Podcasts about Rinehart

Gina Rinehart has been Australia's richest person for the last six years in a row. But where does her money come from? In episode three we unpack the bitter rivalries, court battles and family conflicts behind the Hancock fortune – and consider a fundamental question: is Rinehart a mining heiress or is she a self-made mining magnate? We then look at her crowning achievement to date in her time at the helm of Hancock Prospecting – owning and operating her own iron mine at Roy Hill, something her father was never able to do Listen and subscribe to the Gina Podcast at theguardian.com/gina

I met Edward Rinehart at my Rotary Club, where he was sharing his journey with DECA - Distributive Education Clubs of America - an organization that prepares emerging leaders and entrepreneurs in marketing, finance, hospitality, and management through educational programs and competitions.  Colorado had 9,000 participants in DECA programs in 2024, with the top competitors advancing through District Competitions to State and International.  Edward has been involved in DECA all four years of his high school journey, made it all the way to International his Freshman year, and has served on the Leadership Team ever since.  He won the State Competition in Entrepreneurship this February - and we're wishing him luck at Internationals in May!  This is a different journey than most of our LoCo Experience episodes - just getting started.  But I learned a lot, and enjoyed a wonderful conversation - and you will too!  So especially if you've got kiddos still in school, or grandkids going to high school soon - or if you might want to be a volunteer judge for the District or State competitions - I hope you'll tune in and enjoy my conversation with Edward Rinehart.  The LoCo Experience Podcast is sponsored by: Purpose Driven Wealth Thrivent: Learn more

Gina Rinehart's father helped changed the course of Australian history when he lobbied to overturn the ban on iron ore exports in the 1950s, laying the foundation for the Hancock family fortune. In her own life, Rinehart campaigned successfully against Kevin Rudd's mining tax and has made several attempts to gain influence through key media organisations. In episode 2 of Gina, senior correspondent Sarah Martin explores the extent to which both father and daughter have influenced governments of the day. Listen and subscribe to the Gina Podcast at theguardian.com/gina

The story of how strawberries went from small forage item to one of the world’s most popular fruits – though they're technically not a true fruit – involves lots of crossbreeding experimentation, as you might expect, but also a bit of spy craft. Research: “A Transatlantic Tango: The Story of the Strawberry. Royal Horticultural Society. https://www.rhs.org.uk/advice/grow-your-own/features/history-of-the-strawberry#:~:text=It%20is%20hard%20to%20believe,back%20on%20fortifications%20near%20Concepci%C3%B3n. Allen, Mike. “The 18th-Century Spy Who Gave Us Big Strawberries.” Atlas Obscura. Nov. 16, 2017. https://www.atlasobscura.com/articles/big-strawberries-spy-chile-france Barnes, Monica. “Frezier, Amédée François (1682-1773).” American Museum of Natural History. January 2008. https://www.researchgate.net/publication/280567727_Frezier_Amedee_Francois_1682-1773 Darrow, George M. “The Strawberry: History, Breeding and Physiology.” New York. Holt, Rinehart and Winston. 1966. Accessed online: https://archive.org/details/strawberryhistor00darr/mode/1up The Editors of Encyclopaedia Britannica. "strawberry". Encyclopedia Britannica, 29 Jun. 2023, https://www.britannica.com/plant/strawberry Folta, K.M., Barbey, C.R. “The strawberry genome: a complicated past and promising future.” Hortic Res 6, 97 (2019). https://doi.org/10.1038/s41438-019-0181-z Grubinger, Vern. “History of the Strawberry.” University of Vermont. June 2012. https://www.uvm.edu/vtvegandberry/factsheets/strawberryhistory.html Hancock, J.F. “Strawberries.” Oxford University Press. 2000. Petruzzello, Melissa. "list of plants in the family Rosaceae". Encyclopedia Britannica, 7 Mar. 2024, https://www.britannica.com/topic/list-of-plants-in-the-family-Rosaceae-2001612 Sevilla, Elisa, and Ana Sevilla. “STRAWBERRY.” New World Objects of Knowledge: A Cabinet of Curiosities, edited by Mark Thurner and Juan Pimentel, University of London Press, 2021, pp. 207–12. JSTOR, http://www.jstor.org/stable/j.ctv1vbd275.34 “Strawberry Facts.” University of Florida Gulf Coast Research and Education Center. https://gcrec.ifas.ufl.edu/fruit-crops/strawberries/strawberry-facts/ Sytsma, Kenneth J.. "Rosaceae". Encyclopedia Britannica, 28 Feb. 2025, https://www.britannica.com/plant/Rosaceae See omnystudio.com/listener for privacy information.

Gina Rinehart is Australia's richest person – and as her wealth continues to rise, so does her power and influence. But what does she want? In the first episode of Guardian Australia's new podcast series Gina, senior correspondent Sarah Martin explores the impact Rinehart could have on Australian politics. Rinehart grew up in the vast expanse of the Pilbara. To understand her story, we delve into her past and how her unique childhood under the influence of Lang Hancock shaped her

In this episode, our Founder and President, Jennifer Risi, sits down with The Associated Press' Aimee Rinehart live at SXSW to chat about her upcoming SXSW session that looked at how AI is transforming today's newsroom and how reporters deliver the news today.  

My guest today is John Dowd. John is a former navy SEAL who 15 years ago started SOFware, LLC a company that develops software and consults with elite units in their assessment and selection processes.  John and his team work with many of the world most elite units assisting them in not only choosing the right people but also helping them develop over their entire careers.  John's views on selection and the lessons learned by his team over the past 15 are extremely valuable information for any team to help guide how you evaluate and select personnel.Book Recommendation:Assessment of Men: Selection of Personnel for the Office of Strategic Services: The OSS Assessment Staff, Rinehart & Company, Inc. ASIN: B000M6BR7WContact Info:You can reach John and his team at best.practices@sofwarellc.com, and can learn more about their software, FORGE, at https://sofwarellc.com/forge. 

Programa conducido por Darío Lavia y Chucho Fernández.Ilustraciones: Andy Warhol, Fred Banbery, Ansel Adams.Fotogramas: "Spellbound" (1942); "Vertigo" (1959); "North by Northwest" (1958); "Psycho" (1960); "Alfred Hitchcock Presents: Revenge" (1955); "The Trouble with Harry" (1955), todas de Alfred Hitchcock; "Hombre sin rostro" (1950) de Juan Bustillo Oro.Acto I: "Introducción" de Alfred Hitchcock (ghostwriting de Robert Arthur) por Pablo Martínez Burkett 0:02:50"La risa, remedio infalible" por Chucho Fernández 0:10:30Acto II: "¿Es bueno o es malo?" de Éric Rohmer & Claude Chabrol por Darío Lavia 0:12:29"La risa, remedio infalible" por Chucho Fernández 0:22:24Acto III: "El expreso de medianoche" de Alfred Noyes por Chucho Fernández 0:25:03 Fuentes de los textos: "Introduction", Alfred Hitchcock en "Alfred Hitchcock's Ghostly Gallery" (Random House, 1962)"Hitchcock", Éric Rohmer & Claude Chabrol (S. A. Editions Universitaires / Jean-Pierre Delarge Editeur, 1957)"Midnight Express", Alfred Noyes, en "This Week" (1935), recopilado por August Derleth en "Sleep No More: Twenty Masterpieces of Horror for the Connoisseur" (Farrar & Rinehart, 1944) y luego por Alfred Hitchcock en "Bar the Doors: Terror Stories" (Dell, 1946)Oscuro Total (sitio oficial)https://www.instagram.com/oscurototalImdbhttps://www.imdb.com/title/tt35741521/Web de Cineficción⁠http://www.cinefania.com/cineficcion⁠/Fan Page de Cineficción⁠https://www.facebook.com/revista.cineficcion/

Over the last few years, the technological promise of artificial intelligence (AI) has propelled stock market gains, driven fears of widespread labor market displacement, and helped turn microchip production into a matter of national security. Generative AI models are still in their infancy, but investors and economists are already debating whether its impact will rival that of electricity or the steam engine. There are nonetheless numerous hurdles to overcome before it becomes dispersed throughout the entire economy. In this episode, we talk with Will Rinehart, Resident Senior Fellow at the American Enterprise Institute's Center for Technology, Science, and Energy, about the trajectory of AI development, its likelihood of becoming a generational disruptive technology, and how it could help narrow the federal deficit. 

Ross and Glen get Owen´s thoughts on where the game is going among other things.We´d love to hear from you.  Please drop us a line on Instagram @nrg_podcast email us at podcastnrg@gmail.com or follow us on FacebookThank you so much for listeningLots of loveNick, Ross and Glen

Part one of two, Ross and Glen go it alone and speak to legendary former 10 goaler Owen Rinehart about his life with horses and polo and some insights into where the game is going.We´d love to hear from you.  Please drop us a line on Instagram @nrg_podcast on email at podcastnrg@gmail.com or follow us on FacebookThank you so much for listeningLots of loveNick, Ross and Glen

The king's ill-fated attempt to flee the country causes anti-monarchist protests to break out in Paris, which Lafayette responds to with a heavy hand. After the subsequent massacre at the Champ de Mars leaves his reputation in tatters, the general attempts to make his exit from the political stage. Email me: perspectivesinhistorypod@gmail.com Podcast Website Follow me on Twitter Facebook Page Buy Some Used Books Bibliography Auricchio, Laura. The Marquis: Lafayette Reconsidered. Vintage Books, 2015. Babeau, Emile and Maurice de la Fuye. The Apostle of Liberty: A Life of Lafayette. Thames and Hudson, 1956.  Duncan, Mike. Hero of Two Worlds: The Marquis de Lafayette in the Age of Revolution. Hachette Book Group, 2021.  Israel, Jonathan. The Expanding Blaze: How the American Revolution Ignited the World, 1775-1848. Princeton University Press, 2011.  Kramer, Lloyd S. Lafayette in Two Worlds: Public Cultures and Personal Identities in an Age of Revolutions. University of North Carolina Press, 1996. Lafayette, Marie Joseph Paul Yves Roch Gilbert Du Motier. Memoirs, Correspondence, and Manuscripts of General Lafayette, vols 1-6. Saunders and Otley, 1837.  Schama, Simon. Citizens: A Chronicle of the French Revolution. Alfred A. Knopf, 1989.  Unger, Harlow Giles. Lafayette. John Wiley & Sons, Inc, 2002. Woodward, W.E. Lafayette. Farrar & Rinehart, 1938. Cover Image: Portrait of Gilbert Motier the Marquis De Lafayette as a Lieutenant General, 1791. Painting by Joseph-Désiré Court, 1834. Closing theme: "Ça Ira" (It will be fine)- popular song from the French Revolution.

Siamo il lavoro che svolgiamo? ★ SOCIAL ★ Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/4iexis/ Letterboxd: ⁠⁠⁠⁠⁠⁠⁠https://letterboxd.com/4lexis/ Email: chahaotic@gmail.com Se vuoi offrirmi un caffè e supportare il canale: https://ko-fi.com/4lexis Youtube: https://www.youtube.com/@Chahaotic Fonti: - Avataneo, G., ‘Scissione Serie TV | L'identità senza memoria', Hypercritic, (2023): https://hypercritic.org/it/collection/scissione-serie-tv-2022-recensione?utm_source=chatgpt.com - Behind the scenes of SEVERANCE - interview with the cinematographer: https://www.youtube.com/watch?v=jtJzPp9wCFE&pp=ygUSamVzc2ljYSBsZWUgZ2FnbsOp - Breznican, A., ‘Exclusive Preview: “Severance” Season Two Is a True Piece of Work', (2024): https://www.vanityfair.com/hollywood/story/severance-season-two-exclusive-preview?utm_source=chatgpt.com - Closer Look: ‘Severance' Creators & Cast Discuss Show Inspiration, Fan Theories & More: https://www.youtube.com/watch?v=zNq11cnyj9k&pp=ygUTc2V2ZXJhbmNlIGludGVydmlldw%3D%3D - Exclusive Interview: Sarah Edwards, Costume Designer for ‘Severance', (2022): https://youtu.be/Tacr220BUeg - Freligh, T., ‘Exclusive Interview — Sarah Edwards, costume designer for Apple TV+'s Severance', (2022): https://taifreligh.medium.com/exclusive-interview-sarah-edwards-costume-designer-for-apple-tv-s-severance-2295413701f1 - Fromm, E., The Sane Society, (Rinehart, 1955) https://merton.bellarmine.edu/files/original/92a9b060085cee0d386167c7872513168d8624b3.pdf - Full SEVERANCE FYC Event Q&A Panel with Cast and Creators - SPOILERS!, (2022): https://www.youtube.com/watch?v=yOP5CcuSahw&t=710s&pp=ygUNc2V2ZXJhbmNlIHEmYQ%3D%3D - Graeber, D., Bullshit Jobs: A Theory, 1st edition ed. (Simon & Schuster, 2018) - Karim, M., ‘Factory or Corporation: What “Severance” Gets Wrong — An Analysis by Muzaffar Karim', (2023): https://www.inversejournal.com/2023/03/10/factory-or-corporation-what-severance-gets-wrong-an-analysis-by-muzaffar-karim/ - Lannom, S. C., ‘The Ultimate Guide to the Dolly Zoom', (2024): https://www.studiobinder.com/blog/best-dolly-zoom-vertigo-effect/?utm_source=chatgpt.com - Liston, N. M., ‘“You Are Not a Person”: Splitting Severance', Exertions, (2023): https://saw.americananthro.org/pub/you-are-not-a-person/release/1 - ‘Severance' Cast and Crew Break Down the Cliffhanger Finale | Making A Scene: https://www.youtube.com/watch?v=JsdDwKc6eWg&pp=ygUTc2V2ZXJhbmNlIGludGVydmlldw%3D%3D - ‘Severance' costume designer Sarah Edwards discusses aesthetics and season 1 of the show, (2022): https://www.youtube.com/watch?v=Bwk59Z-cgJE - PenzeyMoog, C., ‘Severance's workplace brutality isn't sci-fi. Neither is its worker power.', (2022): https://www.vox.com/23017111/severance-workplace-organizing - ‘The Severance Podcast with Ben Stiller & Adam Scott': https://open.spotify.com/show/5sSKLimsNvqF31s8JZFH73?si=22b63a10b66f4580 - Townsend, K., S. Gilbert, D. Sims, and S. Kornhaber, ‘Why the Puzzle-Box Sci-Fi of Severance Works', (2022): https://www.theatlantic.com/podcasts/archive/2022/05/the-review-severance-apple-tv/629795/ - ‘Whang, O., ‘Hating Your Job Is Cool. But Is It a Labor Movement?', (2022): https://www.nytimes.com/2022/02/15/magazine/antiwork-reddit.html Altro materiale interessante: - McHenry, J., ‘The Stories Behind Severance's Eerie Office Design', (2022): https://www.vulture.com/article/severance-office-design-explained.html

Justin & Jenna Rinehart: owners of Nicollet Bike and Ski! Join us for an unforgettable ride with two incredible entrepreneurs in our community. Justin & Jenna share how they channeled their passion for the great outdoors into a profitable business serving the sports and recreational needs right here in Mankato. From outreach programs to off-road bike racing, we loved hearing how our guests have developed their enterprise, relationship and interests together! Stay tuned for minute 46:37, where Jenna shares an unexpected use for a paint stirring stick in the world of (muddy) bike racing

«Mi madre, viuda, al verse sin marido y sin amparo, decidió arrimarse a los buenos por ser uno de ellos, y se fue a vivir a la ciudad, alquiló una casita y se puso a cocinar para algunos estudiantes y a lavar ropa de ciertos mozos de caballería del comendador de la Magdalena, así que había razón para visitar las pesebreras. En ésas se relacionó con un negro de ésos que cuidaban las bestias. Unas veces este hombre venía de noche a casa y salía por la mañana. Otras ocasiones tocaba a la puerta con el pretexto de comprar huevos, y entraba en la habitación. En un principio me molestaba su presencia, y le tenía miedo por el color de la piel y mal semblante; pero cuando vi que con sus visitas mejoraba el condumio, fui cobrándole algún afecto, pues siempre traía pan, trozos de carne y, en el invierno, leña con que calentarnos. »De suerte que, sin pausa en la posada ni en las relaciones, mi madre acabó por darme un negrito muy lindo al que yo hacía brincar por darle algún calor. Recuerdo que un día el negro de mi padrastro retozaba con el mozuelo y, viendo que mi madre y yo éramos blancos y él no, se dio a correr con miedo hacia mi madre y, señalando con el dedo, decía: »—¡Madre, coco!... »... Niño todavía, me llamó la atención esa palabra de mi hermanico, y dije para mis adentros: “¡Cuántos habrá en el mundo que, porque no se ven a sí mismos, huyen de los demás!”»1 Este relato del protagonista principal de La vida de Lazarillo de Tormes, que da inicio en España al género de la novela picaresca, nos revela el pensamiento del llamado «pícaro» en aquel entonces. «Del pícaro puede decirse que toma la vida como viene —explica Jaime García Maffla—, que no la juzga pero sí la escruta, aun le da tonalidades especiales al mirarla desde su alma trágica y vacía.» Ese es el caso de Lazarillo. Muerto su padre, su madre tiene relaciones con un morisco cuando Lázaro ya ha cumplido los ocho años. Por conveniencia, Lázaro acepta las visitas del moro como también al hermanito mulato que nace de las tales «relaciones». Luego, como quien escruta sin juzgar, medita en el término «coco» que le oye decir al pequeño, cuando éste descubre que su padre no se parece ni a la madre ni al hermano. El coco era un fantasma con que se asustaba a los niños.2 De ahí que a Lázaro se le prenda la chispa y se pregunte: «¿Así como se asustó el inocentón de mi hermano, será que también los demás les tienen miedo a todos los que no se parecen a ellos? ¿Acaso el racismo se origine en el temor a lo desconocido?» Si bien acertó en su juicio el autor anónimo del Lazarillo a mediados del siglo dieciséis, con mayor razón debemos nosotros acertar en el nuestro en pleno siglo veintiuno. Determinemos que cuanto más diferente sea nuestro prójimo, más nos esforzaremos por llegar a conocerlo. Sigamos el consejo y el ejemplo de Aquel que nos hizo tal como somos: juzguemos a los demás así como queremos que ellos nos juzguen a nosotros, fijándonos en el corazón y no en las apariencias.3 Carlos ReyUn Mensaje a la Concienciawww.conciencia.net 1 Lazarillo de Tormes, Anónimo (Bogotá: Editorial Norma, 1994), pp. 12‑13. 2 Ángel del Río y Amelia A. de del Río, Antología general de la literatura española, Tomo 1: Desde los orígenes hasta 1700, ed. corregida y aumentada (New York: Holt, Rinehart and Winston, 1960), p. 338. 3 Mt 7:12; 1S 16:7

Lafayette stages a remarkable display of patriotism at a festival celebrating the one year anniversary of the revolution's beginning. Having reached the ‘zenith of his influence,' his political opponents on both the left and right grow increasingly wary of his ambition.  Email me: perspectivesinhistorypod@gmail.com Podcast Website Follow me on Twitter Facebook Page Buy Some Used Books Bibliography Auricchio, Laura. The Marquis: Lafayette Reconsidered. Vintage Books, 2015. Babeau, Emile and Maurice de la Fuye. The Apostle of Liberty: A Life of Lafayette. Thames and Hudson, 1956.  Duncan, Mike. Hero of Two Worlds: The Marquis de Lafayette in the Age of Revolution. Hachette Book Group, 2021.  Israel, Jonathan. The Expanding Blaze: How the American Revolution Ignited the World, 1775-1848. Princeton University Press, 2011.  Kramer, Lloyd S. Lafayette in Two Worlds: Public Cultures and Personal Identities in an Age of Revolutions. University of North Carolina Press, 1996. Lafayette, Marie Joseph Paul Yves Roch Gilbert Du Motier. Memoirs, Correspondence, and Manuscripts of General Lafayette, vols 1-6. Saunders and Otley, 1837.  Schama, Simon. Citizens: A Chronicle of the French Revolution. Alfred A. Knopf, 1989.  Unger, Harlow Giles. Lafayette. John Wiley & Sons, Inc, 2002. Woodward, W.E. Lafayette. Farrar & Rinehart, 1938. Cover Image: Portrait of Gilbert Motier the Marquis De Lafayette as a Lieutenant General, 1791. Painting by Joseph-Désiré Court, 1834. Closing theme: "Ça Ira" (It will be fine)- popular song from the French Revolution.

Did you know that anxiety disorders are the most common mental illnesses in the U.S. today? You might assume that we have a major anxiety problem just by the number of commercials you see for new medicines to treat these disorders, but is anxiety really a new thing?The Reality Of AnxietyModern medicine recognizes anxiety in many forms: generalized anxiety disorder, panic disorder, social anxiety, and various phobias. Data shows nearly a third of all U.S. adults will experience some form of anxiety in their lifetime. The cost of treating anxiety disorders in the U.S. runs into the tens of billions of dollars, with an even higher economic impact due to lost productivity.What causes this widespread anxiety? According to the Mayo Clinic, the causes aren't fully understood but likely include physical and mental health issues, as well as negative life events such as job loss or financial troubles.If you're struggling with persistent anxiety, it's crucial to see a doctor. Medication and counseling can be transformative.Jesus' Teachings On AnxietyDespite appearing like a modern affliction exacerbated by hectic schedules, technology overload, and perhaps even diet, anxiety is not new. We know this because Jesus addresses it in the Bible, particularly Matthew 6 and Luke 12.Matthew 6:25-26 says: “Therefore I tell you, do not be anxious about your life, what you will eat or what you will drink, nor about your body, what you will put on. Is not life more than food, and the body more than clothing? Look at the birds of the air: they neither sow nor reap nor gather into barns, and yet your heavenly Father feeds them. Are you not of more value than they?”Imagine the disciples traveling around Galilee and Judea, relying on donations for their needs. It's easy to see why they might have felt anxious about where they'd sleep or their next meal. Jesus encourages them to have faith. In Matthew 6:31-33, He says:“Therefore do not be anxious, saying, ‘What shall we eat?' or ‘What shall we drink?' or ‘What shall we wear?' For the Gentiles seek after all these things, and your heavenly Father knows that you need them all. But seek first the kingdom of God and his righteousness, and all these things will be added to you.”Resisting The Love Of MoneyJohn Rinehart, founder of Gospel Patrons, explains that Jesus aims to free us from fear and anxiety to be distinct from the world. The world often idolizes money and seeks comfort and security through wealth. While financial planning is important, it shouldn't be for the sake of leisure alone. Rinehart notes that the world is preoccupied with wealth, which can be perilous for Christians.Jesus warns of this temptation, emphasizing the need to resist the love of money by recognizing our value to God. He made us with a purpose. Jesus instructs us to seek God's Kingdom and righteousness first, promising our needs will be met.We must actively participate in our provision and trust God to fulfill His promise. When we understand our worth to God, we'll pursue His Kingdom and boldly share the Gospel, glorifying Him in the process.The Choice We All Have To MakeUltimately, we all face a choice: will we follow the world or seek the Kingdom of God and His righteousness? We can't do both. As Jesus states in Matthew 6:24:“No one can serve two masters, for either he will hate the one and love the other, or he will be devoted to the one and despise the other. You cannot serve God and money.”Choose God over money and watch the cares of the world fade away.Look At The Sparrows: A 21-Day Devotional from FaithFiIf you want to transform your approach to money through faith and find peace in God's provision, you can purchase a copy of Look at the Sparrows: A 21-Day Devotional on Financial Fear and Anxiety at FaithFi.com/sparrows. This devotional will take you on a journey through Scripture to help you discover how to move from financial fear to a life anchored in trust and generosity.Also, if you become a  FaithFi Partner at $35 per month, you can receive our latest studies and devotionals before they are even available to the general public. That's just our way of saying thank you for supporting the vital work of this ministry.On Today's Program, Rob Answers Listener Questions:My mom recently passed away, leaving some inheritance to the family. I'm the executor of the estate, and I want to see if there's a godly formula for giving to the church, missions, and retirement and investments.I'm about to lose my job soon, and I have a paid-off condo, but my HOA fees are increasing, and I don't have much savings. I'm considering getting a home equity loan to have money for a down payment on a new home, whether I rent out the condo or sell it. What do you think about that?I've lived in my house for 18 years and am considering selling it. What is home equity, and how can I use it to my advantage when selling the house?Resources Mentioned:National Christian Foundation (NCF)Compassion Gift CatalogGospel PatronsLook At The Sparrows: A 21-Day Devotional on Financial Fear and AnxietyRich Toward God: A Study on the Parable of the Rich FoolFind a Certified Kingdom Advisor (CKA) or Certified Christian Financial Counselor (CertCFC)FaithFi App Remember, you can call in to ask your questions most days at (800) 525-7000. Faith & Finance is also available on the Moody Radio Network and American Family Radio. Visit our website at FaithFi.com where you can join the FaithFi Community and give as we expand our outreach.

Famine conditions in Paris and fears of counter-revolution prompt thousands of enraged civilians to march on Versailles. With the safety of the royal family threatened, Lafayette is compelled to intervene to avert a catastrophe. Email me: perspectivesinhistorypod@gmail.com Podcast Website Follow me on Twitter Facebook Page Buy Some Used Books Bibliography Auricchio, Laura. The Marquis: Lafayette Reconsidered. Vintage Books, 2015. Babeau, Emile and Maurice de la Fuye. The Apostle of Liberty: A Life of Lafayette. Thames and Hudson, 1956.  Duncan, Mike. Hero of Two Worlds: The Marquis de Lafayette in the Age of Revolution. Hachette Book Group, 2021.  Israel, Jonathan. The Expanding Blaze: How the American Revolution Ignited the World, 1775-1848. Princeton University Press, 2011.  Kramer, Lloyd S. Lafayette in Two Worlds: Public Cultures and Personal Identities in an Age of Revolutions. University of North Carolina Press, 1996. Lafayette, Marie Joseph Paul Yves Roch Gilbert Du Motier. Memoirs, Correspondence, and Manuscripts of General Lafayette, vols 1-6. Saunders and Otley, 1837.  Schama, Simon. Citizens: A Chronicle of the French Revolution. Alfred A. Knopf, 1989.  Unger, Harlow Giles. Lafayette. John Wiley & Sons, Inc, 2002. Woodward, W.E. Lafayette. Farrar & Rinehart, 1938. Cover Image: Portrait of Gilbert Motier the Marquis De Lafayette as a Lieutenant General, 1791. Painting by Joseph-Désiré Court, 1834. Closing theme: "Ça Ira" (It will be fine)- popular song from the French Revolution.

The University of Denver Athletic Department's weekly coaches' show returns on December 18 when Joy S. Burns Head Women's Gymnastics Coach Melissa Kutcher-Rinehart joins host Tyler Maun for this week's show. The show is presented by the Johnson Financial Group from your Front Range Toyota Stores Studios.

As the early stages of the French Revolution unfold on the streets of Paris, Lafayette's new role as the commander of the National Guard forces him to maintain a delicate balancing act between the preservation of liberty and the restoration of public order. Email me: perspectivesinhistorypod@gmail.com Podcast Website Follow me on Twitter Facebook Page Buy Some Used Books Bibliography Auricchio, Laura. The Marquis: Lafayette Reconsidered. Vintage Books, 2015. Babeau, Emile and Maurice de la Fuye. The Apostle of Liberty: A Life of Lafayette. Thames and Hudson, 1956.  Duncan, Mike. Hero of Two Worlds: The Marquis de Lafayette in the Age of Revolution. Hachette Book Group, 2021.  Israel, Jonathan. The Expanding Blaze: How the American Revolution Ignited the World, 1775-1848. Princeton University Press, 2011.  Kramer, Lloyd S. Lafayette in Two Worlds: Public Cultures and Personal Identities in an Age of Revolutions. University of North Carolina Press, 1996. Lafayette, Marie Joseph Paul Yves Roch Gilbert Du Motier. Memoirs, Correspondence, and Manuscripts of General Lafayette, vols 1-6. Saunders and Otley, 1837.  Schama, Simon. Citizens: A Chronicle of the French Revolution. Alfred A. Knopf, 1989.  Unger, Harlow Giles. Lafayette. John Wiley & Sons, Inc, 2002. Woodward, W.E. Lafayette. Farrar & Rinehart, 1938. Cover Image: Portrait of Gilbert Motier the Marquis De Lafayette as a Lieutenant General, 1791. Painting by Joseph-Désiré Court, 1834. Closing theme: "Ça Ira" (It will be fine)- popular song from the French Revolution.

This episode looks at two films that examine the environmental disaster in Minamata, Japan: Noriaki Tsuchimoto's documentary, Minamata: The Victims and the World (1971), and Andre Levitas's Minamata (2020), a Hollywood feature film that tells the story through the famous American photographer, W. Eugene Smith. From 1932 to 1968, the Chisso Corporation, a local petrochemical and plastics maker, dumped approximately 27 tons of mercury into Minamata bay, poisoning fish and, ultimately, the people who ate them. Several thousand people died and many more suffered crippling injuries, with often severe mental and physical effects. The corporation's environmental pollution sparked legal and political battles that would last decades and reverberate throughout Japan. Joining me to discuss the films and the insights they provide into Japanese law and society, is Professor Darryl Flaherty.  Darryl is a historian of law and social change in early modern and modern Japan. He has published work on the emergence of Japan's legal profession during the nineteenth century, the Meiji Restoration in world history, and the twentieth century history of the jury in Japan. He is an associate professor in the Department of History at the University of Delaware, where he teaches courses on Japanese, Asian, and world history. Timestamps: 0:00   Introduction2:13     The Chisso Chemical Corporation 4:58    The fishing life in Minamata 7:30    The discovery of methylmercury poisoning12:20   Movement politics and environmental protest in Japan16:44   The debilitating Minamata disease18:59   The Minamata pollution litigation22:03   Denial and violence by the Chisso Corporation       24:08   Government complicity 29:26    Discrimination and pushback against victims of Minamata pollution30:51    Strategies and challenges in obtaining compensation38:28    Noriaki Tsuchimoto, W. Eugene Smith, and the notoriety of Minamata44:51     A history of direct action in Japan and the importance of an apology48:30    Environmental reform and its limits in Japan52:14     A lens into the 2011 Fukushima disaster54:39    The limited role of lawyers in the films57:21      Minamata today59:07    The decline of political activism in Japan102:02  Take-aways and stories about storytellingFurther reading: Flaherty, Darryl, Public Law, Private Practice Politics, Profit, and the Legal Profession in Nineteenth-Century Japan (Harvard Univ. Asia Center, 2013)George, Timothy S., Minamata: Pollution and the Struggle for Democracy in Postwar Japan (Harvard Univ. Press, 2002) Smith, Eugene W. & Aileen M. Smith, Minamata: The Story of the Poisoning of a City, and of the People Who Chose to Carry the Burden of Courage (Holt, Rinehart, 1975)Upham, Frank K., Law and Social Change in Postwar Japan (Harvard Univ. Press, 1989)Law on Film is created and produced by Jonathan Hafetz. Jonathan is a professor at Seton Hall Law School. He has written many books and articles about the law. He has litigated important cases to protect civil liberties and human rights while working at the ACLU and other organizations. Jonathan is a huge film buff and has been watching, studying, and talking about movies for as long as he can remember. For more information about Jonathan, here's a link to his bio: https://law.shu.edu/profiles/hafetzjo.htmlYou can contact him at jonathanhafetz@gmail.comYou can follow him on X (Twitter) @jonathanhafetz You can follow the podcast on X (Twitter) @LawOnFilmYou can follow the podcast on Instagram @lawonfilmpodcast

When King Louis XVI is forced to take drastic measures to stave off financial collapse, Lafayette and other liberal-minded nobles hope to use the opportunity to push for much-needed reforms to France's decrepit political structure. However, it quickly becomes apparent that the crisis facing the regime is more severe than previously thought.  Email me: perspectivesinhistorypod@gmail.com Podcast Website Follow me on Twitter Facebook Page Buy Some Used Books Bibliography Auricchio, Laura. The Marquis: Lafayette Reconsidered. Vintage Books, 2015. Babeau, Emile and Maurice de la Fuye. The Apostle of Liberty: A Life of Lafayette. Thames and Hudson, 1956.  Duncan, Mike. Hero of Two Worlds: The Marquis de Lafayette in the Age of Revolution. Hachette Book Group, 2021.  Israel, Jonathan. The Expanding Blaze: How the American Revolution Ignited the World, 1775-1848. Princeton University Press, 2011.  Schama, Simon. Citizens: A Chronicle of the French Revolution. Alfred A. Knopf, 1989.  Unger, Harlow Giles. Lafayette. John Wiley & Sons, Inc, 2002. Woodward, W.E. Lafayette. Farrar & Rinehart, 1938. Cover Image: Portrait of Gilbert Motier the Marquis De Lafayette as a Lieutenant General, 1791. Painting by Joseph-Désiré Court, 1834. Closing theme: "Ça Ira" (It will be fine)- popular song from the French Revolution.

The night Donald Trump claimed victory, he celebrated with his closest friends.  Among them was Australia's richest person, Gina Rinehart. Rinehart, who describes herself as a “long standing member of the Trump support group ‘the Trumpettes'”, is not only cultivating her ties among America's right-wing political elite. She also remains a highly influential figure in Australian politics.  And with the Australian election just months away, Rinehart's friendship with Opposition Leader Peter Dutton is more pertinent than ever. Today, national correspondent for The Saturday Paper Mike Seccombe on Gina Rinhehart, her money, and how she uses it to shape the country.  Socials: Stay in touch with us on Twitter and Instagram Guest: National correspondent for The Saturday Paper Mike Seccombe

Returning home after the war's conclusion, Lafayette continues to work for the betterment of his adoptive country. A few years later, he embarks on a grand tour of the United States, revisiting old friends and weighing in on some of the political issues that beset the fledgling nation. Email me: perspectivesinhistorypod@gmail.com Podcast Website Follow me on Twitter Facebook Page Buy Some Used Books Bibliography Auricchio, Laura. The Marquis: Lafayette Reconsidered. Vintage Books, 2015. Babeau, Emile and Maurice de la Fuye. The Apostle of Liberty: A Life of Lafayette. Thames and Hudson, 1956.  Duncan, Mike. Hero of Two Worlds: The Marquis de Lafayette in the Age of Revolution. Hachette Book Group, 2021.  Israel, Jonathan. The Expanding Blaze: How the American Revolution Ignited the World, 1775-1848. Princeton University Press, 2011.  Schama, Simon. Citizens: A Chronicle of the French Revolution. Alfred A. Knopf, 1989.  Unger, Harlow Giles. Lafayette. John Wiley & Sons, Inc, 2002. Woodward, W.E. Lafayette. Farrar & Rinehart, 1938. Cover Image: Portrait of Gilbert Motier the Marquis De Lafayette as a Lieutenant General, 1791. Painting by Joseph-Désiré Court, 1834. Closing theme: "Ça Ira" (It will be fine)- popular song from the French Revolution.

Lee, Richard B. The Dobe Ju/'Hoansi. Belmont Ca, Wadsworth Cengage Learning, 2013.Lee, Richard B. The Dobe !Kung. New York ; Montreal : Holt, Rinehart and Winston, 1984.Lee, Richard B. The!Kung San : Men, Women, and Work in a Foraging Society. Cambridge England ; New York, Cambridge University Press, 1979.Lee, Richard B, and Irven DeVore. Kalahari Hunter-Gatherers. iUniverse, 1998.Platvoet, Jan. (1999). At War with God: Ju/'Hoan Curing Dances. Journal of Religion in Africa. 29. 2-61. 10.1163/157006699X00232.Platvoet, Jan G. “The Rule and Its Exceptions: Spirit Possession in Two African Societies.” Journal for the Study of Religion, vol. 12, no. 1/2, 1999, pp. 5–51. JSTOR, http://www.jstor.org/stable/24764260.

Rejoining the American war effort in 1780, Lafayette is sent south to bring a traitorous general to heel. Unbeknownst to him, his actions were setting the stage for the dramatic final act of the War of Independence: the Battle of Yorktown. Email me: perspectivesinhistorypod@gmail.com Podcast Website Follow me on Twitter Facebook Page Buy Some Used Books Bibliography Auricchio, Laura. The Marquis: Lafayette Reconsidered. Vintage Books, 2015. Babeau, Emile and Maurice de la Fuye. The Apostle of Liberty: A Life of Lafayette. Thames and Hudson, 1956.  Duncan, Mike. Hero of Two Worlds: The Marquis de Lafayette in the Age of Revolution. Hachette Book Group, 2021.  Israel, Jonathan. The Expanding Blaze: How the American Revolution Ignited the World, 1775-1848. Princeton University Press, 2011.  Schama, Simon. Citizens: A Chronicle of the French Revolution. Alfred A. Knopf, 1989.  Unger, Harlow Giles. Lafayette. John Wiley & Sons, Inc, 2002. Woodward, W.E. Lafayette. Farrar & Rinehart, 1938. Cover Image: Portrait of Gilbert Motier the Marquis De Lafayette as a Lieutenant General, 1791. Painting by Joseph-Désiré Court, 1834. Closing theme: "Ça Ira" (It will be fine)- popular song from the French Revolution.

—[Tía Roma], ¿te acuerdas de cuando mi hija [pasó] una tarde... por donde tú vives... y entró en tu choza y vino contándome, horrorizada, la pobreza y escasez que allí vio? ... Rufina [me contó] que tu vivienda es un cubil, una inmundicia hecha con adobes, tablas viejas y planchas de hierro, el techo de paja y tierra; me dijo que ni tú ni tus nietos tenéis cama y dormís sobre un montón de trapos.... Yo debí tenerte lástima y no te la tuve. Debí regalarte una cama, pues nos has servido bien; querías mucho a mi mujer, quieres a mis hijos, y en tantos años que [trabajas] aquí jamás nos has robado ni el valor de un triste clavo. Pues bien; si entonces no se me pasó por la cabeza socorrerte, ahora sí. »Diciendo esto, [Torquemada] se aproximó al lecho y... [dijo]: —Tía Roma, ven acá, toca aquí. Mira qué blandura. ¿Ves este colchón de lana encima de un colchón de muelles? Pues es para ti, para ti, para que descanses tus huesos duros y te despatarres a tus anchas. »Esperaba el tacaño una explosión de gratitud por dádiva tan espléndida, y ya le parecía estar oyendo las bendiciones de la tía Roma, cuando ésta salió por un registro muy diferente.... —... Vaya con lo que se le ocurre... ¡Darme a mí los colchones, que ni tan siquiera caben por la puerta de mi casa!... Y aunque cupieran... he vivido tantísimos años durmiendo en duro..., y en estas blanduras no pegaría los ojos. Dios me libre de tenderme ahí. ¿Sabe lo que le digo? Que quiero morirme en paz... pero con la conciencia [limpia] .... Guárdese sus colchones, que yo tengo un camastro hecho de sacos de trapo, con una manta por encima, que es la gloria divina... Ya lo quisiera usted... Aquello sí que es rico para dormir a pierna suelta... —Pues dámelo, dámelo, tía Roma —dijo el avaro con aflicción—. Si mi hijo [Valentín] se salva, me comprometo a dormir en él lo que me queda de vida y a no comer más que las [porquerías] que tú comes. —... ¡Ay, señor, a cada paje su ropaje! A usted le sienta eso como a las burras [los aretes]. Y todo ello es porque está afligido; pero si se pone bueno el niño, volverá usted a ser más malo que Holofernes.1 Tiene razón la tía Roma en este pasaje de la novela Torquemada en la hoguera, escrita por el autor español Benito Pérez Galdós. Es infinitamente mejor dormir en un colchón duro y morir en paz y con la conciencia tranquila, que dormir en un colchón suave y morir en conflicto y con la conciencia atormentada. Y aunque el niño se salve, Torquemada en realidad no tiene la menor intención de enmendar su conducta malvada. Pero si eso lo sabe la tía Roma, claro que lo sabe Dios. Y sin embargo da lo mismo que cumpla o no semejante penitencia, ya que a Dios no lo podemos comprar con ningún sacrificio que hagamos. Nuestro Padre celestial no quiere sacrificios de nuestra parte, sino más bien que lo amemos.2 Determinemos entonces amar a Dios de todo corazón y vivir con una conciencia limpia, como quería la tía Roma y como lo hizo San Pablo,3 de modo que antes de morir, al igual que le ocurrió al niño Valentín al final de la novela, bien pudiéramos ver que los ángeles nos están llamando.4 Carlos ReyUn Mensaje a la Concienciawww.conciencia.net 1 Benito Pérez Galdós, Torquemada en la hoguera, publicado en Colección Alianza Cien (Madrid, Alianza Editorial, 1996), pp. 82‑85; y Diego Marín, Literatura española, Tomo 2: Época moderna, «Torquemada en la hoguera» (New York: Holt, Rinehart and Winston, 1968), pp. 122-24. 2 Os 6:6 3 Hch 23:1 4 Galdós, Torquemada, Alianza Cien, p. 90; y Marín, Literatura española, «Torquemada», pp. 125-26.

—Tía Roma, ¿crees tú que se salva [mi hijo Valentín]? —[Don Francisco], será lo que Dios quiera, y nada más. Yo se lo he pedido anoche y esta mañana a la Virgen del Carmen con tanta devoción, que más no puede ser, llorando a moco y baba. ¿No me ve cómo tengo los ojos? —¿Y crees tú...? —Yo tengo esperanza, señor. Mientras no sea cadáver, esperanzas ha de haber, aunque digan los médicos lo que dijeren.... —¿Qué te parece esta perla, tía Roma? —Bonita de veras.... Valdrá miles de millones.... —Pues esta perla —dijo [don Francisco] Torquemada en tono triunfal— es para la señora Virgen del Carmen. Para ella es si pone bueno a mi hijo. Te la enseño, y pongo en tu conocimiento la intención para que se lo digas. Si se lo digo yo, de seguro no me lo cree. —Don Francisco —[contestó ella,] mirándolo con profunda lástima—, usted está malo de la jícara. Dígame, por su vida, ¿para qué quiere ese requilorio la Virgen del Carmen? —Toma, para que se lo pongan el día de su santo, el dieciséis de julio. ¡Pues no estará poco [bonita] con esto! Fue regalo de boda de la excelentísima señora marquesa de Tellería. Créelo, como [esta perla] hay pocas. —Pero, don Francisco, ¡usted piensa que la Virgen le va a conceder...!... ¡Valiente caso hace la Virgen de perlas y pindonguerías!... Créame a mí: véndala y deles a los pobres el dinero. —Mira, tú, no es mala idea —dijo el tacaño [Torquemada], guardando la joya—. Tú sabes mucho. Seguiré tu consejo, aunque, si he de ser franco, eso de dar a los pobres viene a ser una tontería, porque cuanto les das se lo gastan en aguardiente. Pero ya lo arreglaremos de modo que el dinero de la perla no vaya a parar a las tabernas...1   Pensándolo bien, don Francisco tiene razón... en parte. Es buena la idea de la tía Roma en este pasaje de Torquemada en la hoguera, obra del escritor Benito Pérez Galdós, que ha sido considerado como el creador de la novela moderna en España y el más destacado novelista español desde Cervantes.2 Y es bueno hacer lo posible para que el dinero que damos a los pobres no lo malgasten en aguardiente en lugar de la comida que necesitan. Pero Torquemada no tiene razón al decir que es una tontería ser caritativo con los pobres ni al pensar que es sensato tratar de comprar con regalos a quien se le ha pedido que haga un milagro, al igual que sería insensato tratar de sobornar a Dios mismo. Es que el sólo hecho de ser Dios imposibilita que sea víctima de algún soborno. Moisés, el autor de los primeros cinco libros de la Biblia, lo califica más bien como el «Dios de dioses y Señor de señores... el gran Dios... que no actúa con parcialidad ni acepta sobornos».3 «Su poder hace temblar a todo el mundo. Cuando Él toma una decisión, lo hace con justicia y nadie lo puede sobornar.»4 Por eso nos advierte San Pablo: «No crean ustedes que pueden engañar a Dios. Cada uno cosechará lo que haya sembrado.»5 Más vale entonces que sembremos buenas obras para cosechar fruto de ellas. Pues, como dice otro refrán: El bien se siembra en el suelo y se recoge en el cielo. Carlos ReyUn Mensaje a la Concienciawww.conciencia.net 1 Benito Pérez Galdós, Torquemada en la hoguera, publicado en Colección Alianza Cien (Madrid, Alianza Editorial, 1996), pp. 80‑82; y Diego Marín, Literatura española, Tomo 2: Época moderna, «Torquemada en la hoguera» (New York: Holt, Rinehart and Winston, 1968), pp. 121-22. 2 Marín, «Benito Pérez Galdós (1843-1920)», p. 93. 3 Dt 10:17 (NVI) 4 Dt 10:17 (TLA) 5 Gá 6:7

In this powerful closing statement from the Lake County Bar Association Debate, Mary Cole, candidate for Lake County State's Attorney, addresses Eric Rinehart's handling of the Shorbonia Poole case. Cole highlights how Rinehart's plea deal allowed Poole, previously charged with armed robbery and weapon offenses, to remain free, leading to the tragic murder of 15-year-old Valeria Rodriguez in Round Lake Beach. Cole argues that this case represents a failure of leadership and justice in Lake County. https://www.maryforlakecounty.com/ https://www.maryforlakecounty.com/lake_county_bar_association_debate https://www.maryforlakecounty.com/rinehart_s_sweetheart_deal_leads_to_murder_of_round_lake_beach_girl

After the formalization of an alliance between France and the United States, Lafayette is dispatched to facilitate cooperation between allied forces- a task that would prove more difficult than he'd hoped. Returning temporarily to his home country in 1779, the marquis continued to work tirelessly to advance the American cause abroad. Email me: perspectivesinhistorypod@gmail.com Podcast Website Follow me on Twitter Facebook Page Buy Some Used Books Bibliography Auricchio, Laura. The Marquis: Lafayette Reconsidered. Vintage Books, 2015. Babeau, Emile and Maurice de la Fuye. The Apostle of Liberty: A Life of Lafayette. Thames and Hudson, 1956.  Duncan, Mike. Hero of Two Worlds: The Marquis de Lafayette in the Age of Revolution. Hachette Book Group, 2021.  Israel, Jonathan. The Expanding Blaze: How the American Revolution Ignited the World, 1775-1848. Princeton University Press, 2011.  Schama, Simon. Citizens: A Chronicle of the French Revolution. Alfred A. Knopf, 1989.  Unger, Harlow Giles. Lafayette. John Wiley & Sons, Inc, 2002. Woodward, W.E. Lafayette. Farrar & Rinehart, 1938. Cover Image: Portrait of Gilbert Motier the Marquis De Lafayette as a Lieutenant General, 1791. Painting by Joseph-Désiré Court, 1834. Closing theme: "Ça Ira" (It will be fine)- popular song from the French Revolution.

Jenna Rinehart, a Midwest mountain biking icon, a competitor in the Lifetime Grand Prix (get to know her in Episode 141!) just returned from racing in Belgium at the UCI Gravel World Championships and was kind enough to stay up late (past 7 pm #jetlag) and download her European Vacation and what it was like racing in the third ever UCI Gravel World Championships. Jenna and her husband, Justin, own and operate Nicolette Bike and Ski, a shop in downtown Mankato, Minnesota. Jenna races on a Specialized Crux on gravel and an Epic on dirt, fills her tires with Orange Seal sealant and rides for the Mazda Orange Seal Off Road team.We would love it if you would consider supporting Bike Talk with Dave by rating, reviewing and sharing on your favorite podcast platform. We'd invite you to support the show financially at www.buymeacoffee.com or on Venmo @David-Mable. You'll receive a Bike Talk with Dave sticker!Follow Bike Talk with Dave on Instagram at https://www.instagram.com/biketalkwithdave/ and Facebook so you don't miss any of the fun, and you can now find every episode on your computer at www.biketalk.bike. And now available on YouTube on the Bike Talk with Dave YouTube channel!And if you need any digital media work: photography, videography and editing, podcast production and editing, look no further than Mable Media. Connect at www.mablemedia.net to help grow your brand and connect with your audience!

Lafayette accompanies Washington and the Continental Army at their winter encampment at Valley Forge. During this time, he finds himself entangled in a series of political intrigues and inconclusive military actions that threaten to shake his faith in the American cause.  Email me: perspectivesinhistorypod@gmail.com Podcast Website Follow me on Twitter Facebook Page Buy Some Used Books Bibliography Auricchio, Laura. The Marquis: Lafayette Reconsidered. Vintage Books, 2015. Babeau, Emile and Maurice de la Fuye. The Apostle of Liberty: A Life of Lafayette. Thames and Hudson, 1956.  Duncan, Mike. Hero of Two Worlds: The Marquis de Lafayette in the Age of Revolution. Hachette Book Group, 2021.  Israel, Jonathan. The Expanding Blaze: How the American Revolution Ignited the World, 1775-1848. Princeton University Press, 2011.  Schama, Simon. Citizens: A Chronicle of the French Revolution. Alfred A. Knopf, 1989.  Unger, Harlow Giles. Lafayette. John Wiley & Sons, Inc, 2002. Woodward, W.E. Lafayette. Farrar & Rinehart, 1938. Cover Image: Portrait of Gilbert Motier the Marquis De Lafayette as a Lieutenant General, 1791. Painting by Joseph-Désiré Court, 1834. Closing theme: "Ça Ira" (It will be fine)- popular song from the French Revolution.

Enticed by the mountain bike trails she could see underneath her skis as she ascended the lift at her local ski area, Jenna Rinehart went from carving turns on on snow to carving turns on dirt. In her early mountain biking career, she often stood atop the podium at what is now one of the oldest mountain bike races in the country: the Chequamegon Fat Tire Festival, as well as many other midwest mountain bike races. In 2011 she and her husband bought the Mankato, Minnesota bike shop they worked at and went from starting lines to repair stands and the showroom floor. Nearly a dozen years later Jenna found the time to jump in some local races and ultimately found herself on the starting line of Chequamegon. Her previous form had never left and she did well enough to earn a spot in the Lifetime Grand Prix. After an impressive sixth place overall in 2023, she is working hard for another top-ten finish in 2024. We talked as she has two Lifetime GP races remaining, plus the UCI Gravel World Championships in Belgium. Jenna races on a Specialized Crux on gravel and an Epic on dirt, fills her tires with Orange Seal sealant and rides for the Mazda Orange Seal Off Road team. Thanks to Wrap-it Storage Systems for helping us keep our sh*t together and organized! Get everything you need to organize your van, garage or basement workshop at https://wrapitstorage.comWe would love it if you would consider supporting Bike Talk with Dave by rating, reviewing and sharing on your favorite podcast platform. We'd invite you to support the show financially at www.buymeacoffee.com or on Venmo @David-Mable. You'll receive a Bike Talk with Dave sticker!Follow Bike Talk with Dave on Instagram at https://www.instagram.com/biketalkwithdave/ and Facebook so you don't miss any of the fun, and you can now find every episode on your computer at www.biketalk.bike. And now available on YouTube on the Bike Talk with Dave YouTube channel!And if you need any digital media work: photography, videography and editing, podcast production and editing, look no further than Mable Media. Connect at www.mablemedia.net to help grow your brand and connect with your audience!

Entramos de vez no extraordinário e quase derradeiro projeto Manthattan. O que foi esse grande projeto? Como foram os avançoes científicos desse período? Quem foram os principais nomes envolvidos? E quais desafios eles enfrentaram?     Patronato do SciCast: 1. Patreon SciCast 2. Apoia.se/Scicast     3. Nos ajude via Pix também, chave: contato@scicast.com.br ou acesse o QRcode:   Sua pequena contribuição ajuda o Portal Deviante a continuar divulgando Ciência! Contatos: contato@scicast.com.br https://twitter.com/scicastpodcast https://www.facebook.com/scicastpodcast https://instagram.com/scicastpodcast Fale conosco! E não esqueça de deixar o seu comentário na postagem desse episódio! Expediente: Produção Geral: Tarik Fernandes e André Trapani Equipe de Gravação: Tarik Fernandes, Marcelo de Matos, Roberto Spinelli, Glaucia Souza Silva, Willian Spengler, Lennon Ruhnke Citação ABNT: Scicast #611: Projeto Manhattan. Locução: Tarik Fernandes, Marcelo de Matos, Roberto Spinelli, Glaucia Souza Silva, Willian Spengler, Lennon Ruhnke. [S.l.] Portal Deviante, 27/09/2024. Podcast. Disponível em: https://www.deviante.com.br/podcasts/scicast-611 Imagem de Capa: Por Samat Jain - Flickr: Trinity Site Obelisk National Historic Landmark, Domínio público, https://commons.wikimedia.org/w/index.php?curid=12683404 Imagem de Capa: Físicos do Distrito Manhattan num colóquio em Los Alamos em 1946. Na linha de frente estão (da esquerda para direita) Norris Bradbury, John Manley, Enrico Fermi and J. M. B. Kellogg. Robert Oppenheimer, de paletó escuro, está trás de Manley; à esquerda de Oppenheimer está Richard Feynman. Fonte: Los Alamos National Laboratory Referências e Indicações Pré-Projeto Manhattan (SciCast #597) Scicast #484: Bomba Atômica Scicast #09: Energia Nuclear Parte 1 Scicast #10: Energia Nuclear Parte 2 Scicast #93: Hiroshima Scicast #94: Nagasaki E se as bombas atômicas nunca tivessem sido usadas? (Contrafactual #182) Chernobyl – Parte I (SciCast #335) Chernobyl – Parte II (SciCast #336) Scicast #126: Marie Curie Sugestões de literatura: BIRD, Kai, SHERWIN, Martin J. Oppenheimer: o triunfo e a tragédia do Prometeu americano. Rio de Janeiro: Intrínseca, 2023. CESAREO, R. Dos raios X à bomba atômica (1895-1945): os 50 anos que mudaram o mundo. Brasília: Embrapa Informação Tecnológica, 2010. Disponível em http://www.alice.cnptia.embrapa.br/alice/handle/doc/1003731. DIAS JÚNIOR, José A., ROUBICEK, Rafael. O brilho de mil sóis: História da bomba atômica. São Paulo: Ática, 1996. KIERNANN, Denise. As garotas da cidade atômica: a história secreta das mulheres que ajudaram a vencer a 2ª Guerra Mundial. São Paulo: Benvirá, 2015. LEWIS, Damien. Caçada à bomba atômica de Hitler: a corrida secreta para impedir a produção de armas nucleares dos nazistas. São Paulo: Cultrix, 2017 NORRIS, Robert S. Racing for the bomb: the true story of general Leslie R Groves. Skyhorse Publishing, 2014. PERUZZO, Jucimar. Armas nucleares: origem, estrutura, funcionamento, evolução e controle. Joinville: Clube de Autores, 2019. PRINGLE, Peter; SPIEGELMAN, James J. The nuclear barons. University of Michigan: Holt, Rinehart and Winston, 1981. RHODES, Richard. The making of the atomic bomb. Simon & Schuster, 1986. SMITH, P. D. Os homens do fim do mundo: o verdadeiro Dr. Fantástico e o sonho da arma total. São Paulo: Cia das Letras, 2008. STRATHERN, Paul. Oppenheimer e a bomba atômica em 90 minutos. Rio de Janeiro: Zahar, 1999. Sugestões de filmes: Fat Man and Little Boy (1989) Oppenheimer (2023) Sugestões de vídeos: Manhattan (série) The man in the high castle Maravilhas Modernas: Manhattan Project A corrida secreta para a bomba atômica The Real Story of Oppenheimer How Kodak Exposed Nuclear Testing Models of the Atom Timeline Sugestões de links: Quem foi o verdadeiro Robert Oppenheimer Como foi o projeto que criou a bomba A babel de cientistas que criou a "destruidora de mundos" Como a bomba atômica surgiu no meio de um paraíso Museu Nacional Atômico Projeto Manhattan Data importantes do Projeto Manhattan O homem e a máquina: Oppenheimer e a bomba atômica See omnystudio.com/listener for privacy information.

Lee, Richard B. The Dobe Ju/'Hoansi. Belmont Ca, Wadsworth Cengage Learning, 2013.Lee, Richard B. The Dobe !Kung. New York ; Montreal : Holt, Rinehart and Winston, 1984.Lee, Richard B. The!Kung San : Men, Women, and Work in a Foraging Society. Cambridge England ; New York, Cambridge University Press, 1979.Lee, Richard B, and Irven DeVore. Kalahari Hunter-Gatherers. iUniverse, 1998.Platvoet, Jan. (1999). At War with God: Ju/'Hoan Curing Dances. Journal of Religion in Africa. 29. 2-61. 10.1163/157006699X00232. Platvoet, Jan G. “The Rule and Its Exceptions: Spirit Possession in Two African Societies.” Journal for the Study of Religion, vol. 12, no. 1/2, 1999, pp. 5–51. JSTOR, http://www.jstor.org/stable/24764260.

Upon arriving in America, the Marquis de Lafayette is granted a commission in the Continental Army, serving directly under George Washington. Most expected this to be nothing more than a ceremonial appointment, but Lafayette remained determined to prove his worth to the American cause and to win glory on the battlefield. Email me: perspectivesinhistorypod@gmail.com Podcast Website Follow me on Twitter Facebook Page Buy Some Used Books Bibliography Auricchio, Laura. The Marquis: Lafayette Reconsidered. Vintage Books, 2015. Babeau, Emile and Maurice de la Fuye. The Apostle of Liberty: A Life of Lafayette. Thames and Hudson, 1956.  Duncan, Mike. Hero of Two Worlds: The Marquis de Lafayette in the Age of Revolution. Hachette Book Group, 2021.  Israel, Jonathan. The Expanding Blaze: How the American Revolution Ignited the World, 1775-1848. Princeton University Press, 2011.  Schama, Simon. Citizens: A Chronicle of the French Revolution. Alfred A. Knopf, 1989.  Unger, Harlow Giles. Lafayette. John Wiley & Sons, Inc, 2002. Woodward, W.E. Lafayette. Farrar & Rinehart, 1938. Cover Image: Portrait of Gilbert Motier the Marquis De Lafayette as a Lieutenant General, 1791. Painting by Joseph-Désiré Court, 1834. Closing theme: "Ça Ira" (It will be fine)- popular song from the French Revolution

Sam Jones and Justin Fris discuss the business behind the Perth Football League. Plus all the latest on the federal government's 'fanciful' housing target; Papalia backs Rinehart's iron dome; CME calls for Metronet level of investment for energy.

Born into a noble family in the small French town of Chavaniac, Gilbert du Motier, the Marquis de Lafayette would lose both of his parents at a young age. Left as an orphan and sent to live with relatives in Paris, he would inherit a massive fortune that altered the course of his life. Email me: perspectivesinhistorypod@gmail.com Podcast Website Follow me on Twitter Facebook Page Buy Some Used Books Bibliography Auricchio, Laura. The Marquis: Lafayette Reconsidered. Vintage Books, 2015. Babeau, Emile and Maurice de la Fuye. The Apostle of Liberty: A Life of Lafayette. Thames and Hudson, 1956.  Duncan, Mike. Hero of Two Worlds: The Marquis de Lafayette in the Age of Revolution. Hachette Book Group, 2021.  Israel, Jonathan. The Expanding Blaze: How the American Revolution Ignited the World, 1775-1848. Princeton University Press, 2011.  Schama, Simon. Citizens: A Chronicle of the French Revolution. Alfred A. Knopf, 1989.  Unger, Harlow Giles. Lafayette. John Wiley & Sons, Inc, 2002. Woodward, W.E. Lafayette. Farrar & Rinehart, 1938. Cover Image: Portrait of Gilbert Motier the Marquis De Lafayette as a Lieutenant General, 1791. Painting by Joseph-Désiré Court, 1834. Closing theme: "Ça Ira" (It will be fine)- popular song from the French Revolution

In this episode of the Epigenetics Podcast, we talked with Johnathan Whetstine from Fox Chase Cancer Center about his work on how histone demethylases affect gene expression and cancer cell stability. The Interview start by discussing a pivotal paper from Jonathan's lab in 2010, where they identified a role for the KDM4A histone demethylase in replication timing and cell cycle progression. They elaborate on the discoveries made regarding the link between histone marks, replication timing, and gene expression control. Jonathan explains the impact of microRNAs on regulating KDM4A and how protein turnover rates can influence cellular responses to treatments like mTOR inhibitors. Further, they explore the causal relationship between histone marks and replication timing, demonstrating how alterations in epigenetic regulation can affect genome stability. Jonathan shares insights from his latest research on H3K9 methylation balance at the MLL-KM2A locus, elucidating how these epigenetic modifications regulate amplifications and rearrangements in cancer cells. The episode concludes with a discussion on the establishment of the Cancer Epigenetics Institute at Fox Chase Cancer Center, aiming to bridge academia and industry to accelerate translational research in cancer epigenetics.   References Black, J. C., Allen, A., Van Rechem, C., Forbes, E., Longworth, M., Tschöp, K., Rinehart, C., Quiton, J., Walsh, R., Smallwood, A., Dyson, N. J., & Whetstine, J. R. (2010). Conserved antagonism between JMJD2A/KDM4A and HP1γ during cell cycle progression. Molecular cell, 40(5), 736–748. https://doi.org/10.1016/j.molcel.2010.11.008 Mishra, S., Van Rechem, C., Pal, S., Clarke, T. L., Chakraborty, D., Mahan, S. D., Black, J. C., Murphy, S. E., Lawrence, M. S., Daniels, D. L., & Whetstine, J. R. (2018). Cross-talk between Lysine-Modifying Enzymes Controls Site-Specific DNA Amplifications. Cell, 174(4), 803–817.e16. https://doi.org/10.1016/j.cell.2018.06.018 Van Rechem, C., Ji, F., Chakraborty, D., Black, J. C., Sadreyev, R. I., & Whetstine, J. R. (2021). Collective regulation of chromatin modifications predicts replication timing during cell cycle. Cell reports, 37(1), 109799. https://doi.org/10.1016/j.celrep.2021.109799 Gray, Z. H., Chakraborty, D., Duttweiler, R. R., Alekbaeva, G. D., Murphy, S. E., Chetal, K., Ji, F., Ferman, B. I., Honer, M. A., Wang, Z., Myers, C., Sun, R., Kaniskan, H. Ü., Toma, M. M., Bondarenko, E. A., Santoro, J. N., Miranda, C., Dillingham, M. E., Tang, R., Gozani, O., … Whetstine, J. R. (2023). Epigenetic balance ensures mechanistic control of MLL amplification and rearrangement. Cell, 186(21), 4528–4545.e18. https://doi.org/10.1016/j.cell.2023.09.009   Related Episodes The Impact of Chromatin Modifiers on Disease Development and Progression (Capucine van Rechem)   Contact Epigenetics Podcast on X Epigenetics Podcast on Instagram Epigenetics Podcast on Mastodon Epigenetics Podcast on Bluesky Epigenetics Podcast on Threads Active Motif on X Active Motif on LinkedIn Email: podcast@activemotif.com

Is Getting Even Getting It Right? The theme of seeking revenge weaves through entertainment and politics. It seems baked into the culture. In this Inside Out podcast, Martha talks with therapist Paula Rinehart.Her recent article in The Gospel Coalition is titled Gospel Hope for a Culture Fixated on Getting Even. #InsideOut  The theme of revenge weaves through our entertainment and politics, and seems baked into the culture. It's presented as the inevitable option when someone suffers loss, humiliation, or betrayal. “Perhaps the most primal inclination is to get back at the other party, and I think the illusion is that that will stop it in some way, shape, or form, or it will prevent another hurt,” says therapist and author Paula Rinehart. “Getting even just seems to drive the nail deeper, that great irony to it all,” she says. “I think, as we move about in the world, the possibility of offering people what could be the possibility of forgiveness really stands out in a culture that has decided revenge is the only option.” “The first step out of that is bringing something into the light so it can be thought through or prayed through or talked through,” she says. “And that tends to step us out of the kind of knee-jerk reaction of just getting back at the person.”  She points out that Jesus asks us to live in opposition to our instincts and open ourselves to the work of God in us. “Forgiveness of really significant things takes a power that's greater—it's not just something I've conjured up myself,” Rinehart points out. “It's really based on the power of the cross and the power of God to bring something quite unexpected and redemptive from things that seem like kind of the end of the story to me.” No one is saying forgiveness is easy. But the surprising thing is that when we go through the work of forgiving others, we benefit.  “What we don't want to miss in our need to get even with someone is the real freedom that God can bring in our life in very deep places in us through forgiveness—forgiveness and the light of knowing that God is going to deal with this,” she says.   Read Paula Rinehart's article Gospel Hope for a Culture Fixated on Getting Even. She writes for The Gospel Coalition and lives and works in Raleigh, North Carolina.    

How many of you are Needtobreathe fans out there?! We sure are and are even moreso after this conversation with Bear Rinehart and his wise, wonderful wife, Mary (who also happens to be a therapist). We had SUCH a rich, fun conversation about parenting, about each of their favorite songs of his AND about the power of vulnerability in parenting. We can't wait for you to listen and let's do it again. We'd love to hear your favorite either Needtobreathe OR Wilder Woods song below! And…if you're not familiar yet with Wilder Woods, you'll have to listen in on this conversation for more info! If you missed last year's Music City Series we have a Spotify playlist created just for you! . . . . . Sign up to receive the monthly newsletter to keep up to date with where David and Sissy are speaking, where they are taco'ing, PLUS conversation starters for you and your family to share! Go behind the scenes and watch our podcast on YouTube! Download a copy of the Raising Boys and Girls Feelings Chart. Connect with David, Sissy, and Melissa at raisingboysandgirls.com. . . . . . A special thank you from our sponsors: Our Place: Go to fromourplace.com and enter my code RBG at checkout to receive 10% off sitewide. Our Place offers a 100 day trial with free shipping and returns. Hiya Health: Receive 50% off your first order. To claim this deal you must go to hiyahealth.com/RBG. Learn more about your ad choices. Visit megaphone.fm/adchoices

Bear Rinehart is an American singer, songwriter, and guitarist who is a founding member and lead singer of the rock band, Needtobreathe. In 2019, he announced the launch of a solo career under the name Wilder Woods. His debut solo album was released on Atlantic Records in August 2019. Today, Bear Rinehart shares his journey through fatherhood, reflecting on the challenges he faced during his childhood and the lessons he's learned along the way. With a career spanning over two decades, Bear Rinehart discusses balancing life on the road with his responsibilities as a husband and father to three boys. Bear Rinehart delves into the inspiration behind Need to Breathe's latest album, "Caves," and the song "Fall On Me," which touches on themes of fatherhood and unconditional love. He recounts the emotional experience of dropping his eldest son off at kindergarten and the realization that life is full of challenges. Bear also emphasizes the importance of creating a safe space for his children to share without fear of judgment, a philosophy that extends to his marriage and his approach to dealing with anxiety. The conversation also explores Bear Rinehart's tough childhood, including his experiences with bullying and being a preacher's kid in a small town. He shares how these experiences shaped his worldview and approach to parenting, highlighting the importance of listening to his children and recognizing their individual needs. Bear discusses encouraging his boys to pursue their passions, the significance of ownership and accountability, and how his spiritual journey influences his approach to fatherhood and his career. www.thedadedge.com/483 www.thedadedge.com/alliance www.needtobreathe.com Instagram | Facebook | TikTok | X | YouTube | Spotify | Apple Music

This week on the G2 Taxidermy Podcast Ashlee Fuller joins us in the WCB Studio. Ashlee is an Owner & Operations manager at Rinehart Taxidermy. In this episode we talk about her passion for the fish taxidermy business and her running her own Sportfishing Business in Cabo! Enjoy! https://rineharttaxidermy.com/ https://norpacsportfishing.com/ _______ https://fsi.co/about-polyurethane-systems/ https://www.g2taxidermysupply.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Did you know that anxiety disorders are the most common mental illnesses in the U.S. today? You might assume that we have a major anxiety problem just by the number of commercials you see for new medicines to treat these disorders, but is anxiety really a new thing?The Reality Of AnxietyModern medicine recognizes anxiety in many forms: generalized anxiety disorder, panic disorder, social anxiety, and various phobias. Data shows nearly a third of all U.S. adults will experience some form of anxiety in their lifetime. The cost of treating anxiety disorders in the U.S. runs into the tens of billions of dollars, with an even higher economic impact due to lost productivity.What causes this widespread anxiety? According to the Mayo Clinic, the causes aren't fully understood but likely include physical and mental health issues, as well as negative life events such as job loss or financial troubles.If you're struggling with persistent anxiety, it's crucial to see a doctor. Medication and counseling can be transformative.Jesus' Teachings On AnxietyDespite appearing like a modern affliction exacerbated by hectic schedules, technology overload, and perhaps even diet, anxiety is not new. We know this because Jesus addresses it in the Bible, particularly Matthew 6 and Luke 12.Matthew 6:25-26 says: “Therefore I tell you, do not be anxious about your life, what you will eat or what you will drink, nor about your body, what you will put on. Is not life more than food, and the body more than clothing? Look at the birds of the air: they neither sow nor reap nor gather into barns, and yet your heavenly Father feeds them. Are you not of more value than they?”Imagine the disciples traveling around Galilee and Judea, relying on donations for their needs. It's easy to see why they might have felt anxious about where they'd sleep or their next meal. Jesus encourages them to have faith. In Matthew 6:31-33, He says:“Therefore do not be anxious, saying, ‘What shall we eat?' or ‘What shall we drink?' or ‘What shall we wear?' For the Gentiles seek after all these things, and your heavenly Father knows that you need them all. But seek first the kingdom of God and his righteousness, and all these things will be added to you.”Resisting The Love Of MoneyJohn Rinehart, founder of Gospel Patrons, explains that Jesus aims to free us from fear and anxiety to be distinct from the world. The world often idolizes money and seeks comfort and security through wealth. While financial planning is important, it shouldn't be for the sake of leisure alone. Rinehart notes that the world is preoccupied with wealth, which can be perilous for Christians.Jesus warns of this temptation, emphasizing the need to resist the love of money by recognizing our value to God. He made us with a purpose. Jesus instructs us to seek God's Kingdom and righteousness first, promising our needs will be met.We must actively participate in our provision and trust God to fulfill His promise. When we understand our worth to God, we'll pursue His Kingdom and boldly share the Gospel, glorifying Him in the process.The Choice We All Have To MakeUltimately, we all face a choice: will we follow the world or seek the Kingdom of God and His righteousness? We can't do both. As Jesus states in Matthew 6:24:“No one can serve two masters, for either he will hate the one and love the other, or he will be devoted to the one and despise the other. You cannot serve God and money.”Choose God over money and watch the cares of the world fade away.On Today's Program, Rob Answers Listener Questions:I have two debts here that I'd like to see which one to tackle first. One is obviously just my own mortgage, which I have about 5% interest. And the other one is a small business loan I obtained a couple of years ago at a lower interest rate of 3.5%. I don't know if it makes sense to put all my extra income and money now that I have come to every extra income towards an SBA loan or if you should go ahead and try to pay the home off.I have a couple of CD IRAs above from my wife and me. One was a four-year and a two-year one a while ago, but they both matured around the same time. When I went to roll over the CD IRAs, they were like $20,000, and they said you can only put in $7,000 per person now. I'm wondering what I should do because otherwise, I must pay taxes.I recently received mail promoting a service called ID Resolve. Is it worth it to get these ID protection plans? We have a term life insurance policy that is ending. We can cash it out or roll it into a whole life policy, but we have other adequate life insurance. I'm just wondering if there's a way to put that money in a savings account for our child's college expenses in about a year and a half that would not be painful for taxes.Resources Mentioned:1PasswordLastPassRich Toward God: A Study on the Parable of the Rich FoolFind a Certified Kingdom Advisor (CKA) or Certified Christian Financial Counselor (CertCFC)FaithFi App Remember, you can call in to ask your questions most days at (800) 525-7000. Faith & Finance is also available on the Moody Radio Network and American Family Radio. Visit our website at FaithFi.com where you can join the FaithFi Community and give as we expand our outreach.

Today in the Boardroom, Nick Bartolo and Patrick Baldwin sat down with Phil Rinehart. Phil is a practicing attorney and principal at The Law Offices of Phillip Rinehart. Phil is uniquely suited to provide legal advice as he also has a 20+ career in pest control and is currently the owner and CEO of EcoGen. As an attorney, Phil specializes in litigation, consulting, management, entity formation, liability protection, and growth. Phil shares essential tips on safeguarding your business through the right contracts. He emphasizes the importance of well-structured employment contracts, including critical clauses like non-solicit, confidentiality, and liquidated damages. Phil also discusses the necessity of having solid operating and service agreements to ensure comprehensive protection for your business. Do your contracts include these crucial provisions?  The team highlights the need to inform customers about their right to rescind a contract within three days to avoid significant financial risks. Failing to provide proper notice of this right can lead to serious consequences for a business. Are your terms and conditions updated with this clause?  Phil recommends setting up separate business entities for different aspects of a business to ensure extra protection and flexibility. Creating individual LLCs for partners and securing proper insurance coverage can mitigate potential risks. How are you protecting your business operations with separate entities and insurance?  Learn more about Phil and his work at www.philrinehart.com. Audio Mixing and Editing by www.verbell.ltd.

    SciCast na Campus Party São Paulo 2024:   Utilize o cupom #SCICAST para comprar seu ingresso na página da CPBR16 Patronato do SciCast: 1. Patreon SciCast 2. Apoia.se/Scicast     3. Nos ajude via Pix também, chave: contato@scicast.com.br ou acesse o QRcode:   Sua pequena contribuição ajuda o Portal Deviante a continuar divulgando Ciência! Contatos: contato@scicast.com.br https://twitter.com/scicastpodcast https://www.facebook.com/scicastpodcast https://instagram.com/scicastpodcast Fale conosco! E não esqueça de deixar o seu comentário na postagem desse episódio! Expediente: Produção Geral: Tarik Fernandes e André Trapani Equipe de Gravação: Tarik Fernandes, Willian Spengler, Roberto Spinelli, Lennon Ruhnke, Marcelo de Matos Citação ABNT: Scicast #597: Pré-Projeto Manhattan. Locução: Tarik Fernandes, Willian Spengler, Roberto Spinelli, Lennon Ruhnke, Marcelo de Matos. [S.l.] Portal Deviante, 21/06/2024. Podcast. Disponível em: https://www.deviante.com.br/podcasts/scicast-597 Arte: Em 1939, Albert Einstein e Leo Szilard escreveram para o presidente dos Estados Unidos alertando sobre os perigos nucleares Referências e Indicações Scicast #484: Bomba Atômica Scicast #09: Energia Nuclear Parte 1 Scicast #10: Energia Nuclear Parte 2 Scicast #93: Hiroshima Scicast #94: Nagasaki E se as bombas atômicas nunca tivessem sido usadas? (Contrafactual #182) Chernobyl – Parte I (SciCast #335) Chernobyl – Parte II (SciCast #336) Scicast #126: Marie Curie   Sugestões de literatura: BIRD, Kai, SHERWIN, Martin J. Oppenheimer: o triunfo e a tragédia do Prometeu americano. Rio de Janeiro: Intrínseca, 2023. CESAREO, R. Dos raios X à bomba atômica (1895-1945): os 50 anos que mudaram o mundo. Brasília: Embrapa Informação Tecnológica, 2010. Disponível em http://www.alice.cnptia.embrapa.br/alice/handle/doc/1003731. DIAS JÚNIOR, José A., ROUBICEK, Rafael. O brilho de mil sóis: História da bomba atômica. São Paulo: Ática, 1996. KIERNANN, Denise. As garotas da cidade atômica: a história secreta das mulheres que ajudaram a vencer a 2ª Guerra Mundial. São Paulo: Benvirá, 2015. LEWIS, Damien. Caçada à bomba atômica de Hitler: a corrida secreta para impedir a produção de armas nucleares dos nazistas. São Paulo: Cultrix, 2017 NORRIS, Robert S. Racing for the bomb: the true story of general Leslie R Groves. Skyhorse Publishing, 2014. PERUZZO, Jucimar. Armas nucleares: origem, estrutura, funcionamento, evolução e controle. Joinville: Clube de Autores, 2019. PRINGLE, Peter; SPIEGELMAN, James J. The nuclear barons. University of Michigan: Holt, Rinehart and Winston, 1981. RHODES, Richard. The making of the atomic bomb. Simon & Schuster, 1986. SMITH, P. D. Os homens do fim do mundo: o verdadeiro Dr. Fantástico e o sonho da arma total. São Paulo: Cia das Letras, 2008. STRATHERN, Paul. Oppenheimer e a bomba atômica em 90 minutos. Rio de Janeiro: Zahar, 1999. Sugestões de filmes: Fat Man and Little Boy (1989) Oppenheimer (2023)   Sugestões de vídeos: Manhattan (série) The man in the high castle Maravilhas Modernas: Manhattan Project A corrida secreta para a bomba atômica The Real Story of Oppenheimer How Kodak Exposed Nuclear Testing Models of the Atom Timeline Sugestões de links: Quem foi o verdadeiro Robert Oppenheimer Como foi o projeto que criou a bomba A babel de cientistas que criou a "destruidora de mundos" Como a bomba atômica surgiu no meio de um paraíso Museu Nacional Atômico Projeto Manhattan Data importantes do Projeto Manhattan O homem e a máquina: Oppenheimer e a bomba atômica See omnystudio.com/listener for privacy information.

Lo scontro tra l'arte e il potere economico trova uno dei suoi episodi più emblematici nella recente controversia che ha coinvolto Gina Rinehart, la donna più ricca dell'Australia, e un ritratto realizzato da Vincent Namatjira, esposto alla National Gallery of Australia a Canberra.

For those who haven't heard the announcement I just posted , songs from this point on will sometimes be split among multiple episodes, so this is the first part of a multi-episode look at the Byrds in 1966-69 and the birth of country rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode on "My World Fell Down" by Sagittarius. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud at this time as there are too many Byrds songs in this chunk, but I will try to put together a multi-part Mixcloud when all the episodes for this song are up. My main source for the Byrds is Timeless Flight Revisited by Johnny Rogan, I also used Chris Hillman's autobiography, the 331/3 books on The Notorious Byrd Brothers and The Gilded Palace of Sin, For future parts of this multi-episode story I used Barney Hoskyns' Hotel California and John Einarson's Desperadoes as general background on Californian country-rock, Calling Me Hone, Gram Parsons and the Roots of Country Rock by Bob Kealing for information on Parsons, and Requiem For The Timeless Vol 2 by Johnny Rogan for information about the post-Byrds careers of many members. Information on Gary Usher comes from The California Sound by Stephen McParland. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we left the Byrds at the end of the episode on "Eight Miles High", they had just released that single, which combined folk-rock with their new influences from John Coltrane and Ravi Shankar, and which was a group composition but mostly written by the group's lead singer, Gene Clark. And also, as we mentioned right at the end of the episode, Clark had left the group. There had been many, many factors leading to Clark's departure. Clark was writing *far* more material than the other band members, of whom only Roger McGuinn had been a writer when the group started, and as a result was making far more money than them, especially with songs like "She Don't Care About Time", which had been the B-side to their number one single "Turn! Turn! Turn!" [Excerpt: The Byrds, "She Don't Care About Time"] Clark's extra income was making the rest of the group jealous, and they also didn't think his songs were particularly good, though many of his songs on the early Byrds albums are now considered classics. Jim Dickson, the group's co-manager, said "Gene would write fifteen to twenty songs a week and you had to find a good one whenever it came along because there were lots of them that you couldn't make head or tail of.  They didn't mean anything. We all knew that. Gene would write a good one at a rate of just about one per girlfriend." Chris Hillman meanwhile later said more simply "Gene didn't really add that much." That is, frankly, hard to square with the facts. There are ten original songs on the group's first two albums, plus one original non-album B-side. Of those eleven songs, Clark wrote seven on his own and co-wrote two with McGuinn. But as the other band members were starting to realise that they had the possibility of extra royalties -- and at least to some extent were starting to get artistic ambitions as far as writing goes -- they were starting to disparage Clark's work as a result, calling it immature. Clark had, of course, been the principal writer for "Eight Miles High", the group's most experimental record to date: [Excerpt: The Byrds, "Eight Miles High"] But there he'd shared co-writing credit with David Crosby and Roger McGuinn, in part because that was the only way he could be sure they would agree to release it as a single. There were also internal rivalries within the band unrelated to songwriting -- as we've touched on, Crosby had already essentially bullied Clark off the guitar and into just playing tambourine (and McGuinn would be dismissive even of Clark's tambourine abilities). Crosby's inability to get on with any other member of any band he was in would later become legendary, but at this point Clark was the major victim of his bullying. According to Dickson "David understood when Gene left that ninety-five percent of why Gene left could be brought back to him." The other five percent, though, came from Clark's fear of flying. Clark had apparently witnessed a plane crash in his youth and been traumatised by it, and he had a general terror of flying and planes -- something McGuinn would mock him for a little, as McGuinn was an aviation buff. Eventually, Clark had a near-breakdown boarding a plane from California to New York for a promotional appearance with Murray the K, and ended up getting off the plane. McGuinn and Michael Clarke almost did the same, but in the end they decided to stay on, and the other four Byrds did the press conference without Gene. When asked where Gene was, they said he'd "broken a wing". He was also increasingly having mental health and substance abuse problems, which were exacerbated by his fear, and in the end he decided he just couldn't be a Byrd any more. Oddly, of all the band members, it was David Crosby who was most concerned about Clark's departure, and who did the most to try to persuade him to stay, but he still didn't do much, and the group decided to carry on as a four-piece and not even make a proper announcement of Clark's departure -- they just started putting out photos with four people instead of five. The main change as far as the group were concerned was that Hillman was now covering Clark's old vocal parts, and so Crosby moved to Clark's old centre mic while Hillman moved from his position at the back of the stage with Michael Clarke to take over Crosby's mic. The group now had three singer-instrumentalists in front, two of whom, Crosby and McGuinn, now thought of themselves as songwriters. So despite the loss of their singer/songwriter/frontman, they moved on to their new single, the guaranteed hit follow-up to "Eight Miles High": [Excerpt: The Byrds, "5D (Fifth Dimension)"] "5D" was written by McGuinn, inspired by a book of cartoons called 1-2-3-4 More More More More by Don Landis, which I haven't been able to track down a copy of, but which seems to have been an attempt to explain the mathematical concept of higher dimensions in cartoon form. McGuinn was inspired by this and by Einstein's theory of relativity -- or at least by his understanding of relativity, which does not seem to have been the most informed take on the topic. McGuinn has said in the past that the single should really have come with a copy of Landis' booklet, so people could understand it. Sadly, without the benefit of the booklet we only have the lyrics plus McGuinn's interviews to go on to try to figure out what he means. As far as I'm able to understand, McGuinn believed -- completely erroneously -- that Einstein had proved that along with the four dimensions of spacetime there is also a fifth dimension which McGuinn refers to as a "mesh", and that "the reason for the speed of light being what it is is because of that mesh." McGuinn then went on to identify this mesh with his own conception of God, influenced by his belief in Subud, and with a Bergsonian idea of a life force. He would talk about how most people are stuck in a materialist scientific paradigm which only admits to  the existence of three dimensions, and how there are people out there advocating for a five-dimensional view of the world. To go along with this mystic view of the universe, McGuinn wanted some music inspired by the greatest composer of sacred music, and he asked Van Dyke Parks, who was brought in to add keyboards on the session, to play something influenced by Bach -- and Parks obliged, having been thinking along the same lines himself: [Excerpt: The Byrds, "5D (Fifth Dimension)"] Unfortunately for the group, McGuinn's lyrical intention wasn't clear enough and the song was assumed to be about drugs, and was banned by many radio stations. That plus the track's basically uncommercial nature meant that it reached no higher than number forty-four in the charts. Jim Dickson, the group's co-manager, pointed to a simpler factor in the record's failure, saying that if the organ outro to the track had instead been the intro, to set a mood for the track rather than starting with a cold vocal open, it would have had more success. The single was followed by an album, called Fifth Dimension, which was not particularly successful. Of the album's eleven songs, two were traditional folk songs, one was an instrumental -- a jam called "Captain Soul" which was a version of Lee Dorsey's "Get Out My Life Woman" credited to the four remaining Byrds, though Gene Clark is very audible on it playing harmonica -- and one more was a jam whose only lyrics were "gonna ride a Lear jet, baby", repeated over and over. There was also "Eight Miles High" and the group's inept and slightly-too-late take on "Hey Joe". It also included a third single, a country track titled "Mr. Spaceman": [Excerpt: The Byrds, "Mr. Spaceman"] McGuinn and, particularly, Hillman, had some country music background, and both were starting to think about incorporating country sounds into the group's style, as after Clark's departure from the group they were moving away from the style that had characterised their first two albums. But the interest in "Mr. Spaceman" was less about the musical style than about the lyrics. McGuinn had written the song in the hopes of contacting extraterrestrial life -- sending them a message in his lyrics so that any aliens listening to Earth radio would come and visit, though he was later disappointed to realise that the inverse-square law means that the signals would be too faint to make out after a relatively short distance: [Excerpt: The Byrds, "Mr. Spaceman"] "Mr. Spaceman" did better on the charts than its predecessor, scraping the lower reaches of the top forty, but it hardly set the world alight, and neither did the album -- a typical review was the one by Jon Landau, which said in part "This album then cannot be considered up to the standards set by the Byrds' first two and basically demonstrates that they should be thinking in terms of replacing Gene Clark, instead of just carrying on without him." Fifth Dimension would be the only album that Allen Stanton would produce for the Byrds, and his replacement had actually just produced an album that was a Byrds record by any other name: [Excerpt: Gene Clark, "So You Say You've Lost Your Baby"] We've looked at Gary Usher before, but not for some time, and not in much detail. Usher was one of several people who were involved in the scene loosely centred on the Beach Boys and Jan and Dean, though he never had much time for Jan Berry and he had got his own start in the music business slightly before the Beach Boys. As a songwriter, his first big successes had come with his collaborations with Brian Wilson -- he had co-written "409" for the Beach Boys, and had also collaborated with Wilson on some of his earliest more introspective songs, like "The Lonely Sea" and "In My Room", for which Usher had written the lyrics: [Excerpt: The Beach Boys, "In My Room"] Usher had built a career as a producer and writer for hire, often in collaboration with Roger Christian, who also wrote with Brian Wilson and Jan Berry. Usher, usually with Christian, and very occasionally Wilson wrote the songs for several of American International Pictures' Beach Party films: [Excerpt: Donna Loren, "Muscle Bustle"] And Usher and Christian had also had bit parts in some of the films, like Bikini Beach, and Usher had produced records for Annette Funicello, the star of the films, often with the Honeys (a group consisting of Brian Wilson's future wife Marilyn plus her sister and cousin) on backing vocals. He had also produced records for the Surfaris, as well as a whole host of studio-only groups like the Four Speeds, the Super Stocks, and Mr. Gasser and the Weirdoes, most of whom were Usher and the same small group of vocalist friends along with various selections of Wrecking Crew musicians making quick themed albums. One of these studio groups, the Hondells, went on to be a real group of sorts, after Usher and the Beach Boys worked together on a film, The Girls on the Beach. Usher liked a song that Wilson and Mike Love had written for the Beach Boys to perform in the film, "Little Honda", and after discovering that the Beach Boys weren't going to release their version as a single, he put together a group to record a soundalike version: [Excerpt: The Hondells, "Little Honda"] "Little Honda" made the top ten, and Usher produced two albums for the Hondells, who had one other minor hit with a cover version of the Lovin' Spoonful's "Younger Girl". Oddly, Usher's friend Terry Melcher, who would shortly produce the Byrds' first few hits, had also latched on to "Little Honda", and produced his own version of the track, sung by Pat Boone of all people, with future Beach Boy Bruce Johnston on backing vocals: [Excerpt: Pat Boone, "Little Honda"] But when Usher had got his version out first, Boone's was relegated to a B-side. When the Byrds had hit, and folk-rock had started to take over from surf rock, Usher had gone with the flow and produced records like the Surfaris' album It Ain't Me Babe, with Usher and his usual gang of backing vocalists augmenting the Surfaris as they covered hits by Dylan, the Turtles, the Beach Boys and the Byrds: [Excerpt: The Surfaris, "All I Really Want to Do"] Usher was also responsible for the Surfaris being the first group to release a version of "Hey Joe" on a major label, as we heard in the episode on that song: [Excerpt: The Surfaris, "Hey Joe"] After moving between Capitol, Mercury, and Decca Records, Usher had left Decca after a round of corporate restructuring and been recommended for a job at Columbia by his friend Melcher, who at that point was producing Paul Revere and the Raiders and the Rip Chords and had just finished his time as the Byrds' producer. Usher's first work at Columbia was actually to prepare new stereo mixes of some Byrds tracks that had up to that point only been issued in mono, but his first interaction with the Byrds themselves came via Gene Clark: [Excerpt: Gene Clark, "So You Say You've Lost Your Baby"] On leaving the Byrds, Clark had briefly tried to make a success of himself as a songwriter-for-hire in much the same mould as Usher, attempting to write and produce a single for two Byrds fans using the group name The Cookie Fairies, while spending much of his time romancing Michelle Phillips, as we talked about in the episode on "San Francisco". When the Cookie Fairies single didn't get picked up by a label, Clark had put together a group with Bill Rinehart from the Leaves, Chip Douglas of the Modern Folk Quartet, and Joel Larson of the Grass Roots. Just called Gene Clark & The Group, they'd played around the clubs in LA and cut about half an album's worth of demos produced by Jim Dickson and Ed Tickner, the Byrds' management team, before Clark had fired first Douglas and then the rest of the group. Clark's association with Douglas did go on to benefit him though -- Douglas went on, as we've seen in other episodes, to produce hits for the Turtles and the Monkees, and he later remembered an old song by Clark and McGuinn that the Byrds had demoed but never released, "You Showed Me", and produced a top ten hit version of it for the Turtles: [Excerpt: The Turtles, "You Showed Me"] Clark had instead started working with two country singers, Vern and Rex Gosdin, who had previously been with Chris Hillman in the country band The Hillmen. When that band had split up, the Gosdin Brothers had started to perform together as a duo, and in 1967 they would have a major country hit with "Hangin' On": [Excerpt: The Gosdin Brothers, "Hangin' On"] At this point though, they were just Gene Clark's backing vocalists, on an album that had been started with producer Larry Marks, who left Columbia half way through the sessions, at which point Usher took over. The album, titled Gene Clark with the Gosdin Brothers, featured a mix of musicians from different backgrounds. There were Larson and Rinehart from Gene Clark and the Group, there were country musicians -- a guitarist named Clarence White and the banjo player Doug Dillard. Hillman and Michael Clarke, the Byrds' rhythm section, played on much of the album as a way of keeping a united front, Glen Campbell, Jerry Cole, Leon Russell and Jim Gordon of the Wrecking Crew contributed, and Van Dyke Parks played most of the keyboards. The lead-off single for Gene Clark with the Gosdin Brothers, "Echoes", is one of the tracks produced by Marks, but in truth the real producer of that track is Leon Russell, who wrote the orchestral arrangement that turned Clark's rough demo into a baroque pop masterpiece: [Excerpt: Gene Clark, "Echoes"] Despite Clark having quit the band, relations between him and the rest were still good enough that in September 1966 he temporarily rejoined the band after Crosby lost his voice, though he was gone again as soon as Crosby was well. But that didn't stop the next Byrds album, which Usher went on to produce straight after finishing work on Clark's record, coming out almost simultaneously with Clark's and, according to Clark, killing its commercial potential. Upon starting to work with the group, Usher quickly came to the conclusion that Chris Hillman was in many ways the most important member of the band. According to Usher "There was also quite a divisive element within the band at that stage which often prevented them working well together. Sometimes everything would go smoothly, but other times it was a hard road. McGuinn and Hillman were often more together on musical ideas. This left Crosby to fend for himself, which I might add he did very well." Usher also said "I quickly came to understand that Hillman was a good stabilising force within the Byrds (when he wanted to be). It was around the time that I began working with them that Chris also became more involved in the songwriting. I think part of that was the fact that he realised how much more money was involved if you actually wrote the songs yourself. And he was a good songwriter." The first single to be released from the new sessions was one that was largely Hillman's work. Hillman and Crosby had been invited by the great South African jazz trumpeter Hugh Masekela to play on some demos for another South African jazzer, singer Letta Mbulu. Details are sparse, but one presumes this was for what became her 1967 album Letta Mbulu Sings, produced by David Axelrod: [Excerpt: Letta Mbulu, "Zola (MRA)"] According to Hillman, that session was an epiphany for him, and he went home and started writing his own songs for the first time. He took one of the riffs he came up with to McGuinn, who came up with a bridge inspired by a song by yet another South African musician, Miriam Makeba, who at the time was married to Masekela, and the two wrote a lyric inspired by what they saw as the cynical manipulation of the music industry in creating manufactured bands like the Monkees -- though they have both been very eager to say that they were criticising the industry, not the Monkees themselves, with whom they were friendly. As Hillman says in his autobiography, "Some people interpreted it as a jab at The Monkees. In reality, we had immense respect for all of them as singers and musicians. We weren't skewering the members of the Monkees, but we were taking a shot at the cynical nature of the entertainment business that will try to manufacture a group like The Monkees as a marketing strategy. For us, it was all about the music, and we were commenting on the pitfalls of the industry rather than on any of our fellow musicians." [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] The track continued the experimentation with sound effects that they had started with the Lear jet song on the previous album. That had featured recordings of a Lear jet, and "So You Want to be a Rock 'n' Roll Star?" featured recordings of audience screams. Those screams were, according to most sources, recorded by Derek Taylor at a Byrds gig in Bournemouth in 1965, but given reports of the tepid response the group got on that tour, that doesn't seem to make sense. Other sources say they're recordings of a *Beatles* audience in Bournemouth in *1963*, the shows that had been shown in the first US broadcast of Beatles footage, and the author of a book on links between the Beatles and Bournemouth says on his blog "In the course of researching Yeah Yeah Yeah: The Beatles & Bournemouth I spoke to two people who saw The Byrds at the Gaumont that August and neither recalled any screaming at all, let alone the wall of noise that can be heard on So You Want To Be A Rock 'n' Roll Star." So it seems likely that screaming isn't for the Byrds, but of course Taylor had also worked for the Beatles. According to Usher "The crowd sound effects were from a live concert that Derek Taylor had taped with a little tape recorder in London. It was some outrageous crowd, something like 20,000 to 30,000 people. He brought the tape in, ran it off onto a big tape, re- EQ'd it, echoed it, cleaned it up and looped it." So my guess is that the audience screams in the Byrds song about the Monkees are for the Beatles, but we'll probably never know for sure: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] The track also featured an appearance by Hugh Masekela, the jazz trumpeter whose invitation to take part in a session had inspired the song: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] While Hillman was starting to lean more towards folk and country music -- he had always been the member of the band least interested in rock music -- and McGuinn was most interested in exploring electronic sounds, Crosby was still pushing the band more in the direction of the jazz experimentation they'd tried on "Eight Miles High", and one of the tracks they started working on soon after "So You Want to be a Rock 'n' Roll Star?" was inspired by another jazz trumpet great. Miles Davis had been partly responsible for getting the Byrds signed to Columbia, as we talked about in the episode on "Mr. Tambourine Man", and so the group wanted to pay him tribute, and they started working on a version of his classic instrumental "Milestones": [Excerpt: Miles Davis, "Milestones"] Sadly, while the group worked on their version for several days -- spurred on primarily by Crosby -- they eventually chose to drop the track, and it has never seen release or even been bootlegged, though there is a tiny clip of it that was used in a contemporaneous documentary, with a commentator talking over it: [Excerpt: The Byrds, "Milestones (TV)"] It was apparently Crosby who decided to stop work on the track, just as working on it was also apparently his idea. Indeed, while the biggest change on the album that would become Younger Than Yesterday was that for the first time Chris Hillman was writing songs and taking lead vocals, Crosby was also writing more than before. Hillman wrote four of the songs on the album, plus his co-write with McGuinn on "So You Want to be a Rock 'n' Roll Star?", but Crosby also supplied two new solo compositions, plus a cowrite with McGuinn, and Crosby and McGuinn's "Why?", the B-side to "Eight Miles High", was also dug up and rerecorded for the album. Indeed, Gary Usher would later say "The album was probably 60% Crosby. McGuinn was not that involved, nor was Chris; at least as far as performing was concerned." McGuinn's only composition on the album other than the co-writes with Crosby and Hillman was another song about contacting aliens, "CTA-102", a song about a quasar which at the time some people were speculating might have been evidence of alien life. That song sounds to my ears like it's had some influence from Joe Meek's similar records, though I've never seen McGuinn mention Meek as an influence: [Excerpt: The Byrds, "CTA-102"] Crosby's growing dominance in the studio was starting to rankle with the other members. In particular two tracks were the cause of conflict. One was Crosby's song "Mind Gardens", an example of his increasing experimentation, a freeform song that ignores conventional song structure, and which he insisted on including on the album despite the rest of the group's objections: [Excerpt: The Byrds, "Mind Gardens"] The other was the track that directly followed "Mind Gardens" on the album. "My Back Pages" was a song from Dylan's album Another Side of Bob Dylan, a song many have seen as Dylan announcing his break with the folk-song and protest movements he'd been associated with up to that point, and his intention to move on in a new direction: [Excerpt: Bob Dylan, "My Back Pages"] Jim Dickson, the Byrds' co-manager, was no longer on speaking terms with the band and wasn't involved in their day-to-day recording as he had been, but he'd encountered McGuinn on the street and rolled down his car window and suggested that the group do the song. Crosby was aghast. They'd already recorded several songs from Another Side of Bob Dylan, and Fifth Dimension had been their first album not to include any Dylan covers. Doing a jangly cover of a Dylan song with a McGuinn lead vocal was something they'd moved on from, and he didn't want to go back to 1964 at the end of 1966. He was overruled, and the group recorded their version, a track that signified something very different for the Byrds than the original had for Dylan: [Excerpt: The Byrds, "My Back Pages"] It was released as the second single from the album, and made number thirty. It was the last Byrds single to make the top forty. While he was working with the Byrds, Usher continued his work in the pop field, though as chart pop moved on so did Usher, who was now making records in a psychedelic sunshine pop style with acts like the Peanut Butter Conspiracy: [Excerpt: The Peanut Butter Conspiracy, "It's a Happening Thing"] and he produced Chad and Jeremy's massive concept album Of Cabbages and Kings, which included a five-song "Progress Suite" illustrating history from the start of creation until the end of the world: [Excerpt: Chad and Jeremy, "Editorial"] But one of the oddest projects he was involved in was indirectly inspired by Roger McGuinn. According to Usher "McGuinn and I had a lot in common. Roger would always say that he was "out of his head," which he thought was good, because he felt you had to go out of your head before you could really find your head! That sums up McGuinn perfectly! He was also one of the first people to introduce me to metaphysics, and from that point on I started reading everything I could get my hands on. His viewpoints on metaphysics were interesting, and, at the time, useful. He was also into Marshall McLuhan; very much into the effects of electronics and the electronic transformation. He was into certain metaphysical concepts before I was, but I was able to turn him onto some abstract concepts as well" These metaphysical discussions led to Usher producing an album titled The Astrology Album, with discussions of the meaning of different star signs over musical backing: [Excerpt: Gary Usher, "Leo"] And with interviews with various of the artists he was working with talking about astrology. He apparently interviewed Art Garfunkel -- Usher was doing some uncredited production work on Simon and Garfunkel's Bookends album at the time -- but Garfunkel declined permission for the interview to be used. But he did get both Chad and Jeremy to talk, along with John Merrill of the Peanut Butter Conspiracy -- and David Crosby: [Excerpt: Gary Usher, "Leo"] One of the tracks from that album, "Libra", became the B-side of a single by a group of studio musicians Usher put together, with Glen Campbell on lead vocals and featuring Bruce Johnston of the Beach Boys prominently on backing vocals. "My World Fell Down" was credited to Sagittarius, again a sign of Usher's current interest in astrology, and featured some experimental sound effects that are very similar to the things that McGuinn had been doing on recent Byrds albums: [Excerpt: Sagittarius, "My World Fell Down"] While Usher was continuing with his studio experimentation, the Byrds were back playing live -- and they were not going down well at all. They did a UK tour where they refused to play most of their old hits and went down as poorly as on their previous tour, and they were no longer the kings of LA. In large part this was down to David Crosby, whose ego was by this point known to *everybody*, and who was becoming hugely unpopular on the LA scene even as he was starting to dominate the band. Crosby was now the de facto lead vocalist on stage, with McGuinn being relegated to one or two songs per set, and he was the one who would insist that they not play their older hit singles live. He was dominating the stage, leading to sarcastic comments from the normally placid Hillman like "Ladies and gentlemen, the David Crosby show!", and he was known to do things like start playing a song then stop part way through a verse to spend five minutes tuning up before restarting. After a residency at the Whisky A-Go-Go where the group were blown off the stage by their support act, the Doors, their publicist Derek Taylor quit, and he was soon followed by the group's co-managers Jim Dickson and Eddie Tickner, who were replaced by Crosby's friend Larry Spector, who had no experience in rock management but did represent Peter Fonda and Dennis Hopper, two young film stars Crosby was hanging round with. The group were particularly annoyed by Crosby when they played the Monterey Pop Festival. Crosby took most lead vocals in that set, and the group didn't go down well, though instrumentally the worst performer was Michael Clarke, who unlike the rest of the band had never become particularly proficient on his instrument: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star (live at Monterey)"] But Crosby also insisted on making announcements from the stage advocating LSD use and describing conspiracy theories about the Kennedy assassination: [Excerpt: David Crosby on the Warren Commission, from the end of "Hey Joe" Monterey] But even though Crosby was trying to be the Byrds' leader on stage, he was also starting to think that they maybe didn't deserve to have him as their leader. He'd recently been spending a lot of time hanging out with Stephen Stills of the Buffalo Springfield, and McGuinn talks about one occasion where Crosby and Stills were jamming together, Stills played a blues lick and said to McGuinn "Can you play that?" and when McGuinn, who was not a blues musician, said he couldn't, Stills looked at him with contempt. McGuinn was sure that Stills was trying to poach Crosby, and Crosby apparently wanted to be poached. The group had rehearsed intensely for Monterey, aware that they'd been performing poorly and not wanting to show themselves up in front of the new San Francisco bands, but Crosby had told them during rehearsals that they weren't good enough to play with him. McGuinn's suspicions about Stills wanting to poach Crosby seemed to be confirmed during Monterey when Crosby joined Buffalo Springfield on stage, filling in for Neil Young during the period when Young had temporarily quit the group, and performing a song he'd helped Stills write about Grace Slick: [Excerpt: Buffalo Springfield, "Rock 'n' Roll Woman (live at Monterey)"] Crosby was getting tired not only of the Byrds but of the LA scene in general. He saw the new San Francisco bands as being infinitely cooler than the Hollywood plastic scene that was LA -- even though Crosby was possibly the single most Hollywood person on that scene, being the son of an Oscar-winning cinematographer and someone who hung out with film stars. At Monterey, the group had debuted their next single, the first one with an A-side written by Crosby, "Lady Friend": [Excerpt: The Byrds, "Lady Friend"] Crosby had thought of that as a masterpiece, but when it was released as a single, it flopped badly, and the rest of the group weren't even keen on the track being included on the next album. To add insult to injury as far as Crosby was concerned, at the same time as the single was released, a new album came out -- the Byrds' Greatest Hits, full of all those singles he was refusing to play live, and it made the top ten, becoming far and away the group's most successful album. But despite all this, the biggest conflict between band members when they came to start sessions for their next album wasn't over Crosby, but over Michael Clarke. Clarke had never been a particularly good drummer, and while that had been OK at the start of the Byrds' career, when none of them had been very proficient on their instruments, he was barely any better at a time when both McGuinn and Hillman were being regarded as unique stylists, while Crosby was writing metrically and harmonically interesting material. Many Byrds fans appreciate Clarke's drumming nonetheless, saying he was an inventive and distinctive player in much the same way as the similarly unskilled Micky Dolenz, but on any measure of technical ability he was far behind his bandmates. Clarke didn't like the new material and wasn't capable of playing it the way his bandmates wanted. He was popular with the rest of the band as a person, but simply wasn't playing well, and it led to a massive row in the first session: [Excerpt: The Byrds, "Universal Mind Decoder (alternate backing track)"] At one point they joke that they'll bring in Hal Blaine instead -- a reference to the recording of "Mr. Tambourine Man", when Clarke and Hillman had been replaced by Blaine and Larry Knechtel -- and Clarke says "Do it. I don't mind, I really don't." And so that ended up happening. Clarke was still a member of the band -- and he would end up playing on half the album's tracks -- but for the next few sessions the group brought in session drummers Hal Blaine and Jim Gordon to play the parts they actually wanted. But that wasn't going to stop the bigger problem in the group, and that problem was David Crosby's relationship with the rest of the band. Crosby was still at this point thinking of himself as having a future in the group, even as he was increasingly convinced that the group themselves were bad, and embarrassed by their live sound. He even, in a show of unity, decided to ask McGuinn and Hillman to collaborate on a couple of songs with him so they would share the royalties equally. But there were two flash-points in the studio. The first was Crosby's song "Triad", a song about what we would now call polyamory, partly inspired by Robert Heinlein's counterculture science fiction novel Stranger in a Strange Land. The song was meant to portray a progressive, utopian, view of free love, but has dated very badly -- the idea that the *only* reason a woman might be unhappy with her partner sleeping with another woman is because of her mother's disapproval possibly reveals more about the mindset of hippie idealists than was intended. The group recorded Crosby's song, but refused to allow it to be released, and Crosby instead gave it to his friends Jefferson Airplane, whose version, by having Grace Slick sing it, at least reverses the dynamics of the relationship: [Excerpt: Jefferson Airplane, "Triad"] The other was a song that Gary Usher had brought to the group and suggested they record, a Goffin and King song released the previous year by Dusty Springfield: [Excerpt: Dusty Springfield, "Goin' Back"] Crosby was incandescent. The group wanted to do this Brill Building pap?! Hell, Gary Usher had originally thought that *Chad and Jeremy* should do it, before deciding to get the Byrds to do it instead. Did they really want to be doing Chad and Jeremy cast-offs when they could be doing his brilliant science-fiction inspired songs about alternative relationship structures? *Really*? They did, and after a first session, where Crosby reluctantly joined in, when they came to recut the track Crosby flat-out refused to take part, leading to a furious row with McGuinn. Since they were already replacing Michael Clarke with session drummers, that meant the only Byrds on "Goin' Back", the group's next single, were McGuinn and Hillman: [Excerpt: The Byrds, "Goin' Back"] That came out in late October 1967, and shortly before it came out, McGuinn and Hillman had driven to Crosby's home. They told him they'd had enough. He was out of the band. They were buying him out of his contract. Despite everything, Crosby was astonished. They were a *group*. They fought, but only the way brothers fight. But McGuinn and Hillman were adamant. Crosby ended up begging them, saying "We could make great music together." Their response was just "And we can make great music without you." We'll find out whether they could or not in two weeks' time.