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Join our Discord https://discord.gg/jDrUtNcRq2 We celebrate 25 great moments in the career of Sly! From his current role in Tulsa King, golden globe for reprisal role of Rocky, writer, director and of course an Oscar winning moment for Rocky. Join us for these and other great moments for this legendary actor.
** PLEASE SUBSCRIBE ** Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music's foremost masters of the groove. Become a TRUTH IN RHYTHM Member through YouTube or at https://www.patreon.com/truthinrhythm. Featured in TIR Episode 267 (Part 2 of 2): Bassist Rustee Allen, best known as bass icon Larry Graham's successor in Sly & the Family Stone. First catching on with Sly Stone protege act Little Sister, Allen would go on to be featured on Sly & the Family Stone's classic mid-1970s albums Fresh, Small Talk and High on You. Others he has recorded and/or performed with through the years include the Edwin Hawkins Singers, Lenny Williams, the Temptations, Angela Bofill, George Clinton, Bobby Womack and Robin Trower. Having just released a funky new song called “Gonna Take More,” Allen has also launched his own YouTube show. RECORDED SEPTEMBER 2022 LEGAL NOTICE: All video and audio content protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281). Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c400
** PLEASE SUBSCRIBE ** Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music's foremost masters of the groove. Become a TRUTH IN RHYTHM Member through YouTube or at https://www.patreon.com/truthinrhythm. Featured in TIR Episode 267 (Part 1 of 2): Bassist Rustee Allen, best known as bass icon Larry Graham's successor in Sly & the Family Stone. First catching on with Sly Stone protege act Little Sister, Allen would go on to be featured on Sly & the Family Stone's classic mid-1970s albums Fresh, Small Talk and High on You. Others he has recorded and/or performed with through the years include the Edwin Hawkins Singers, Lenny Williams, the Temptations, Angela Bofill, George Clinton, Bobby Womack and Robin Trower. Having just released a funky new song called “Gonna Take More,” Allen has also launched his own YouTube show. RECORDED SEPTEMBER 2022 LEGAL NOTICE: All video and audio content protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281). Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c400
Ja, så kom vol. 2 med de bedste funknumre EVER. Denne gang har jeg samlet de BEDSTE (tunge) funknumre fra Natdiskoteket på Montmartre (1979 til '89). Ih, det er godt! Det er George Duke, Herbie, Brecker, Sly, Aretha, Al, James og Chaka + en masse andre gamle venner fra dengang. Enjoy Nic
ETFs make it easy to buy small cap value, but which ETF is best? (1:00) - The Strongest Asset Class: Investing In Small Cap Value Stocks (5:40) - Good Small Cap ETFs To Help You Gain Exposure: Tracey's Top Picks (32:30) - Episode Roundup: IWM, IWN, SLY, SLYV, VTWV, QABA, CBSH, OZK Podcast@Zacks.com
„Úpěnlivě volám k Bohu, volám k Bohu, kéž mi přeje sluchu! V den svého soužení se dotazuji Panovníka, v noci k němu vztahuji své ruce bez umdlení, má duše se utěšit nedá. Připomínám si Boha a sténám, přemítám a jsem na duchu skleslý.“ Žalm 77:2–4 Tak ta píseň žalmu začíná. Čtete-li dále, zní to jinak. Můžete si představit, že si žalmista vykračuje úvozem, nahoře zpívají ptáci a on si píská: „Rozjímám o všech tvých činech a přemítám o tvých skutcích. Bože, tvá cesta je svatá. Který bůh je velký jako Bůh náš? Ty jsi Bůh, jenž činí divy!“ Ale on je to až vrchol té písně, která začíná zoufalým a hlasitým řevem: „Haló haló, Mayday! Je mi zle! Tady člověk, je tam Bůh? Slyšíte mne? Mávám tady rukama, vysílám do umdlení. Je tam někdo?“ Tak si první tři verše překládám sám pro sebe. Taky jste to slyšeli? Až nevhodně se říká, že advent je časem ztišení a očekávání. Jo, to si můžeme říkat my v srdci Evropy, kde se už dávno neválčilo. Budeme trochu méně topit, protože nemáme tolik plynu, ale co je to za bolest?! Jak se to může vyrovnat bolesti Syřanů, Íránců a spousty jiných? Advent je časem hledání, proseb a vyhlížení. Někdy i nesnesitelného a bolavého řevu utečenců zraněných a opuštěných na cestách. Je to čas cest z přinucení, někdy i útěků. To všechno je také advent! Jen se podívejte, jak se zamotal důchod panu Zachriášovi a paní Alžbětě… Mají v pokročilém věku na cestě miminko. Quo vadis, lidičky?! Nebo zase z jiné kapitoly: Maria a Josef cestují, přežívají v provizoriu a pak skutečně utíkají do Egypta. Ale nejenom oni, dějiny vyhnání, útěků a dlouhých cest patří do zlatého fondu archivů celého lidstva, ovšem židovství a křesťanství zvláště. Třeba takový Jan Amos Komenský – kdyby létal byznysjetem, chápal bych to. Ale na rozhrkaných formanských vozech, to musela být lahůdka. Nebo bratři z Ochranova na svých cestách na přelomu sedmnáctého a osmnáctého století. Najdete je na moři i na suchu po celém světě! Jednota bratrská je prostě poslala na cesty za lidmi tehdejšího světa. A nechci zapomenout na jezuitské a další misionáře na druhé straně světa. Nechápu… A přesto: Bože, tvá cesta je svatá! Vedeš ji a posíláš své posly. A řeknu to i osobně: Bylo mi patnáct. Normalizační léta 1974 a dál. Doma jsem byl na internátě v Praze na Třebešíně. Církevní dítě v širém světě. Ze skleníku do stepi. Zvláštní samota a strach. Můj vychovatel, Karel Hartman, komunista potrestaný za podporu Titova režimu, zralý a všemi nezdary vyzkoušený člověk, měl k mé víře úctu. A já zase k němu. Rozuměl mi, ač nesouhlasil. Respektoval mé zvláštní vycházky. A vrátný, pan Šimáně, veterán „Ymky“, mi tiše před půlnocí otvíral. Věděl, že nejdu z hospody, ale z různých setkání, která mi rozhodně neuškodí. To jsou ty svaté Boží cesty. A já je nechápu!
ETFs make it easy to buy small cap value, but which ETF is best? (1:00) - The Strongest Asset Class: Investing In Small Cap Value Stocks (5:40) - Good Small Cap ETFs To Help You Gain Exposure: Tracey's Top Picks (32:30) - Episode Roundup: IWM, IWN, SLY, SLYV, VTWV, QABA, CBSH, OZK
Ależ dzisiaj zamieszaliśmy! Najpierw była Ania. Potem Ania zniknęła, ale pojawił się Bartek, a na koniec Ania do nas wróciła. Niezła karuzela, ale mimo to mam nadzieję, że odcinek będzie wam się podobał. Miłego słuchania! (＾∇＾)ﾉ♪ I. W CO GRALIŚMY?
visit acedoutpodcast.com to see photos and more“I remember I got paid $20 for a gig, man,” says RUSTEE ALLEN, funk bassist extraordinaire, first introduced to the world via the transcendent soul staple FRESH by none other than Sly & the Family Stone. “I thought I made a ton of money!” he laughs. “I didn't even know you even got paid for playing,” agrees his good friend and fellow Bay Area legend LEVI SEACER JR., a guitarist who went from playing hardcore jazz in local clubs to touring the world with PRINCE and his New Power Generation. “That's how innocent I was about it… When I got my first check I'm like ‘What's this?'” Rustee was first spotted by the Sly camp as a youngster playing in support of local legend Johnny Talbot, much admired by all the top Bay Area funkateers at the time. Along with drummer WILLIE WILD, (who would later be part of the original lineup of Graham Central Station), Rustee was chosen to back up LITTLE SISTER, an offshoot of Sly's Fam featuring Vet Stone and piloted by Freddie Stone. Next thing Rustee knew, he was “auditioning” to join the Fam as a full-fledged member—in front of 30,000 people in Virginia! Soon after that, Rustee was in the studio for the Fresh sessions, laying down tunes in basically one take each. “The first takes are the best ones anyway,” says Rustee. As for Levi, he spent his youth gigging at spots like Earl's Solano Club in the East Bay, playing jazz with ladies such as Rosie Gaines and Sheila Escovedo. “Playing was like taking a glass of water,” says Levi. “Just natural.” His confidence and skill got him noticed by Don Cornelius of Soul Train fame, who put him to work. Then one day Levi stopped by an audition that Escovedo — now known as Sheila E — was holding for bass players. Though Levi was a guitar man, she asked him to take the gig once she had heard him play “A Love Bizarre” on the four-string. This of course put him in the same orbit as PRINCE himself— who would eventually bring him into the fold not only as a player, but also as writer and producer. Like Rustee, Levi had found himself thrust into the spotlight, breathing the rarefied air of an internationally acclaimed artist with a new band. Rustee's return to Aced Out is a pivotal moment for us, as he was our very first guest for our pilot episode just a little over four years ago. In this inspirational interview, Rustee and Levi describe what made Sly and Prince amazing bandleaders, and what it was really like within those soul circles. As well, Rustee describes why his mother told him he was her most adventurous child, and what it was like onstage and off during Sly's Lifetime Achievement Award performance at the 2006 Grammys, while Levi breaks down how Prince was like a “cool computer” and why every musician in Minneapolis hated the New Power Generation—at first, that is. If all that weren't enough, the purple brothas also bring a band in the studio to perform Rustee's single “You're the One!” Produced & Hosted by Ace AlanCohosted by Jay StoneExecutive Producer Scott SheppardWebsite and Graphics by 3chards Engineered by Grace Coleman at Different Fur Studios, San Francisco CA Video & Sound Editing + Interview Mix & Graphics by Nick “Waes” Carden for Off Hand Records, Oakland CA Video Production by Saboor BidarMusical Performance:TONY PROVIDENCE — drumsCARL WHEELER — keysMORGAN DAY – guitarCARL NORDE — vocalsLEVI SEACER JR. — guitar, vocalsRUSTEE ALLEN — bass, vocals Musical Performance Mix by Levi Seacer Jr.Rap verses by Corey the Greatan Issac Bradbury Production © 2022visit acedoutpodcast.com to see photos and more
Join our Discord https://discord.gg/jDrUtNcRq2 From Sopranos to Tulsa King and things in between. With the recent success of Tulsa King , this episode we discuss how Sopranos and Breaking Bad may have paved the way for shows like Yellowstone and Tulsa King We also discuss if going to the movies are a thing of the past, streaming the new king? The clock is ticking, as Tony prepares to head to L.A. to meet Sly!
TESTO DELL'ARTICOLO ➜ www.bastabugie.it/it/articoli.php?id=7214LA SUPERMODELLA COMPRA LA BAMBOLA AL FIGLIO PER EVITARE CHE GIOCHI CON LE MACCHININE di Giuliano GuzzoIl Natale si avvicina, nelle città fervono i preparativi per addobbi e luminarie e nelle case si inizia a respirare un clima d'attesa. Purtroppo, però, non c'è solo questo. L'Avvento infatti da alcuni anni coincide con una polemica che ciclicamente si ripresenta: quella contro i regali sessualmente tipizzati ai bambini. Bambole rosa alle bimbe e camioncini ai maschietti, assicurano i corifei del pensiero dominante, sarebbero diseducativi, perfino pericolosi; e ormai c'è purtroppo chi ci crede.Una testimonianza al riguardo viene in questi giorni dalle cronache, a proposito della scelta di Emily Ratajkowski, 31 anni, supermodella e attrice statunitense che ha recentemente condiviso una preoccupazione quanto meno originale: il figlioletto Sylvester Apollo, nato nel marzo, gioca molto con i camion, pare gli piacciano proprio. E dove sta il problema, uno si chiederà? In effetti, ciò non costituisce affatto un problema. Eppure, Ratajkowski - che dopo la separazione con il marito, Sebastian Bear-McClard, è una mamma single - lo è.È PAZZESCO, ADORA I CAMIONLo ha detto lei stessa, mentre dialogava nel corso di una recente intervista: «È pazzesco, Sly adora i camion. Si entusiasma così tanto, ama giocare con qualsiasi cosa con le ruote». Di qui la preoccupazione materna, verso quello che evidentemente considera qualcosa di anomalo: «Questa mattina gli ho ordinato una bambola e un servizio da tè perché mi sono detta: "Tutto questo va bilanciato"». «Mi piace l'idea», ha aggiunto la super top model, «di imporre il minor numero possibile di stereotipi di genere su mio figlio».Ora, le contraddizioni delle parole di Emily Ratajkowski sono varie e di massima evidenza. Anzitutto perché se il figlioletto adora i camion - senza che nessuno, tanto meno la madre, lo abbia spinto in tal senso, è evidente come di mezzo non ci sia alcuno stereotipo, bensì una preferenza naturale; in secondo luogo, va rilevato come se una imposizione ci sia è proprio quella della bella modella e attrice nel momento in cui si è messa in tesa di rifilare una bambola e un servizio da tè al piccolo Sylvester Apollo senza che questi ne avesse fatto, a quanto è dato capire, alcuna richiesta.Detto ciò, vale la pena ricordare un aspetto sul tema che evidentemente non solo Ratajkowski ma anche tantissimi altri sembrano ignorare, e cioè che le differenti preferenze, tra maschi e femmine, verso i giocattoli sessualmente tipizzati, ecco, sembrano avere una base biologica. Vanno in questa direzione numerosi elementi, a partire dal fatto che siffatte differenze preferenze insorgono - e si osservano - già nei primi mesi di vita dei piccoli, quando cioè non solo i vituperati stereotipi di genere, ma neppure le conoscenze più elementari sull'esistenza sono state trasmesse ai neonati.I PICCOLI VANNO LASCIATI LIBERINon solo: analoghe differenze sia nelle preferenze dei giocattoli sia, cosa ancora più importante, nello stile di gioco, sono state osservate anche nei primati, animali molto vicini all'uomo ma che, per ovvie ragioni, è difficile immaginare condizionati dagli stereotipi di genere. Ancora, si può aggiungere che se il figlioletto di Emily Ratajkowski avesse avuto - ma non l'ha avuta - una preferenza per le bambole anziché verso «qualsiasi cosa con le ruote», come ha, non ci sarebbe dovuto essere nessun motivo di allarme. Non bisogna infatti confondere le preferenze ludiche, non di rado transitorie, dell'infanzia con l'identità di genere o altro.Ciò che infatti i paladini del pensiero gender si ostinano a non capire, infatti, non è solo che - come si diceva poc'anzi - bambini e bambine spesso e volentieri hanno preferenze diverse nei giochi (senza ciò, letteratura alla mano, abbia chissà quali ricadute negative nell'età adulta), ma anche che, molto semplicemente, i piccoli vanno lasciati liberi. Sì, liberi di divertirsi e di giocare come e con cosa meglio credono, senza imposizioni ideologiche di sorta. L'infanzia, almeno quella, resti libera dalla politica!
Sly of the Underworld spoke about the news on 3AW Breakfast, revealing he once received an interesting piece of advice from Charter.See omnystudio.com/listener for privacy information.
https://youtu.be/zKQ89CJhiT4 Today we are discussing a Tech N9ne classic, Anghellic! This is one of our longer episodes, covering our thoughts on Tech throughout his whole career. We are also joined once again by our homeboy Sly. Come hang! Get your merch now at https://www.DeckOneDealt.com/shop! Linktree: http://www.linktree.com/deckonedealt Visit: http://www.deckonedealt.com Listen: https://deckonedealt.com/subscribe Watch: http://www.youtube.com/deckonedealt Follow: http://www.twitter.com/deckonedealt Like: http://www.facebook.com/deckonedealt Call: 970-6DEALT6
About Sylvain “Sly” Hache: Sylvain “Sly” Hache is an ex-chronic stutterer that morphed into an award-winning, international-touring musician interviewed on live TV & radio, in multiple countries… in 2 languages! He has helped people from 18 to 81 years old overcome stage & camera fright and created a new public speaking system that turns intelligent introverts into charismatic speakers that can sell, speak & compel like natural leaders on stage, on camera, and in meetings… without scripts, without memorization, and without stress.In this episode, Jennie and Sylvain discuss:Sly's journey from being a stutterer to being a public speakerHow to get over stage fright and speakNeeding a pool needle vs. needing a lifeboatThe power of believing in what you doKey Takeaways:As you begin to work on yourself and debunk some myths about yourself, you will finally get to the point where you stutter part-time.In any situation where you're trying to sell something, give a webinar or a pitch, you cannot have conflicting interests, and you cannot have any ifs or buts.There are tools that are available for you to improve and change things, you just need to acknowledge that you need help and accept it.It is the power of believing so much in what you do that you can use the system to sell the system.“Every 10% better you get at communicating can double the quality of your life.” – Sylvain “Sly” HacheFree Gift: https://jenniebellinger.krtra.com/t/CiPj6F0wEBdTCONNECT WITH SYLVAIN “SLY” HACHE:Website: https://www.nextlevelpublicspeaking.com/ (Company)LinkedIn: https://www.linkedin.com/in/sylvainslyhache/CONNECT WITH JENNIE:Website: https://badassdirectsalesmastery.com/Email: jennie@badassdirectsalesmastery.comFacebook personal page: https://facebook.com/jbellingerPLFacebook podcast page: http://facebook.com/BadassDirectSalesMasteryFacebook group for Badass Crew: https://facebook.com/groups/BadassDirectSalesMomsInstagram: https://instagram.com/BadassDirectSalesMasteryPersonal Instagram: https://instagram.com/jenniebellingerLinkedIn: https://linkedin.com/in/BadassDirectSalesMasteryShow Notes by Podcastologist: Angelica RaycoAudio production by Turnkey Podcast Productions. You're the expert. Your podcast will prove it.
❤️#biglovereggaeradioBig Love Reggae Radio Presents Rightful TunesBouncing Tunes from The Cave Studio Scotland This months Podcast showcasing the new outstanding album by Bitty McLean and Sly&Robbie - Forward - hope you enjoy.Aswad - Hang On Baby Little Roy - LithiumEasy Star All-Stars - Electioneering (Feat. Morgan Heritage)Bitty McLean And Sly & Robbie - Far As Eye Can SeeDubXanne - Message In A Bottle (Message In A Dub) feat. Earl 16Jahmoko - The Journey UB40 - Banana-man DubFreddie McGregor - Rastaman Camp (Extended Mix)Bitty McLean And Sly & Robbie - Beauty You Are Addis Pablo - Narrow Road Tarrus Riley - SupermanEarl Sixteen - Rightful RulerNo Alcohol or Tobacco Products Used In The Making Of This Production.All Tracks Picked by Cepboi Podcast Mixed by Brian J McSheffery @ The Cave Home Studios©BLRR Scotland /BoooomTunes Productions - 2022#justbegoodtoeachother #biglove #boooomtunes #onelifetolive
This week in the Marketing Studio, our host Ian Truscott in the spirit of the holidays, asks Jeff Clark our resident Rockstar CMO strategic advisor and former Research Director at SiriusDecisions/Forrester, if he would give thanks or no thanks to a bunch of marketing topics that have come up on the show recently. Ian then goes backstage with Alisa Groocock, who, as you'll hear, has had a fantastic career as a marketing leader and analyst, most recently as Senior Vice President at Agent3, and before that as a VP, Principal Analyst at Forrester Research, where Alisa was responsible for helping hundreds of companies to build, execute and optimize their Account Based Marketing strategies. Prior to Forrester, Alisa spent over 20 years on the client side in field marketing roles at HP, Cisco and Informatica, where she worked closely with Sales to execute key account programs. They discuss Alisa's career, ABM (Account Based Marketing) and if it's still the hot thing for B2B marketers, her latest thoughts on what's next, and she has a great nomination for our portal to marketing hell, the Rockstar CMO Swimming pool. Finally, we wind down the week in the Rockstar CMO virtual bar and get transported away with Robert Rose, Chief Trouble Maker at The Content Advisory, for a Thanksgiving cocktail and a chat about putting the story in all of your content, however mundane. Please get in touch if you have any thoughts or suggestions on the topics we discuss. Enjoy! — The Links (if you can't see them, please stop by https://rockstarcmo.com) The people: Ian Truscott on LinkedIn and Twitter Jeff Clark on LinkedIn and Twitter Alisa Groocock on LinkedIn and Twitter Robert Rose on Twitter and LinkedIn As mentioned in this week's episode: Articles: Writing Is Writing, Right? Not If You Want To Keep Your Content Creation Team How a Spoonful of Story Helps Even ‘Boring' Content Go Down Robert's links Experience Advisors Mastodon The Content Advisory Blog Experience Advisors Podcast: This Old Marketing Rockstar CMO: Rockstar CMO on the web, Twitter, and LinkedIn Previous episodes and all show notes: Rockstar CMO FM Track List: Piano Music is by Johnny Easton, shared under a creative commons license We'll be right back by Stienski & Mass Media – on YouTube Thank You (Falettinme Be Mice Elf Agin) by Sly & The Family Stone on Spotify — You can subscribe to this podcast on Apple, Spotify, Amazon and all good podcasting platforms – or visit https://rockstarcmo.com Learn more about your ad choices. Visit megaphone.fm/adchoices
Consider supporting the show on Patreon Watch us on our YouTube ChannelIt's that time of year again. Time to revisit an old friend and a collection of familiar characters. On our latest episode, Jamie pulls a pretty great Mr. T impression out of nowhere, Doug shocks his cohost by counting to 5 in German, and we both agree that in two movies Rocky killed both of his trainers. Hug your BFF in the surf, smash up that pinball machine, and join us as we celebrate our 7th Slysgiving by discussing, Rocky III!Full bonus episodes at our Patreon include: • Blame it on Rio • The House on Sorority Row • A He-Man and She-Ra Christmas • The Hollywood Knights • The Great Outdoors • Silver Bullet • One Magic Christmas • The Cabbage Patch Kids First Christmas • Under the Cherry Moon • Haunted Honeymoon • Commando• Beverly Hills Madam • Happy Birthday to Me • A Christmas Dream • A Garfield Christmas • Supergirl• Garlic is as Good as Ten Mothers • Who's Harry Crumb • Missing in Action 2: The Beginning • Revenge of the Stepford Wives • Evil Dead II • Dune• A Claymation Christmas Celebration• Howard the Duck• How to Beat the High Cost of Living• They Live• This House Possessed• Monkey Shines• Terror Train• Spice World/Stop or My Mom Will Shoot!• Teen Witch• 80's Handshake 5• 90's Handshake 5• Questions and Answers• Interviews• Covering/ranking all movies in the Friday the 13th Franchise! & more.. Merch on TeePublic Visit our WebsiteVisit our YouTube ChannelFollow us on TwitterAnd on InstagramFind us on Facebook
Playlist: 1. Vince Guaraldi Trio - Thanksgiving Theme 2. Lambchop - Up With People 3. Sly & The Family Stone - Thank You (Falettinme Be Mice Elf Agin) 4. The Chambers Brothers - Love, Peace & Happiness 5. ZZ Top - I Thank You 6. Paul Revere & The Raiders - Freeborn Man 7. Wilco - I'm The Man Who Loves You 8. Neko Case & Her Boyfriends - Thanks A Lot 9. Bonnie "Prince" Billy - I Send My Love To You 10. Chilli Willi & The Red Hot Peppers - I'll Be Home (with Nesmith) 11. Bob Dylan - Country Pie 12. Brewer & Shipley - Time & Changes 13. Barefoot Jerry - Hospitality Song 14. Ray Stinnett - Liberty Train 15. The Band - The Night They Drove Old Dixie Down 16. The Byrds - I Am A Pilgrim 17. Kinky Friedman - Sold American 18. Guy Clark - Texas Cookin' 19. The Felice Brothers - Take This Bread 20. New Riders Of The Purple Sage - Dim Lights, Thick Smoke (And Loud, Loud Music) 21. Buffy Sainte-Marie - America The Beautiful 22. Laura Veirs - America 23. Drive-By Truckers - The Thanksgiving Filter 24. Son Volt - Living In The USA 25. Jeff Tweedy - C'mon America 26. The Popcorn Orchestra - Alice's Restaurant 27. Ted Nugent - Homebound 28. Steely Dan - Black Friday 29. Yes - America 30. Stingray Green - Goin' Home 31. 20/20 - Life In The U.S.A. 32. Alice Cooper - Long Way To Go 33. Aerosmith - Make It 34. The Modern Lovers - Modern World 35. Cheap Trick - Southern Girls 36. Tom Petty & The Heartbreakers - American Girl 37. The Monkees - Long Title - Do I Have To Do This All Over Again 38. R.E.M. - All The Right Friends 39. Big Star - Thank You Friends 40. The Mothers - America Drinks & Goes Home 41. William S. Burroughs - A Thanksgiving Prayer Image: y'all down South Carolina, 2007 Podomatic: https://soulshenanigans.podomatic.com Apple Podcasts: https://apple.co/3fYzstV Google Podcasts: https://bit.ly/331g0tM Amazon Music: https://amzn.to/32OIqGI TuneIn Radio: https://bit.ly/30UUPIu Mixcloud: https://www.mixcloud.com/soulshenanigans Twitter: @soulshenanigans Facebook: soulshenanigans Email: soulshenanigans@gmail.com
In this episode, Wes sits down with the Vice President of Operations at Cardinal Group, Sly Brandon. Sly has probably one of the most interesting journeys within student housing that took him from Missouri to Europe and the Middle East before finally settling down in Denver, CO. But what is most interesting about Brandon is his passion for mentoring other student housing professionals and his leadership. If you want to hear from one of the people who will have a big impact on forming the student housing industry over the next 10 to 20 years, you need to listen to this episode. This episode is sponsored by Opiniion! If you need insight into your residents' satisfaction level and an automatic way of boosting your ratings on review sites, reach out to Opiniion today. Go to www.Opiniion.com/SHI Important Links: Register for ShopTalk: www.ShopTalk.info Info about LeaseCon+TurnCon Questions or comments about the podcast? Email us at Contact@StudentHousingInsight.com
Listen every Tuesday from 21 till 22 (Moscow time) Jazz FM (radiojazzfm.ru) Subscribe in iTunes: https://podcasts.apple.com/ru/podcast/beyond-funk-radio-shows/id1063844118 For more info please visit beyondfunk.ru Tracklist: 1. Piero Piccioni and Shawn Robinson - Right Or Wrong 2. Rino de Filippi - Calcolatore Elettronico 3. Piero Piccioni and Shawn Robinson - Once And Again 4. Daniel Janin and Robert Viger - Nobel Tower 5. Weldon Irvine - I Love You 6. Sly and The Family Stone - You Caught Me Smiling 7. The O'jays - Give The People What They Want 8. Norman Scott - Ain't That A Heartache 9. Atlantic Starr - Gimme Your Luvin' 10. The Propositions - Africana 11. Daly-Wilson Big Band Feat. Kerrie Biddell - City Sounds 12. Dr. Tree - Eugino D. 13. Laura Lee - If I'm Good Enough To Love (I'm Good Enough To Marry) 14. The Leaders - It's A Rat Race 15. Jackie Wilson - Shake A Leg 16. Ricardo Eddy Martinez - La 132 17. Earth, Wind and Fire - Mighty Mighty 18. Daniel Janin - Dig Yourself Up 19. Luis Bacalov - La bambolona 20. The Gentle Giants - Leagueliner
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.
This week's episode could be heaven or it could be hell. But either way if you're looking for the best podcast about the Eagles and Hotel California, you can find it here any time of year. But before we get to the album we need to determine whether this podcast is historically accurate or built on a lie. We discuss adults wearing costumes at Halloween parties, tips for hosting Thanksgiving, and whether the ghosts in Pac-Man are dead Pac-Men. We also become the best Buddy Holly podcast when we talk about the smash hit Buddy Holly musical. Finally we become the best unsolved mysteries podcast when our sleuth co-hosts try to uncover what caused the brown glob on Rob's shirt. Then at (51:00) we show you the way when we discuss the 6th best selling album of all time, Hotel California by the Eagles. We discuss why people love the Eagles, why people hate the Eagles, and whether its "the Eagles", "The Eagles", or "Eagles". We also provide a Manhattan Transfer of music knowledge when we breakdown a list of songs with the best vocal arrangements. If this week's episode got your tickler file then we'll take you higher next week for the best Sly & the Family Stone podcast and the 119th greatest album of all time, Stand!
This month Cuttin' It Fine welcomes long term bretherins Shaka Loves You onboard the guest mix choo choo! As always, the party rocking duo bring the vibes from the jump and deliver one hour's worth of delicious disco edits. Track list can be found below, don't forget to subscribe for more guest mixes and more Roast Beatz vibes in the months to follow! Peace for now!1. Al Green. - I gotta be more (SLD Dusty Edit)2. Donna Summer - Love to love you baby (SLY Edit)3. Lyn Collins - Give it up or turn it loose (SLY Edit)4. Gap Band - Shake (SLY Edit)5. Instant Funk - I got my mind made up (SLY multi-track rework)6. Cymande - Bra (SLY Edit)7. Art of tones - All night (SLY ‘Candi' Edit)8. Stewart Birch - I need your love9. Basement jaxx - Red Alert (Grant Nelson remix)10. Kayper - Rain11. Kink - Perth12. Frank Hooker - This Feeling (SLY Edit)13. Cerrone & PDM - Summer Lovin'14. War - Galaxy (SLY VIP Edit)15. Da Lukas - Disco Manteca
What do you get when you put BOL old heads Tim Watts and Travis Reier behind open mics? Anything from Alabama sports and recruiting to the latest trends in pop culture. As for their latest installment on the BamaOnLine podcast, topics covered include: -- Recapping late night Alabama-South Alabama men's hoops in Mobile. -- More important for UA football rest of the way: 2022 legacy or establishing foundation for 2023? -- Now is the time for Saban, coaching staff to re-recruit existing roster. -- Designated windows aside, Transfer Portal undercurrent more like a riptide. -- Tua on track for MVP? * Round Table Mailbag includes: recruiting finish for 2023 cycle; ceiling for men's hoops; Sly returns in "Tulsa King"; and more! The BamaOnLine Podcast is now on Apple Podcasts as well as Spotify, Google Podcasts, and Stitcher. Please subscribe, and leave us a rating and a review! To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices
Join our Discord https://discord.gg/jDrUtNcRq2 Tulsa King, Tiger Eye coffee, Rocky Run, and future Sly projects. We have a lot to discuss in episode 23. We discuss the highly anticipated Tulsa King Sly's latest venture, and how a recent appearance in Philly caused quite a buzz Also find out about Tony's big countdown to meet Sly in L.A. next month
https://youtu.be/M4xgdjGUiR4 This episode we are catching up on some things we've missed over the last few weeks including the Hallowicked singles, Problem Children, and the Juggalo Psypher. We're joined once again by Sly. Come hang! Get your merch now at https://www.DeckOneDealt.com/shop! Linktree: http://www.linktree.com/deckonedealt Visit: http://www.deckonedealt.com Listen: https://deckonedealt.com/subscribe Watch: http://www.youtube.com/deckonedealt Follow: http://www.twitter.com/deckonedealt Like: http://www.facebook.com/deckonedealt Call: 970-6DEALT6
This is part 2 of the Xbox 360 Special. Sly joins Webby, Nick and Darren to share memories of arguably the best system and generation of games ever made. https://www.patreon.com/360gamercast https://360gamercast.com/ https://discord.gg/CqDMSg9 https://www.facebook.com/groups/360gamercast/ https://twitter.com/Webby360G https://twitter.com/360GamerCast VIP patrons - Phil All Access Patrons - John Venom
Rocky Balboa. This is the 6th Rocky movie. We find our hero living a humbled, but fulfilled life, Sure he is sad that Adrian has passed away, he has a strained relationship with his son who is living in his shadow and his brother in law is still an emotional parasite. But he has a restaurant, he gets approved to fight again despite vague bureaucracy and he even forms a new but platonic romantic attachment that comes with a readymade family. This movie had some good Rocky elements. It had rambling Stallone. It had speeches Stallone. It had grand standing Stallone and it even had feats of strength Stallone. The problem however was the writing. It didn't have the fearlessness to follow through on some of the more interesting plot points and is ultimately a disappointing sequel despite being heralded as an impressive comeback. The problem with the movie is that it could handle the stakes. They were just too high to be realistic and thus non of the plot points feel like they matter. It's difficult to make Rock the underdog at this point despite continuously trying. The 5th film did a much better job at telling the story the 6th movie wanted to tell. This may be an unpopular opinion as this movie does have a cult following, but we are not afraid to defend this unpopular opinion and you must listen to the episode to hear why!Join us on patreon for a ton of extra episodes and access to the discordhttps://www.patreon.com/thirstyformore
For Keeper of the Culture Chef Sly, growing up in the Gullah culture included living off of the land and sea and working on a farm. Having fresh ingedients and learning how to cook by dash seasoning and from just the aroma or taste is a well known tradition that's been past down generation to generation from the ancestors. Gullah culture and foodways go hand in hand with a cast iron pan and Chef Sly uses the same ingredients to create incredible flavors and cooking lessons from the past into today's modern kitchen. See omnystudio.com/listener for privacy information.
Although it seems very obvious that there's a correlation between eye health and gaming, it hasn't been at the forefront of research and solutions. Dr. Amy Czyz and her husband, Dr. Tom Czyz, Optometrists by Day, discovered an opportunity after they weren't making their own health a priority during the pandemic. This was when they got the idea for SLY, the first of-its-kind, drink made specifically for gamers. Plus it's made with the ingredients you need for better sleep and better recovery, which all leads to better eye health. Dr. Amy joins Megan on this episode of Esports Connected to talk about her journey from seeing over 80,000 patients to discovering a need in the gaming space. And she talks about why she was so passionate about creating this product herself. She also discusses how the Esports Trade Association has been crucial for her in helping build partnerships and create collaborations. If you're interested in connecting with Dr. Amy, you can email her at: dramy@intentbrands.com. To find out more about the products, visit: DrinkOnTheSly.com
Aaron Butler is back on the podcast this week and we're chatting child labour, imbeciles and the evolution of magic! Patreon: patreon.com/slyguypodcast Video Podcast: https://youtu.be/R_t95-yy5Ao Manscaped: Get 20% Off + Free Shipping @manscaped.com using the code SLY @ checkout!!! Modest Beer: modestbeer.co.uk
Chris talks to Lee Sansum, an ex-Royal Military Policeman, martial arts champion, private military contractor and expert in close protection. He has worked with Hollywood stars, looking after Tom & Nicole, Pele and Sly. Working for billionaire, Mohamed Al-Fayed, Lee went on to protect the most famous woman in the world, Princess Diana, with whom he formed a close bond.See omnystudio.com/listener for privacy information.
Šimon Procházka rád sportoval. Hrál rugby, jeho den byl plný aktivit, chtěl dostudovat vysokou školu. Do jeho životních plánů ale hodila vidle myalgická encefalomyelitida. Vzácná nemoc, která jeho tělo potrestá chřipkovými příznaky pokaždé, když to "přepískne" a unaví se. V podcastu Slyšíme se? promluvil o tom, jaké to je vysvětlovat okolí, že není "jen líný" a proč založil spolek Neúnavní, který pomáhá pacientům jako je on.
Join our Discord https://discord.gg/jDrUtNcRq2 Rocky Run, Rocky Merchandise and a discussion about Rocky 2 in this jammed packed episode Find out what the significance of the number 22 has with Sly and also with Tony As mentioned we discuss Rocky 2 and how it was the perfect sequel, for the Rocky franchise and how it had us cheering then and still holds up today!
The boys head into the lair of Sly to find the supplier that could end all of this.
Pero van a seguirrr continuan saliendo apps pero Sly descubrió el streaming que sí la pone dura. Acompañanos a otro PoP que te promete alto difrute. Suscribete https://www.youtube.com/channel/UCUk_pK4I3nIBqq7sEghlmLw?sub_confirmation=1 Mercancia de GW-Cinco Studio https://gw-cinco-studio-store.myteespring.co Puedes ver nuestros programas en Liberty Cable Para información y aupicios puedes escribirnos a info@gwcinco.com
Critically acclaimed, award-winning writer/director/producer Steve Silverman's work has been called ‘Sly' by the Los Angeles Times, which is his all-time favorite single-word review. Theatre includes All About Steve, not a one-man show but a twist on the classic film All About Eve, his horror comedy 666 Westbourne Drive, and his musical mashups Jesus Christ Super Star Wars & The King and I Know What You Did Last Summer. Speaking of the force, he's the force behind the one-woman show festivals 15 Minutes of FEM and the standup comedy show Slideshow. To eat and get health insurance, Steve is an award-winning writer/producer/director in the world of on-air promotions where he's worked for FOX, ABC, CBS, NBC, Bravo, several ad agencies, and most recently, Hulu. He's directed Whoopi Goldberg, Reba McEntire, Mindy Kaling, Zooey Deschanel, the original Fab Five from Queer Eye for the Straight Guy, and more … Steve's just finished the first draft of a new novel, a ‘cozy' murder mystery, and you can hear him weekly on his podcast, World Gone Good where he talks to everyday people making good here on planet Earth including our very own Heather Vickery. Since our episode was recorded, Steve has left Twitter but you can still catch him on Instagram or check out his website Worldgonegoodpodcast.com. For info on his upcoming play. Happy Birthday, McKenna visit HBMPLAY.COM here. Make sure to follow this podcast everywhere you find podcasts, leave a rating and a review, and slip into our Instagram DMs at @wasitchance. More about Heather via @vickeryandco on Instagram, @Braveheather on TikTok, and listen to The Brave Files More about Alan via @theatre_podcast on Instagram and listen to The Theatre Podcast with Alan Seales EPISODE TAKEAWAYS Steve is a regular guy who knows a lot of cool people and hosts a feel good podcast. His first BIG intentional risk was turning down a paying job, right out of college, to become an unpaid intern for soap opera, General Hospital. Steve is the “king” of quitting! Really it's just getting new information and making a different decision. Adults can be bullies. But you don't have to accept that bullshit. Trust your instincts - the universe has your back. When people tell you who they are, believe them. Steve's podcast, “A World Gone Good” came about because the world was falling apart and he really wanted to put some joy back into the world. Be willing to take action in the moment. Be open and willing - there's so much to be excited about. Learn more about your ad choices. Visit megaphone.fm/adchoices