Audition. Special thanks to Charlie Cockey and Dennis Weiner. Of the 70 minutes of recording, 32 minutes survived the first edit, and this edit comes to 19 minutes. The post Paul Kantner, 1984 appeared first on KPFA.
This week, my friend Liz Kantner is on the show talking about The Wonder Years' album "The Greatest Generation". She gives a track by track breakdown, and explains why in her opinion, these guys are currently the best pop punk band around.
Medizinische Fakultät - Digitale Hochschulschriften der LMU - Teil 14/19
Thu, 14 Jun 2012 12:00:00 +0100 https://edoc.ub.uni-muenchen.de/14469/ https://edoc.ub.uni-muenchen.de/14469/1/Kantner_Claudia.pdf Kantner, Claudia
Podcast des Blinden- und Sehbehindertenvereins Hamburg e. V.
Ralf Bergner spricht mit dem Musiker Körrie Kantner über sein Leben und seine Musikprojekte.
On this extra outdoorsy episode of Kids These Days! we're celebrating Alaska's amazing bounty by speaking with those in the know about fishing, gathering and hunting in Alaska. Does your family do any of these activities together? If so, you know that they're about more than harvesting food -- picking berries, taking a moose or landing a halibut also mean quality family time spent together! First up this hour, host Shana Sheehy speaks with award-winning author Seth Kantner. Kantner wrote Shopping for Porcupine and Ordinary Wolves which won a Milkweed National Fiction Prize, establishing him as one of the nation's top young writers. In addition to writing, Kantner is a commercial fisherman and wildlife photographer. He spoke to us about living a gathering life in a modern world from Kotzebue where he lives with his wife and daughter. Unlike in other states, hunting in Alaska is on the rise - maybe that’s because hunting is a family tradition for many in the 49th State. For one Wasilla family, the Adamses, the tradition of hunting - and gun safety - has been passed down through the generations. Producer Sarah Gonzales spoke with this family and also with Jerry Soukup, the coordinator of the Alaska Department of Fish & Game's Hunter Information & Training (HIT) Program Also speaking to us from Fish & Game, Tony Kavalok the Assistant Director for the Division of Wildlife Conservation, and the former Palmer Area Wildlife Biologist for the division, speaks with us in-studio about the many programs ADFG offers for young people to help get them out fishing, hunting, participating in shooting sports and into conservation camps. Christina Salmon was born and raised in Igiugig, Alaska (pop. 64) to Dan and Julia Salmon, she is the eldest of 5 children and has lived back at home since 2007 where she now works as the village's Environmental Director. She has 3 children: Aiden, Keilan and Dannika, 6, 4, and 2. She says, "I wanted to raise my children in rural Alaska so they could experience life as I did when a child, living off the land, subsistence hunting, fishing and berry picking. Enjoying the simple things in life." And last but certainly not least this hour we have a new installment of KTDontheGO with Erin Kirkland. This time she's exploring the special connections and memories that happen when fathers and daughters go fishing together.
John Kantner, vice president, School for Advanced Research in Santa Fe, speaks at the UNM Hibben Center on various theories about Chaco Canyon. Kantner also discusses the possibility of Chaco Canyon as a pilgrimage site.
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