Podcasts about slicks

In der heutigen Folge von HOTLAP gehts etwas ruhiger zur Sache denn das Rennen auf dem legendären Suzuka International Racing Course hatte leider nicht so insichwie man sich das gewünscht hatte. Nichtsdestotrotz analysieren wir alle Highlights des Großen Preises von Japan: Außerdem werfen wir einen Blick über den Tellerrand der Strecke: In den Medien sorgt derzeit die Debatte um die Rückkehr der V10-Motoren für ordentlich Gesprächsstoff. Wir sprechen über: Warum der Sound der alten V10-Ära noch heute Gänsehaut macht Welche technischen und politischen Hürden es für ein Comeback gäbe Und was Audis Einstieg in die Formel 1 ab 2026 damit zu ...Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude.Gern unterstützen wir dich bei deiner Podcast-Produktion.

In der heutigen Folge von HOTLAP gehts etwas ruhiger zur Sache denn das Rennen auf dem legendären Suzuka International Racing Course hatte leider nicht so insichwie man sich das gewünscht hatte. Nichtsdestotrotz analysieren wir alle Highlights des Großen Preises von Japan: Außerdem werfen wir einen Blick über den Tellerrand der Strecke: In den Medien sorgt derzeit die Debatte um die Rückkehr der V10-Motoren für ordentlich Gesprächsstoff. Wir sprechen über: Warum der Sound der alten V10-Ära noch heute Gänsehaut macht Welche technischen und politischen Hürden es für ein Comeback gäbe Und was Audis Einstieg in die Formel 1 ab 2026 damit zu ...Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude.Gern unterstützen wir dich bei deiner Podcast-Produktion.

In der heutigen Folge von HOTLAP gehts etwas ruhiger zur Sache denn das Rennen auf dem legendären Suzuka International Racing Course hatte leider nicht so insichwie man sich das gewünscht hatte. Nichtsdestotrotz analysieren wir alle Highlights des Großen Preises von Japan: Außerdem werfen wir einen Blick über den Tellerrand der Strecke: In den Medien sorgt derzeit die Debatte um die Rückkehr der V10-Motoren für ordentlich Gesprächsstoff. Wir sprechen über: Warum der Sound der alten V10-Ära noch heute Gänsehaut macht Welche technischen und politischen Hürden es für ein Comeback gäbe Und was Audis Einstieg in die Formel 1 ab 2026 damit zu ...Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude.Gern unterstützen wir dich bei deiner Podcast-Produktion.

In der heutigen Folge von HOTLAP gehts etwas ruhiger zur Sache denn das Rennen auf dem legendären Suzuka International Racing Course hatte leider nicht so insichwie man sich das gewünscht hatte. Nichtsdestotrotz analysieren wir alle Highlights des Großen Preises von Japan: Außerdem werfen wir einen Blick über den Tellerrand der Strecke: In den Medien sorgt derzeit die Debatte um die Rückkehr der V10-Motoren für ordentlich Gesprächsstoff. Wir sprechen über: Warum der Sound der alten V10-Ära noch heute Gänsehaut macht Welche technischen und politischen Hürden es für ein Comeback gäbe Und was Audis Einstieg in die Formel 1 ab 2026 damit zu ...Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude.Gern unterstützen wir dich bei deiner Podcast-Produktion.

In this Slickday Special, we celebrate 7 years of Johnny Slicks with founder Johnny Slicks himself! This episode dives into:

Send us a textBrooklyn Hop, a vibrant 10-year-old from Andover, Minnesota, has carved a unique path in the racing world as an integral part of her family's Hop racing team. Despite encountering challenges such as bullying at school due to her distinctive passion, Brooklyn's enthusiasm for the speed and adrenaline of racing remains steadfast. Through her participation in the "Chicks on Slicks" racing community, she has developed a strong sense of camaraderie and support, bolstered by sponsors like kgb Mike and Don Kretzky, Sergeant Hot Wheels, and Jaeger guys, who have significantly contributed to her success. With aspirations to race across various locations and a supportive family by her side, Brooklyn continues to inspire others with her dedication, resilience, and commitment to safety on the racetrack.Support the show

Ronja und die Kurvenräubertochter - damit ist über die R6 und ihre Fahrerin Irene alles gesagt. Ein Dreamteam auf der Rennstrecke und in Eis und Schnee, auf Slicks wie auf Stollen. Irene ist wild und macht verrückte Sachen. Sie ist Instruktorin, Mentaltrainerin, Reisende, Ingenieurin, Schrauberin und Bastlerin. Ein wahrer Tausendsassa im Motorradbereich. Hört rein und bucht ein Rückwärts-Schiebe-Training ;) das kann nur gut sein! Irene Kurvenräubertochter auf Instagram Heels on Wheels auf Instagram Motorradtraining Mental Website FINALLY, es gibt TwinSpark Merchandise zu kaufen!

Herzlich Willkommen zur 119. Ausgabe des BiketourGlobal Podcast Season 2! Mit der Alps Divide gab in diesem Jahr einen neuen Bikepacking Event, welcher die Teilnehmer auf 1.000 km und mit 32.000 HM einmal durch die Alpen in Frankreich, Schweiz und Italien nimmt. Markus Löwen war dabei und erzählt von seinem Abenteuer mit SemiSlicks, viel Regen und Schnee. Viel Spaß! Shownotes Markus auf Instagram https://www.instagram.com/markus_loewen_/ Alps Divide im Web https://alpsdivide.com/ Quelle Musik Tropic Fuse - French Fuse aus dem YT Creator Studio Quelle Bilder Markus Löwen

I denne episoden av Scoochpodden er vi på besøk hos dragracing entusiasten Roar Lunde. Er man oppvokst på Notodden er man nærmest forpliktet til å være bilinteressert. Og som Roar sier selv, det er bare firmabilene som sluppet unna trim. Etter at moped stadiet var avklart begynte Telemarkingen å skru, her skulle det bygges porsche looker med "presence". Det var på denne tiden katalogen til Kvikk Service kom Roar i hende og livet fikk en ny retning, med lystgass! Det ble "knapp" for både gate og stripe! Og bilvalgene har gjort at grenser må pushes og alternative løsninger finnes. Det som ikke finnes må bygges! Takk for praten Roar!Bli patreon av Scoochpodden å få episodene reklamefrie: https://www.patreon.com/scoochpodFølg oss på facebook: https://www.facebook.com/profile.php?id=100051375947801Instagram: https://www.instagram.com/scoochpod/ Hosted on Acast. See acast.com/privacy for more information.

podcast 192 vicky slicks by Oh, We Talkin'?

Ein Entschluss, auf Slicks zu bleiben, verschaffte Rene Rast während des ersten Rennens am Norisring seinen ersten DTM-Sieg der Saison. Der Schubert Motorsport BMW M4 GT3 mit der Nummer 33, sowie das GRT Grasser Racing Team Duo Franck Perera und Luca Engstler, entschieden sich bei einem späten Regenschauer nicht an die Box zu fahren und die Reifen zu wechseln. Nachdem der Regen nach dem obligatorischen Boxenstopp einsetzte, entschied sich der Großteil des Feldes, ein zweites Mal zu stoppen, um auf Regenreifen zu wechseln. Rast jedoch blieb draußen und widersetzte sich einem Aufruf seines Teams, auf Regenreifen zu wechseln, während er in Führung ging. Als die ...Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude.Gern unterstützen wir dich bei deiner Podcast-Produktion.

Ein Entschluss, auf Slicks zu bleiben, verschaffte Rene Rast während des ersten Rennens am Norisring seinen ersten DTM-Sieg der Saison. Der Schubert Motorsport BMW M4 GT3 mit der Nummer 33, sowie das GRT Grasser Racing Team Duo Franck Perera und Luca Engstler, entschieden sich bei einem späten Regenschauer nicht an die Box zu fahren und die Reifen zu wechseln. Nachdem der Regen nach dem obligatorischen Boxenstopp einsetzte, entschied sich der Großteil des Feldes, ein zweites Mal zu stoppen, um auf Regenreifen zu wechseln. Rast jedoch blieb draußen und widersetzte sich einem Aufruf seines Teams, auf Regenreifen zu wechseln, während er in Führung ging. Als die ...Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude.Gern unterstützen wir dich bei deiner Podcast-Produktion.

Ein Entschluss, auf Slicks zu bleiben, verschaffte Rene Rast während des ersten Rennens am Norisring seinen ersten DTM-Sieg der Saison. Der Schubert Motorsport BMW M4 GT3 mit der Nummer 33, sowie das GRT Grasser Racing Team Duo Franck Perera und Luca Engstler, entschieden sich bei einem späten Regenschauer nicht an die Box zu fahren und die Reifen zu wechseln. Nachdem der Regen nach dem obligatorischen Boxenstopp einsetzte, entschied sich der Großteil des Feldes, ein zweites Mal zu stoppen, um auf Regenreifen zu wechseln. Rast jedoch blieb draußen und widersetzte sich einem Aufruf seines Teams, auf Regenreifen zu wechseln, während er in Führung ging. Als die ...Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude.Gern unterstützen wir dich bei deiner Podcast-Produktion.

There was a lot of fuss in New Hamshire about the way NASCAR called the race and you can listen to Hoppy, Willy, and Checky debate it to find out whether you think it should be ran more like a soup nazi's restaurant or a track where you race free or die.  The choice is yours!  

Comment, question, or idea for the podcast? Send us a Text Message! We're back, and it's been a busy week! Fond du Lac Band set to start cannabis production in northeastern Minnesota, Sweetest Grass (Leech Lake Band of Ojibwe) opens to the public on Thursday, and more than one-third of adults may qualify for social equity cannabis licenses. Then, some local updates from St. Louis County, Stearns County, Marshall, and Pine River. Then we try Brez, microdosed cannabis and mushrooms in a can.Then, Marcus and Steve sit down with Jacob Schlichter, a local artist and owner of Slicks.Finally, a preview from our March 2024 Class "How to Grow REALLY Big Plants, hosted by the Minnesota Cannabis College and Clean Green Media.  Stream the full class now at: https://mncannabiscollege.vhx.tv/products/how-to-grow-big-plants-w-raiden-labs-doc-dabsDonate Today - mncannabiscollege.org/donateFilmed and Recorded at the Dabbler Depot Studio in St. PaulToday's episode of Northern Lights is presented by North Star Law Group, your trusted partner in Minnesota's burgeoning legal cannabis industry. Learn more at northstarlaw.comThank you to our sponsor NativeCare, Minnesota's first recreational cannabis dispensary, now on WeedMaps!Links from the Show:Brez - https://www.drinkbrez.com/Support the Show.

Pedal to the metal, Getreu nach diesem Motto starten die beiden Labertaschen in der Königsklasse des Automobilrennsports durch. Heute dreht sich bei Wir labern nett, wir reden klar alles um die Formel 1.Marci startet natürlich von der Pole Position und obwohl er angeblich mit Slicks fährt haben seine Beiträge echt Profil. Er weiß wie groß heutzutage eine Boxencrew ist und auch der französische Name des Dachverbandes bringt ihn nicht aus der Spur.Doch da kommt Heiko aus dem Windschatten und rollt das Feld mit zusätzlichen Informationen von hinten auf. Obwohl er keine Superlizenz hat war es für ihn ein leichtes die Formel für diesen Sport zu knacken.Aber liebe Rennsportfreunde, die wahren Gewinner sind ja schon in "Stein" gemeißelt - egal ob Pirelli oder Bridgestone, Singapur oder Silverstone und Briatore oder Ecclestone, sie alle machen diesen Sport zu etwas ganz Großen. Ja so groß, dass jedes Rennen in einem Großen Preis endet.Wenn ihr wissen wollt wer das Rennen macht - Heiko, der kein Fan sein sollte oder Marci, der aus jedem Jahrzehnt die besten Fahrer kennt - dann bleibt dabei. Die Maximaldauer eines Großen Preises haben die beiden auf jeden Fall eingehalten. Euer Monoposto Marci und Open-Wheel Racer Heiko Feedback: Wir_labern@gmx.net Insta: wir_labern Film: Driven (USA 2001, Renny Harlin, Sylvester Stallone, Burt Renolds) Musik: Die Ärzte – Mein Freund Michael Quellen: Wikipedia.de F1.com Fia.com

Its always a good one when were in the studio with Johnny. Today, we talk about dealing with the inner bitch voice that we all have and saying yes to more opportunities. Agoge: https://go.theagoge.com/enroll-now Mentorship: https://theagoge.com/pages/mentorship Tier 1 Coaching: https://www.nickkoumalatsos.com/tier-1-coaching --- Support this podcast: https://podcasters.spotify.com/pod/show/alwaysforwardpodcast/support

How do you not become a Mustang ‘FAIL' video? Jeff in Chicago has owned many Mustangs, but willing to try other cars while he's focused on his family. The guys debate his-and-hers sports cars for Olivia in UT, whose fiancée owns a Miata that he won't sell. Social media questions ask where the line is drawn on upgrades vs. buying a different car, can the guys start a petition against ‘piano black' in cars, and should you experience different car events that don't usually interest you? Please rate + review us on iTunes, and subscribe to our two YouTube channels. Write us with your Car Debates, Car Conclusions, and Topic Tuesdays at everydaydrivertv@gmail.com or everydaydriver.com. Don't forget to share the podcast with your car enthusiast friends! Learn more about your ad choices. Visit megaphone.fm/adchoices

John Raushi and Nick Koumalatsos met in 2018 and started their journey to becoming the fastest growing organic grooming company in the country. When the two former Marines met, Raushi had mastered his million dollar formulas and was running the business from home, funding it by donating plasma with his wife and doing local sales through Instagram messages. Koumalatsos and his wife invested in building the Johnny Slicks brand and the company took off. In October of 2021, Forbes called a Johnny Slicks oil based pomade one of the year's best grooming items for men. To View This Episode- https://youtu.be/thUT_-l5pCQ #JohnnySlicks #Beard #MensGrooming #Pomade

In episode 208 of Beyond The Story, Sebastian Rusk interviews Johnny Slicks, the founder and CEO of Johnny Slicks Inc., an American-made grooming products company. Johnny shares his inspiring journey from struggling to make ends meet and donating blood plasma to fund his business, to building a successful company that is now hitting eight figures in revenue. Tune in to hear this captivating story of grit and glory.TIMESTAMPS[00:02:01] Thinning Hair and Self-Esteem.[00:05:31] Bank Account Struggles and Experimentation.[00:07:16] The Struggle to Start a Business.[00:10:35] Rags to Riches Story.[00:20:02] The Importance of an Integrator.[00:22:09] Find Your Strengths and Weaknesses.In this episode, Sebastian Rusk and Johnny Slicks emphasize the importance of having both a visionary and an integrator in a business partnership. They acknowledge that not all of their ideas may take off, but they believe it is the integrator's role to keep them focused on their main area of expertise, which in this case is grooming products.Additionally, Sebastian and Johnny emphasize the significance of finding someone who aligns with your culture, morals, and ethics, serving as a complementary counterpart. Having someone with diverse skills and perspectives allows for innovative problem-solving and enhances overall capabilities.QUOTES“So yeah, donating plasma, rags to riches, repo to limo, however you want to put it. But it really is the American dream. And it all started with just me having this personal issue of my thinning hair. Tanked my confidence. I found a solution. And now I'm here to offer the solution to everybody." - Johnny Slicks"I don't believe in problems, I believe all problems are just opportunities to learn and try and experiment." - Johnny Slicks"You will never get anything done as a visionary if you don't have an integrator, someone who can keep you aligned with what you're good at." - Johnny SlicksSOCIAL MEDIA LINKSSebastian RuskInstagram: https://www.instagram.com/beyondthestorypodcast/Facebook: https://www.facebook.com/BeyondTheStoryPodcast/LinkedIn: https://www.linkedin.com/in/sebastianrusk/Johnny SlicksInstagram: https://www.instagram.com/johnnyslicks/Facebook: https://www.facebook.com/JohnnySlicksInc/LinkedIn: https://www.linkedin.com/company/johnny-slicks/WEBSITESBeyond The Story Podcast: https://www.beyondthestorypodcast.com/Johnny Slicks: https://johnnyslicks.com/==========================Need help launching your podcast?Schedule a Free Podcast Strategy Call TODAY!PodcastLaunchLabNow.com

What would you consider to be your greatest accomplishment? What are you most proud of? When people get asked this question, some have ready answers, while some think long and hard about the things that shaped their lives. It's because our lives are not marked by one significant moment that changed it all.The best answer to “What is your greatest accomplishment?” is the first thing that comes to mind that makes you proud. Today's guest has had many accomplishments, and he plans on doing more significant things to help others. But for now, let's hear him share some things that make him proud. NC Shop Talk welcomes Rico "Slick" Montgomery. Slick currently runs Stitched By Slick Custom Upholstery with the help of his family and associates. His wife, Takeila, also known as "The Rimlady," has been involved with creating the company's first website and maintaining an active social media presence.Join Mal and Slick as they talk about their most significant life accomplishments, passions, dreams, and ambitions. Tune in and be inspired!“When I go to the shows, I look for just the way other builders fit and finish, ideas, just networking.” – Rico "Slick" MontgomeryIn This Episode:- How Slick got his nickname - Slick's background and how he got into the industry- Slick proudly talks about his beautiful family- What Slick envisions for his YouTube channel- What's in Slick's fridge and his go-to drink and snacks- How Slick got the chance to work with Snoop Dogg- Slick's favorite build- A vision to launch his threadline- Learning and networking with other upholsterers in different events- Slicks go-to local vendors- A collaboration with IMPACT Interior Products - Slick plays the Rapid Fire HotseatAnd more!Connect with Slick:- Website - https://stitchbyslick.com/- Facebook - https://web.facebook.com/stitched.slick/- Instagram - https://www.instagram.com/stitchedbyslick- YouTube - https://www.youtube.com/@StitchedbySlickupholstery- TikTok - https://www.tiktok.com/@stitchedbyslickConnect with Mal and NC Carpet: - Website - https://www.n-ccarpet.com/- Facebook - https://web.facebook.com/nccarpetmachines/- Instagram - https://www.instagram.com/nc_carpet_binding

Dj Nombre is kicking it in the labs tonight! A well known north county dj who recently spun at the last rock the plague. You also might've caught him dj'ing in one the cruises on top of Slicks at one point Don't forget to like, share, and subscribe! --- Send in a voice message: https://podcasters.spotify.com/pod/show/the-kick-it-podcast/message Support this podcast: https://podcasters.spotify.com/pod/show/the-kick-it-podcast/support

Today, Johnny and I talk about setting the bar higher for yourself and getting the right people around you that can take you to the next level and Johnny Slicks Black Friday Deals! Shop Here! https://johnnyslicks.com/ --- Support this podcast: https://podcasters.spotify.com/pod/show/alwaysforwardpodcast/support

Today, Johnny and I talk about a bunch of things it seems like, artificial intelligence, Mexican aliens and American companies that constantly sell their soul just to make profit. Something that WE refuse to do. Johnny Slicks: https://johnnyslicks.com/ Agoge: https://go.theagoge.com/enroll-now Mentorship: https://theagoge.com/pages/mentorship Tier 1 Coaching: https://www.nickkoumalatsos.com/tier-1-coaching --- Support this podcast: https://podcasters.spotify.com/pod/show/alwaysforwardpodcast/support

On this Saturday night LIVE edition of Talking Mopars, I'm joined by my friends from The Motley Crew of Mopars! Enjoy! NO MOPAR LEFT BEHIND! ***Support Slicks of Hope in the fight against pediatric cancer: stbaldricks.org/events/mypage/13898/2020 Tommy Marauder: FB -  GUESTS: @SlicksOfHope / IG - @Slicks_Of_Hope  Matt Monroe AKA BigBlock: @BigBlocksGarage / BigBlocksGarage Podcast  →Website: TalkingMopars.com  →Facebook: facebook.com/TalkingMoparsPodcast  →Instagram: instagram.com/TalkingMoparsPodcast →Talking Mopars Merch: talkingmopars.creator-spring.com  →The Talking Mopars Channel Home Page: youtube.com/talkingmoparspodcast  →Affiliates: talkingmopars.com/p/affiliates/  #MoparPodcast #Mopar #MuscleCar #HEMI #HEMISwap #Dodge #Plymouth  If you enjoyed this video, be sure to subscribe to the Talking Mopars YouTube channel, as well as the Talking Mopars Podcast on your favorite podcast listening app to get the latest episodes as they are released. Disclaimer: The views and opinions expressed on Talking Mopars are those of the host, and/or guest(s), and do not necessarily reflect the official policy or position of any party not present, or directly involved in this video/podcast. Any content provided by Talking Mopars, or guest(s) of Talking Mopars, are of their opinion and are not intended to malign any religion, ethnic group, club, organization, company, individual or anyone or anything. Due to factors beyond the control of Talking Mopars, Talking Mopars cannot guarantee against improper use or unauthorized modifications of this information. Talking Mopars assumes no liability for property damage or injury incurred as a result of any of the information contained in this video. Use this information at your own risk. Talking Mopars recommends safe practices when working on vehicles, and/or with the tools and products seen or implied in this video. Due to factors beyond the control of Talking Mopars, no information contained in this video shall create any expressed or implied warranty or guarantee of any particular result. Any injury, damage, or loss that may result from improper use of these tools, products, equipment, or from the information contained in this video is the sole responsibility of the user, and not Talking Mopars. Talking Mopars is not affiliated with Stellantis in any way. Chrysler, Dodge, Jeep, Ram, Mopar, HEMI, and SRT are registered trademarks of Stellantis.

Thank you for listening to We Are Auto, the podcast about cars - for enthusiasts, by enthusiasts! Please leave a 5 Star rating and write a review!   In episode 265: - What is the BEST Muscle Car ever made? - Florida Man using drag slicks in Hurricane Idalia - The V8 powered Jeep Wrangler            and more! Follow along! Facebook Instagram Youtube Website  

On today's episode John (Johnny Slicks) and I talk about the changes that is going through our business and how Johnny is on day 123 of being a dude who actually does what he says he's going to do. --- Support this podcast: https://podcasters.spotify.com/pod/show/alwaysforwardpodcast/support

How the pharmaceutical industry is playing you Join The Agoge: https://theagoge.com/pages/mentorship #bigpharma #nickkoumalatsos --- Support this podcast: https://podcasters.spotify.com/pod/show/alwaysforwardpodcast/support

Best of the underground, week of July 4, 2023: Mythical punk-rock-salmon-pants wearers. Shy lead singers. And great, great songs (All podcasts are on www.hlycrp.com, and you can also follow us on Facebook, Instagram, and Twitter, and Spotify, and Apple Podcasts.)  

ANTIC Episode 98 - Don't Toss Those Disks! In this episode of ANTIC The Atari 8-Bit Computer Podcast… We talk about all the feedback we got concerning tossing or copying old non-commercial disks, we discuss the we-hope-it's-not-vaporware RM800XL 800XL remake, we mention Thom Cherryhomes and FujiNet like 100 times, and all the other news we could find. READY! Recurring Links  Floppy Days Podcast  AtariArchives.org  AtariMagazines.com  Kevin's Book “Terrible Nerd”  New Atari books scans at archive.org  ANTIC feedback at AtariAge  Atari interview discussion thread on AtariAge  Interview index: here  ANTIC Facebook Page  AHCS  Eaten By a Grue  Next Without For  Links for Items Mentioned in Show: What we've been up to “Apple II Age” by Laine Nooney - https://amzn.to/3BOxbPC  Indy Classic Expo - http://indyclassic.org  8-Bit Classics shop Jakadapter Dual Atari joystick adapter v2 - http://kair.us/projects/jakadapter/index.html  Happy 1050 from 8-Bit Classics  ATR8000 -  https://www.atarimagazines.com/v3n4/ATR8000.html  Brian Snyder (Reifsnyderb) and the 1090XL - https://forums.atariage.com/topic/318373-1090xl-remake/  Southern AMIS and Atari non-commercial disks - https://www.southernamis.com/  News RM 800XL: Home page - https://revive-machines.com/index-en.html  Atariage - ​​https://forums.atariage.com/topic/350395-new-atari-800xl-revive-machine/#comment-5240788  YouTube video by GenXGrownUp  - https://www.youtube.com/watch?v=KCv2v08Amnc  Cease and desist tweet - https://twitter.com/atari_bbs/status/1654986930818531328   Bob Smith died: ANTIC Interview 238 - Bob Smith: Video Pinball; Imagic co-founder; Sleazy Adventure https://www.gamedeveloper.com/business/obituary-bob-smith-atari-2600-programmer-has-passed-away https://twitter.com/SeamusBlackley/status/1657795929951571968  FujiNet game server - https://twitter.com/tschak/status/1652819232067837952  Computer Chronicles Revisited, Volume 5 (1987) by S.M. Oliva. - https://archive.org/details/computer-chronicles-revisited-vol-5  8-bit Slicks - https://8bit-slicks.com/  FujiNet presentation from VCF East 2023 by Thom Cherryhomes - https://www.youtube.com/watch?v=InQn_0nZ3Jo  Leonard Tramiel recent interview - https://hanselminutes.com/892/computing-history-with-atari-and-commodores-leonard-tramiel  Leonard Tramiel interview on Floppy Days - https://floppydays.libsyn.com/floppy-days-104-interview-with-leonard-tramiel  A8DS - An Atari 8-bit Emulator for the DS/DSi/XL/LL: https://gbatemp.net/threads/a8ds-an-atari-8-bit-emulator-for-the-ds-dsi-xl-ll.632331/  https://github.com/wavemotion-dave/A8DS  Using a #FujiNet, a SIDE 2 or 3 cart, and an Ultimate 1MB together (Thom Cherryhomes): https://forums.atariage.com/topic/350148-using-a-fujinet-a-side-2-or-3-cart-and-an-ultimate1mb-together/  https://youtu.be/4mxJsTGNoGo  PAS6502 - https://syntaxerrorsoftware.itch.io/pas6502  ABBUC hardware and software contests 2023: https://abbuc.de/aktivitaten/hardware-competition/  https://abbuc.de/aktivitaten/software-competition/  Atari XL/XE font maker for PC - https://github.com/matosimi/atari-fontmaker  Inertia, new game for Atari 8-bit computers converted from 1990 original BBC Micro game - https://a8.fandal.cz/detail.php?files_id=8440  Fast BASIC starter project - Eric Carr - https://github.com/EricCarrGH/fastbasic-starterproject  Upcoming Shows The 64 bits or less Retro Gaming Festival - June 3-4 - Benton County Fairgrounds in Corvallis, Oregon (sponsored by the PortlandRetro Gaming Expo) - https://www.64bitsorless.com/  Boatfest Vintage Computer Exposition - June 23-25 - Hurricane, WV - http://boatfest.info  VCF Southwest - June 23-25 - Davidson-Gundy Alumni Center at University of Texas at Dallas, Richardson, TX - http://vcfsw.org  KansasFest, the largest and longest running annual Apple II conference - July 18-23, 2023 (in-person), July 29–30, 2023 (virtual) - Rockhurst University in Kansas City, Missouri - https://www.kansasfest.org/  Southern Fried Gaming Expo and VCF Southeast - July 28-30 2023 - Atlanta, GA - https://gameatl.com/  Silly Venture SE (Summer Edition) - Aug. 17-20 - Gdansk, Poland - https://www.demoparty.net/silly-venture/silly-venture-2023-se  Fujiama 2023 - Aug. 30 - Sep. 3 - Lengenfeld, Germany - http://atarixle.ddns.net/fuji/2023/  VCF Midwest - September 9-10 - Waterford Banquets and Conference Center, Elmhurst, IL - http://vcfmw.org/  Portland Retro Gaming Expo - October 13-15, 2023 - Oregon Convention Center, Portland, OR - https://retrogamingexpo.com/  YouTube Videos Installing Ultimate 1MB in Atari 800XL - Retro Tech Corner - https://www.youtube.com/watch?v=he6RbVR_5nw  Atari Reimagined! - This Week In Retro 122 - This Week in Retro - https://www.youtube.com/watch?v=0POBEBrfeg8  Bad Apple!! SV2K18 - a demo for Atari XL/XE with Rapidus by MadTeam (2018) [real HW] (re-upload) - VoyAtari - https://www.youtube.com/watch?v=Ns8V44pjrRs  ATARI XE/XL - Flashing and testing new OS rev 6.00, 2023, real HW - w1k-atari - https://www.youtube.com/watch?v=fEDngCCnQdc  Randy Glover - Jumpman (1983): Q&A Sac Gamers Expo 2022 - https://www.youtube.com/watch?v=O-ppmTKIdyc  Kay's interview - https://ataripodcast.libsyn.com/antic-interview-171-randy-glover-jumpman  BOULDER DASH: The Complete History - SGR | Retro Gaming Documentary - https://www.youtube.com/watch?v=P0rYqG3GYvA  New at Archive.org  Computer Entertainer - https://archive.org/details/@gameguy365?query=computer+entertainer  DX Distance and Bearing program for Atari computers - https://archive.org/details/atari-distance-and-bearing  New at Github Bill Lange: https://github.com/billlange1968/Killer_Chess https://github.com/billlange1968/Trails_In_Action https://github.com/billlange1968/Demon-Birds  https://github.com/ivop/atariterm Feedback “Starting Forth” by Leo Brodie - https://www.amazon.com/Starting-Forth-Introduction-Professionals-Prentice-Hall/dp/0138430799/  The SLCC Atari club - meeting weekly on Zoom, and monthly in person at the San Leandro Library - https://slcc.wdgeo.com/   

Nick and Johnny Sit down to talk about the power of handwritten notes, self-correcting problems, measures of a man, distractions, and much more. #masculinity #self-empowerment #distractions #nickkoumalatsos --- Support this podcast: https://podcasters.spotify.com/pod/show/nick-koumalatsos/support

In this episode, Scott from Champagne + Slicks joins James to open up the can of worms about Old and New F1 fans (hint: there's room for all of us!) Find Scott here! ---

Get ready for Giant-Size Free Comic Book Day on May 6th with our new series featuring some of the guests and creators you can meet there! This week we are talking to Kit, the person behind the internet handle Slicks and Spells! She has been a regular at our shows and we are excited to finally have her on the podcast! Patreon: https://www.patreon.com/SticksAndSpells Etsy: https://www.etsy.com/shop/SticksAndSpells Instagram: https://www.instagram.com/sticksandspells/ Twitter: https://twitter.com/SticksAndSpells

Covered in episode twelve of the Commodore Chronicles: 1) One bit of news (Castle Shadowgate) 2) The Commodore Years - 1985 3) A review of Slicks and bonus review of Knifegrinder's Lester As for our next title on the Commodore Chronicles, we'll be featuring Devon Aire in the Hidden Diamond Caper (Inside Outing is the Europe). However, next up in the Commodore Chronicles Family of Podcasts is Fine and Tandy with a review of Dynamix' Rise of the Dragon, then 486 Deluxe with a review of Star Trek: The Next Generation "A Final Unity". To have your feedback featured on the podcast, leave comments on the game posts found on social media: www.twitter.com/c64chronicles -or- www.facebook.com/c64chronicles Feedback, comments and questions can also be sent via email, commodorechronicles@gmail.com If you feel so led, you can financially support the Commodore Chronicles Family of Podcasts, including Fine and Tandy and 486 Deluxe at patreon.com/c64chronicles. Special thanks to my "Fast Load Collective" patrons; Chris Petzel, Jim Pones, Matthew Warren and Eric Nelson! Lastly, Commodore Chronicles, Fine and Tandy and 486 Deluxe stream every Thursday evening at 9PM EST on twitch.tv/commodore_chronicles. Hope to see you there. Thanks for tuning in!

Alzheimer ist verbreitet, verheerend und schwer zu behandeln. Nun ist in den USA mit Lecanemab ein neues Alzheimer-Medikament zugelassen. Weiter: Darmbakterien verhindern womöglich Fressattacken; Heliummangel macht Forschenden zu schaffen. (00:36) (K)ein Funken Hoffnung? Alzheimer, diese fortschreitende Gehirnerkrankung ist wie auch weniger häufige Formen von Demenz schwer zu behandeln. Nun ist in den USA mit Lecanemab ein neues Alzheimer-Medikament zugelassen, das nach Studiendaten zumindest etwas helfen soll. Was kann das Medikament, was können andere Alzheimer-Medikamente, die heute im Einsatz sind, und was ist in Entwicklung? Wir schätzen ein. (08:13) Meldungen: Impfprämien haben keine negative Folgen; weniger Wasservögel im Winter; «Slicks» auf dem Genfersee. (13:41) Darmbakterien gegen Fressattacken Übergewicht, verursacht durch Heisshunger auf Süsses, sei Ausdruck von Willensschwäche, denken viele. Doch Studien mit Mäusen lassen annehmen: Das Problem liegt womöglich nicht im Kopf, sondern tiefer. (18:47) Es fehlt an Helium Nicht nur Erdgas ist momentan knapp, sondern in der Forschung ist auch Helium Mangelware. Mit Folgen: Rund die Hälfte der Tieftemperaturexperimente an der ETHZ etwa sind deshalb zweitweilig gestoppt. Ein klares Ende des Edelgasmangels ist zurzeit nicht absehbar.

Why Is American Made So Popular Right Now? | Johnny Slicks Nick and Johnny Sit down to talk about being American Made, Testosterone, Johnny Slicks, and more. --- Support this podcast: https://anchor.fm/nick-koumalatsos/support

Covered in episode eleven of the Commodore Chronicles: 1) Seven bits of news (including a new podcast, 486 Deluxe) 2) The Commodore Years 1984 3) A review of The Last Ninja As for our next title on the Commodore Chronicles, we'll be featuring the top-down racer, Slicks. However, next up to the plate is Fine and Tandy: A Tandy 1000 Podcast asking the question, "Do any good early MS-DOS sports title exist". AKA, reviews of Lakers vs. Celtics and the NBA Playoffs and PGA Tour Golf. To have your feedback featured on the podcast, leave comments on the game posts found on social media: www.twitter.com/c64chronicles -or- www.facebook.com/c64chronicles Feedback, comments and questions can also be sent via email, commodorechronicles@gmail.com If you feel so led, you can financially support the Commodore Chronicles and Fine and Tandy podcasts at patreon.com/c64chronicles Special thanks to my "Fast Load Collective" patrons; Chris Petzel, Jim Pones, Matthew Warren and our newest member, Eric Nelson! Lastly, Commodore Chronicles & Fine and Tandy streams every Thursday at 9PM EST on twitch.tv/commodore_chronicles. Hope to see you there. Thanks for tuning in!

Episode one hundred and fifty-eight of A History of Rock Music in Five Hundred Songs looks at “White Rabbit”, Jefferson Airplane, and the rise of the San Francisco sound. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three-minute bonus episode available, on "Omaha" by Moby Grape. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum I refer to Back to Methuselah by Robert Heinlein. This is of course a play by George Bernard Shaw. What I meant to say was Methuselah's Children. Resources I hope to upload a Mixcloud tomorrow, and will edit it in, but have had some problems with the site today. Jefferson Airplane's first four studio albums, plus a 1968 live album, can be found in this box set. I've referred to three main books here. Got a Revolution!: The Turbulent Flight of Jefferson Airplane by Jeff Tamarkin is written with the co-operation of the band members, but still finds room to criticise them. Jefferson Airplane On Track by Richard Molesworth is a song-by-song guide to the band's music. And Been So Long: My Life and Music by Jorma Kaukonen is Kaukonen's autobiography. Some information on Skip Spence and Matthew Katz also comes from What's Big and Purple and Lives in the Ocean?: The Moby Grape Story, by Cam Cobb, which I also used for this week's bonus. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, I need to confess an important and hugely embarrassing error in this episode. I've only ever seen Marty Balin's name written down, never heard it spoken, and only after recording the episode, during the editing process, did I discover I mispronounce it throughout. It's usually an advantage for the podcast that I get my information from books rather than TV documentaries and the like, because they contain far more information, but occasionally it causes problems like that. My apologies. Also a brief note that this episode contains some mentions of racism, antisemitism, drug and alcohol abuse, and gun violence. One of the themes we've looked at in recent episodes is the way the centre of the musical world -- at least the musical world as it was regarded by the people who thought of themselves as hip in the mid-sixties -- was changing in 1967. Up to this point, for a few years there had been two clear centres of the rock and pop music worlds. In the UK, there was London, and any British band who meant anything had to base themselves there. And in the US, at some point around 1963, the centre of the music industry had moved West. Up to then it had largely been based in New York, and there was still a thriving industry there as of the mid sixties. But increasingly the records that mattered, that everyone in the country had been listening to, had come out of LA Soul music was, of course, still coming primarily from Detroit and from the Country-Soul triangle in Tennessee and Alabama, but when it came to the new brand of electric-guitar rock that was taking over the airwaves, LA was, up until the first few months of 1967, the only city that was competing with London, and was the place to be. But as we heard in the episode on "San Francisco", with the Monterey Pop Festival all that started to change. While the business part of the music business remained centred in LA, and would largely remain so, LA was no longer the hip place to be. Almost overnight, jangly guitars, harmonies, and Brian Jones hairstyles were out, and feedback, extended solos, and droopy moustaches were in. The place to be was no longer LA, but a few hundred miles North, in San Francisco -- something that the LA bands were not all entirely happy about: [Excerpt: The Mothers of Invention, "Who Needs the Peace Corps?"] In truth, the San Francisco music scene, unlike many of the scenes we've looked at so far in this series, had rather a limited impact on the wider world of music. Bands like Jefferson Airplane, the Grateful Dead, and Big Brother and the Holding Company were all both massively commercially successful and highly regarded by critics, but unlike many of the other bands we've looked at before and will look at in future, they didn't have much of an influence on the bands that would come after them, musically at least. Possibly this is because the music from the San Francisco scene was always primarily that -- music created by and for a specific group of people, and inextricable from its context. The San Francisco musicians were defining themselves by their geographical location, their peers, and the situation they were in, and their music was so specifically of the place and time that to attempt to copy it outside of that context would appear ridiculous, so while many of those bands remain much loved to this day, and many made some great music, it's very hard to point to ways in which that music influenced later bands. But what they did influence was the whole of rock music culture. For at least the next thirty years, and arguably to this day, the parameters in which rock musicians worked if they wanted to be taken seriously – their aesthetic and political ideals, their methods of collaboration, the cultural norms around drug use and sexual promiscuity, ideas of artistic freedom and authenticity, the choice of acceptable instruments – in short, what it meant to be a rock musician rather than a pop, jazz, country, or soul artist – all those things were defined by the cultural and behavioural norms of the San Francisco scene between about 1966 and 68. Without the San Francisco scene there's no Woodstock, no Rolling Stone magazine, no Rock and Roll Hall of Fame, no hippies, no groupies, no rock stars. So over the next few months we're going to take several trips to the Bay Area, and look at the bands which, for a brief time, defined the counterculture in America. The story of Jefferson Airplane -- and unlike other bands we've looked at recently, like The Pink Floyd and The Buffalo Springfield, they never had a definite article at the start of their name to wither away like a vestigial organ in subsequent years -- starts with Marty Balin. Balin was born in Ohio, but was a relatively sickly child -- he later talked about being autistic, and seems to have had the chronic illnesses that so often go with neurodivergence -- so in the hope that the dry air would be good for his chest his family moved to Arizona. Then when his father couldn't find work there, they moved further west to San Francisco, in the Haight-Ashbury area, long before that area became the byword for the hippie movement. But it was in LA that he started his music career, and got his surname. Balin had been named Marty Buchwald as a kid, but when he was nineteen he had accompanied a friend to LA to visit a music publisher, and had ended up singing backing vocals on her demos. While he was there, he had encountered the arranger Jimmy Haskell. Haskell was on his way to becoming one of the most prominent arrangers in the music industry, and in his long career he would go on to do arrangements for Bobby Gentry, Blondie, Steely Dan, Simon and Garfunkel, and many others. But at the time he was best known for his work on Ricky Nelson's hits: [Excerpt: Ricky Nelson, "Hello Mary Lou"] Haskell thought that Marty had the makings of a Ricky Nelson style star, as he was a good-looking young man with a decent voice, and he became a mentor for the young man. Making the kind of records that Haskell arranged was expensive, and so Haskell suggested a deal to him -- if Marty's father would pay for studio time and musicians, Haskell would make a record with him and find him a label to put it out. Marty's father did indeed pay for the studio time and the musicians -- some of the finest working in LA at the time. The record, released under the name Marty Balin, featured Jack Nitzsche on keyboards, Earl Palmer on drums, Milt Jackson on vibraphone, Red Callender on bass, and Glen Campbell and Barney Kessell on guitars, and came out on Challenge Records, a label owned by Gene Autry: [Excerpt: Marty Balin, "Nobody But You"] Neither that, nor Balin's follow-up single, sold a noticeable amount of copies, and his career as a teen idol was over before it had begun. Instead, as many musicians of his age did, he decided to get into folk music, joining a vocal harmony group called the Town Criers, who patterned themselves after the Weavers, and performed the same kind of material that every other clean-cut folk vocal group was performing at the time -- the kind of songs that John Phillips and Steve Stills and Cass Elliot and Van Dyke Parks and the rest were all performing in their own groups at the same time. The Town Criers never made any records while they were together, but some archival recordings of them have been released over the decades: [Excerpt: The Town Criers, "900 Miles"] The Town Criers split up, and Balin started performing as a solo folkie again. But like all those other then-folk musicians, Balin realised that he had to adapt to the K/T-event level folk music extinction that happened when the Beatles hit America like a meteorite. He had to form a folk-rock group if he wanted to survive -- and given that there were no venues for such a group to play in San Francisco, he also had to start a nightclub for them to play in. He started hanging around the hootenannies in the area, looking for musicians who might form an electric band. The first person he decided on was a performer called Paul Kantner, mainly because he liked his attitude. Kantner had got on stage in front of a particularly drunk, loud, crowd, and performed precisely half a song before deciding he wasn't going to perform in front of people like that and walking off stage. Kantner was the only member of the new group to be a San Franciscan -- he'd been born and brought up in the city. He'd got into folk music at university, where he'd also met a guitar player named Jorma Kaukonen, who had turned him on to cannabis, and the two had started giving music lessons at a music shop in San Jose. There Kantner had also been responsible for booking acts at a local folk club, where he'd first encountered acts like Mother McCree's Uptown Jug Champions, a jug band which included Jerry Garcia, Pigpen McKernan, and Bob Weir, who would later go on to be the core members of the Grateful Dead: [Excerpt: Mother McCree's Uptown Jug Champions, "In the Jailhouse Now"] Kantner had moved around a bit between Northern and Southern California, and had been friendly with two other musicians on the Californian folk scene, David Crosby and Roger McGuinn. When their new group, the Byrds, suddenly became huge, Kantner became aware of the possibility of doing something similar himself, and so when Marty Balin approached him to form a band, he agreed. On bass, they got in a musician called Bob Harvey, who actually played double bass rather than electric, and who stuck to that for the first few gigs the group played -- he had previously been in a band called the Slippery Rock String Band. On drums, they brought in Jerry Peloquin, who had formerly worked for the police, but now had a day job as an optician. And on vocals, they brought in Signe Toley -- who would soon marry and change her name to Signe Anderson, so that's how I'll talk about her to avoid confusion. The group also needed a lead guitarist though -- both Balin and Kantner were decent rhythm players and singers, but they needed someone who was a better instrumentalist. They decided to ask Kantner's old friend Jorma Kaukonen. Kaukonen was someone who was seriously into what would now be called Americana or roots music. He'd started playing the guitar as a teenager, not like most people of his generation inspired by Elvis or Buddy Holly, but rather after a friend of his had shown him how to play an old Carter Family song, "Jimmy Brown the Newsboy": [Excerpt: The Carter Family, "Jimmy Brown the Newsboy"] Kaukonen had had a far more interesting life than most of the rest of the group. His father had worked for the State Department -- and there's some suggestion he'd worked for the CIA -- and the family had travelled all over the world, staying in Pakistan, the Philippines, and Finland. For most of his childhood, he'd gone by the name Jerry, because other kids beat him up for having a foreign name and called him a Nazi, but by the time he turned twenty he was happy enough using his birth name. Kaukonen wasn't completely immune to the appeal of rock and roll -- he'd formed a rock band, The Triumphs, with his friend Jack Casady when he was a teenager, and he loved Ricky Nelson's records -- but his fate as a folkie had been pretty much sealed when he went to Antioch College. There he met up with a blues guitarist called Ian Buchanan. Buchanan never had much of a career as a professional, but he had supposedly spent nine years studying with the blues and ragtime guitar legend Rev. Gary Davis, and he was certainly a fine guitarist, as can be heard on his contribution to The Blues Project, the album Elektra put out of white Greenwich Village musicians like John Sebastian and Dave Van Ronk playing old blues songs: [Excerpt: Ian Buchanan, "The Winding Boy"] Kaukonen became something of a disciple of Buchanan -- he said later that Buchanan probably taught him how to play because he was such a terrible player and Buchanan couldn't stand to listen to it -- as did John Hammond Jr, another student at Antioch at the same time. After studying at Antioch, Kaukonen started to travel around, including spells in Greenwich Village and in the Philippines, before settling in Santa Clara, where he studied for a sociology degree and became part of a social circle that included Dino Valenti, Jerry Garcia, and Billy Roberts, the credited writer of "Hey Joe". He also started performing as a duo with a singer called Janis Joplin. Various of their recordings from this period circulate, mostly recorded at Kaukonen's home with the sound of his wife typing in the background while the duo rehearse, as on this performance of an old Bessie Smith song: [Excerpt: Jorma Kaukonen and Janis Joplin, "Nobody Loves You When You're Down and Out"] By 1965 Kaukonen saw himself firmly as a folk-blues purist, who would not even think of playing rock and roll music, which he viewed with more than a little contempt. But he allowed himself to be brought along to audition for the new group, and Ken Kesey happened to be there. Kesey was a novelist who had written two best-selling books, One Flew Over The Cuckoo's Nest and Sometimes A Great Notion, and used the financial independence that gave him to organise a group of friends who called themselves the Merry Pranksters, who drove from coast to coast and back again in a psychedelic-painted bus, before starting a series of events that became known as Acid Tests, parties at which everyone was on LSD, immortalised in Tom Wolfe's book The Electric Kool-Aid Acid Test. Nobody has ever said why Kesey was there, but he had brought along an Echoplex, a reverb unit one could put a guitar through -- and nobody has explained why Kesey, who wasn't a musician, had an Echoplex to hand. But Kaukonen loved the sound that he could get by putting his guitar through the device, and so for that reason more than any other he decided to become an electric player and join the band, going out and buying a Rickenbacker twelve-string and Vox Treble Booster because that was what Roger McGuinn used. He would later also get a Guild Thunderbird six-string guitar and a Standel Super Imperial amp, following the same principle of buying the equipment used by other guitarists he liked, as they were what Zal Yanovsky of the Lovin' Spoonful used. He would use them for all his six-string playing for the next couple of years, only later to discover that the Lovin' Spoonful despised them and only used them because they had an endorsement deal with the manufacturers. Kaukonen was also the one who came up with the new group's name. He and his friends had a running joke where they had "Bluesman names", things like "Blind Outrage" and "Little Sun Goldfarb". Kaukonen's bluesman name, given to him by his friend Steve Talbot, had been Blind Thomas Jefferson Airplane, a reference to the 1920s blues guitarist Blind Lemon Jefferson: [Excerpt: Blind Lemon Jefferson, "Match Box Blues"] At the band meeting where they were trying to decide on a name, Kaukonen got frustrated at the ridiculous suggestions that were being made, and said "You want a stupid name? Howzabout this... Jefferson Airplane?" He said in his autobiography "It was one of those rare moments when everyone in the band agreed, and that was that. I think it was the only band meeting that ever allowed me to come away smiling." The newly-named Jefferson Airplane started to rehearse at the Matrix Club, the club that Balin had decided to open. This was run with three sound engineer friends, who put in the seed capital for the club. Balin had stock options in the club, which he got by trading a share of the band's future earnings to his partners, though as the group became bigger he eventually sold his stock in the club back to his business partners. Before their first public performance, they started working with a manager, Matthew Katz, mostly because Katz had access to a recording of a then-unreleased Bob Dylan song, "Lay Down Your Weary Tune": [Excerpt: Bob Dylan, "Lay Down Your Weary Tune"] The group knew that the best way for a folk-rock band to make a name for themselves was to perform a Dylan song nobody else had yet heard, and so they agreed to be managed by Katz. Katz started a pre-publicity blitz, giving out posters, badges, and bumper stickers saying "Jefferson Airplane Loves You" all over San Francisco -- and insisting that none of the band members were allowed to say "Hello" when they answered the phone any more, they had to say "Jefferson Airplane Loves You!" For their early rehearsals and gigs, they were performing almost entirely cover versions of blues and folk songs, things like Fred Neil's "The Other Side of This Life" and Dino Valenti's "Get Together" which were the common currency of the early folk-rock movement, and songs by their friends, like one called "Flower Bomb" by David Crosby, which Crosby now denies ever having written. They did start writing the odd song, but at this point they were more focused on performance than on writing. They also hired a press agent, their friend Bill Thompson. Thompson was friends with the two main music writers at the San Francisco Chronicle, Ralph Gleason, the famous jazz critic, who had recently started also reviewing rock music, and John Wasserman. Thompson got both men to come to the opening night of the Matrix, and both gave the group glowing reviews in the Chronicle. Record labels started sniffing around the group immediately as a result of this coverage, and according to Katz he managed to get a bidding war started by making sure that when A&R men came to the club there were always two of them from different labels, so they would see the other person and realise they weren't the only ones interested. But before signing a record deal they needed to make some personnel changes. The first member to go was Jerry Peloquin, for both musical and personal reasons. Peloquin was used to keeping strict time and the other musicians had a more free-flowing idea of what tempo they should be playing at, but also he had worked for the police while the other members were all taking tons of illegal drugs. The final break with Peloquin came when he did the rest of the group a favour -- Paul Kantner's glasses broke during a rehearsal, and as Peloquin was an optician he offered to take them back to his shop and fix them. When he got back, he found them auditioning replacements for him. He beat Kantner up, and that was the end of Jerry Peloquin in Jefferson Airplane. His replacement was Skip Spence, who the group had met when he had accompanied three friends to the Matrix, which they were using as a rehearsal room. Spence's friends went on to be the core members of Quicksilver Messenger Service along with Dino Valenti: [Excerpt: Quicksilver Messenger Service, "Dino's Song"] But Balin decided that Spence looked like a rock star, and told him that he was now Jefferson Airplane's drummer, despite Spence being a guitarist and singer, not a drummer. But Spence was game, and learned to play the drums. Next they needed to get rid of Bob Harvey. According to Harvey, the decision to sack him came after David Crosby saw the band rehearsing and said "Nice song, but get rid of the bass player" (along with an expletive before the word bass which I can't say without incurring the wrath of Apple). Crosby denies ever having said this. Harvey had started out in the group on double bass, but to show willing he'd switched in his last few gigs to playing an electric bass. When he was sacked by the group, he returned to double bass, and to the Slippery Rock String Band, who released one single in 1967: [Excerpt: The Slippery Rock String Band, "Tule Fog"] Harvey's replacement was Kaukonen's old friend Jack Casady, who Kaukonen knew was now playing bass, though he'd only ever heard him playing guitar when they'd played together. Casady was rather cautious about joining a rock band, but then Kaukonen told him that the band were getting fifty dollars a week salary each from Katz, and Casady flew over from Washington DC to San Francisco to join the band. For the first few gigs, he used Bob Harvey's bass, which Harvey was good enough to lend him despite having been sacked from the band. Unfortunately, right from the start Casady and Kantner didn't get on. When Casady flew in from Washington, he had a much more clean-cut appearance than the rest of the band -- one they've described as being nerdy, with short, slicked-back, side-parted hair and a handlebar moustache. Kantner insisted that Casady shave the moustache off, and he responded by shaving only one side, so in profile on one side he looked clean-shaven, while from the other side he looked like he had a full moustache. Kantner also didn't like Casady's general attitude, or his playing style, at all -- though most critics since this point have pointed to Casady's bass playing as being the most interesting and distinctive thing about Jefferson Airplane's style. This lineup seems to have been the one that travelled to LA to audition for various record companies -- a move that immediately brought the group a certain amount of criticism for selling out, both for auditioning for record companies and for going to LA at all, two things that were already anathema on the San Francisco scene. The only audition anyone remembers them having specifically is one for Phil Spector, who according to Kaukonen was waving a gun around during the audition, so he and Casady walked out. Around this time as well, the group performed at an event billed as "A Tribute to Dr. Strange", organised by the radical hippie collective Family Dog. Marvel Comics, rather than being the multi-billion-dollar Disney-owned corporate juggernaut it is now, was regarded as a hip, almost underground, company -- and around this time they briefly started billing their comics not as comics but as "Marvel Pop Art Productions". The magical adventures of Dr. Strange, Master of the Mystic Arts, and in particular the art by far-right libertarian artist Steve Ditko, were regarded as clear parallels to both the occult dabblings and hallucinogen use popular among the hippies, though Ditko had no time for either, following as he did an extreme version of Ayn Rand's Objectivism. It was at the Tribute to Dr. Strange that Jefferson Airplane performed for the first time with a band named The Great Society, whose lead singer, Grace Slick, would later become very important in Jefferson Airplane's story: [Excerpt: The Great Society, "Someone to Love"] That gig was also the first one where the band and their friends noticed that large chunks of the audience were now dressing up in costumes that were reminiscent of the Old West. Up to this point, while Katz had been managing the group and paying them fifty dollars a week even on weeks when they didn't perform, he'd been doing so without a formal contract, in part because the group didn't trust him much. But now they were starting to get interest from record labels, and in particular RCA Records desperately wanted them. While RCA had been the label who had signed Elvis Presley, they had otherwise largely ignored rock and roll, considering that since they had the biggest rock star in the world they didn't need other ones, and concentrating largely on middle-of-the-road acts. But by the mid-sixties Elvis' star had faded somewhat, and they were desperate to get some of the action for the new music -- and unlike the other major American labels, they didn't have a reciprocal arrangement with a British label that allowed them to release anything by any of the new British stars. The group were introduced to RCA by Rod McKuen, a songwriter and poet who later became America's best-selling poet and wrote songs that sold over a hundred million copies. At this point McKuen was in his Jacques Brel phase, recording loose translations of the Belgian songwriter's songs with McKuen translating the lyrics: [Excerpt: Rod McKuen, "Seasons in the Sun"] McKuen thought that Jefferson Airplane might be a useful market for his own songs, and brought the group to RCA. RCA offered Jefferson Airplane twenty-five thousand dollars to sign with them, and Katz convinced the group that RCA wouldn't give them this money without them having signed a management contract with him. Kaukonen, Kantner, Spence, and Balin all signed without much hesitation, but Jack Casady didn't yet sign, as he was the new boy and nobody knew if he was going to be in the band for the long haul. The other person who refused to sign was Signe Anderson. In her case, she had a much better reason for refusing to sign, as unlike the rest of the band she had actually read the contract, and she found it to be extremely worrying. She did eventually back down on the day of the group's first recording session, but she later had the contract renegotiated. Jack Casady also signed the contract right at the start of the first session -- or at least, he thought he'd signed the contract then. He certainly signed *something*, without having read it. But much later, during a court case involving the band's longstanding legal disputes with Katz, it was revealed that the signature on the contract wasn't Casady's, and was badly forged. What he actually *did* sign that day has never been revealed, to him or to anyone else. Katz also signed all the group as songwriters to his own publishing company, telling them that they legally needed to sign with him if they wanted to make records, and also claimed to RCA that he had power of attorney for the band, which they say they never gave him -- though to be fair to Katz, given the band members' habit of signing things without reading or understanding them, it doesn't seem beyond the realms of possibility that they did. The producer chosen for the group's first album was Tommy Oliver, a friend of Katz's who had previously been an arranger on some of Doris Day's records, and whose next major act after finishing the Jefferson Airplane album was Trombones Unlimited, who released records like "Holiday for Trombones": [Excerpt: Trombones Unlimited, "Holiday For Trombones"] The group weren't particularly thrilled with this choice, but were happier with their engineer, Dave Hassinger, who had worked on records like "Satisfaction" by the Rolling Stones, and had a far better understanding of the kind of music the group were making. They spent about three months recording their first album, even while continually being attacked as sellouts. The album is not considered their best work, though it does contain "Blues From an Airplane", a collaboration between Spence and Balin: [Excerpt: Jefferson Airplane, "Blues From an Airplane"] Even before the album came out, though, things were starting to change for the group. Firstly, they started playing bigger venues -- their home base went from being the Matrix club to the Fillmore, a large auditorium run by the promoter Bill Graham. They also started to get an international reputation. The British singer-songwriter Donovan released a track called "The Fat Angel" which namechecked the group: [Excerpt: Donovan, "The Fat Angel"] The group also needed a new drummer. Skip Spence decided to go on holiday to Mexico without telling the rest of the band. There had already been some friction with Spence, as he was very eager to become a guitarist and songwriter, and the band already had three songwriting guitarists and didn't really see why they needed a fourth. They sacked Spence, who went on to form Moby Grape, who were also managed by Katz: [Excerpt: Moby Grape, "Omaha"] For his replacement they brought in Spencer Dryden, who was a Hollywood brat like their friend David Crosby -- in Dryden's case he was Charlie Chaplin's nephew, and his father worked as Chaplin's assistant. The story normally goes that the great session drummer Earl Palmer recommended Dryden to the group, but it's also the case that Dryden had been in a band, the Heartbeats, with Tommy Oliver and the great blues guitarist Roy Buchanan, so it may well be that Oliver had recommended him. Dryden had been primarily a jazz musician, playing with people like the West Coast jazz legend Charles Lloyd, though like most jazzers he would slum it on occasion by playing rock and roll music to pay the bills. But then he'd seen an early performance by the Mothers of Invention, and realised that rock music could have a serious artistic purpose too. He'd joined a band called The Ashes, who had released one single, the Jackie DeShannon song "Is There Anything I Can Do?" in December 1965: [Excerpt: The Ashes, "Is There Anything I Can Do?"] The Ashes split up once Dryden left the group to join Jefferson Airplane, but they soon reformed without him as The Peanut Butter Conspiracy, who hooked up with Gary Usher and released several albums of psychedelic sunshine pop. Dryden played his first gig with the group at a Republican Party event on June the sixth, 1966. But by the time Dryden had joined, other problems had become apparent. The group were already feeling like it had been a big mistake to accede to Katz's demands to sign a formal contract with him, and Balin in particular was getting annoyed that he wouldn't let the band see their finances. All the money was getting paid to Katz, who then doled out money to the band when they asked for it, and they had no idea if he was actually paying them what they were owed or not. The group's first album, Jefferson Airplane Takes Off, finally came out in September, and it was a comparative flop. It sold well in San Francisco itself, selling around ten thousand copies in the area, but sold basically nothing anywhere else in the country -- the group's local reputation hadn't extended outside their own immediate scene. It didn't help that the album was pulled and reissued, as RCA censored the initial version of the album because of objections to the lyrics. The song "Runnin' Round This World" was pulled off the album altogether for containing the word "trips", while in "Let Me In" they had to rerecord two lines -- “I gotta get in, you know where" was altered to "You shut the door now it ain't fair" and "Don't tell me you want money" became "Don't tell me it's so funny". Similarly in "Run Around" the phrase "as you lay under me" became "as you stay here by me". Things were also becoming difficult for Anderson. She had had a baby in May and was not only unhappy with having to tour while she had a small child, she was also the band member who was most vocally opposed to Katz. Added to that, her husband did not get on well at all with the group, and she felt trapped between her marriage and her bandmates. Reports differ as to whether she quit the band or was fired, but after a disastrous appearance at the Monterey Jazz Festival, one way or another she was out of the band. Her replacement was already waiting in the wings. Grace Slick, the lead singer of the Great Society, had been inspired by going to one of the early Jefferson Airplane gigs. She later said "I went to see Jefferson Airplane at the Matrix, and they were making more money in a day than I made in a week. They only worked for two or three hours a night, and they got to hang out. I thought 'This looks a lot better than what I'm doing.' I knew I could more or less carry a tune, and I figured if they could do it I could." She was married at the time to a film student named Jerry Slick, and indeed she had done the music for his final project at film school, a film called "Everybody Hits Their Brother Once", which sadly I can't find online. She was also having an affair with Jerry's brother Darby, though as the Slicks were in an open marriage this wasn't particularly untoward. The three of them, with a couple of other musicians, had formed The Great Society, named as a joke about President Johnson's programme of the same name. The Great Society was the name Johnson had given to his whole programme of domestic reforms, including civil rights for Black people, the creation of Medicare and Medicaid, the creation of the National Endowment for the Arts, and more. While those projects were broadly popular among the younger generation, Johnson's escalation of the war in Vietnam had made him so personally unpopular that even his progressive domestic programme was regarded with suspicion and contempt. The Great Society had set themselves up as local rivals to Jefferson Airplane -- where Jefferson Airplane had buttons saying "Jefferson Airplane Loves You!" the Great Society put out buttons saying "The Great Society Really Doesn't Like You Much At All". They signed to Autumn Records, and recorded a song that Darby Slick had written, titled "Someone to Love" -- though the song would later be retitled "Somebody to Love": [Excerpt: The Great Society, "Someone to Love"] That track was produced by Sly Stone, who at the time was working as a producer for Autumn Records. The Great Society, though, didn't like working with Stone, because he insisted on them doing forty-five takes to try to sound professional, as none of them were particularly competent musicians. Grace Slick later said "Sly could play any instrument known to man. He could have just made the record himself, except for the singers. It was kind of degrading in a way" -- and on another occasion she said that he *did* end up playing all the instruments on the finished record. "Someone to Love" was put out as a promo record, but never released to the general public, and nor were any of the Great Society's other recordings for Autumn Records released. Their contract expired and they were let go, at which point they were about to sign to Mercury Records, but then Darby Slick and another member decided to go off to India for a while. Grace's marriage to Jerry was falling apart, though they would stay legally married for several years, and the Great Society looked like it was at an end, so when Grace got the offer to join Jefferson Airplane to replace Signe Anderson, she jumped at the chance. At first, she was purely a harmony singer -- she didn't take over any of the lead vocal parts that Anderson had previously sung, as she had a very different vocal style, and instead she just sang the harmony parts that Anderson had sung on songs with other lead vocalists. But two months after the album they were back in the studio again, recording their second album, and Slick sang lead on several songs there. As well as the new lineup, there was another important change in the studio. They were still working with Dave Hassinger, but they had a new producer, Rick Jarrard. Jarrard was at one point a member of the folk group The Wellingtons, who did the theme tune for "Gilligan's Island", though I can't find anything to say whether or not he was in the group when they recorded that track: [Excerpt: The Wellingtons, "The Ballad of Gilligan's Island"] Jarrard had also been in the similar folk group The Greenwood County Singers, where as we heard in the episode on "Heroes and Villains" he replaced Van Dyke Parks. He'd also released a few singles under his own name, including a version of Parks' "High Coin": [Excerpt: Rick Jarrard, "High Coin"] While Jarrard had similar musical roots to those of Jefferson Airplane's members, and would go on to produce records by people like Harry Nilsson and The Family Tree, he wasn't any more liked by the band than their previous producer had been. So much so, that a few of the band members have claimed that while Jarrard is the credited producer, much of the work that one would normally expect to be done by a producer was actually done by their friend Jerry Garcia, who according to the band members gave them a lot of arranging and structural advice, and was present in the studio and played guitar on several tracks. Jarrard, on the other hand, said categorically "I never met Jerry Garcia. I produced that album from start to finish, never heard from Jerry Garcia, never talked to Jerry Garcia. He was not involved creatively on that album at all." According to the band, though, it was Garcia who had the idea of almost doubling the speed of the retitled "Somebody to Love", turning it into an uptempo rocker: [Excerpt: Jefferson Airplane, "Somebody to Love"] And one thing everyone is agreed on is that it was Garcia who came up with the album title, when after listening to some of the recordings he said "That's as surrealistic as a pillow!" It was while they were working on the album that was eventually titled Surrealistic Pillow that they finally broke with Katz as their manager, bringing Bill Thompson in as a temporary replacement. Or at least, it was then that they tried to break with Katz. Katz sued the group over their contract, and won. Then they appealed, and they won. Then Katz appealed the appeal, and the Superior Court insisted that if he wanted to appeal the ruling, he had to put up a bond for the fifty thousand dollars the group said he owed them. He didn't, so in 1970, four years after they sacked him as their manager, the appeal was dismissed. Katz appealed the dismissal, and won that appeal, and the case dragged on for another three years, at which point Katz dragged RCA Records into the lawsuit. As a result of being dragged into the mess, RCA decided to stop paying the group their songwriting royalties from record sales directly, and instead put the money into an escrow account. The claims and counterclaims and appeals *finally* ended in 1987, twenty years after the lawsuits had started and fourteen years after the band had stopped receiving their songwriting royalties. In the end, the group won on almost every point, and finally received one point three million dollars in back royalties and seven hundred thousand dollars in interest that had accrued, while Katz got a small token payment. Early in 1967, when the sessions for Surrealistic Pillow had finished, but before the album was released, Newsweek did a big story on the San Francisco scene, which drew national attention to the bands there, and the first big event of what would come to be called the hippie scene, the Human Be-In, happened in Golden Gate Park in January. As the group's audience was expanding rapidly, they asked Bill Graham to be their manager, as he was the most business-minded of the people around the group. The first single from the album, "My Best Friend", a song written by Skip Spence before he quit the band, came out in January 1967 and had no more success than their earlier recordings had, and didn't make the Hot 100. The album came out in February, and was still no higher than number 137 on the charts in March, when the second single, "Somebody to Love", was released: [Excerpt: Jefferson Airplane, "Somebody to Love"] That entered the charts at the start of April, and by June it had made number five. The single's success also pushed its parent album up to number three by August, just behind the Beatles' Sgt Pepper's Lonely Hearts Club Band and the Monkees' Headquarters. The success of the single also led to the group being asked to do commercials for Levis jeans: [Excerpt: Jefferson Airplane, "Levis commercial"] That once again got them accused of selling out. Abbie Hoffman, the leader of the Yippies, wrote to the Village Voice about the commercials, saying "It summarized for me all the doubts I have about the hippie philosophy. I realise they are just doing their 'thing', but while the Jefferson Airplane grooves with its thing, over 100 workers in the Levi Strauss plant on the Tennessee-Georgia border are doing their thing, which consists of being on strike to protest deplorable working conditions." The third single from the album, "White Rabbit", came out on the twenty-fourth of June, the day before the Beatles recorded "All You Need is Love", nine days after the release of "See Emily Play", and a week after the group played the Monterey Pop Festival, to give you some idea of how compressed a time period we've been in recently. We talked in the last episode about how there's a big difference between American and British psychedelia at this point in time, because the political nature of the American counterculture was determined by the fact that so many people were being sent off to die in Vietnam. Of all the San Francisco bands, though, Jefferson Airplane were by far the least political -- they were into the culture part of the counterculture, but would often and repeatedly disavow any deeper political meaning in their songs. In early 1968, for example, in a press conference, they said “Don't ask us anything about politics. We don't know anything about it. And what we did know, we just forgot.” So it's perhaps not surprising that of all the American groups, they were the one that was most similar to the British psychedelic groups in their influences, and in particular their frequent references to children's fantasy literature. "White Rabbit" was a perfect example of this. It had started out as "White Rabbit Blues", a song that Slick had written influenced by Alice in Wonderland, and originally performed by the Great Society: [Excerpt: The Great Society, "White Rabbit"] Slick explained the lyrics, and their association between childhood fantasy stories and drugs, later by saying "It's an interesting song but it didn't do what I wanted it to. What I was trying to say was that between the ages of zero and five the information and the input you get is almost indelible. In other words, once a Catholic, always a Catholic. And the parents read us these books, like Alice in Wonderland where she gets high, tall, and she takes mushrooms, a hookah, pills, alcohol. And then there's The Wizard of Oz, where they fall into a field of poppies and when they wake up they see Oz. And then there's Peter Pan, where if you sprinkle white dust on you, you could fly. And then you wonder why we do it? Well, what did you read to me?" While the lyrical inspiration for the track was from Alice in Wonderland, the musical inspiration is less obvious. Slick has on multiple occasions said that the idea for the music came from listening to Miles Davis' album "Sketches of Spain", and in particular to Davis' version of -- and I apologise for almost certainly mangling the Spanish pronunciation badly here -- "Concierto de Aranjuez", though I see little musical resemblance to it myself. [Excerpt: Miles Davis, "Concierto de Aranjuez"] She has also, though, talked about how the song was influenced by Ravel's "Bolero", and in particular the way the piece keeps building in intensity, starting softly and slowly building up, rather than having the dynamic peaks and troughs of most music. And that is definitely a connection I can hear in the music: [Excerpt: Ravel, "Bolero"] Jefferson Airplane's version of "White Rabbit", like their version of "Somebody to Love", was far more professional, far -- and apologies for the pun -- slicker than The Great Society's version. It's also much shorter. The version by The Great Society has a four and a half minute instrumental intro before Slick's vocal enters. By contrast, the version on Surrealistic Pillow comes in at under two and a half minutes in total, and is a tight pop song: [Excerpt: Jefferson Airplane, "White Rabbit"] Jack Casady has more recently said that the group originally recorded the song more or less as a lark, because they assumed that all the drug references would mean that RCA would make them remove the song from the album -- after all, they'd cut a song from the earlier album because it had a reference to a trip, so how could they possibly allow a song like "White Rabbit" with its lyrics about pills and mushrooms? But it was left on the album, and ended up making the top ten on the pop charts, peaking at number eight: [Excerpt: Jefferson Airplane, "White Rabbit"] In an interview last year, Slick said she still largely lives off the royalties from writing that one song. It would be the last hit single Jefferson Airplane would ever have. Marty Balin later said "Fame changes your life. It's a bit like prison. It ruined the band. Everybody became rich and selfish and self-centred and couldn't care about the band. That was pretty much the end of it all. After that it was just working and living the high life and watching the band destroy itself, living on its laurels." They started work on their third album, After Bathing at Baxter's, in May 1967, while "Somebody to Love" was still climbing the charts. This time, the album was produced by Al Schmitt. Unlike the two previous producers, Schmitt was a fan of the band, and decided the best thing to do was to just let them do their own thing without interfering. The album took months to record, rather than the weeks that Surrealistic Pillow had taken, and cost almost ten times as much money to record. In part the time it took was because of the promotional work the band had to do. Bill Graham was sending them all over the country to perform, which they didn't appreciate. The group complained to Graham in business meetings, saying they wanted to only play in big cities where there were lots of hippies. Graham pointed out in turn that if they wanted to keep having any kind of success, they needed to play places other than San Francisco, LA, New York, and Chicago, because in fact most of the population of the US didn't live in those four cities. They grudgingly took his point. But there were other arguments all the time as well. They argued about whether Graham should be taking his cut from the net or the gross. They argued about Graham trying to push for the next single to be another Grace Slick lead vocal -- they felt like he was trying to make them into just Grace Slick's backing band, while he thought it made sense to follow up two big hits with more singles with the same vocalist. There was also a lawsuit from Balin's former partners in the Matrix, who remembered that bit in the contract about having a share in the group's income and sued for six hundred thousand dollars -- that was settled out of court three years later. And there were interpersonal squabbles too. Some of these were about the music -- Dryden didn't like the fact that Kaukonen's guitar solos were getting longer and longer, and Balin only contributed one song to the new album because all the other band members made fun of him for writing short, poppy, love songs rather than extended psychedelic jams -- but also the group had become basically two rival factions. On one side were Kaukonen and Casady, the old friends and virtuoso instrumentalists, who wanted to extend the instrumental sections of the songs more to show off their playing. On the other side were Grace Slick and Spencer Dryden, the two oldest members of the group by age, but the most recent people to join. They were also unusual in the San Francisco scene for having alcohol as their drug of choice -- drinking was thought of by most of the hippies as being a bit classless, but they were both alcoholics. They were also sleeping together, and generally on the side of shorter, less exploratory, songs. Kantner, who was attracted to Slick, usually ended up siding with her and Dryden, and this left Balin the odd man out in the middle. He later said "I got disgusted with all the ego trips, and the band was so stoned that I couldn't even talk to them. Everybody was in their little shell". While they were still working on the album, they released the first single from it, Kantner's "The Ballad of You and Me and Pooneil". The "Pooneil" in the song was a figure that combined two of Kantner's influences: the Greenwich Village singer-songwriter Fred Neil, the writer of "Everybody's Talkin'" and "Dolphins"; and Winnie the Pooh. The song contained several lines taken from A.A. Milne's children's stories: [Excerpt: Jefferson Airplane, "The Ballad of You and Me and Pooneil"] That only made number forty-two on the charts. It was the last Jefferson Airplane single to make the top fifty. At a gig in Bakersfield they got arrested for inciting a riot, because they encouraged the crowd to dance, even though local by-laws said that nobody under sixteen was allowed to dance, and then they nearly got arrested again after Kantner's behaviour on the private plane they'd chartered to get them back to San Francisco that night. Kantner had been chain-smoking, and this annoyed the pilot, who asked Kantner to put his cigarette out, so Kantner opened the door of the plane mid-flight and threw the lit cigarette out. They'd chartered that plane because they wanted to make sure they got to see a new group, Cream, who were playing the Fillmore: [Excerpt: Cream, "Strange Brew"] After seeing that, the divisions in the band were even wider -- Kaukonen and Casady now *knew* that what the band needed was to do long, extended, instrumental jams. Cream were the future, two-minute pop songs were the past. Though they weren't completely averse to two-minute pop songs. The group were recording at RCA studios at the same time as the Monkees, and members of the two groups would often jam together. The idea of selling out might have been anathema to their *audience*, but the band members themselves didn't care about things like that. Indeed, at one point the group returned from a gig to the mansion they were renting and found squatters had moved in and were using their private pool -- so they shot at the water. The squatters quickly moved on. As Dryden put it "We all -- Paul, Jorma, Grace, and myself -- had guns. We weren't hippies. Hippies were the people that lived on the streets down in Haight-Ashbury. We were basically musicians and art school kids. We were into guns and machinery" After Bathing at Baxter's only went to number seventeen on the charts, not a bad position but a flop compared to their previous album, and Bill Graham in particular took this as more proof that he had been right when for the last few months he'd been attacking the group as self-indulgent. Eventually, Slick and Dryden decided that either Bill Graham was going as their manager, or they were going. Slick even went so far as to try to negotiate a solo deal with Elektra Records -- as the voice on the hits, everyone was telling her she was the only one who mattered anyway. David Anderle, who was working for the label, agreed a deal with her, but Jac Holzman refused to authorise the deal, saying "Judy Collins doesn't get that much money, why should Grace Slick?" The group did fire Graham, and went one further and tried to become his competitors. They teamed up with the Grateful Dead to open a new venue, the Carousel Ballroom, to compete with the Fillmore, but after a few months they realised they were no good at running a venue and sold it to Graham. Graham, who was apparently unhappy with the fact that the people living around the Fillmore were largely Black given that the bands he booked appealed to mostly white audiences, closed the original Fillmore, renamed the Carousel the Fillmore West, and opened up a second venue in New York, the Fillmore East. The divisions in the band were getting worse -- Kaukonen and Casady were taking more and more speed, which was making them play longer and faster instrumental solos whether or not the rest of the band wanted them to, and Dryden, whose hands often bled from trying to play along with them, definitely did not want them to. But the group soldiered on and recorded their fourth album, Crown of Creation. This album contained several songs that were influenced by science fiction novels. The most famous of these was inspired by the right-libertarian author Robert Heinlein, who was hugely influential on the counterculture. Jefferson Airplane's friends the Monkees had already recorded a song based on Heinlein's The Door Into Summer, an unintentionally disturbing novel about a thirty-year-old man who falls in love with a twelve-year-old girl, and who uses a combination of time travel and cryogenic freezing to make their ages closer together so he can marry her: [Excerpt: The Monkees, "The Door Into Summer"] Now Jefferson Airplane were recording a song based on Heinlein's most famous novel, Stranger in a Strange Land. Stranger in a Strange Land has dated badly, thanks to its casual homophobia and rape-apologia, but at the time it was hugely popular in hippie circles for its advocacy of free love and group marriages -- so popular that a religion, the Church of All Worlds, based itself on the book. David Crosby had taken inspiration from it and written "Triad", a song asking two women if they'll enter into a polygamous relationship with him, and recorded it with the Byrds: [Excerpt: The Byrds, "Triad"] But the other members of the Byrds disliked the song, and it was left unreleased for decades. As Crosby was friendly with Jefferson Airplane, and as members of the band were themselves advocates of open relationships, they recorded their own version with Slick singing lead: [Excerpt: Jefferson Airplane, "Triad"] The other song on the album influenced by science fiction was the title track, Paul Kantner's "Crown of Creation". This song was inspired by The Chrysalids, a novel by the British writer John Wyndham. The Chrysalids is one of Wyndham's most influential novels, a post-apocalyptic story about young children who are born with mutant superpowers and have to hide them from their parents as they will be killed if they're discovered. The novel is often thought to have inspired Marvel Comics' X-Men, and while there's an unpleasant eugenic taste to its ending, with the idea that two species can't survive in the same ecological niche and the younger, "superior", species must outcompete the old, that idea also had a lot of influence in the counterculture, as well as being a popular one in science fiction. Kantner's song took whole lines from The Chrysalids, much as he had earlier done with A.A. Milne: [Excerpt: Jefferson Airplane, "Crown of Creation"] The Crown of Creation album was in some ways a return to the more focused songwriting of Surrealistic Pillow, although the sessions weren't without their experiments. Slick and Dryden collaborated with Frank Zappa and members of the Mothers of Invention on an avant-garde track called "Would You Like a Snack?" (not the same song as the later Zappa song of the same name) which was intended for the album, though went unreleased until a CD box set decades later: [Excerpt: Grace Slick and Frank Zappa, "Would You Like a Snack?"] But the finished album was generally considered less self-indulgent than After Bathing at Baxter's, and did better on the charts as a result. It reached number six, becoming their second and last top ten album, helped by the group's appearance on the Ed Sullivan Show in September 1968, a month after it came out. That appearance was actually organised by Colonel Tom Parker, who suggested them to Sullivan as a favour to RCA Records. But another TV appearance at the time was less successful. They appeared on the Smothers Brothers Comedy Hour, one of the most popular TV shows among the young, hip, audience that the group needed to appeal to, but Slick appeared in blackface. She's later said that there was no political intent behind this, and that she was just trying the different makeup she found in the dressing room as a purely aesthetic thing, but that doesn't really explain the Black power salute she gives at one point. Slick was increasingly obnoxious on stage, as her drinking was getting worse and her relationship with Dryden was starting to break down. Just before the Smothers Brothers appearance she was accused at a benefit for the Whitney Museum of having called the audience "filthy Jews", though she has always said that what she actually said was "filthy jewels", and she was talking about the ostentatious jewellery some of the audience were wearing. The group struggled through a performance at Altamont -- an event we will talk about in a future episode, so I won't go into it here, except to say that it was a horrifying experience for everyone involved -- and performed at Woodstock, before releasing their fifth studio album, Volunteers, in 1969: [Excerpt: Jefferson Airplane, "Volunteers"] That album made the top twenty, but was the last album by the classic lineup of the band. By this point Spencer Dryden and Grace Slick had broken up, with Slick starting to date Kantner, and Dryden was also disappointed at the group's musical direction, and left. Balin also left, feeling sidelined in the group. They released several more albums with varying lineups, including at various points their old friend David Frieberg of Quicksilver Messenger Service, the violinist Papa John Creach, and the former drummer of the Turtles, Johnny Barbata. But as of 1970 the group's members had already started working on two side projects -- an acoustic band called Hot Tuna, led by Kaukonen and Casady, which sometimes also featured Balin, and a project called Paul Kantner's Jefferson Starship, which also featured Slick and had recorded an album, Blows Against the Empire, the second side of which was based on the Robert Heinlein novel Back to Methuselah, and which became one of the first albums ever nominated for science fiction's Hugo Awards: [Excerpt: Jefferson Starship, "Have You Seen The Stars Tonite"] That album featured contributions from David Crosby and members of the Grateful Dead, as well as Casady on two tracks, but  in 1974 when Kaukonen and Casady quit Jefferson Airplane to make Hot Tuna their full-time band, Kantner, Slick, and Frieberg turned Jefferson Starship into a full band. Over the next decade, Jefferson Starship had a lot of moderate-sized hits, with a varying lineup that at one time or another saw several members, including Slick, go and return, and saw Marty Balin back with them for a while. In 1984, Kantner left the group, and sued them to stop them using the Jefferson Starship name. A settlement was reached in which none of Kantner, Slick, Kaukonen, or Casady could use the words "Jefferson" or "Airplane" in their band-names without the permission of all the others, and the remaining members of Jefferson Starship renamed their band just Starship -- and had three number one singles in the late eighties with Slick on lead, becoming far more commercially successful than their precursor bands had ever been: [Excerpt: Starship, "We Built This City on Rock & Roll"] Slick left Starship in 1989, and there was a brief Jefferson Airplane reunion tour, with all the classic members but Dryden, but then Slick decided that she was getting too old to perform rock and roll music, and decided to retire from music and become a painter, something she's stuck to for more than thirty years. Kantner and Balin formed a new Jefferson Starship, called Jefferson Starship: The Next Generation, but Kantner died in January 2016, coincidentally on the same day as Signe Anderson, who had occasionally guested with her old bandmates in the new version of the band. Balin, who had quit the reunited Jefferson Starship due to health reasons, died two years later. Dryden had died in 2005. Currently, there are three bands touring that descend directly from Jefferson Airplane. Hot Tuna still continue to perform, there's a version of Starship that tours featuring one original member, Mickey Thomas, and the reunited Jefferson Starship still tour, led by David Frieberg. Grace Slick has given the latter group her blessing, and even co-wrote one song on their most recent album, released in 2020, though she still doesn't perform any more. Jefferson Airplane's period in the commercial spotlight was brief -- they had charting singles for only a matter of months, and while they had top twenty albums for a few years after their peak, they really only mattered to the wider world during that brief period of the Summer of Love. But precisely because their period of success was so short, their music is indelibly associated with that time. To this day there's nothing as evocative of summer 1967 as "White Rabbit", even for those of us who weren't born then. And while Grace Slick had her problems, as I've made very clear in this episode, she inspired a whole generation of women who went on to be singers themselves, as one of the first prominent women to sing lead with an electric rock band. And when she got tired of doing that, she stopped, and got on with her other artistic pursuits, without feeling the need to go back and revisit the past for ever diminishing returns. One might only wish that some of her male peers had followed her example.

Der Besenwagen steht aufgebockt am Rand des Schwarzwaldes. Auf der Motorhaube steht eine Waage und überall liegen Reifenstapel herum. 25 mm Slicks, 33 mm mit Stollen, 40mm Semi-Slicks und dicke Schlappen ab 54 mm — verschiedenste Breiten und Profile sind sortiert und werden von Sascha Weber abgewogen. Egal ob Cross, MTB, Straße oder Gravel - „Ralle“ hat alle Disziplinen durchgespielt und im Gelände insgesamt 16 Medaillen bei Deutschen Meisterschaften und Europameisterschaften gewonnen. Angefangen mit Querfeldein in Sankt Wendel hat sich der Wahl-Freiburger heute dem MTB-Marathon verschrieben, macht trotzdem noch gerne Kilometer auf dem Rennrad und gilt er ausserdem inoffiziell als bester Mechaniker unter den deutschen Radprofis. — Besenwagen - der Radsport Podcast wird unterstützt von Rapha https://www.rapha.cc/ — Besenwagen x RAPHA ist zurück. Die aktuelle Kollektion wieder erhältlich! https://shop.besenwagen.com/collections/rapha — Remises, rabajas, sale! Le Tour, la Vuelta, Worldwide - alle T-Shirts jetzt im Shop reduziert! https://shop.besenwagen.com/collections/kleidung — Schreib' uns eine E-Mail! kontakt@besenwagen.com — Hier kannst du unseren Newsletter abonnieren: https://www.besenwagen.com/newsletter — Niemanden erreicht? Hinterlasse uns eine Nachricht auf dem Anrufbeantworter: https://www.besenwagen.com/anrufbeantworter — Werbung: Klick auf athleticgreens.com/Besenwagen und sichere dir bei deiner AG1 Bestellung einen kostenlosen Jahresvorrat an Vitamin D zur Unterstützung des Immunsystems & 5 Travel Packs! AG1 ist ein All-in-One Supplement, bestehend aus 75 Vitaminen, Mineralstoffen und weiteren essentiellen Inhaltsstoffen, welche die täglichen Nährstoffbedürfnisse deines Körpers decken. Das hoch absorbierbares Pulver zahlt in die wichtigsten Gesundheitsbereiche ein: Immunsystem, Darmgesundheit, Energiehaushalt, Regeneration und gesundes Altern. — Werbung: • Finde Deinen besten Schlaf mit den Produkten von Emma • Jetzt risikofrei 100 Nächte Probeschlafen! • Spare kombinierbar 5% on top auf alle Angebote auf https://www.emma-matratze.de/emmabesenwagen • Oder mit dem Code EMMABESENWAGEN • "Emma One Federkern ist Testsieger bei Stiftung Warentest, 10/21, 140x200cm, Produktgleich mit der getesteten Emma Dynamic"

We are keeping it 100 with some of the contestants in this years Melbourne Rubbermaid 2022 competition. After an extended hiatus from a physical competition, these latex lovers are back to the Laird Hotel to celebrate rubber, and show up and show out for their community! Melbourne Rubber www.melbournerubber.com Slick Week https://www.melbournerubber.com/slick 

This week on Chasin' The Racin', we are on the Isle of Man for the ManxGP and joined by Pirelli Racing Manager, Jason Griffiths, in 'Jason Griffiths Motorcycles' to discuss his role at BSB and all things tires along with his racing career at the TT and more. Enjoy! Powered by Colchester Kawasaki  CLICK BUY DELIVER    www.colchesterkawasaki.co.uk   Merchandise available: www.chasintheracin.com/merchandise/   SOCIALS Facebook: www.facebook.com/motorbikepod Twitter: www.twitter.com/motorbikepod Instagram: www.instagram.com/motorbikepod Patreon: www.patreon.com/motorbikepod  

#93: Delaware Oil Slicks(7/22/22) Links: https://twitter.com/NickDeIuliis/status/1550086939738419203?s=20&t=YPJi0LLR6-aCaeFYzOjvEA https://poll.qu.edu/poll-release?ReleaseID=3852 https://www.washingtontimes.com/news/2022/jul/15/celebrating-40-years-at-the-washington-times/ https://thepoliticalinsider.com/democrat-mayors-of-nyc-dc-complain-about-influx-of-illegal-immigrants/ https://www.bloomberg.com/opinion/articles/2022-07-20/how-blackrock-lost-1-7-trillion-in-six-months

BUBS Naturals promo code: canyousurvive Johnny Raushi aka Johnny Slicks is a grooming product formula inventor, a supporter of America, and a Marine Corps Veteran. He has been seen in Forbes, yahoo news, and the military times, and he is the owner of @johnnyslicks. In this episode Clint tests Johnny to see if he would survive a rattlesnake bite...   See omnystudio.com/listener for privacy information.

This episode is a replay of a FB/YouTube live stream that I recorded with some friends to talk about the catastrophe known as the Chief Donut Maker Contest. My guests included: Matt aka BigBlock from @BigBlocksGarage, Blake from @DIYHEMI, Jovita aka @SRTJovita, Michaela Brass aka @MissMopar7172, Tommy Maurader aka @Slicks_of_Hope, and Dr. Bud Kleppe aka @ScatPackClub on IG. We even had a special guest! Artie Shaw Jr. (@artieshawjr) who was one of the Chief Donut Maker Contest Top 10 Finalists, and who is actually friends with the new Chief Donut Maker came on the show to give us his take on the whole thing. Social Media: @TalkingMoparsPodcast Subscribe to my YouTube: Talking Mopars Podcast Exclusive Bonus Content: Become A Supporter On FB Affiliates: GET YOUR MOPAR COVERED!

www.johnnyslicks.com Follow Johnny Raushi: https://www.instagram.com/johnnyRaushi Follow Johnny Slicks: https://www.instagram.com/johnnyslicks/ Follow Nick Koumalatsos on Instagram: https://www.instagram.com/nickkoumalatsos/ Follow Nick's YouTube: Youtube https://www.youtube.com/c/nickkoumalatsos82 Follow The Harbor Site on Instagram: https://www.instagram.com/theharborsitepodcast/ SPONSORS AND DISCOUNTS Johnny Slicks https://johnnyslicks.com/ Core Medical Group (Hormone Replacement Therapy) https://coremedicalgrp.com/nick/ Bare Performance Nutrition CODE- RAIDER for discount https://www.bareperformancenutrition.com/discount/raider Gatorz Eyewear: https://www.gatorz.com/ Raider Project discount use CODE- WITHYOU] for discount https://www.raiderproject.org/ Agoge Personal Coaching https://agogetraining.com The Agoge Training Plans https://www.theagoge.com Agoge Challenge: https://www.agogechallenge.fit/join-now My Book Excommunicated Warrior: https://www.nickkoumalatsos.com/excommunicated-warrior/ --- Support this podcast: https://anchor.fm/nick-koumalatsos/support

The boys talk team principals as dads, Otmar being on thin ice, and KFC's newest Fast and Furious themed chicken bucket.Slicks deformation

With the Australian GP in sight after an off week in Formula 1 we had to get an Aussie to chat motorsport. In this episode, RJ interviews Scott an Australian Motorsport enthusiast, Scott, who runs an instagram account, Champagne & Slicks. Champagne & Slicks is an amalgamation of vintage motorsport content from the past. In this episode we talk about Scott's exposure into motorsport, Formula 1, and much more!

With the recent news of President Roosevelt's statue being taken down I wanted to discuss with John Raushi the dangers of erasing our history regardless of whether it's bad or good. Follow Johnny Raushi: https://www.instagram.com/johnnyRaushi Follow Johnny Slicks: https://www.instagram.com/johnnyslicks/ Follow Nick Koumalatsos on Instagram: https://www.instagram.com/nickkoumalatsos/ Follow Nick's YouTube: Youtube https://www.youtube.com/c/nickkoumalatsos82 Follow The Harbor Site on Instagram: https://www.instagram.com/theharborsitepodcast/ SPONSORS AND DISCOUNTS Johnny Slicks https://johnnyslicks.com/ Core Medical Group (Hormone Replacement Therapy) https://coremedicalgrp.com/nick/ Bare Performance Nutrition CODE- RAIDER for discount https://www.bareperformancenutrition.com/discount/raider Gatorz Eyewear: https://www.gatorz.com/ Raider Project discount use CODE- WITHYOU] for discount https://www.raiderproject.org/ Agoge Personal Coaching https://agogetraining.com The Agoge Training Plans https://www.theagoge.com Agoge Challenge: https://www.agogechallenge.fit/join-now My Book Excommunicated Warrior: https://www.nickkoumalatsos.com/excommunicated-warrior/ --- Support this podcast: https://anchor.fm/nick-koumalatsos/support

This week the guys talk about the Russian Grand Prix, Harrison gives an update on the 90/91 Day Track Limits Podcast Driver Fitness Challenge and Taylor sells out in this week's Top 5.Lando Norris is mentioned in this episode. Comments or questions? Email us at tracklimitspod@gmail.com and follow us on Twitter and Instagram @tracklimitspod. Please save mean comments for the Stewards.

06:30 Caught in the back seat 18:49 Joining the Marine Corps Recruiters 31:00 Travel / 3rd world perspective 3 4:00 knee injury / Nick's Bachelor Party 4 7:00 Gunny In The Window 55:00 Bad Behavior In The Marine Corps 1:01:07 Barber School 1:07:00 Bad Grooming Products 1:17:00 Johnny Slicks Product Creation 1:20:00 Rebecca and Johnny working / Pyramid Schemes 1:27:00 No Infrastructure for Johnny Slicks 1:38:31 Partnership with Nick Koumalatsos 1:46:00 First sale / Nay-Sayers 1:50:00 Quitting Barbershop / Stop Being a B*tch 1:57:00 Ingredients in J&J Products and USDA/FDA 2:20:00 Why American Made is Important 2:25:00 Johnny Slicks favorite products Follow William Fairall: https://www.instagram.com/johnnyslicks/ Follow Nick Koumalatsos on Instagram: https://www.instagram.com/nickkoumalatsos/ Follow The Harbor Site on Instagram: https://www.instagram.com/theharborsitepodcast/ SPONSORS AND DISCOUNTS Johnny Slicks https://johnnyslicks.com/ Core Medical Group (Hormone Replacement Therapy) https://coremedicalgrp.com/nick/ Bare Performance Nutrition CODE- RAIDER for discount https://www.bareperformancenutrition.com/discount/raider Gatorz Eyewear: https://www.gatorz.com/ Raider Project discount use CODE- WITHYOU] for discount https://www.raiderproject.org/ Agoge Personal Coaching https://agogetraining.com The Agoge Training Plans https://www.theagoge.com Agoge Challenge: https://www.agogechallenge.fit/join-now My Book Excommunicated Warrior: https://www.nickkoumalatsos.com/excommunicated-warrior/ Follow Nick: Youtube https://www.youtube.com/user/MrNicksmith82 Facebook https://goo.gl/yRT4c4 Instagram https://goo.gl/Pj86BM Twitter https://goo.gl/yvsRfw Website https://goo.gl/JEfUBd FOLLOW: Alison Capra https://goo.gl/iVqWXB https://goo.gl/tULVqU SEND STUFF TO: Alexander Industries 624 US HWY 17S Suite 1 Holly Ridge NC 28445 --- Support this podcast: https://anchor.fm/nick-koumalatsos/support