1961 novel by Robert A. Heinlein
Jacob Lund Fisker of Early Retirement Extreme shares his thoughts on being a stranger in a strange land. Episode 2122: Stranger In A Strange Land by Jacob Lund Fisker Jacob Lund Fisker was a nuclear astrophysicist who retired at 33 with what he believes to be enough savings to last the rest of his life — even if he never works again. His "claim to fame" is the Early Retirement Extreme site, which is effectively a philosophy of life. ERE is a set of values and principles that gives readers the freedom and opportunity to live an exciting and interesting life. The original post is located here: http://earlyretirementextreme.com/stranger-in-a-strange-land.html Visit Me Online at OLDPodcast.com Interested in advertising on the show? https://www.advertisecast.com/OptimalFinanceDaily Learn more about your ad choices. Visit megaphone.fm/adchoices
Jacob Lund Fisker of Early Retirement Extreme shares his thoughts on being a stranger in a strange land. Episode 2122: Stranger In A Strange Land by Jacob Lund Fisker Jacob Lund Fisker was a nuclear astrophysicist who retired at 33 with what he believes to be enough savings to last the rest of his life — even if he never works again. His "claim to fame" is the Early Retirement Extreme site, which is effectively a philosophy of life. ERE is a set of values and principles that gives readers the freedom and opportunity to live an exciting and interesting life. The original post is located here: http://earlyretirementextreme.com/stranger-in-a-strange-land.html Visit Me Online at OLDPodcast.com Interested in advertising on the show? https://www.advertisecast.com/OptimalFinanceDaily Learn more about your ad choices. Visit megaphone.fm/adchoices
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.
Rundown - Troubadour Dave Gunders - 00:35 "Stranger in a Strange Land" by Dave Gunders - 19:23 Craig comments on Rabbi Rheins' sermon - 25:26 Steve Durham - 50:05 Joe O'Dea - 01:20:04 Rabbi Rheins' Kol Nidre sermon - 01:47:51 OMG. The social posts are disturbing. From Kanye. From 45. From Elon. From the GOP House Judiciary members too. Jews are “death con 3” targets and told to become like Evangelicals "before it is too late." GOP response has been muted. Fealty to 45 or what? Renowned Colorado Rabbi Rick Rheins, wonderful guest on Episode 88, gave this show permission to amplify his Kol Nidre sermon titled Silence is Sinful. The wise Rabbi explains why it is vital to stand up to bigotry, especially now. This podcast does so. GOP stalwart Steve Durham is insistent Colorado students be taught that Nazis were socialists. Steve Durham served Colorado as a state Rep, Senator, and is now on the Board of Education. He also worked for Ronald Reagan. https://co.chalkbeat.org/2022/10/12/23399528/holocaust-education-colorado-nazi-socialist-genocide-social-studies-standards An enlightening discussion follows. Senator Durham and I heard each other out in a respectful manner. History is an important part of making sure deadly errors are identified so they can be avoided. But this show tells the truth. Nazis come from the political right. Joe O'Dea is not a bigot and he goes much further than most in condemning Donald Trump for his bigotry. Last weekend, 45 smeared “American Jews” and “big mouth” Joe O'Dea for insufficient fealty. On national shows and now, going his farthest yet, Joe O'Dea fires back at 45. Troubadour and Host opine about the threat posed by bigots. We discuss Kanye, Pete Davidson, refugees, Billy Joel, and the lyrics behind the Dave Gunders' amazing and timely song, Strangers in a Strange Land. https://www.youtube.com/watch?v=uPkEJkijPZw
Hello mein Freund, welcome back to a brand new episode of Talkin Bamf: The Nightcrawler Show! In our third episode we return to the 1985 Nightcrawler mini-series, this time covering issue three. After the left turn ending of last issue Nightcrawler finds himself a stranger in a strange land, though not as strange as it seems. He's surrounded by miniature versions of himself, called Bamfs! Of course, it wouldn't be a comic book if plot twists didn't abound. Eventually we check in on several other somewhat familiar characters as the issue unfolds! If you like the show and want to keep the conversation going you can email me at TalkSnikt@gmail.com or if you are a more sociable person, check out the Talkin Snikt discord server here: https://discord.gg/fanZCcve Auf Wiedersehen, men Freund! --- Send in a voice message: https://anchor.fm/talkinsnikt/message
Welcome to JAIG EYES & Jedi – a podcast dedicated pretty much now to ALL STAR WARS! Join HOPE MULLINAX and CHRIS HONEYWELL as they start up THE BOOK OF BOBA FETT with (of course) the first episode – STRANGER IN A STRANGE LAND!! There will be – NAPS – [...]
Welcome to JAIG EYES & Jedi – a podcast dedicated pretty much now to ALL STAR WARS! Join HOPE MULLINAX and CHRIS HONEYWELL as they start up THE BOOK OF BOBA FETT with (of course) the first episode – STRANGER IN A STRANGE LAND!! There will be – NAPS – [...]
It may not always be smart, it may not always be sensible, but sometimes you just have to feel the fear and do it anyway to reach your goals.You've heard me talk a lot about my group coaching program, Joyful on Demand. I invite you to join us in October. On the 20th and the 27th, we will be discussing the grounding and transformative book, You Belong, by Sebene Selawse. If you have ever felt like an outsider, a stranger in a strange land, misunderstood, alone, a wallflower, an outcast, or a black sheep, then join us fellow humans who have felt the exact same emotions, so we can explore belonging in community. As well as regular events like a book club, exclusive courses such as ‘self compassion for legal professionals', you can join me on weekly group coaching calls to really help you reach your goals. All this for just $97 a month, but absolutely free for the first month when you enter JOYFUL at check out. You don't always need to climb a mountain to change your life, sometimes it just takes a simple step forward with Joyful on Demand.
Midtlivs-Christer Torjussen kaster brannfakkel inn i midlivskrise-podkasten Gammal Maiden: "Midtlivskrisa finnes ikke og er et konstruert I-landsproblem". Kan umulig stemme. Hvis det ikke finnes en midtlivskrise, hvorfor driver vi fremdeles og flykter tilbake til barndommen og hører på "Stranger in a Strange Land"? Vi tar en gjennomgang av Christers tatoveringer med oppned-kors og hodeskaller for å finne ut hvorfor mannen liker så brutal musikk. Ikke måte på hvor hardcore, røft og tøft det skal være. Sing-a-long-pønk? Dra til hælvette. Bad Religion? Bah!
Who were your role models growing up? In particular, who were your role models that led you to your career in academia? I'm going to guess that most of your academic role models were teachers who look like you or might have similar backgrounds to you. Think about the power of that - seeing an inspirational teacher/educator/thinker/academic that has a similar background to you. If this happened to you, try to remember how inspirational that was. It might have been a parent, a family member, a teacher, a professor….Now imagine a post-secondary academic environment in which you didn't look or sound like your professors. Imagine you had no cultural connection to the faculty you saw on campus or online every day. Imagine the unspoken message this might send. Imagine feeling like a stranger in a strange land. Now, think about the students in your classes. How many of them look or sound like you? How many share your cultural identity? Can you be their role model? Can you help your students see themselves as colleagues in your world? In this episode, I have a conversation with Jeff Schinske, Professor of Biology of Foothill College, part of the California Community College system about the impacts of the NIH-funded Scientist Spotlights Initiative. The Scientist Spotlights Initiative (SSI) empowers middle/high school, college, and university science educators to implement inclusive curricula that help ALL students see themselves in science. The SSI provides access to easy-to-implement assignments/activities that link course content to the stories of counter-stereotypical scientists.
Karen González is a speaker, writer, storyteller, and immigrant advocate, who herself immigrated from Guatemala as a child. Karen is a previous guest who shared her story on episode #166. Today, Karen and I talk about normalizing movement of population, why being a stranger in a strange land should give Christians empathy, and what to […] The post Karen González and Beyond Welcome appeared first on Eric Nevins.
So what is a “polymath”? Come on in and listen to this week's episode to find out from our guest, Pat Daily. After hearing my conversation with Pat, not only will you know the definition of the word, but you will see why Pat fits the Polymath mold. In his life, Pat has served as a pilot in the military, a pilot for a commercial airline, a successful employee at Honeywell, participated in starting a company and he is now even a successful science fiction author. I very much enjoyed reminiscing with Pat about some of my and his early days around aircraft as we both have similar experiences in a lot of ways. By any standard you can invoke, Pat is not only inspirational, but he also is easy to talk with and he is easy on the ears as well. I hope you like this episode and that you will please reach out and tell me what you think. As always, please feel free to email me at email@example.com. Also, I hope you will give this episode a 5 rating after hearing it. Thanks for listening. About the Guest: Pat Daily is a polymath, serial entrepreneur, gamer, and the author of SPARK, a near future science fiction novel. Pat began his professional career as an engineer and Air Force test pilot. After leaving the military, Pat worked at NASA's Johnson Space Center on both the Space Shuttle and International Space Station programs before launching his first company. He has worked globally as a human performance and safety consultant. When not writing or trying to bring new airplane designs to life, Pat can be found gaming. He is a fan of role-playing games – particularly open worlds with engaging storylines where actions have consequences. Pat and his wife live in Houston. Social media links: Website: https://thepatdaily.com Blog: https://feraldaughters.wordpress.com Facebook: https://www.facebook.com/patdailyauthor Instagram: https://www.instagram.com/patdailypics/ Twitter: @patdailyauthor Goodreads: https://www.goodreads.com/author/show/21521042.Pat_Daily About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog. Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is an Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards. https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/ accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/ Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can also subscribe in your favorite podcast app. Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts. Transcription Notes* Michael Hingson 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us. Michael Hingson 01:20 Hi, wherever you happen to be, and welcome to another edition of unstoppable mindset. Today, we get to chat with Pat Daily, who describes himself as a polymath. He is also an author, and entrepreneur. And specifically, he's the author of a book called spark. And we're gonna get into that, but I'm gonna start with tell me what is a polymath? Because some people won't quite probably know that. Pat Daily 01:47 That's a good question, Mike. And I appreciate the opportunity to be here and talk about that. The I fell in love with this word when I discovered it just a couple of years ago. And really all it is is somebody that's polymath is someone who's had professional success in different lines. So not all sales, not all leadership, not all engineering. Cool. Michael Hingson 02:15 So where have you had success? Well, I've Pat Daily 02:18 been an Air Force Test Pilot. I've been an engineer at NASA. I've started my own business. I've been a safety consultant. I've been Michael Hingson 02:30 now an author. There you go. Well, tell us a little bit about you maybe growing up just to learn about you and your background and stuff. And we'll go from there. Pat Daily 02:38 Sure, sure. I grew up in Seattle, Washington up in the rainy northwest corner of the country. From there, I graduate from high school, went into the Air Force Academy, graduated from there and started pilot training in the Air Force flew was a pilot in the Air Force for about 13 years and then decided that my, my life lay in commercial aviation. And so I went to went to work for American Airlines. And they agreed with me up until about the one year point, and then they decided that they had too many pilots and furloughed, me. And at that point, I thought, maybe I need to rethink this, this whole pilot as a career thing. So I went off and did some other things. Michael Hingson 03:29 So you when you went to the Air Force Academy, did you miss Pike's fish market? Pat Daily 03:38 Yeah, yeah, I actually worked there a little bit when I was in high school at a restaurant whose name I can't even remember right now. But But yeah, that's a place that's got a lot of interesting energy. Michael Hingson 03:51 It does. I've been there just once. And I know someone who worked there in in one of the places in the market, but it does have a lot of interesting and somewhat unusual energy. Pat Daily 04:04 That's certainly true. So Michael Hingson 04:07 you, you worked for American, why did you go off and do after American? Pat Daily 04:11 Well, after American, I went to work for Honeywell and ended up working for Honeywell, Defense and Space electronic systems. And we did guidance, navigation control stuff for the space station and the space shuttle down at Johnson Space. Michael Hingson 04:30 So what what did you do there? Can Pat Daily 04:31 you talk a bunch about it? Oh, yeah. And then there's, we didn't do anything classified there. I mean, the whole human space thing, at least as far as NASA is concerned, is pretty much an open book. The probably my favorite project that I worked on was a thing that was supposed to be a lifeboat for the space station and it was the x 38 project. And it was kind of a lifting body. So it had some have swept back and swept up wings that that became well we ended up calling a rudder Vader because it was a combination of an elevator and rudder, although it was way more rudder than it was elevator. And, and it was a lot of fun. Got to actually watch it do a few drop tests from NASA aircraft. And then of course, somewhere along the way, it was decided that we were going to use Sputnik capsules and Soyuz capsules to to get us back from orbit so we no longer pursue that project. So it was a sad day when they shut that down but still a lot of fun to work on. Michael Hingson 05:43 I grew up and near Edwards Air Force Base. So my father worked out there as the supervisor, the head of the precision measurements equipment lab, so he was in charge of calibrating all test equipment and things like that. So worked with Joe Walker, of course, who was famous with the x 15. Going back a long way from the x 38. And, and was there actually at the time of the m two lifting body which was kind of probably the precursor of all of that Pat Daily 06:10 down. Were bounced because I spent a bunch of years at Edwards. Whereabouts Did you live? Michael Hingson 06:15 We lived in Palmdale. Okay, and one of my favorite memories, boy I don't know about today, but was when my dad would come home from work and tell us that he left our street, which was Stan rich Avenue in Palmdale, California, and drove all the way to Edwards without stopping once, which was, which was definitely amazing back in those days, just in terms of no traffic, no cars to interfere. And he oftentimes did it both ways. And in the evening, when he was coming home, I would talk with him, we both got our ham radio licenses. When I was 14, he waited for me because he could have gotten at any time. And we would chat as he was coming home from work and had a lot of fun just talking up on the two meter band a lot. And he would just keep going and going and never stop until we got to our street and there was stop signs. So we had to stop. Pat Daily 07:09 That is really neat. That was a great memory to have your dad. Michael Hingson 07:13 It was and you know, there were a lot of things that happen that he couldn't talk about a couple times we went out and visited him. And we would go to his lab and he said, Well, I can't let you in quite yet. We have to hide things that you can't see. Well, that really didn't matter to me a whole lot. But I guess my mom and my brother were there. So they had to do that. But it was it was fascinating going there. And he introduced me to Joe Walker. He knew Neil Armstrong, but I never got to meet Neil. But did spend some time with Joe Walker, which was a lot of fun. Of course. Yeah. He was one of the first real astronauts taking the x 15, up above 50 miles. What an airplane that was oh, and we actually would occasionally sit on our roof at home. And watch as the B 52. Took it up and dropped it. And they they didn't have anything on the radio that we could listen to. But he would he told us where to look. And so we actually looked and and watched it drop and then fly and do the things that it did. It was pretty fascinating. Pat Daily 08:17 Could you hear the sonic booms? down upon do? Michael Hingson 08:19 That is a really good question that I'm glad you asked when we first moved to Palmdale in 1955. We heard sonic booms all the time. Never thought about it didn't bother us that they were there. And I remember once we knew that we're going to be playing war games between us and a couple of the other bases in Southern California. And the way you scored, especially when they did it at night was to see how close you could get to the other bases General's house without being detected. And break a sonic boom. So I gather we at Edwards were pretty successful at getting getting close to the generals house. But yeah, we heard a lot of sonic booms. And then one day, they just weren't there anymore. Pat Daily 09:06 Yeah, I wasn't there during that. That era. But but when I was we had a we had a corridor, we actually had a low altitude and a high altitude supersonic corridor. And that's where if we were going to intentionally go supersonic, that's where they wanted us to be. And that ran mostly east west. Yeah. So so that Sonic Boom would have had to propagate quite a ways for folks down in Palmdale to hear it. But yeah, don't ever do. We heard them all the time. Michael Hingson 09:39 Well, yeah. And I would I would expect that. And the reason that they disappeared from us was because I guess too many people started complaining but you know, GE, it never bothered me. I guess, however, that they decided that they could be somewhat destructive, especially if they were close enough or loud enough to buildings and so on. So they had to do it. And then I didn't hear any until actually, we were down near Cape Kennedy once when the shuttle was coming back in for a landing, and we got to hear the sonic booms, which was fun to hear. Pat Daily 10:15 Yeah, yeah. Yeah, I've Michael Hingson 10:16 heard them loud enough to be startling. But the ones like the shuttle threw off. It was always like, Ah, good. They're home. Boom, boom, the double sonic boom, yeah, which was great. We were at a number of Armed Forces Day, events doubted it out at Edwards. And it was really fun when the Thunderbirds were there. Other people were flying the jets, and they would come almost right down on the deck, past us. And we were we were all together. So my dad said, well, here they are. And I said, I don't hear anything all of a sudden boom, and you hear the whole sound, because they had already gotten faster than the speed of sound. So the plane was there about two seconds before the sound of the engine, which was kind of fascinating. Yep. But we, we enjoyed it. And it was part of growing up. Never thought about it. And then all of a sudden, one day, I haven't heard sonic booms in quite a while. And it was I know, because people were complaining about the noise. Oh, what a world war two world. You know, the sonic booms were there before they were but nevertheless, as I said, probably there were some complaints about the noise. And I've read in recent articles that they they did decide that some of the the sonic booms could be destructive to structure. So Pat Daily 11:35 I know they've they've broken windows before. And I know that sometimes livestock react poorly. And now NASA and industry are working on a thing called Quiet spike, which was programmed to reduce the the intensity of the sonic boom, so that an airliner for example, that would be traveling supersonic. To hear them Passover would be no more loud than the sound of a car door closing. Michael Hingson 12:05 Right? There was I think something on 60 minutes about that either earlier this year, or late last year, which is where I first heard about it. So far. I guess it's still somewhat theory, because they haven't built the airliner yet that they believe will be able to have that low level of noise. But it'll be pretty fascinating if they can make that happen. Pat Daily 12:26 It will be because it it seems like we've been stuck, essentially traveling around the world at about point eight Mach. Yeah, for for 50 years, and forever, longer now forever. Michael Hingson 12:38 And it will be I think it will be great if we can really do that. And also have it on an aircraft that's small enough that we could even do supersonic inside the United States that will speed up a lot of air travel. Pat Daily 12:52 It will. It will no it'd be wonderful. Michael Hingson 12:54 But if I recall, right, they said they were going to have the first generation of that aircraft sometime later this year. Do you know anything about that? I know they've got the Pat Daily 13:03 flying testbeds already. In fact, one of them is flying out of Palmdale. Michael Hingson 13:08 Oh, okay. Well, we are now living in Victorville, so maybe we'll hear it on Victorville. Pat Daily 13:15 I used to live in Victorville when I was able to George Air Force Base. Michael Hingson 13:19 There you go well, and when I was growing up, compared to Palmdale Victorville was hardly a blip on the radar scope. And now, we have over 120,000 people in Victorville. And in the whole Victor Valley area here we have over 600,000 People go the heck and figure it out. Pat Daily 13:37 I had no idea that it had grown that much. Michael Hingson 13:39 And continues to we just learned that there is a new housing development, about two miles from here that will have 15,000 new homes, low cost housing, but still 15,000 new homes. Oh, my gosh, I know, go figure. Now. It'll be interesting to see how more how many more come along, but they're building a lot of stuff up here. And at the same time we see open stores that is vacant stores that don't understand why they're doing the building that they're doing when they got all this vacancy. And where are those people going to work? Are they are they commuting down into the LA basin? I work? Yes, that's I guess that's what's happening. And there is of course, a lot of that but I hope that they come up with something other than just going down I 15 Because already the traffic on Interstate 15 going from Victorville down through Cajon Pass and down the other side is horrible. Almost 24 hours a day. I've gone to Ontario airport early in the morning like at four and still take an hour and 20 or minutes or an hour and a half or longer to get to Ontario. Pat Daily 14:52 And Ontario has got to be getting busier and busier too because I remember that that was when I first moved out to that area. It was the like the secret gym that the airport nobody knew about and had very little traffic and and you didn't have any jet bridges you just walked walked out to the aircraft and up the stairs. But still it was so much easier to navigate than lax, Michael Hingson 15:18 sort of like Burbank airport. I don't think that they've gotten totally into jet bridges. At least the last time I flew into Burbank they hadn't. And the value of that is that they have people exit the aircraft from both the front and the back. So it hardly takes any time at all to evacuate an airport. Not evacuate, but get people off a plane when they land. Yeah. Which is kind of cool. Much faster. So as a test pilot, what kinds of of aircraft Did you test? What was kind of maybe the most unusual one? No flying saucers, I assume are Pat Daily 15:52 flying saucers. Got to fly a bunch of different things. Most of my test time was in variants of the F 16. But probably the most unusual aircraft that I got to fly was the Goodyear blimp. There you go. Yeah. And I mean, did going through a test pilot school. And it felt an awful lot like climbing into someone's minivan because the gondola was that spacious that that roomy had plenty elbow room, plenty of people could sit around. It certainly wasn't, was a passenger compartment back in the days of the Hindenburg or anything, but it was, it was still pretty roomy for a modern aircraft cockpit. And we we went in and got to fly out over Long Beach and that whole area and I was the only airplane I've ever flown that only had one wheel. And I know because they tie the nose of the blimp to a big mast. And it just has one large wheel that casters around and as the wind blows it, it can weathervane into the wind and just pivot around on that little wheel. Michael Hingson 17:09 Did you ever have any involvement with the flying wing? No, no at the time was probably before, well, Pat Daily 17:17 well before but then the b two is a streamline wind design. And other than watching it, you know seeing it fly around. I never had any any interplay with it or never got to fly it. I do remember having to go out to their facility for something, a meeting or a test mission. And if you weren't cleared into the program, they had to turn on a beeper and a flashing light to let everybody know that that uncleared scum were entering the area and hide all the secret stuff, Michael Hingson 17:54 tell people what the flying wing is a Pat Daily 17:56 flying wing is if you can imagine, and airliner with its left and a right wing. And now take away the fuselage where all the people sit and where most of the gas is and the luggage, and then just join those two halves of the wing together. Now you're gonna have to beef it up a little bit, scale everything up. But it turns out that the flying wing design can be incredibly efficient. But it also comes with some pretty scary instabilities that you have to have to be ready to deal with. And so the earlier version, I think the XB 49 was the original flying wing. And it had small rudders to to help it maintain its directional stability. But the b two comes out at completely differently by using kind of differential speed brakes and spoilers. And, you know, that gave us differential thrust, I guess, but it's, it's a much more efficient and much more UFO like looking aircraft than we're used to seeing. Michael Hingson 19:11 Yeah, well, it will. It will be interesting to see, well, I don't know whether they'll ever use that and probably not for an airliner or anything like that, because there's just not room for much in the way of passengers is there? Pat Daily 19:23 No, although I've seen the whole design Yeah, and the whole design every once in a while when you see something in Popular Mechanics or something like that, where it's a hugely scaled up flying wing design. And of course, the downside of that maybe it's an upside is that everybody is now stuffed in the middle and and very few people get window seats, but the the times I've found recently hardly anybody is looking out the window anyway. And they tend to close the window shades and just get on their electronic entertainment devices Michael Hingson 20:00 he up and it has its pluses and minuses to do that. But you know, I put on my earphones but I do try to listen to what's going on around me and try to stay aware. But you have people do that. And, of course, lights are brighter or when you're 30,000 feet or more. You're you're dealing with a lot of things. And as you said, people just want to get on their entertainment devices and escape. And so so that happens and then there you go. I'm still waiting for flying saucers and jetpacks, I'm ready for my jetpack. Yeah, that would be fun. I'm not sure how well I do with a jet pack. We need to get more information that comes in an auditory way rather than visually, but we can get there. Down. Yeah. Or tactically? Well ordered and tactically tactically. Yeah. Which would be both. There's an experiment that the National Federation of the Blind did actually now it's it started. Well, it started in 2001. Soon after September 11, I was at an event in Baltimore when a new building for the National Federation of blind was started called the Jernigan Institute. But one of the things that the President of the National Federation of the Blind back then did was to challenge private industry and the school systems, the college technical college systems to build a car that a blind person could drive. And in 2011, what they created was between Virginia Tech and some companies that worked with Virginia Tech came up with this device, they actually modified a Ford Escape. And what they did is they put a number of different kinds of radar and sonar devices on it. Other technologies that they felt would ultimately not even cost very much. But then the driver sat in the car and had some very long gloves on that would go up their arms, that had haptic or tactile devices that would vibrate, there was also a pad that he sat back against. And there were also something similar to the gloves that would would go around their legs so that there are a number of different kinds of vibrating things that were available to them. And a person was able to drive a car successfully. In fact, there's a demonstration of it's still on the National Federation of the Blind website or a subdomain. It's called www dot blind driver challenge.org. And what you see if you go to that website is a video where the now president of the National Federation of the Blind Mark Riccobono, gets in this device and drives around the Daytona Speedway right before the January 2011 Rolex 24 race, going through obstacle courses, driving past grandstands, and people cheering and all that driving behind a van that is throwing up boxes that he has to avoid, and then passing the van and eventually getting back to homebase. But no one's giving him directions. It's all from the information that the car is transmitting to him. And the reality is that, that it is doable. And he was driving at something like 30 miles an hour, so he wasn't going slow, and had no problem doing any of that. So the reality is, I think it's possible to develop the technology that would make it possible for a blind person to have a safe and good driving experience. And especially as we get into the era of autonomous vehicles, where things are not necessarily totally as failsafe oriented as we would like. And as perfect as we would like, I see legislatures already saying, well, even if you're going to have an autonomous vehicle, someone has to be in the driver's seat who can drive the car, and there should be no reason why that can't be a blind person as well. Pat Daily 23:51 No, absolutely not. I mean, it's, it's all just a matter of data and input channel, right? I mean, right, whether it comes tactically or haptically, or auditorily, or we could have olfactory cues, maybe, but that that starts sounding a little messier, Michael Hingson 24:09 probably a lot less efficient to do that. But but the fact is that Mark did this. And I think that car has been driven a number of times, I think he drove it around the streets of Baltimore as well. But the fact is that, that it is possible, which is another way of saying that eyesight isn't the only way to do stuff. But unfortunately, it is the main way that most people use and I understand that but the fact is not using some of your other senses, I think limits drivers a lot. I'm still surprised that for example, with Apple who has constructed all of its technologies to be accessible. So VoiceOver is built into every device that it releases. I'm surprised I haven't done more to make voiceover involved with interactions in automobiles. And there's an android version of, of all of that called TalkBack. But I'm surprised that with cell phones in cars, that they don't use more auditory output. And then like, you've got the Tesla where everything is driven by a touchscreen, which means no matter what you do you still have to look at the touchscreen. Why aren't they doing more with audio? Pat Daily 25:20 Yeah, that's, that's a great question. And it, I think it gets to something I've heard you say on some of your interviews about sighted people have a disability in that we are light dependent, and you take away the light from us and and the world by and large becomes a navigable right to most of us. And that's just because we haven't tuned our other senses in the way that Michael Hingson 25:49 you have. And there's no reason that we can't make it possible for people to use more of their senses. But the the automotive industry doesn't tend to do that. I think there's probably although it's still more emergency oriented. In aircraft, there's a lot of information that comes out auditorily, but probably a lot more could as well. Pat Daily 26:12 Oh, absolutely. Absolutely. And so much in aviation now is, is really autonomous, that the biggest problem that aircraft like the the Boeing purple seven have is, how do we make sure that on a 16 hour flight, the crews are still awake? Yeah. And so they they build checklists to require them every so often to actually physically do something that the aircraft is perfectly capable of doing on its own. But we we want, it seems to still have that that pilot in the loop that pilot and control, do we get alarms or something that makes the pilot pay attention then to do whatever it is they need to do? Yeah, yep, get chart chimes, you get verbal cues, where the aircraft is actually talking to you. Michael Hingson 27:05 Yeah, it makes perfect sense to to do that. And I've seen times where aircraft have flown, although pilots are still there, completely autonomously landed themselves gone right up to the, to the hangar or to the place where they let off passengers and so on. And all of that technology is accurate enough to do that today. Absolutely. There are several of us that are talking about the concept of trying to use some of the same technology I described with the the car that a blind person could drive to create, or build it into an airplane and have a blind person, fly the plane. And there's one person actually who wants to see this happen, and then be the first person to fly the same route Lindbergh did across the Atlantic, but be a totally blind person doing the flight. Pat Daily 27:56 Well, that would be one heck of the demonstration of concept. But I'm with you. I don't think there's any reason they couldn't do that. There shouldn't be Michael Hingson 28:07 any reason why we do have the technology today. It's the usual thing of a matter of finding a matter of will on the part of enough people to to make that happen. But I see no reason why with the technology we have today. We can't do that. Yeah, I think it all comes down to what you said. It's Pat Daily 28:26 desire and funding. Sounds like a lot of fun down. Michael Hingson 28:29 We'll see it be a fun project. Well, maybe you can help us. But oh, I have to ask this. In all your flying. Of course, you I'm sure you have flown in like the plane that everybody calls the vomit comment and had your experiences of weightlessness. Absolutely. And but you haven't gone yet fully into space? Pat Daily 28:52 I have not. That's that's been one of my major disappointments. I always wanted to be an astronaut. And got a shot, got interviewed got to go down to NASA and then try to plead my case. And, and unfortunately, I was not selected, had a lot of friends that were selected, but I was not among them. You know, Michael Hingson 29:16 Scott Parazynski? I do, we interviewed Scott, not too long ago. So he was talking to us about a number of the space station events and thought things that he has done. He wrote his book with the help of the same person who assisted me with underdogs. Susie Florrie. So that's how we got very good, which is which is kind of fun. So you went off and did Honeywell and and all that and got to work. I've never been to the Johnson Space Center. I'd love to do that sometime. I think it'd be a lot of fun. I have spent some time at NASA Goddard. And of course a little bit at the Kennedy Space Center but nothing really too involved in some didn't really get a chance to look at much of it but it'd be fun to go to the Johnson Space Center sometimes. So we'll have to come down and visit you and go there. Pat Daily 30:05 Yeah, come on down, we'll take you. Michael Hingson 30:07 But what did you do after Honeywell and all of that? After Honeywell, I, Pat Daily 30:12 I launched a consulting company where we did safety consulting, and training and professionalism, professional development. And I really loved them, I really enjoyed the work. But after about 15 years doing that I was kind of done. So I left that behind, sold my share of the company to my partners, and wish them all well and, and move back into the flight test world. And so what did you go off and do? I went up to Moses, Lake Washington to work for Mitsubishi Aircraft Corporation. And at the time, we were trying to build and certify a thing called the originally was called the MRJ, for Mitsubishi regional jet. And then they rebranded it, and called it the space jet, which, which, I don't know, I probably would have picked a different name, but hey, I'm not in marketing. And the thought behind the name was that they had reconceived reconceptualized, the way an airliner is built, traditionally, all the all the luggage, and everything goes in the belly. And that moves the floor of the aircraft up into the aluminum tube. And so you start losing head room and overhead, luggage space. And Mitsubishi had the idea, well, what if we just put all the luggage in the back, and then we have more room in the tube, and even fairly tall guys could stand upright in the in the aisle without having to duck. And that gave us the opportunity to build to build bigger luggage, overhead luggage compartments, and things like that. Unfortunately, that, you know, we, we got to flight test we built maybe seven of them that actually flew me see for here too, there are six that actually flew and then some that were just being used for structure testing. And then and then COVID happened and Mitsubishi decided that the program was far enough behind schedule and far enough over budget, that they needed to really rethink it. And so they they put it on what they call an extended pause. So extended that personally, I don't think it's ever coming back coming Michael Hingson 32:39 back. It's yeah, permanently pause. So that kind of didn't help your job any? Pat Daily 32:44 No, no, I got I got laid off from there. And thought that well, you know, I'm not I'm not working when I want to try writing. And so I'd already been playing around with the whole writing thing when COVID hit, and then just took it to the next level and got really serious about it finished the novel. And then, you know, long Behold, found somebody that actually wanted to publish it. You know, Michael, I don't know if you have this problem. But But I have a bit of an ego problem. I think that what I do is pretty doggone good. And so I wrote this book and draft one I thought, okay, it's no, it's no Of Mice and Men. It's it's not great literature, but it's a good book. And so I started sending it out. And and then I joined some writing groups, and the writing groups. It turns out, it's a little harder to get honest feedback than one would hope. Because everybody's worried that they're going to hurt your feelings and offend you. Yeah. And when they tell you you've got an ugly baby. But I had, I had a hideous baby. And it wasn't until well, she's become a friend of mine, another author, Alex Perry, who wrote a wonderful children's book, not children mid grade book, called pig hearted that she finally told me she said, Pat, it's boring. She said, your writing all makes sense. You can put a sentence together but it's like watching somebody else. watch somebody else play. A video came. And, and it hurt. But but it was exactly what I needed to hear. Yeah. And so I joined another writing group. And then I guess after about four or five revisions and 22 queries later, that Inklings publishing, said, Hey, you know, we think you got something here. So, you know, why don't we pair you up with a developmental editor and we'll see you We can do and they paired me up with a wonderful woman named Steph Mathias son. And she shepherded me through three more revisions of the book. And every time it got better, and largely because of the people that were willing to give me that honest feedback people like stuff, so that it you know, it got published and and now I've submitted book to to Inklings, and that should be coming out in December. And I've started on Book Three. So it's been, it's been a lot Michael Hingson 35:34 of fun. And sequel is booked to a sequel, Book Two as a sequel. Yeah, great. Well, you know, there's nothing like a good editor, they're, they're worth their weight in gold and more. They're editing, right. And I learned that, not the hard way. But I learned it in a great way when we were doing fender dawg, because Thomas Nelson paired us with an editor who said, My job isn't to rewrite this in my own style. And to tell you how to write my job is to help you make this something that people will want to read, and to fine tune what you do. And and he did. We had, for example, I don't know whether you read thunder dog, but one of the parts about thunder dog is that it starts every chapter with something that was occurring on that day in the World Trade Center for me are around it. Then we went back to things I learned in my life. And then we came back and ended each chapter kind of continuing on in the World Trade Center. And what what our editor said was that your transitions lose me there, you're not doing great transitions from one scene to the other. And you got to fix that. And that was all he said. So I volunteered to do the transition examinations and try to deal with that, because it just clicked when he said that. I know exactly what he's saying. And I never thought about it. And and Susie says the same thing, you know, we hadn't really thought that they were as much of a problem as they are. But now that you mentioned it. So literally over a weekend, I've just went through and created transitions for every chapter. And I think that's one of the strong points of the book. And others have have said the same thing that the transitions absolutely take you where you want the reader to go. And it all came about because of the editor. Yeah, and I'm with you there. I Pat Daily 37:31 think transitions are key. And I largely ignored them as well, in my in my early writing, that that of reading or consuming a book is actually requires work on both ends. And it's easier for the reader, if you pull them along as the writer if you seamlessly pull them into the next scene or seamlessly transition them. So yeah, transitions are huge. Michael Hingson 38:00 They are and as soon as I heard that it made perfect sense. And the thing about it is I know now that I knew it, then I just never thought about it. So it's it's great to have a wonderful editor who can guide you. Well, your first book is called spark tell us about it, if you would. Spark is a near future science fiction novel, it. Pat Daily 38:26 It takes place, mostly in Southern California, because when I was flying out there, I remember there being a solar power facility called solar one. And you could see it from probably 100 miles away during the daytime because it was one of these solar facilities where it relied on mirrors to reflect the solar energy up to a central collecting vessel that that normally has some sort of molten salt in it because it turns out that's really good for retaining heat. And then then they use that to transfer the heat to water turn that into steam to power a turbine and voila, electricity, by all always was fascinated by the whole solar power idea. And so spark itself is an acronym. It stands for Solar prime augmented reality Park. And, and as one of my readers pointed out, will pat that should be spark than not Spark as well. Yeah, but but spark doesn't exactly roll off the tongue. So I took a little license there. And the spark is a theme park for gamers. And it is an augmented reality theme park that makes use of both haptic technology as well as auditory cue News and visual cues in a thing I call augmented reality glasses that present the the player with a blended version of the real and the virtual. It's close enough in time to us that most people recognize a lot of the technology. But it posits some pretty impressive changes in artificial intelligence and solar power. And of course, it's it's got action adventure, there are good guys bad guys. The hero of the story a young man named wil Kwan shows up at the park, as you know, after his parents passed away, is his father dies in the second Korean War, which when I wrote it, wrote the book seemed much farther away than it does today. And, and that his his mom suffered mightily from the loss for her husband. And she ends up dying just few years later, and will is left as an orphan and things don't go well for him in foster care. And he ends up running away his goal is to run out to spark where his parents took him when he was younger. And he figures he's gonna get a job and just live there forever. Except that spark won't hire miners. And so he's got to figure out another way around it. And as he does, he realizes that there are far more layers to the game, and to spark itself than are normally perceived by others. And so he starts, he starts hunting a little bit, trying to learn more, he, he meets a young woman that or he has a disastrous first encounter with like, by the end of the novel, even though they still butt heads, they're now holding hands. And so you get a little little action, a little adventure, little romance, little mystery, and it ends up I think, just being kind of a fun novel. Michael Hingson 42:12 So I would gather from augmented reality and everything else that, that there must be a lot of adventures and quests, and so on in the book. So if somebody were to buy the rights for the book, what quest would you like to see them convert into real life? Pat Daily 42:29 That's a good question. That's a good question. I think my favorite and I D, detail a couple of the quests pretty deeply in the book, and one is called war on Mars. And I think it would be the most fun because it is the most expansive it, it takes place in mostly in Mariner Valley on Mars, which is so much larger than the Grand Canyon, in the United States. It is seven kilometers deep, that's four and a half miles deep. And it's it's nearly as wide as the United States is or long as the United States is east to west. And so I thought there were some cool things you could do with that out elevation change and, and of course, then there's got to be aliens involved in there, too. Michael Hingson 43:28 I was just going to ask. Pat Daily 43:32 Yeah, so So there are some aliens who don't take kindly to us being on Mars, and there's combat but but will is the kind of guy that he would rather think his way through things and fight his way through things. So he's, he's hung up on trying to find a more peaceful solution to our conflict with the aliens and I think that ends up being a lot of fun and wouldn't be a lot of fun to play out in real life. Michael Hingson 44:03 Hopefully he figures out a way to get some peace and make some new friends. Pat Daily 44:08 He does. Oh, good. Michael Hingson 44:09 What character given that you're you're doing this a little bit future mystic kind of where what character was the hardest to develop Pat Daily 44:18 the the young woman whose name is Shay Cree Patel, but her avatar name is feral daughter, and, and that name came out of something. My own daughter said that I misunderstood. We were on a on a vacation and they were in in shopping and I'd had enough of shopping in that particular store. So I just wanted to go stand outside for a little bit. Enjoy the fresh air. And she came out and she said something that I misunderstood as feral daughter. And I jumped all over that I said, that would be a great name for kind of a counter culture. clothing line, or, or you know, a boutique for women's clothes at a university or something like that. And she goes, Dad, what are you talking about? I said, Well, feral daughter isn't that we such no I and I don't even to this day, I don't remember what she actually said that it was not Farrell daughter. And it turns out that while I think I am a good husband, and good father, I am not very good at writing female characters. And again, my writing groups came in and were tremendously helpful. You know, some painful feedback, but also very good feedback to help me develop the female characters make them more authentic, so that, that neither of my daughters or my wife were embarrassed by the by them at the end Michael Hingson 45:51 of the day, you mean, your daughter didn't help you? Right? She gave me Pat Daily 45:55 one daughter, God bless her read all the way through one of the early drafts and gave me a lot of good feedback. The second one, the second daughter was far more interested after the book came out. And she was better at answering specific questions about well, you know, would this would this girl do this? Or? Or what do you think about this? Or how should he or she approached this? So they both been helpful in very different ways? Like, yeah, I, I was embarrassed enough by my writing that I put them through too many revisions of the of the novel Michael Hingson 46:36 well, but if they, if they looked at it, and really helped unless you just were way too graphic with the sex scenes? Pat Daily 46:44 No, no. And, and honestly, them that factored into it, I wanted to write a book that I wouldn't be embarrassed for my goats to read any of eventually, their children to read a call. They're calling you now. They're calling me now Dad, what are you saying? So, you know, interestingly, when I got the idea for the book, I was pitching it to my wife when we were out to dinner one night, and she's a fourth grade school teacher. And she started asking me all these questions, what about this, and this and this and this, and it would not be an understatement to say that I reacted poorly to the feedback. And at the end of the night, we ended up still married and still loving each other. But she told me that she was not going to read it until it was published. And so I lost my opportunity to have my first best writer critiquer Michael Hingson 47:45 How about now with future books and the book you're working on now? Pat Daily 47:49 Now, I think she is much more open to it. Michael Hingson 47:52 And are you more open to Yes, Pat Daily 47:55 yes. And I I'm better at taking feedback. And that helps tremendously. Because now I can I can discuss it a little more dispassionately and talk about what works what doesn't work in a scene and, and how characters might actually react. How old are your daughter's daughter number one is 36. Donner number two will be 33. The end of this year? Michael Hingson 48:27 Do you have any sons? Nope. Pat Daily 48:29 Just daughters. Michael Hingson 48:30 So you've got two daughters, and they still and your wife still has some time to read and comment on your writings. Indeed, Pat Daily 48:40 although my I'm probably not her favorite genre. Now she she loves historical fiction. So she'll, she'll jump on one of those books more eagerly than a science fiction book. Michael Hingson 48:56 Well, okay, science fiction book. I guess we have to get to some other questions about that. So if we're dealing with science fiction today, Star Wars or Star Trek? Pat Daily 49:07 Oh, gotta say I love them both. But I was born and raised on trek. And so I'll always be a Trekkie, even though I am a little disgruntled with some of the decisions they've made and some of the recent movies. Michael Hingson 49:21 Yeah, yeah, my I hear you. But I like them both. I, especially the earlier Star Wars movies. I think, again, they've they've lost something in some of the translated translations later on. But they're fun. There are a lot of really nice Star Wars and Star Trek books, however, that are fun to read. Pat Daily 49:44 Yeah. Yeah. And I actually, I actually tried to write a Star Trek book years ago, and I thought it was it was going to be good but it never I never finished it and The series move beyond one of my central characters I made Lieutenant Saavik a central character and, and things just move beyond her. Michael Hingson 50:11 Mm hmm. Things happen. Yep. Well, and I was, you know, I like all of the Star Wars movies and I guess they they dealt with it but like the the last well of the original Nine with Luke Skywalker I guess in a little in a sense I was a little disappointed of course, I was disappointed that that Han Solo son killed him and what was that number? That would have been what number seven? But nevertheless, they're they're, they're fun. They're great adventure scores. So was Indiana Jones. Pat Daily 50:46 Yes, yes. Indiana Jones that Raiders of the Lost Ark was actually the first movie I took my wife to go see Michael Hingson 50:56 her you go down and how she liked it. She loved it. Pat Daily 51:01 She loved it. I knew nothing about it other night heard other people say great things about it. And so I was delighted that it turned out to be such a good movie. I think it made a positive impact. Michael Hingson 51:13 And were you afraid of snakes? I had to ask. Pat Daily 51:16 I hate snakes. Michael Hingson 51:21 Then as far as more I guess you could say science fiction, probably more fantasy, but something that I think has had a major impact on the lives of a lot of people, especially kids and helping them read is Harry Potter. Pat Daily 51:33 Yes. That completely hooked. My daughter's my my first daughter got hooked on the red wall series. Brian jocks but then as soon as the Harry Potter's came out, she started devouring those and that is what really turned my second daughter into a reader was all the Harry Potter books. So II and that's the point, right? Yep. Yep, Michael Hingson 52:01 I think we discovered Harry Potter with the third one in the series, prisoner basket band, we heard about it, and saw some new things about it. And at that time, there was still this company books on tape and we went in and we got copies, we got a copy and started reading the first one. And we got hooked. It was a little while getting into it. But it was a little boring at first, but we got hooked on it. And so we read the Sorcerer's Stone. And then we were hooked and couldn't wait for each of them the rest of the books to come out. So we read the first three pretty quickly because we were already on the Prisoner of Azkaban when we learned about it, but then we grabbed books as soon as we can. We got the audio books because my wife liked to listen to them as well, although we also got a print copy of all of the books, but we enjoyed listening to them. Jim Dale was such a great reader. And one of my favorite stories about all of that is that he was scheduled to read part of the fourth book in the series. I think that was the one published in 2001. When September 11 happened and he was supposed to be in Manhattan and was in Manhattan. He was supposed to do a reading outside of scholastic publishing, publishing. And so when the Goblet of Fire was published, he was going to be there doing a reading at Scholastic because they're the publisher of it. And of course, it was on September 11 And September 11 happened so he didn't get to read it. And we didn't get to go up and listen. But I remember that that was supposed to all happen on September 11. Pat Daily 53:41 Oh my goodness, I never knew that. So she was going to be an evening thing. We're going to have to take off work, go play a little hooky to listen to the reading Oh, Michael Hingson 53:50 we we could have gone up there without any difficulty during the day because we were working with scholastic publishing and sold them tape backup products. So it's not even a hard problem to go off and deal with going up there. Ah, okay. And when only going from the World Trade Center up to Scholastic, which is Midtown Manhattan, so was likely we'd be up in that area. Anyway. My favorite though thing about scholastic was we went in once I and a couple of wire other people. And one of the elevators was out of order, and they had a sign on the one that worked that said, this is for muggle use. And then the one that was out of order for wizard use only, which was really cute. I like that. Yeah, it was kind of fun. But you know, I really admire authors and books that promote reading and encourage people to read and I'm glad that that Harry Potter has done that and, you know, I'm looking forward to reading spar have gotta figure out a way to get access to it. I assume it may not be in audio format yet or is it? Pat Daily 54:53 It is not. But I just started conversations with someone who could be the the narrator and I I've just learned that there's a huge difference between narrators and voice actors. And so I may need someone with voice acting skills, rather than just narration. Because I've got a lot of characters and some drama, and I want somebody that that can do more than simply read the words off the page. But I don't know how long it takes from day one to final release of an audio book. But I will let you know when it happens. Michael Hingson 55:30 It you do have to get somebody who can read it. Well, I enjoy books where the reader is a as an actor and puts different voices into it. I've been reading talking books from the library of congress, of course, my whole life and early on, especially, they sought actors to do the reading. One of my favorite series has always been the wreck stop series near wolf, the private detective. Yeah, in the in the reader who did the best job was a radio actor named Carl Webber, who I never heard much of in radio, although I clicked radio shows, he did do a show called Dr. Six Gun. And I've discovered that and listened to him. And it does sound like our a Weber. But he read the neuro wolf books, and they were absolutely incredibly well done. So it does make a difference to have someone who's a good actor reading it, as opposed to just somebody who reads the lines, because they will help draw you in. Yeah, yeah. And I actually Pat Daily 56:35 just downloaded thunder dog. I still do a fair amount of driving and I like to listen to books while I'm driving. So I'm I'm looking forward to hearing that. Well, Christopher Michael Hingson 56:48 prince did a did a good job with it. I, I don't know how he would be at well, actually, I take that back. I have heard another book of that he read where he did. It was a fiction book. And I'm trying to remember the name of it, I'd have to go back and find it. But he did a pretty good job. He did this for Oasis audio. But there are some good actors out there. And so I hope that you have some success. Let me know. And if you need somebody ever to listen, I'd be glad to help. Pat Daily 57:17 Oh, excellent. Thank you. I'll take care on that. Michael Hingson 57:20 I have one last question I've been thinking about not book related. But talking about aircraft. Again, the 747 I keep hearing is probably the most stable passenger airliner that has ever been really produced. What do you think about that? Why is it so stable? Oh, I've Pat Daily 57:38 got to agree with that a real champion of design. And it's got a couple things in his favor. One is one is the wings are Anhedral, which means that they can't up a little bit and especially when, when they get a little lift on him, they they get pulled up as all their aircraft wings do. And then the enormous vertical stabilizer lends a lot of a lot of stability to the aircraft. And then finally, I think Boeing just did an absolutely spectacular job of, of harmonizing the flight controls and putting everything together to make it a very docile airplane, certainly for something of its size. I mean, it carries so much fuel that he uses fuel for structural integrity when it's more full. And so we have that 747 is a spectacular airplane. And, and unfortunately, it's it's kind of aging Michael Hingson 58:38 out. But how come they haven't done other things with that same level of design and stability? At least? I haven't heard that they have. But yeah, I Pat Daily 58:48 think I think the triple seven is close to it. There have been very very few mishaps with the with the triple seven. And it's it's another marvelous airplane. I don't think they got exactly what they're hoping for with the 787. They did have some design issues, some manufacturability issues, but it's it's certainly a highly efficient and remarkably quiet appointment. So Michael Hingson 59:20 what prompted the question was when you were talking about the Mitsubishi aircraft and so on, and putting the luggage at the backs of taller people could stand up. It reminded me of the 747 with the upper level for first class, the lounge where the pilots and so on were so it almost was to a degree at least a double decker aircraft. Pat Daily 59:38 Yeah. Yeah. And of course Airbus has made the a 380 which is a true double decker full length. But that's that's another aircraft that hasn't exactly lived up to its hype. Well, Michael Hingson 59:51 still holding on for flying saucers. There you go. Well, Pat, I want to thank you for being on unstoppable mindset. How do people reach out and maybe learn more about you? Where can they get the book? You know, love all your contact information and so on. Pat Daily 1:00:08 Okay, probably the easiest way is the website, which is thepatdaily.com. And it's t h e. P a t d a i l y.com. And that has links to to my blog to the bio to all my other socials. I'm on, of course on on Facebook at Pat Daily, author and on Instagram at Pat daily pics and then Twitter at at Pat Daily, or I think it's at Pat Daily author, but easiest way, just the website, everything is there. Down. Cool. Michael Hingson 1:00:48 Well, I know I'm looking forward to finding a way to read spark and your other books as they come out. That will be fun being a science fiction fan, of course. And I think we talked about it before we were doing this particular episode. But we've talked about science fiction and some of my favorite authors, I would still like to see somebody take Robert Heinlein to the Moon is a Harsh Mistress, and make it into a radio series. Talking about actors. I just think that do. I think you're right. I loved that book. Pat Daily 1:01:19 I loved so much of what Heinlein wrote, you know, one of the one a great masters of the genre. Michael Hingson 1:01:25 Yeah, yeah. And I think that's his best book. A lot of people say Stranger in a Strange Land was and it was very unique, and so on. But the Moon is a Harsh Mistress is so clever. And there's so much to it. And of course, then there are books that follow on from it, where some of the world's the same characters are involved. Heinlein created a whole universe, which was fun, did it just sort of like as I did with the foundation series? Well, thanks, again, for being here. We need to do this again. Especially when you get more books out, when you get your next book out, we got to come back and talk about it. I'd love to. Pat Daily 1:02:02 And and thank you so much for having me on your show, Mike, I really appreciate it. Michael Hingson 1:02:05 Well, I really appreciate you taking the time to be here. This has been fun. So people go find the Pat daily.com and contact Pat reach out and enjoy the book. And let me know what you think of it. I'm going to get to it as well, I'm just going to find a way to be able to read it. So we'll get there. But for all of you who listened in today, thanks very much for being here. If you'd like to reach out to me, please do so. My email address is Michaelhi@accessibility.com. That's M I C H A E L H I at A C C E S S I B E.com. Where you can go to www dot Michael hingson.com/podcast where you can reach out to us as well. I hope you'll give us a five star rating. And Pat, we didn't talk about it. Well, we should probably at some point, talk about how accessible your website is and get you in touch with people in accessibe. Pat Daily 1:03:01 Absolutely. I did check out accessibe and it looks like something that once I get the website fully developed, we'll be in contact. Michael Hingson 1:03:09 Well, we'd love to help you with that. But again, everyone thanks for being here. Please give us a five star rating and we hope that you'll be back again next week for unstoppable mindset. And again, Pat, thank you for being here as well. Pat Daily 1:03:20 Thank you, Mike.Take care, Michael Hingson 1:03:22 you too. Michael Hingson 1:03:26 You have been listening to the Unstoppable Mindset podcast. Thanks for dropping by. I hope that you'll join us again next week, and in future weeks for upcoming episodes. To subscribe to our podcast and to learn about upcoming episodes, please visit www dot Michael hingson.com slash podcast. Michael Hingson is spelled m i c h a e l h i n g s o n. While you're on the site., please use the form there to recommend people who we ought to interview in upcoming editions of the show. And also, we ask you and urge you to invite your friends to join us in the future. If you know of any one or any organization needing a speaker for an event, please email me at speaker at Michael hingson.com. I appreciate it very much. To learn more about the concept of blinded by fear, please visit www dot Michael hingson.com forward slash blinded by fear and while you're there, feel free to pick up a copy of my free eBook entitled blinded by fear. The unstoppable mindset podcast is provided by access cast an initiative of accessiBe and is sponsored by accessiBe. Please visit www.accessibe.com. accessiBe is spelled a c c e s s i b e. There you can learn all about how you can make your website inclusive for all persons with disabilities and how you can help make the internet fully inclusive by 2025. Thanks again for listening. Please come back and visit us again next week.
The 1960s is supposed to be sci-fi's golden age. But when we look back at some of the era's books, it turns out some of them are a little strange. Stranger in a Strange Land might seem like an interesting premise, but really it's just a 14 year old's very confusing wet dream… But how does a book like this inspire Charles Manson's cult? What's its connection to scientology? And did the book invent the waterbed?! Dr Cara Rodway is back to chat all these strange things and more! Learn more about your ad choices. Visit megaphone.fm/adchoices
Join Dave and Wayne for genre television show news, a glimpse into what the hosts are currently watching, commentary and analysis of the Prime Video series The Lord of the Rings: The Rings of Power. This week on the SciFi TV Rewatch podcast we discuss Theo's instinctive activation of the hilt of Sauron's sword, and the fact that his companion leaves him to die at the hands of Adar's orcs. There's something strange going on with the ore discovered by the dwarves, and despite her poor people skills, Galadriel convinces the Queen Regent to join the fight against Sauron. In our What We're Watching segment, Dave points out some of the leaked information around the final Doctor Who episode of the Jodie Whittaker era. Wayne finds it difficult to accept that Robert Heinlein's Stranger in a Strange Land is considered a science fiction classic. In Listener Feedback, Fred from the Netherlands remarks about the wonderful costuming, especially in Numenor. Remember to join the genre television and film discussion on the SciFi TV Rewatch Facebook group for the latest genre television show news and podcast releases. Episode Grade: Dave B+ Wayne A-
Join Dave and Wayne for genre television show news, a glimpse into what the hosts are currently watching, commentary and analysis of the Prime Video series The Lord of the Rings: The Rings of Power. This week on the SciFi TV Rewatch podcast we discuss the series premiere of The Lord of the Rings: The Rings of Power and the possibility that we might see three or four characters embark on heroic journeys worthy of Joseph Campbell's monomyth. Admittedly, we know how many of these storylines will play out, but not how we'll get there. In our What We're Watching segment, Wayne's reading the classic Robert Heinlein novel Stranger in a Strange Land, and Dave admits that he'd forgotten he actually watched the second season of The Man in the High Castle. In Listener Feedback, Fred from the Netherlands admits that a certain level of mystery doesn't appear to be part of the series' mythos, but that doesn't mean there aren't questions to be explored. Remember to join the genre television and film discussion on the SciFi TV Rewatch Facebook group for the latest genre television show news and podcast releases. Episode Grade: A-
NEWS - Rian Johnson on …THE LAST JEDI: "I'm even more proud of it five years on. When I was up at bat, I really swung at the ball…" - DC Fandome Canceled - LOTR: THE RINGS OF POWER starts Friday! - WB Execs didn't love the Snyder Cut OGTW - Becker: Obi-Wan Comic series. THE SAMARITAN - Diaz: ROGUE ONE BluRay. DRAGONLANCE: DRAGONS OF DECEIT, RED MARS/BLUE MARS/GREEN MARS by Kim Stanley Robinson, STRANGER IN A STRANGE LAND by Robert Heinlein MAIN TOPIC: This week Joe and Michael tackle the latest episode of SHE-HULK: ATTORNEY AT LAW before diving into the complex and disturbing world of …HOUSE OF THE DRAGON. Is SHE-HULK appointment television? What else would you like to see from the podcast? Let us know in the comments! Welcome back to the Kybercast! #SheHulk #HouseOfTheDragon #TheSamaritan #Dragonlance #DragonsOfDeceit #TheRingsOfPower #RogueOne #RedMars #BlueMars #GreenMars #StrangerInAStrangeLand #ObiWanKenobi
This week Keegan, Cassi and Christina talk about lies told to impress partners when they were younger and if you can be with someone who hates things you love. The FMK are our red flag books Catcher in the Rye, Stranger in a Strange Land and Sound and Fury. Going into the bad date stories, Christina shares an opera date with an ultimatum, Cassi shares a date with the best hands for the job and Keegan shares an 80s date featuring nunchucks and a raccoon. Christina wraps it up in the true crime segment, Tainted Love with the heartbreaking story of Gladys Ricart and the Bride's March. Learn more about your ad choices. Visit megaphone.fm/adchoices
Cati Porter is the author of ten books and chapbooks, including her newest, Novel, a chapbook from Bamboo Dart Press. Her work has appeared in So to Speak: A Feminist Journal of Language and Art, as winner of their annual poetry competition, as well as many others including Rattle, Verse Daily, Salon.com, Contrary, Shark Reef, West Trestle, and Pratik. She is the founder of poetry journal Poemeleon, and lives in Inland Southern California with her family where she directs Inlandia Institute, a literary nonprofit. Find more at: https://www.catiporter.com/ As always, we'll also include live open lines for responses to our weekly prompt or any other poems you'd like to share. A Zoom link will be provided in the chat window during the show before that segment begins. For links to all the past episodes, visit: https://www.rattle.com/rattlecast/ This Week's Prompt: Write about a time you were a stranger in a strange land. Next Week's Prompt: Write a poem about a snippet of conversation you overhear this week. The Rattlecast livestreams on YouTube, Facebook, and Twitter, then becomes an audio podcast. Find it on iTunes, Spotify, or anywhere else you get your podcasts.
Raquel Franco is a wife, mother, friend, sister, daughter and author. Her work has been featured in Thought Catalog, Harness Magazine and Rattle Magazine. She is the author of poetry collections, Keep Me Wild, This Woman is Still Girl and When the Bee Stings. She is also featured in the poetry compilation, Crown Anthology, that includes over 100 widely known Instagram artists. Find more at: https://www.raquelfranco.co/ As always, we'll also include live open lines for responses to our weekly prompt or any other poems you'd like to share. A Zoom link will be provided in the chat window during the show before that segment begins. For links to all the past episodes, visit: https://www.rattle.com/rattlecast/ This Week's Prompt: Write an obituary for an inanimate object or idea. Next Week's Prompt: Write about a time you were a stranger in a strange land. The Rattlecast livestreams on YouTube, Facebook, and Twitter, then becomes an audio podcast. Find it on iTunes, Spotify, or anywhere else you get your podcasts.
Quests - Iron Maiden, Stranger in a Strange Land, Cave of Dreams, The Tower Outta Nowheres, The Nithing, The Last Wish. Part II will be next week with some sweet Skellige jarl action. All comments, questions, and interactions Video Form of the show - https://www.youtube.com/c/983Media/videos Discord with an "On the Path" channel - https://discord.gg/XBcSrM3SNY Twitter - https://twitter.com/witcherpodcast Email - firstname.lastname@example.org Instagram - https://www.instagram.com/witcherpod Where you can find Lucy Twitter - https://twitter.com/lucyjrobyn Twitch - https://www.twitch.tv/lucyjrobyn YouTube - https://www.youtube.com/c/lucyjrobyn Where you can find Brett Twitter - https://twitter.com/thefoxbride4 Twitch - https://www.twitch.tv/thefoxbride Instagram - https://www.instagram.com/thefoxbride/ Audio editing done by Markthius of 983 Media All sounds are from The Witcher 3 and The Witcher 3 soundtrack. Whispers of Oxenfurt archived episodes available here - https://drive.google.com/drive/folders/1D5zNrsLAVRLULhjOTu42Q12fR1XuGs8Z?usp=sharing
I wrote this piece for cor anglais for Thomas Herzog to play. I called it Das Lied vom Fremden in einem fremden Land (‘The Song of the Stranger in a strange Land') to help us identify with the many millions of people across the world who forced out of their homes. But as the Earth buckles under the effects of climate change and war, perhaps none of us can be certain that our familiar places will remain places of shelter and nurture. I hope this piece will help us pray into these things.
In this episode, writers Chris La Tray, Fred Haefele, and Chris Autio take us on three distinct and heady road trips. Chris La Tray: Comet (poem) Three . . . Two . . . One . . . Blast off! Fred Haefele: excerpt from A Life in 12 Pickups (vehicular memoir) When a pickup truck transcends mechanical essence, rises to become comrade, ally and intimate. Chris Autio: Truck Topper (poem) We go on an archeological dig. Chris Autio: Bad Auto Points in Augusta (poem) We find a stranger in a strange land.
Performing autopsies isn't something you see lawyers doing. But if you understand the original meaning of the word "autopsy" as used by the early Greeks then you'll understand why lawyers should do this. In this episode, we delve into how you can improve your thinking and decision-making by understanding the original meaning behind this important word. Show Notes Definition of "autopsy" (Note: 'Greek' autopsia - act of seeing with one's own eyes, from aut- + opsis sight, appearance) Snopes.com (well-known website that debunks common misinformation) Stranger In A Strange Land, by Robert Heinlein (popular 1960s science fiction book that hypothesized the existence of specially trained professionals called "Fair Witnesses") Axios article about finding trustworthy news sources. Working Smarter with Digital Technology (my short guide to improving your practice by using technology better) Thanks to Our Sponsors "ChatterBoss is an incredible remote executive assistant company that helps solopreneurs and small businesses grow quickly and save money. Your dedicated ChatterBoss assistant can help you with case management, billing support, email optimization, social media, process building, automation, and more. They even have on-demand paralegals and legal assistants. The service is customized to your budget and is on-demand, so you are able to work with your assistant as much or as little as you need throughout the week. The minimum monthly spend for a dedicated executive assistant is only $200/month. The best way to get started is to schedule a free consultation and find out exactly how the service works. Click this link to schedule a free 30-minute call, and you'll get a special 15% discount when you sign up with ChatterBoss." Smith.ai is an amazing virtual receptionist service that specializes in working with solo and small law firms. When you hire Smith.ai you're actually hiring well-trained, friendly receptionists who can respond to callers in English or Spanish. If there's one great outsourcing opportunity for your practice, this is it. Let Smith.ai have your back while you stay focused on your work, knowing that your clients and prospects are being taken care of. Plans start at $210/month for 30 calls and pricing starts at $140 for 20 chats, with overage at $7 per chat. They offer a risk-free start with a 14-day money-back guarantee on all receptionist and live chat plans including add-ons (up to $1000). And they have a special offer for podcast listeners where you can get an extra $100 discount with promo code ERNIE100. Sign up for a risk-free start with a 14-day money-back guarantee now (and learn more) at smith.ai. EPISODE CREDITS: If you like this podcast and are thinking of creating your own, consider talking to my producer, Danny Ozment. He helps thought leaders, influencers, executives, HR professionals, recruiters, lawyers, realtors, bloggers, coaches, and authors create, launch, and produce podcasts that grow their business and impact the world. Find out more at EmeraldCity
Find show notes here. Are you living as a stranger in a strange land? My guest this week was struggling with loneliness and homesickness living away from her native India when her husband's work required them to move to the States. It was in that experience that Mabel Ninan began to cry out to God, asking for His help to face these struggles and in the process realized the deeper issues of identity and belonging that came from her circumstances. In this episode, Mabel shares about realizing her identity as a spiritual immigrant and her dream to inspire believers to embrace their pilgrim journey and boldly pursue their heavenly calling. We also talk about: Finding stability, permanence, and security when you're feeling adrift in the world, Knowing what you were made to do but having no idea where to begin, and How God meets you when you walk right out of your comfort zone. Get 17 Quick-Win Actions to Move Your Dream Forward You've likely heard me extoll the value of taking baby steps toward your dream. I believe this is one of the most useful tools we have at our disposal at the beginning of such a journey. If you're not sure where to start or what those steps might be, check out 17 Quick-Win Actions to Get Your Dream Moving Forward. It's just a list--you could use it as a checklist if you like-- and you don't even have to do them all. You can just choose one, and that's your baby step, momentum-builder to get you out of procrastination and get you moving today. Then, you can choose another one tomorrow. Get it here: http://www.merrittonsa.com/quickwin NEXT STEPS: Connect with Merritt: Website || Instagram || Book a Discovery Call Get Connected with the Facebook Community Support the Podcast Leave a Review: Apple Podcasts/iTunes Subscribe: on Apple Podcasts * on Android
Vallibus discusses the Robert Heinlein book Stranger in a Strange Land. https://en.m.wikipedia.org/wiki/Church_of_All_Worlds Learn more about your ad choices. Visit megaphone.fm/adchoices
Spencer Moody is a poet, visual artist, songwriter and vocalist for the The Murder City Devils, Triumph Of Lethargy Skinned Alive To Death and more recently, M.Krebs. In this episode Spencer catches us up on his new life on The Big Island and how being a stranger in a strange land has influenced his work. Joe and Spencer discuss the process and inspiration behind both the M.krebs record AND his newest project with Joe Jack Talcum, a split LP on This and That Tapes. We hear a couple tunes from M.Krebs and end with a very special story about Joe and Spencers friend, the late great Sam Jayne. https://mkrebs.bandcamp.com/releaseshttps://thisandthattapes.com/releases/spencer-moody-joe-jack-talcum-splithttp://jacktalcum.com/index.phpSponsored by https://www.izotope.comUse Code Fret10 for a free month of Music Production Suite Pro and a 10% discount on all other software. Visit Izotope.com
Video Version: https://www.youtube.com/watch?v=cOGGAC1s-aE The Knowledge and Conversation of the Holy Guardian Angel! A discussion around the various ideas of what it is and then I talk about my experience with it and where I think its going next! Related Blog Posts: https://www.adventuresinwoowoo.com/2020/10/star-ruby-week-2-holy-daimon/ https://www.adventuresinwoowoo.com/2020/10/star-ruby-week-3-correcting-glamour/ https://www.adventuresinwoowoo.com/2020/10/the-answer-was-not-inside-me-all-along/ https://www.adventuresinwoowoo.com/2021/08/stranger-in-a-strange-land/ https://www.adventuresinwoowoo.com/2021/09/the-deer-the-witch-the-shed-and-the-baptists-head/ _ _ _ _ _ Join the PATREON: https://www.patreon.com/tommiekelly Send a donation via PAYPAL http://www.paypal.me/tommiekelly Buy Me a Book: https://www.amazon.co.uk/hz/wishlist/ls/33TYYN3KT7ZAJ/ Find out about The Forty Servants: https://www.adventuresinwoowoo.com/thefortyservants/ ***SITES AND SOCIAL MEDIA*** Web: http://www.adventuresinwoowoo.com DISCORD: https://discord.gg/aiww Twitter: http://www.twitter.com/tommiekelly Facebook: https://www.facebook.com/adventuresinwoowoo Instagram: https://www.instagram.com/tommiekelly/ Spotify: https://open.spotify.com/show/2PEvElCUoa6Eyz2d129UjE?si=MGgNKT-pQ52tOZ_Xv4cJOQ _ _ _ _ _ As an Amazon Associate, I earn from qualifying purchases, so if you see an Amazon link it's more than likely an affiliate link. The price will be the exact same for you, but I get a commission.
Stacy Morgan is an army spouse, mom, and author. She's also an astronaut spouse and knows all about feeling out of place in her community. She has recently written a book called The Astronaut's Wife, where she shares how launching her husband into outer space changed the way she lives on Earth. Stacey and her husband were both cadets at West Point, where they first met. Does filling out emergency contact paperwork make you realize how alone you are in your community? Don't miss this episode as Stacey and I talk about her experience in the military community and the astronaut spouse community. Stacey shares her incredible insight with us about what she calls the loneliness epidemic affecting women in America. This episode is for you if you have ever felt like a victim of loneliness in your community, and I can't wait to hear what you think! Highlights from this episode include: Introducing Stacey (0:09) Applying for NASA (2:58) Being all in during the application process (6:28) Being a stranger in a strange land (9:49) Inspiration to write a book (13:19) Finding support and community from other astronaut spouses (18:58) Feeling alone in a new community dynamic (25:04) Unearthing the epidemic of loneliness among women (28:36) Choosing to connect (34:16) Forming friendships through the vulnerability of not wanting to be alone (38:38) Advice for new military spouses (44:06) Prioritizing people and not the place (46:35) Stacey's Fast Five (48:10) Are you ready to get out there and start inviting people over for coffee? Before you rush out to buy more mugs and meet new friends, I would love to know if you loved this episode and if Stacey's insight has helped you as much as it helped me! Join me on social! Connect with Stacey The Astronaut's Wife Instagram Connect with Elizabeth Website Facebook Instagram Thanks for joining me on this episode of, The American MILSpouse! If you enjoyed this episode, please give me a 5-star, and leave a review to help me reach even more military spouses. Also, don't forget to check out my website or continue the conversation with me on Instagram to stay connected with others in the community. --- Send in a voice message: https://anchor.fm/theamericanmilspouse/message
Episode 158 – Why Am I Here – Part 7: Glorifying God Welcome to Anchored by Truth brought to you by Crystal Sea Books. In John 14:6, Jesus said, “I am the way, the truth, and the life.” The goal of Anchored by Truth is to encourage everyone to grow in the Christian faith by anchoring themselves to the secure truth found in the inspired, inerrant, and infallible word of God. Script: Before the creation of the world, he chose us through Christ to be holy and perfect in his presence. Because of his love he had already decided to adopt us through Jesus Christ. He freely chose to do this … Ephesians, chapter 1, verses 4 and 5, God’s Word Translation ******** VK: Hello! I’m Victoria K. Welcome to Anchored by Truth brought to you by Crystal Sea Books. We want to thank you for joining us as we continue a series we began a few weeks ago on Anchored by Truth. We’ve entitled this series “Why am I here?” We wanted to do this series because there is so much turmoil and confusion in the world around us right now it can be easy to get lost in it. This situation calls to mind the observation that is often made that, while Christians live in the world, this world is not truly our home. In Hebrews, chapter 13, verses 12 through 16 the writer goes through a description of the longings of some Old Testament saints for their true home in heaven. In verse 13 he says that these saints were, “living as strangers with no permanent home on earth.” I’m in the studio today with RD Fierro, an author and the founder of Crystal Sea Books. RD, how does the fact that our true home is not on this earth affect our understanding of why we are here? RD: Well, before I comment on that I would like to add to your thanks to the listeners for tuning in today – whether they’re listening on the broadcast or podcast. We’re grateful for anyone who devotes part of their day or week with us. The observation that this earth is not our real home gives us the context for why we are on this earth. The statement is verse 13 you quoted might seem to be a sad statement but in verse 16 the writer of Hebrews follows up with “That is why God is not ashamed to be called their God. He has prepared a city for them.” So, in 3 short verses the writer of Hebrews has given us a lot of insight into a true answer to the question of “why we are here.” First, the writer tells us that our permanent home is not on this earth. That is a foundational fact that is noted throughout the Bible but it is not until the final 2 chapters of the Bible that we find out what our permanent home is. VK: You’re thinking of Revelation, chapter 21, verses 1 through 3. “I saw a new heaven and a new earth, because the first heaven and earth had disappeared, … Then I saw the holy city, New Jerusalem, coming down from God out of heaven, … I heard a loud voice from the throne say, ‘God lives with humans! God will make his home with them, and they will be his people. God himself will be with them and be their God.’” RD: Right. The permanent home for everyone who places their trust in Jesus is the City of New Jerusalem in the new heavens and new earth. Hebrews 13:13 – 16 harkens back to Exodus, chapter 2, verse 22. VK: The New Living Translation version of that verse says, “Later [Zipporah] gave birth to a son, and Moses named him Gershom, for he explained, ‘I have been a foreigner in a foreign land.’” RD: Right. I actually like the way the King James Version phrases it. The King James Version says Gershom, which is the name of Moses’s son, means “stranger in a strange land.” Many people will recognize that that is the same title of one of the most famous science fiction novels of all time. Moses was primarily talking about the fact that at the time his son was born Moses was living in a land that was foreign, strange to him. Moses had been brought up in Pharaoh’s palace in Egypt but he had to flee Egypt after he killed an Egyptian. His flight led him to Midian where he married Zipporah, the daughter of Jethro, who was a shepherd. Moses would live in what some have termed “the backside of the desert” for the next 40 years. VK: So, when Moses named his son he was still relatively new to his surroundings. We know from the name he gave his son that he still felt the unfamiliarity of the place where he found himself. So, in a very real way Moses was expressing the earthly sentiment that the writer of Hebrews would later apply in a larger, more spiritual sense. While in Midian Moses felt that he was a “stranger in a strange land.” RD: Yes. And, as you said, in a very real way that expresses a sense that all Christians have experienced in one form or another that we too are strangers in a strange land. As some of the old-timers used to put it, “we’re just passing through.” And that is something that we have to keep in mind as we are pondering the question of why we are here. The question “why am I here” essentially has at least three dimensions for a Christian. First, we ask it sometimes because we want to be sure that our lives have purpose and meaning. Second, we may meditate on it because we wonder whether anyone really cares about the struggles we are facing – and frankly whether anyone really loves us. And third, Christians will wonder about why we are here because we want to be sure that we are fulfilling God’s purpose for our lives. VK: Christians can wonder about whether we are fulfilling God’s purpose for our lives because Christians obviously believe in a loving, Creator God who chose us before the creation of the world. We heard that in our opening scripture from Ephesians. But if there is someone who doesn’t believe in the God of the Bible they are denied that insight. RD: Yes. And, as we noted in our last episode anyone who subscribes to the notion that their existence on this earth results strictly from “evolution” – from the random, chaotic collision of bit of matter that toss around in undirected vortices of energy – has no firm basis for trying to derive a meaning for their life. Randomness, turmoil, and chaos are the opposite of purpose and meaning so if you ascribe the origin of life to them you have denied yourself the opportunity to find significance for your existence. VK: But, since all human beings have an intuitive knowledge that there is a God, anyone who denies God’s existence is in an untenable, unstable position when it comes to forming a worldview. They can’t trace their existence back to a purposeful Creator – so they have no ultimate source for the existence of any purpose at all in this universe. So, when it comes to finding meaning for their lives they are standing on intellectual quicksand. That is one of the points that the Apostle Paul was making in Romans, chapter 1, verses 18 through 23. All that is left for that kind of a worldview is a profound sort of abiding hopelessness. In their worldview they could just as well have not existed as existed. Their existence is just one more cosmic accident because cosmic accidents are all that is possible in an uncreated, undirected universe. It’s little wonder that a starting axiom that denies God’s existence produces feelings of lack of worth, unimportance, and purposelessness in people who hold to it. RD: Yes. The person who denies God’s existence begins the contemplation of why they are here is in a double deficit. First, they have no ultimate source of purpose in the universe. And second, they constantly feel the struggle of having to suppress their intuitive knowledge of God. The Greek word that is translated as “suppress” is the same word that would have been used for trying to hold back a great weight or compress a strong spring. It takes effort to suppress the knowledge of God. The situation is different for the Christian. Christians know there is a God and that He purposefully created us. VK: But Christians also know that the creation in which we live is a fallen creation. This creation does not exist in the same state in which God originally created it. The Bible tells us that creation itself was affected when Adam and Eve sinned – and that even now it is not the way God originally intended. Romans, chapter 8, verse 22 says, “We know that all creation is still groaning and is in pain, like a woman about to give birth.” That’s from the Contemporary English Version. RD: Right. The Christian lives with the constant awareness that things in this universe are not right. But, as we started out saying we also know that we are just “passing through.” So, for a Christian the answer to “why we are here” has an inextricable link to what we should be doing while we are passing through. VK: And in our last couple of episodes we noted that what we are to be about while we are passing through can be thought about in 3 different categories: our character, our career, and our calling. We are on this earth for a matter of decades – a few of us may live beyond 100. But we will be in our permanent home in the new heavens and new earth for eternity. And the only thing we will take from this earth to our heavenly home is our character and our record of any deeds we have done for Christ. One of the big reasons we are on this earth is to develop that character we will possess for an eternity. Sometimes, I really hate thinking about that. RD: And any sober Christian does. We have all fallen short of God’s best for our lives and that’s why we celebrate God’s grace. God’s grace gives us what we could never achieve for ourselves. That means we can begin wherever we are, right this moment, to begin seeking to improve our characters in the manner in which God calls us. VK: Which is to be holy. We have noted in previous episodes in this series on Anchored by Truth that while the Bible may not be precise about what career we should follow or what our calling for the kingdom is, the Bible is crystal clear … RD: Crystal clear ... as in a crystal sea … VK: ... nice plug … any way the Bible is crystal clear that we are called to be holy even as God is holy. Most people think of the term “holy” as meaning sacred or pure – and that’s fine. But the primary meaning of holiness is to be “set aside” – holy things and people are set aside for God’s use. To be holy is to mean that our lives are set aside from the world and dedicated to God. RD: Yes. So, when it comes to knowing why we are here insofar as our character is concerned – the reason we are here is to be holy. And we spent the better part of the last two episodes of Anchored by Truth talking about what the Bible has to say about why we are here insofar as it concerns our careers and our callings. VK: And we noted that when it comes to careers we made the point that carefully reading the Bible reveals that God uses people from a wide variety of jobs and vocations in His service. Sometimes people might get the idea that you must become a preacher, missionary, or church worker to be in a vocation that is pleasing to God but that isn’t true. And we mentioned the verse from Exodus where God called two specific Israelite men to make the furniture and fixtures for the temple demonstrating God’s approval of craftsmen, artisans, and people who work with their hands. RD: Right. And when it came to discussing our calling we pointed out that our calling for the kingdom may be directly related to our careers and jobs but it doesn’t have to be. Robert Letourneau’s name is well known in the construction field because even though he dropped out of school in the 7th grade he held over 300 patents in the field of earthmoving. Letourneau’s sister challenged him at an early age to get serious about serving God. He thought it meant he should be a preacher or a missionary. But after praying with his pastor about it his pastor told him “God needs businessmen too.” So, Letourneau became what he called “God’s business partner.” VK: And Letourneau was a very successful business partner for God, wasn’t he? Letourneau eventually gave away 90% of what he earned to charitable projects all over the world. He once said, “I shovel money out and God shovels it back, but God has a bigger shovel.” Letourneau is just one example of someone who fulfilled a calling to serve God through amazing giving even though his career was designing and building earth moving equipment. And for anyone who missed those episodes of Anchored by Truth links to those shows are available on our website crystalseabooks.com or on your favorite podcast app. So, as we’re coming to the end of this “why am I here” series what do you want to emphasize as we begin our wrap up? RD: Well, what we have seen throughout this series is that in order to know why we are here we must understand that we live in a universe created by God. But that creation fell when Adam and Eve sinned. And, ever since the fall, God has been engaged in a plan of redemption. The climax of that plan was when Jesus came to earth, adopted a human nature in addition to His divine nature, and paid the sin debt that we all owe. We live in that time between Jesus’ first coming as the suffering servant and His prophesied second coming when He will be the conquering lion. That will usher in the end of this phase of human history where all who place their trust in Jesus for salvation will enter their permanent home. So, as we think about why we are here we have to keep all that in mind. VK: And we can’t do that without knowing the Bible. That’s one point we have emphasized throughout this series. We must be familiar with the Bible to understand God, God’s will for us, how God has interacted with people in the past, and God’s plan for the future. This information is crucial if we truly want to know how we fit into God’s creation. And it is God’s creation despite what our modern culture would like to insist. And that’s frankly one of the reasons that surveys about people’s attitudes today reveal so much hopelessness and dissatisfaction. People don’t want to base their lives on the reality that we bear God’s image. If we reject God we reject basis for our own existence, purpose, and meaning. RD: Yes. So, one of the big points I really want to get across as we close this series is that we have to come to grips with the fact the reason we are here has to account God’s purpose for creating people in the first place. VK: And that purpose is? RD: As we mentioned in our very first episode in this series one of the old creedal statements is that the chief purpose of man is “to glorify God and enjoy Him forever.” I fully realize that is not a popular sentiment today but that does not make the statement less true or meaningful. We are never going to have a satisfying answer to the question of why we are here unless we recognize that we are here to glorify God – and we will all do that one way or another. VK: Well, I think you’re right that most people today do not have much, if any, interest in glorifying God. It’s sad to say but most people are more interested in glorifying themselves. But as the Bible says in Matthew, chapter 6, verse 24, “No one can serve two masters. Either you will hate the one and love the other, or you will be devoted to the one and despise the other.” So, if our principle aim is to glorify ourselves then we will not be seeking to glorify God. Conversely, if we have been saved by the blood of Jesus we cannot help wanting to proclaim His excellence. It’s a stark contrast. Why do you think people today resist glorifying God? RD: I think people misunderstand the idea of glorifying God which is both sad and curious because a great many people have no problem glorifying less noble entities than God. VK: What are you thinking about? RD: People today will quite often be willing to glorify sports figures, entertainment celebrities, political candidates, and any number of earthly organizations. Walk around any town or city and you will see someone wearing a sports jersey for a particular college or professional team in a wide variety of sports. And quite often they will have the jersey from a particular member of that team – the quarterback, a pitcher, or a goal tender. So, the people who will do that do not only want to identify with an organization but also with a particular person. VK: I see what you mean. Kids will leave their house adorned with images of cartoon or animated movie characters. They will have “princess this” or “hero that” on their clothes, shoes, or backpacks. Teenagers will buy sunglasses, sports gear, or cosmetics because they have seen a celebrity wearing or using the item or because an “internet influencer” included it in a video or selfie. And adults will identify them as a fan of a particular city’s team or even sometimes some well-known food item or style of cuisine. RD: Yes. People have no problem identifying with and therefore glorifying all kinds of famous people, places, or things. In other words people don’t resist of attributing glory to a great many earthly things, but they balk when it comes to doing that same thing with the Lord of the universe. Make no mistake – if you buy and wear a jersey from your favorite sports figure you are giving that figure glory because you are telling the world that you are so impressed with that person that you want to identify with them – and you want the world to know that you identify with them. VK: But I am sure that a lot of people would say they are not trying to glorify that sports figure – they are just displaying their loyalty to them. RD: The question is why do they feel loyal to that team or person? And the answer is going to have something to do with being born or living in that city, being impressed by something the team or figure did, and wanting to let the world know that. And that’s fine. I’m not trying to get people to not buy team jerseys or be less proud of where they are from. But what I am doing is pointing out that if we are willing to be so open about our loyalty or dedication to lesser, earthly entities why would feel any reluctance to simply do the same thing with God. VK: So, you’re saying that if we don’t mind glorifying things on the earth why would we resist glorifying the One who made the earth? RD: Exactly. Theologians speak of two types of glory associated with God. God possesses intrinsic glory but there is also something called ascribed glory. Intrinsic glory is the glory God possesses just because of who He is – the Creator, the Sustainer, the Perfect, the One Without Shadow … VK: … which is the name you used for God in your book The Prodigal’s Advocate... RD: … yes ... because God has no imperfections or flaws that would create a shadow. God’s intrinsic glory cannot be increased or decreased by anyone or anything. He possesses it in perfection and ultimate majesty. But ascribed glory is the glory God receives from His creatures. And those creatures can either render it, if they are wise, or not render it if they are foolish. VK: Because it is foolish to try to withhold acknowledging that which another already possesses. RD: Exactly. So, to put in plainly, one reason that we are here is to learn that God is entirely worthy of receiving glory and also to learn how to properly express it. But what so many don’t realize is that if they attempt to withhold the expression of glory to God the only person they are denying is themselves. We identify with sports figures, teams, cities, etc. because it helps us feel like we belong, like we are connected. That’s an understandable, a reasonable motive. But if that is true of earthly things it is far truer of heavenly ones. When we seek to glorify God we will feel – and be – far more connected to Him. VK: We’ve mentioned many times during this series that human beings bear God’s image. But since the fall the image that we bear is a marred one. Our ability to reflect God is marred by sin. But, as Dr. Sinclair Ferguson has said, “God wants His image back.” And I think all Christians feel that innately. Even non-Christians feel the weight of God’s presence in their lives. Romans, chapter 1, makes that very clear. RD: Right. So let’s be even more pointed about the fact that glorifying God is not only our purpose in life – a central part of why we are here – it is essential. I often hear people say they want to feel God’s power in their lives, or they want victory in their faith, or they want to know God’s will for their lives. It’s essentially the same sentiment expressed in different ways. Well, anyone who wants to truly experience God’s power must begin by glorifying God. If we want victory or power or spiritual authority we will get it if, and only if, we consciously set out to glorify God. VK: As you wrote in The Prodigal’s Advocate when a mighty king prepares a great banquet and the easiest way for the king to show his servants the banquet was successful is to invite them to taste the feast for themselves. So, if we genuinely desire God to be glorified, the best way for God to show us that our desire is fulfilled is for God to bring us close to Him. Our desire for God’s glory animates God’s heart to pull us to Him. And, clearly, the closer we are to God the more of His power and victory we will experience. As Nehemiah, chapter 8, verse 10 says, “the joy of the Lord is [our] strength.” RD: Exactly right. Sometimes a sports hero may invite one of their fans to sit in their box or even be on the bench beside them. And such a fan would talk about that experience for the rest of their lives which would add to the hero’s “glory.” Well, when we glorify God in prayer or by reading the Bible God invites us to come into His very throne room. So, glorifying God is not just a sort of casual recommendation that we may choose to implement or not. It is the essence of the answer to why we are here. And the more we seek to glorify God the more clearly He will give us answers to our specific questions about our careers, callings, relationships, etc. VK: What we are saying is that far from the evolutionary idea that the universe operates on its own in a chaotic way, God has actually designed creation and He has prepared a special role for us in that creation. And the best way for us to get a truly satisfying answer to the question why we are here is to set our hearts on glorifying God, seek to understand Him through His word, and then trust him to guide, provide, and keep us by His side. The more we try to glorify God the more He will ensure we see His glory by drawing us ever more strongly into His kingdom. This sounds like a great time for a prayer. Today, since Mother’s Day is approaching let’s listen to a prayer for our mothers. Praying for our mothers is a great way to fulfill the 5th of the 10 commandments as well as seeking to bring blessing into their lives. ---- PRAYER FOR MOTHERS VK: Before we close we’d like to remind our audience that a lot of our radio episodes are linked together in series of topics so if they missed any episodes in this series or if they just want to hear one again, all of these episodes are available on your favorite podcast app. To find them just search on “Anchored by Truth by Crystal Sea Books.” If you’d like to hear more, try out crystalseabooks.com where “We’re not perfect but our Boss is!” (Bible Quote from the God’s Word Translation) Ephesians, chapter 1, verses 4 and 5, God’s Word Translation
It's Greg's turn for some reverse culture shock as he relates his return to Thailand from the Great White North of Calgary, Alberta, Canada. Ed first notes the differences between his situation and Greg's: he still has family in Ohio, while Greg's family are no longer there. Plus, Ed's habits tend towards the international, such as Starbucks and Subway, so he can feel at home around the world. For Greg though, Calgary is really another place entirely, especially in the winter, and he reacted similarly to Ed in Ohio: Why do human beings even live in this environment? Apparently, twenty years in the tropics changes a man. The boys then discuss some of the big differences noted on Greg's trip, from dull malls and rough-looking locals (something Ed noticed on his trip too) to the abundance of weed dispensaries and the sheer joy of bantering with waitstaff in your own language. Listen in for some deep thoughts on being a stranger in a strange land that used to be home. Don't forget that Patrons get the ad-free version of the show as well as swag and other perks. And we'll keep our Facebook, Twitter, and LINE accounts active so you can send us comments, questions, or whatever you want to share.
Well, we've finally made it. Easily one of the worst episodes in the history of LOST. Jack's tattoo gets an origin story and Matt struggles to restrain Sam as he loses his damn mind over this episode!MUSIC:"Mystery Sax"Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0http://creativecommons.org/licenses/by/3.0/"Miami Nights - Extended Theme", "Mystery Sax"Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0http://creativecommons.org/licenses/by/3.0/Find Us At:Sam: @reeltexasweirdo Matt's Twitter:@_mattjimenez Matt's Insta: @holyhandgrenadeofantiochHit us up at #LostLegacies
In The Edge Of Sleep season 2, we find Dave Torres living thousands of miles from home as a stranger in a strange land. In the heart of the jungle, he must learn to fight the mysterious nightmare that has ravaged the world. To keep up to date with the latest news on The Edge of Sleep Season 2, be sure to follow QCODEMedia on social. Instagram: https://www.instagram.com/qcodemedia/ Twitter: https://twitter.com/QCODEmedia Tik-Tok: https://www.tiktok.com/@qcodemedia Learn more about your ad choices. Visit megaphone.fm/adchoices
Rundown - Troubadour Dave Gunders - 02:58 "Stranger in a Strange Land" by Dave Gunders - 09:45 Judge Gary Jackson in Craig's Lawyers' Lounge - 15:46 Tsvi Sperber - 01:01:55 We lead off with our Troubadour Dave Gunders' song, Strangers in a Strange Land, written several years ago for the Syrian refugee crisis, also caused by Putin. Dave's father Henry Gunderheimer (Episode 21) had to flee Munich in the 1930s. We pay tribute once more to Ukraine and her refugees. Judge Ketanji Brown Jackson had several strange experiences testifying before the Senate Judiciary Committee. We break it down in Craig's Lawyers' Lounge with veteran Denverite, lawyer, and judge, Gary Jackson (no relation). Denver's Judge Jackson has achieved many firsts of his own and he will tell you what it takes to make that happen. Listen to how judges learn to manage people and lawyers. What happens when judges become the witness? Judge Jackson talks about soon to be Justice Jackson and the meaning of her accomplishment as first black woman on the Supreme Court. We talk about the difficult job of sentencing defendants, and the second-guessing of Senators Cruz, Hawley and Graham. Tsvi Sperber is an outstanding guest from Kraków Poland. Born in Britain and then making Aliyah to Israel, Tsvi Sperber now runs www.JRoots.org which explores the roots of Jewish people, largely around Poland and the Pale of Settlement. Suddenly, Sperber is on edge of a war zone and doing all he can to help with the Ukrainian refugee crisis. Gain new perspectives on Poland's role in WWI and WWII. Tsvi Sperber makes you understand the politics and geography of the region and the reality that Jews are scattered throughout the refugees. Putin's motives and end games are fair game in this fascinating discussion.
Welcome to The Simple Man Podcast! This week begins a recap of each episode of The Book of Boba Fett where we dive in to the good, the bad, and the ugly of the series. This week's guest, Palpamemes, is here to set the record straight about Chapter 1: A Stranger in a Strange Land and we had a lot of fun! Check out Palpamemes YouTube: https://www.youtube.com/c/PalpamemesYT Check out Palpamemes Twitter: https://twitter.com/PalpamemesYT?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor Check out www.officiallysw.com to support the show!
Can you really call yourself a fan of cinema if you haven't seen the 1962 David Lean classic LAWRENCE OF ARABIA? Yes of course you can, but at least one of the dads hadn't seen it before, so the question is has that mistake been rectified?This sprawling near 4 hour epic sees up and comer Peter O'Toole star as T.E. Lawrence in a story based on his life. Stationed in Cairo during World War I, a stranger in a strange land, Lawrence successfully united and led the diverse, often warring, Arab tribes in order to fight the Ottoman Empire, crossing an uncrossable desert in the process. Despite the movie being 60 years old, it's themes about colonialism and east meets west culture clashes are still relevant. Also worth catching if you want to see Obi-Wan Kenobi in brown face.
Mexican artist Frida Kahlo adored adventure. In November, 1930, she was thrilled to realize her dream of traveling to the United States to live in San Francisco, Detroit, and New York. Still, leaving her family and her country for the first time was monumental. Only twenty-three and newly married to the already world-famous forty-three-year-old Diego Rivera, she was at a crossroads in her life and this new place, one filled with magnificent beauty, horrific poverty, racial tension, anti-Semitism, ethnic diversity, bland Midwestern food, and a thriving music scene, pushed Frida in unexpected directions. Shifts in her style of painting began to appear, cracks in her marriage widened, and tragedy struck, twice while she was living in Detroit. Frida in America: The Creative Awakening of a Great Artist (St. Martin's Press, 2020) is the first in-depth biography of these formative years spent in Gringolandia, a place Frida couldn't always understand. But it's precisely her feelings of being a stranger in a strange land that fueled her creative passions and an even stronger sense of Mexican identity. With vivid detail, Frida in America recreates the pivotal journey that made Senora Rivera the world famous Frida Kahlo. Jonathan Najarian is Lecturer of Rhetoric in the College of General Studies at Boston University. He is the editor of Comics and Modernism: History, Form, Culture, a collection of essays exploring the connections between avant-garde art and comics. He is also at work on a biography of the visual artist Lynd Ward, titled The Many Lives of Lynd Ward. He can be reached at email@example.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography
Mexican artist Frida Kahlo adored adventure. In November, 1930, she was thrilled to realize her dream of traveling to the United States to live in San Francisco, Detroit, and New York. Still, leaving her family and her country for the first time was monumental. Only twenty-three and newly married to the already world-famous forty-three-year-old Diego Rivera, she was at a crossroads in her life and this new place, one filled with magnificent beauty, horrific poverty, racial tension, anti-Semitism, ethnic diversity, bland Midwestern food, and a thriving music scene, pushed Frida in unexpected directions. Shifts in her style of painting began to appear, cracks in her marriage widened, and tragedy struck, twice while she was living in Detroit. Frida in America: The Creative Awakening of a Great Artist (St. Martin's Press, 2020) is the first in-depth biography of these formative years spent in Gringolandia, a place Frida couldn't always understand. But it's precisely her feelings of being a stranger in a strange land that fueled her creative passions and an even stronger sense of Mexican identity. With vivid detail, Frida in America recreates the pivotal journey that made Senora Rivera the world famous Frida Kahlo. Jonathan Najarian is Lecturer of Rhetoric in the College of General Studies at Boston University. He is the editor of Comics and Modernism: History, Form, Culture, a collection of essays exploring the connections between avant-garde art and comics. He is also at work on a biography of the visual artist Lynd Ward, titled The Many Lives of Lynd Ward. He can be reached at firstname.lastname@example.org. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Mexican artist Frida Kahlo adored adventure. In November, 1930, she was thrilled to realize her dream of traveling to the United States to live in San Francisco, Detroit, and New York. Still, leaving her family and her country for the first time was monumental. Only twenty-three and newly married to the already world-famous forty-three-year-old Diego Rivera, she was at a crossroads in her life and this new place, one filled with magnificent beauty, horrific poverty, racial tension, anti-Semitism, ethnic diversity, bland Midwestern food, and a thriving music scene, pushed Frida in unexpected directions. Shifts in her style of painting began to appear, cracks in her marriage widened, and tragedy struck, twice while she was living in Detroit. Frida in America: The Creative Awakening of a Great Artist (St. Martin's Press, 2020) is the first in-depth biography of these formative years spent in Gringolandia, a place Frida couldn't always understand. But it's precisely her feelings of being a stranger in a strange land that fueled her creative passions and an even stronger sense of Mexican identity. With vivid detail, Frida in America recreates the pivotal journey that made Senora Rivera the world famous Frida Kahlo. Jonathan Najarian is Lecturer of Rhetoric in the College of General Studies at Boston University. He is the editor of Comics and Modernism: History, Form, Culture, a collection of essays exploring the connections between avant-garde art and comics. He is also at work on a biography of the visual artist Lynd Ward, titled The Many Lives of Lynd Ward. He can be reached at email@example.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies