Podcasts about thursday john

The Word & The Light John 1:1-5 For the bulletin in PDF form, click here. He is the Word . . .Who Became Flesh . . .So We Can Know Him.He is the Light . . .Coming Into the World . . .So We Can Live.This Week's Growth GuideGod's Word is both central and critical to your spiritual growth. We invite you to utilize the Growth Guide during the week to further your application of the Truth from the message.•. Monday - John 1-4•. Tuesday - John 5-8•. Wednesday - John 9-12•. Thursday - John 13-16•. Friday - John 17-21Home Church Questions1. Have someone read John 1:1-5. What are some of the similarities between the way John begins his Gospel and the way Genesis begins? Why does John make these connections?2. John's Gospel is unique from the other three Gospels. For example, we learn the Christmas story begins before creation (because the Son was present at creation). Why is it important for us to consider that the Christmas story begins before creation?3. If we believe Jesus is truly God, this should make other teachings in the Bible simpler to embrace. What are some teachings in the Bible that become less challenging when we realize Jesus is God?4. Who is an example of a person you have wanted to meet in your life? Why should it excite us that God wants to be known by us? What should we do if we don't value that He wants to be known by us?5. Jesus is the light, and we need the light because we are in darkness. What are some examples of darkness we experience in our lives and in our world? What does it look like for Jesus to be the light in our darkness?6. J.I. Packer suggests we should view the Incarnation “not simply as a marvel of nature, but rather as a wonder of grace.” What is the reason Jesus was born as one of us? Why is it important we consider why he was born as we celebrate Christmas?7. When we believe Jesus is the Word and the light Who has come into the world for us, it should give us great confidence that the darkness will not overcome the light (1:5). What are some specific ways you can be encouraged in your life right now knowing the darkness will not overcome the light? Mission Highlight - Pray for the Unreached: The Karma in IndiaThe Kurmi, renowned for their agricultural skills in northern India, are classified as an Other Backward Class (OBC). This refers to communities that are “educationally or socially backward” or disadvantaged. Less than 0.1% of the 22 million Karma in India are Christian. An estimated 453 workers are needed to share the gospel among these peoples. Many Kurmi are resistant to the Gospel, fearing it might alienate their children from family traditions. Pray for miracles and dreams to reveal Jesus' power, for believers to live out Christ's teachings, and for Scripture to inspire Kurmi families to embrace salvation and share it with others.Fellowship 101We invite you to join us on Sunday, January 12, at 9:00 a.m. to learn more about Fellowship. This is a great opportunity to hear about our mission, values, and our ministries. If you're new to Fellowship, join us in the conference room (first floor) to hear what God is doing and where He is taking us. During this time, you will meet some of our ministry leaders and get to ask questions. Register at fellowshipconway.org/register. New to Fellowship?We are so glad that you chose to worship with our Fellowship Family this morning. If you are joining us for the first time or have been checking us out for a few weeks, we are excited you are here and would love to meet you. Please fill out the “Connect Card” and bring it to the Connection Center in the Atrium, we would love to say “hi” and give you a gift. Christmas OfferingThis December, Fellowship's Christmas Offering is for The Operation Christmas Child Special Pack (held in October 2025). The gifts received will determine the number of boxes we can send. To send each gospel opportunity (box) costs $20 for items, transportation, and the tools needed to share the hope found in Christ with a child. Please consider giving above and beyond your regular giving to the worthy cause of getting the gospel to sensitive areas that are difficult to reach. You can use an envelope by offering baskets or give online by selecting “Christmas Offering” from the options. For an idea of what we are trying to raise, we packed 2,800 boxes this year, which is equal to $56,000. Christmas at FellowshipJoin us for a Candlelight Christmas Eve Service on Tuesday, December 24, at 4 pm and 6 pm. The service is a Fellowship favorite of tradition, family, and a few surprises this year. Perspectives Classes begin on January 14Perspectives is a fifteen-lesson discipleship course exploring different aspects of God's global purpose in a multi-faceted learning experience. Tuesday evenings beginning January 14 from 6:00-9:00 PM at the Summit Church. The first week is free to check it out. For more information, go to perspectives.org/courses/conway-ar-s25/. Fellowship Women's Bible Study “Gideon” by Priscilla Shirer, led by Susan Woole, will be January 27-March 17, 9:30-11:00 a.m. here at Fellowship. Please purchase your workbook ahead of the class. For more information, contact Susan Woole at 501-269-2666. Child care is available by texting Shanna at 501-336-0332. Operation Christmas Child THANK YOU to everyone in the Fellowship family for packing and volunteering in Operation Christmas Child this year. Now, our work shifts to prayer. Please continue to pray for your boxes, safe journey, and delivery, for the National Leadership teams who deliver, and for God to be honored and glorified as many kids and their families put their trust in Jesus.

From the Chilean miners to John Denver, Ciaran O'Connor from 98fm joins Andrea Gilligan to rewind the clock!

For this week's Thursday Interview, Kieran Cuddihy is joined by a stalwart of rural politics in Ireland for over 25 years, who has decided to hang up his boots and step aside.Deputy John Paul Phelan, Fine Gael TD for Carlow-Kilkenny joins the show.

Locked and loaded for a Thursday John chats with Darrell Smith, Thomas Speciale, Matt DiNardo, Peggy Grande, Michael Greer & Matt Lauer on this Thursday Edition of Richmond's Morning News with Sam NewsMan.

“Pedestrian yet sublime”HERE'S HOW:Today, let's challenge ourselves to live out this message of love and service.Look for opportunities to serve those around you.Be a listening ear to a friend or family member.Share a word of encouragement to someone who might need it.Become New is here to help you grow spiritually one day at a time.

Maundy Thursday commemoration of the night of “the new command.”

Jesus gives us two very hard things today.  He models for us how are are to serve. And not just generic service, but service that is hard. Service that is dehumanizing. More than holding open a door, but deeply hard service. Then He tells us how folks will know that we are HIs - that we love. To service and to love. Those are hard. Those are difficult. We can't do them on our own, but it is only the Spirit working through us. Today, we have our marching orders. We know what we are to do.  We are to serve and to love.  We can only do this through the gift of His Holy Spirit.  Join us for our daily reflections with Andy. In 10 short minutes, he'll dig a little deeper into Scripture and help you better understand God's Word.If you'd like to receive this daily reflection on your phone, text @39110 to 81010 to sign up. You can read today's passage here - https://bible.oremus.org/?ql=578574746You can watch this in video form here - https://revandy.org/blog/

The word “Maundy” is the Latin word for “commandment.” It's a reference to Christ's mandate for his followers to love one another. And Jesus gave his disciples an example of this love in a way they would never forget. This podcast is also a blog post at https://timehrhardt.com/

This episode brings us to the last night of Jesus' life and the end of his public ministry. Peter Walsh and Elizabeth Garnsey highlight the lesson in humility and servanthood Jesus taught his disciples, where we see his clarity of character and mission, and why foot washing would have been such a powerful gesture in his time.Also, we have a winner for our t-shirt contest! Listen to the end of the podcast to find out who. Want to have your question or comment featured on the podcast? Leave a voicemail on our Rev'd Up hotline! Call (203) 442-5002.Learn more about St. Mark's at https://www.stmarksnewcanaan.org

Jesus:The Ultimate UpgradeA Survey of the Bible For the bulletin in PDF form, click here. Message SlidesSurvey of the Life of Christ - Mark StraussAn Outline of the Life of Christ - WilsonReminders about the Purpose of this Series “Your personal interaction with the Scriptures is the greatest single predictor of spiritual growth and maturity.” Ken Wilson“Many in the church are curators of other people's opinions about a book that they do not trouble to read nor do they know how to read.That is where we find ourselves today” Jen Wilken• Context - understanding the original historical, cultural and literary background.• Content - grasping the big picture of each book to enable proper interpretation.• Conviction - making application of the powerful Spirit inspired message in the text. Jesus is the Final Word (Hebrews 1:1-4)• The Final Word on the Human Condition (Romans 3:23)• The Final Word on the Divine Solution (Romans 3:21-26)• The Final Word on the Divine Purpose for Living (Philippians 3:7-10) Jesus is the Perfect Provision (Hebrews 7:22-28)• Perfect Covenant (Hebrews 7:22)• Perfect Priesthood (Hebrews 7:23-25)• Perfect Sacrifice (Hebrews 7:26-28) Jesus is the Supreme Example (John 13:1-17)• Supreme Love (John 13:1)• Supreme Humility (John 13:2-13)• Supreme Service (John 13:14-17)Next Steps • Commit to a Bible reading strategy and stick to it.• Accept the provision made by Jesus for our sins.• Follow the humble example of Jesus and serve ____________.This Week's Growth GuideGod's Word is both central and critical to your spiritual growth. We invite you to utilize the Growth Guide during the week to further your application of the Truth from the message.•. Monday - Hebrews 1:1-6•. Tuesday - Hebrews 7:1-28•. Wednesday - Romans 3:1-31•. Thursday - John 13:1-17•. Friday - John 17:1-26Home ChurchOur Home Churches meet weekly to facilitate quicker relational depth, study the same passage taught Sunday to help apply Scripture in the context of community, and pray with one another. Home Church helps our body seek God's best for one another. Home Church Questions • Talk about your experience with computer upgrades or cell phone upgrades. Has this been a pleasant experience or a frustrating one? How much would you be willing to pay for an “ultimate” and “final” upgrade to your computer or phone? Why?• 1 Corinthians 1:18 tells us that “the message of the cross is foolishness to those who are perishing.” Why do people in our time see the cross as foolishness? Do you know anyone who openly rejects the message of the gospel? How do you interact with them? • The same verse assures us that the message of the cross is “the power of God to us who are being saved.” What is the power of the gospel? It is clearly a power for salvation, but it is more than that. It is a power for transformation. Are you experiencing the power of the cross in your life? Where? Where do you need it?• This week, we talked a lot about Jesus being “the way, the truth and the life” (John 14:6). Talk more about how Jesus is the way. To what is Jesus the way? Be careful not to be simplistic in your answer here. • In what way is Jesus the truth? The truth about what? • Jesus is the life. What life? How do we access that life? How do we know if Jesus is life to us? • Who do you know that experiences Jesus as the way, the truth, and the life? What is keeping you from that experience?• Consider fasting one day this week to meditate on Christ's example & provision for us. Spend your meal times thinking reflectively and praying about the meaning of Christ's life, death, and resurrection.FinancesWeekly Budget 32,692Giving For 02/18 18,542Giving For 02/25 32,365YTD Budget 1,144,231Giving 1,251,000 OVER/(UNDER) 106,769 Grill Out and Silent AuctionMark your calendars for Sunday, March 10, 4-6 p.m. for our annual Grill Out + Silent Auction! Bring your whole family for a fun-filled evening with free dinner, games for kids, and an exciting silent auction. All proceeds will support our student mission trips to Mission Arlington and Czech. Child care for 6 and under, please text Shanna at 501-336-0332. The Silent Auction will kick off at 4 PM, followed by a delicious free dinner served at 5:15 PM.New to Fellowship?We are so glad that you chose to worship with our Fellowship Family to worship this morning. If you are joining us for the first time or have been checking us out for a few weeks, we are excited you are here and would love to meet you. Please fill out the “Connect Card” and bring it to the Connection Center in the Atrium, we would love to say “hi” and give you a gift. Crucifixion DinnerJoin us on Good Friday for our annual Crucifixion Dinner, where we remember the high price Jesus paid on our behalf. We invite you to fast during the day as you meditate on the life and death of Jesus leading up to a time of worship and remembrance, breaking the fast with a bowl of chicken broth and bread. Join us March 29 at 6:30 PM in the Auditorium. Child care for 6 years and younger, please text Shanna at 501-336-0332. Men's Muster - The Surrendered LifeMen, mark your calendar for our retreat on April 19-21 at Shepherd of the Ozarks. $170 for adults, $85 for ages 14-17. $40 deposit due at registration. Register at fellowshipconway.org/register. Fellowship Landscape Work DayEaster is approaching, and we would love to have the Fellowship grounds ready. We are looking for 4-5 people willing to install new soil into our flower beds in preparation for planting some spring flowers. If you have a strong back or wheelbarrow and are able to help on March 16, from 8 to 1:00 p.m., email Shane at swanamaker@fellowshipconway.org. Men's Fellowship BreakfastMen, join us for a great breakfast and fellowship on Wednesday, March 13, at 6:00 a.m. here in the Fellowship atrium. No sign-up is needed. Come with your Bible, ready to eat, fellowship with other men, and start your day off right through prayer and Biblical insight. Questions? Contact Michael at mharrison@fellowshipconway.org. Daylight saving timeFellowship, we are going to “Spring Forward” on Sunday, March 10. Remember to set your clocks Saturday night and join us for services at 9:00 and 10:45 a.m. We will have the coffee ready for you!

John: Jesus is Son of God, believe and find lifeA Survey of the Bible For bulletin in PDF form. click here. Message SlidesJohn Chart - WilsonInterpreting John - Darrell BockOccasion and Purpose of John - Dan WallaceJohn and the Synoptics - Hall HarrisTruth and Significance in John's Gospel - Hall HarrisEverything in the Bible Isn't about Jesus - HeiserContext: Who, Where, When, and Why?• Who composed John?• Who was John's original audience?• When was John written? • Where were John and his readers?• Why was he writing? Content: How and What?• How is John organized? • The Book of Signs (1:1-12:50) - Prologue: The Word Became Flesh (1:1-18) - Signs, Seekers & Salvation (1:19-12:50) • The Book of Glory (13:1-21:25) - Preparations, Promises & Provision (13:1-17:26) • At the Last Supper (13:1-14:31) • On the Way to Gethsemane (15:1-16:33) • Through His High Priestly Prayer (17:1-26) - The Passion of Christ: From Gall to Glory (18:1-20:31) • The Suffering & Death of Jesus (18:1-19:42) • The Resurrection & Glory of Jesus (20:1-29) • The Purpose of the Gospel (20:30-31) - Epilogue: Reunion, Reassurances, Recommission • The Miraculous catch of Fish (21:1-14) • Reinstatement of Peter (21:15-25)• What is the message of John? Conviction: So What?• Where does this fit? - John's Gospel approaches the life of Jesus totally different than the Synoptics. 92% of the material in John is unique to John. - John starts his gospel with a clear declaration of the deity of Christ which parallels the opening chapter of Genesis. - John clearly states his purpose to demonstrate Jesus is the Messiah, the Son of God, so that people will believe and find life. - John likes to present Jesus in dialogue with others.• What should we believe? - Jesus is the Messiah/Christ-the long-awaited Savior promised in the Old Testament. - Only by having faith in Jesus, receiving his provision of salvation, can a person find eternal life.• How should we behave? - Accept the provision of salvation through Jesus. - Abide in Christ empowered by the Holy Spirit despite opposition. - Share the message of eternal life through Jesus the Messiah with others.Next Steps • Believe that Jesus is the anointed provision of God for salvation. As the Son of God only He can provide eternal life.• Abide in Jesus, staying closely connected to Him as the source of your very life.• Rely on the Holy Spirit to guide you and sustain you through tough times.This Week's Growth GuideGod's Word is both central and critical to your spiritual growth. We invite you to utilize the Growth Guide during the week to further your application of the Truth from the message.•. Monday - John 1:1-18•. Tuesday - John 3:1-21•. Wednesday - John 10:1-42•. Thursday - John 13:1-20•. Friday - John 15:1-17•. Saturday - John 20:1-18•. Sunday - John 21:1-14Home ChurchOur Home Churches meet weekly to facilitate quicker relational depth, study the same passage taught Sunday to help apply Scripture in the context of community, and pray with one another. Home Church helps our body seek God's best for one another. Home Church Questions • What about Ken's presentation of John was most helpful and challenging?• Likely the most well-known verse in Scripture is John 3:16. Have someone in the group quote the verse. Then take the opportunity to let everyone share their conversion and the influences that led up to their belief. (2 minute limit)• John's gospel starts and ends with Jesus's invitation (or mandate) to “follow me” (1:43; 21:19,22). What has been your greatest joy in your journey of following Christ? What is your greatest obstacle?• Read Jesus's illustration of the vine and the branches (15:1-17). There are many truths contained in these powerful words. Which particular truth stands out to you, and why? • Jesus prayed for us as his church in 17:20-26. Read his prayer recorded there. In your experience, how has the unity of the church attracted those outside the church? How has lack of unity repelled outsiders? What can and should you do to preserve the unity Jesus prayed for? • What is your personal take-away from the book of John? What steps can you take in response? FinancesWeekly Budget 32,692Giving For 02/11 97,031Giving For 02/18 18,542YTD Budget 1,111,538Giving 1,218,635 OVER/(UNDER) 107,097 Grill Out and Silent AuctionMark your calendars for Sunday, March 10, 4-6 p.m. for our annual Grill Out + Silent Auction! Bring your whole family for a fun-filled evening with free dinner, games for kids, and an exciting silent auction. All proceeds will support our student mission trips to Mission Arlington and Czech. Child care for 6 and under, please text Shanna at 501-336-0332. The Silent Auction will kick off at 4 PM, followed by a delicious free dinner served at 5:15 PM.New to Fellowship?We are so glad that you chose to worship with our Fellowship Family to worship this morning. If you are joining us for the first time or have been checking us out for a few weeks, we are excited you are here and would love to meet you. Please fill out the “Connect Card” and bring it to the Connection Center in the Atrium, we would love to say “hi” and give you a gift. Father Daughter DanceGuys, enjoy eating dinner with your daughter(s) grades 5-12th, March 2. Then join us at Renewal Ranch from 7-9:30 p.m. for dancing and a night of fun! Downline PreviewAre you interested in deepening your understanding of God's Word and learning how to guide others through it? Join us for the Preview Night on Thursday, February 29th at 6:30 pm at Fellowship Conway, where you'll get a chance to experience the Downline class session led by Tim Lundy, as he teaches from the book of Romans. You'll also have the opportunity to ask Downline staff and alumni questions. To RSVP for the Preview Night, visit downlineconway.com/preview or see us in the Atrium this morning. Crucifixion DinnerJoin us on Good Friday for our annual Crucifixion Dinner, where we remember the high price Jesus paid on our behalf. We invite you to fast during the day as you meditate on the life and death of Jesus leading up to a time of worship and remembrance, breaking the fast with a bowl of chicken broth and bread. Join us March 29 at 6:30 PM in the Auditorium. Child care for 6 years and younger, please text Shanna at 501-336-0332. Men's MusterMen, mark your calendar for our retreat on April 19-21 at Shepherd of the Ozarks. $170 for adults, $85 for ages 14-17. $40 deposit due when registration opens. F101We invite you to join us on Sunday, April 7, at 9:00 a.m. to learn more about Fellowship. This is a great opportunity to hear about our mission, values, and our ministries. If you're new to Fellowship, join us in the conference room (first floor) to hear what God is doing and where He is taking us. During this time, you will meet some of our ministry leaders and get to ask questions. Register at fellowshipconway.org/register.

Big O talks Dolphins picks

Big O talks Dolphins picks

BEST OF HMS PODCASTS - THURSDAY - December 21, 2023 Learn more about your ad choices. Visit megaphone.fm/adchoices

BEST OF HMS PODCASTS - THURSDAY - December 21, 2023 Learn more about your ad choices. Visit megaphone.fm/adchoices

John Cuddeback talked about his article, "Return of a prodigal: Happiness in the home." Dr Daniel Meola discussed his book that he coauthored with his wife, Bethany, entitled, Life Giving Wounds. Philip Martin  shared about the mission of 10th Hour Productions. 

00:00 Cardinals three trades on Thursday15:30 John Lynch on Trey Lance: “The most likely option is he's here”32:30 C.J. Stroud not worried about lack of clarity on starter: “I ain't tripping”37:00 Mike McDaniel on Jonathan Taylor-Dolphins reports46:00 Report: Broncos WR Jerry Jeudy to miss several weeks with hamstring injury48:30 Commanders WR Terry McLaurin may not be ready for Week One vs Cardinals51:00 Draft: Preseason Week 3 Show Me Something 

John Treacy, former CEO of Sport Ireland and Irish Olympian was Kieran's guest on The Thursday Interview...

Experience transformative love and the meaning of Maundy Thursday with a new mandate. A devotional by Vince Miller.

Kieran Cuddihy sits down with the former Secretary General of the Department of Finance John Moran to talk about public life, as well as his cancer diagnosis.

Based on our recent visit to the Buffalo History Museum to listen to a lecture on The John Kam Malt and Kiln House and the history of brewing in Buffalo we decided our first installment of 'Throwback Thursday Episodes' takes us to a newly edited episode 42 where we spoke with Fred LaFaso and Madeline LaFaso about the history and development of the building once considered the largest malt house on earth. 

On April 6th, Maundy Thursday, Rev. Jon Saunders preached from John 13:31-38. For more information about Redeemer Presbyterian Church – Detroit, visit us online. ⁠⁠⁠⁠http://redeemerdetroit.com/⁠⁠⁠⁠ ⁠⁠⁠⁠Instagram⁠⁠⁠⁠ ⁠⁠⁠⁠Facebook⁠⁠⁠⁠ ⁠⁠⁠⁠Our Location

Exodus 12:1-14; 1 Corinthians 11:23-34; John 13:1-17, 20

John's Gospel uses "love" more than the synoptic Gospels combined; Maundy Thursday commemorates Jesus' commandment to love one another. What does it look like to also love the natural world? What would it look like to regard the natural world as we love other people? Jonathan and Seth explore those seemingly simple questions in this short, Holy Week episode.

Maundy Thursday joint service with Immanuel, Matt Tilghman teaching from John 13:31-35

Maundy Thursday: an often overlooked section of Scripture in light of Easter coming around the corner. Adam, Kiri, and Mason ask Nick Hopman: what is Maundy Thursday? Why is there a section of verses missing from the middle of this reading? And what is the importance of foot washing? In the midst of the devil deceiving Judas into thinking that betraying Jesus is better than having faith in him, Jesus knows He's about to die so He takes a moment to teach his disciples, and us, something. When it comes to foot washing, Nick explains that Jesus is not making an assessment of the disciples' hygiene. Instead, He's teaching them what His Word is doing: making clean through the forgiveness of sin. Jesus is teaching us what is revealed in the "big washing," our baptism and every instance we receive Christ's Word from that moment on. GOSPELJohn 13:1-17,31b-351 Now before the festival of the Passover, Jesus knew that his hour had come to depart from this world and go to the Father. Having loved his own who were in the world, he loved them to the end. 2 The devil had already put it into the heart of Judas son of Simon Iscariot to betray him. And during supper 3 Jesus, knowing that the Father had given all things into his hands, and that he had come from God and was going to God, 4 got up from the table, took off his outer robe, and tied a towel around himself. 5 Then he poured water into a basin and began to wash the disciples' feet and to wipe them with the towel that was tied around him. 6 He came to Simon Peter, who said to him, "Lord, are you going to wash my feet?" 7 Jesus answered, "You do not know now what I am doing, but later you will understand." 8 Peter said to him, "You will never wash my feet." Jesus answered, "Unless I wash you, you have no share with me." 9 Simon Peter said to him, "Lord, not my feet only but also my hands and my head!" 10 Jesus said to him, "One who has bathed does not need to wash, except for the feet, but is entirely clean. And you are clean, though not all of you." 11 For he knew who was to betray him; for this reason he said, "Not all of you are clean." 12 After he had washed their feet, had put on his robe, and had returned to the table, he said to them, "Do you know what I have done to you? 13 You call me Teacher and Lord -- and you are right, for that is what I am. 14 So if I, your Lord and Teacher, have washed your feet, you also ought to wash one another's feet. 15 For I have set you an example, that you also should do as I have done to you. 16 Very truly, I tell you, servants are not greater than their master, nor are messengers greater than the one who sent them. 17 If you know these things, you are blessed if you do them.31 When he had gone out, Jesus said, "Now the Son of Man has been glorified, and God has been glorified in him. 32 If God has been glorified in him, God will also glorify him in himself and will glorify him at once. 33 Little children, I am with you only a little longer. You will look for me; and as I said to the Jews so now I say to you, 'Where I am going, you cannot come.' 34 I give you a new commandment, that you love one another. Just as I have loved you, you also should love one another. 35 By this everyone will know that you are my disciples, if you have love for one another." Support the showInterested in sponsoring an episode of Scripture First?Email Sarah at sarah@lhos.org or visit our donation page: lutherhouseofstudy.org/donate

The Master's Course of DiscipleshipLuke 14:25-33; 9:23, John 8:31-32, 13:34-35 For the bulletin in PDF form click here. For sermon slides - click here.David Garland resource - click here.Josh McDowell resource - click here.Charles Swindoll resource - click here.Introduction: Opportunity for the ChurchIf you hold to my teaching, you are really my disciples. (John 8:31) Disciples make Jesus' Truth, their truth.In the same way, any of you who does not give up everything he has cannot be my disciple. (Luke 14:33)• Disciples have a supreme love for Jesus.• Disciples disavow their autonomy to Jesus.• Disciples bear their cross.• Disciples pattern their lives after Christ. Disciples renounce earthly pleasures for Kingdom treasures.By this all men will know that you are my disciples if you love one another. (John 13:35) Disciples' love for others shows who they really love.Discipleship according to Jesus is costly,but worth it!Next Steps • I will tangibly share the love of Christ with someone this week. • I will start and end every day reading in one of the gospels this week. • I will take these truths and share them with a younger in-faith Christian.This Week's Growth GuideGod's Word is both central and critical to your spiritual growth. We invite you to utilize the Growth Guide during the week to further your application of the Truth from the message.•. Monday - Luke 14:25-35•. Tuesday - Luke 18:18-30•. Wednesday - Deuteronomy 6:1-12• Thursday - John 13:1-17•. Friday - Acts 4:32-37Home ChurchOur Home Churches meet weekly to facilitate quicker relational depth, study the same passage taught Sunday to help apply Scripture in the context of community, and pray with one another. Home Church helps our body seek God's best for one another. Home Church Questions • Read Luke 14:25-33; John 8:31-32; John 13:34-35• What was new or challenging from Sunday's message?• How have you seen yourself showing "determined resolve to live out the daily life in the full scope of Jesus' teaching in the past month?”• Share areas in your life you have recognized as potential strong earthly allegiances, challenging to entrust to God fully. • Has there been a time recently you have had difficulty receiving Christ's love for you?• What is one way you will tangibly show Christ's love to someone outside of your household this week? FinancesWeekly Budget 31,390Giving For 02/26 29,775Giving For 03/05 34,361YTD Budget 1,130,030YTD Giving. 1,176,071 OVER/(UNDER) 46,041 Get Connected in a Home Church - Fellowship's desire is for everyone to be relationally connected. The primary way we do this is in Home Churches – small groups that meet in living rooms to apply God's Word, pray, and to serve together. Go to fellowshipconway.org/home church for more information. New to Fellowship?We are so glad that you joined the Fellowship Family to worship this morning. If you are joining us for the first time or have been checking us out for a few weeks, we are excited you are here and would love to meet you. Please fill out the “Connect Card” and bring it to the Connection Center in the Atrium, we would love to say “hi” and give you a gift. Men's Muster Men, April 21-23 is the date for this year's Men's Muster, at Shepherd of the Ozarks. We encourage those in a Home Church to use Muster as an opportunity to deepen their community by taking the weekend together. Those in Home Church together will be placed in small groups to foster more depth in existing relationships and meet some new faces. Whether you are in a Home Church or not, Muster is a great place to meet others and connect at Fellowship. For pricing and registration go to fellowshipconway.org/register. Crucifixion Dinner | April 7 | 6:30 p.m.Mark your calendars to join us on Good Friday as we remember together what Christ did on the cross through the Crucifixion Dinner. Child care for ages 6 and under by texting Shanna at 501-336-0332. Grill Out and Silent AuctionFellowship Student and College Ministries would like to invite you and your entire family to our youth and college mission trip fundraiser, Wednesday, April 12, 5:30-8:00 p.m. Free dinner (grilled hamburgers and hotdogs), child care provided (birth thru pre-school by RSVP, text Shanna at 501-336-0332) games, and great opportunities to support our 70 youth and college missionaries this summer. Plan now to join us! Fellowship 101We invite you to join us Sunday, April 16, at 9:00 a.m. to hear more about Fellowship. This is a great opportunity to learn about our mission, values, and ministries. If you're new to Fellowship, join us in the conference room (first floor) to hear what God is doing and where He is taking us. You will meet some of our ministry leaders and ask questions. Register at fellowshipconway.org/register. Downline Preview You're invited to attend a live Downline Institute class session, with an opportunity to hear from Downline staff and alumni, as well as get your questions answered. Preview night - Monday, March 13, with Renaut van der Riet (Ephesians). Register at DownlineConway2023.eventbrite.com.

Welcome back for episode 14! This week, as a throwback Thursday episode, we discuss a man who committed an unthinkable crime against his family and then disappeared for almost 18 years. He was finally found thanks to an episode of America's Most Wanted after he had remarried and started fresh. Join us as we dive into the case of John List. Stay tuned to hear more!Please give us a rating and leave a review! Every review counts and helps us out. Follow us on social media @specialcriminals on Facebook and Instagram. Twitter @SpecialCrimePod. You can also send us an email at specialcriminals@gmail.com. Or visit our website at www.specialcriminals.com. We appreciate all of our listeners! Share us with a friend!

Big O talks John Elway and Steve Spurrier

Big O talks John Elway and Steve Spurrier

For The Thursday Interview this week, Kieran was joined by a regular contributor to the show and one of Ireland's leading independent film and television producer, John Kelleher to discuss his life and career...

The Green Bay Packers may be heavy favorites against the New York Jets at home, but this game is hardly a gimme after the Jets hung 40 on the Dolphins a week ago. John Butchko from Locked on Jets joins the show to talk about this team's turnaround, Robert Saleh's ownage of Aaron Rodgers and more. Find and follow Locked on Packers on your favorite podcast platforms:Apple Podcasts: https://podcasts.apple.com/us/podcast/locked-on-packers-daily-podcast-on-the-green-bay-packers/id1144508840Spotify: https://open.spotify.com/show/74wyymzMc3zvjqvBWKQIDT?si=9edc13f18ac44393Stitcher: https://www.stitcher.com/show/locked-on-packersPeter Bukowski, co-founder of The Leap, brings you a daily look at the Green Bay Packers year round with Locked On Packers! Go beyond the latest injury news into what you're seeing on the field, how it works, and how it might change with new players or against a division rival. It's the podcast for fans who know what happened, they want to know why and how! And follow Peter Bukowski on Twitter, where he'll be sharing the latest news about the Green Bay Packers and talking with fans.On Twitter: @Peter_Bukowski PrizePicksFirst time users can receive a 100% instant deposit match up to $100 with promo code LOCKEDON. That's PrizePicks.com – promo code; LOCKEDONSimpliSafeWith Fast Protect™️ Technology, exclusively from SimpliSafe, 24/7 monitoring agents capture evidence to accurately verify a threat for faster police response. There's No Safe Like SimpliSafe. Visit SimpliSafe.com/LockedOnNFL to learn more. Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Green Bay Packers may be heavy favorites against the New York Jets at home, but this game is hardly a gimme after the Jets hung 40 on the Dolphins a week ago. John Butchko from Locked on Jets joins the show to talk about this team's turnaround, Robert Saleh's ownage of Aaron Rodgers and more. Find and follow Locked on Packers on your favorite podcast platforms: Apple Podcasts: https://podcasts.apple.com/us/podcast/locked-on-packers-daily-podcast-on-the-green-bay-packers/id1144508840 Spotify: https://open.spotify.com/show/74wyymzMc3zvjqvBWKQIDT?si=9edc13f18ac44393 Stitcher: https://www.stitcher.com/show/locked-on-packers Peter Bukowski, co-founder of The Leap, brings you a daily look at the Green Bay Packers year round with Locked On Packers! Go beyond the latest injury news into what you're seeing on the field, how it works, and how it might change with new players or against a division rival. It's the podcast for fans who know what happened, they want to know why and how! And follow Peter Bukowski on Twitter, where he'll be sharing the latest news about the Green Bay Packers and talking with fans. On Twitter: @Peter_Bukowski PrizePicks First time users can receive a 100% instant deposit match up to $100 with promo code LOCKEDON. That's PrizePicks.com – promo code; LOCKEDON SimpliSafe With Fast Protect™️ Technology, exclusively from SimpliSafe, 24/7 monitoring agents capture evidence to accurately verify a threat for faster police response. There's No Safe Like SimpliSafe. Visit SimpliSafe.com/LockedOnNFL to learn more. Learn more about your ad choices. Visit podcastchoices.com/adchoices

We start season four of A History of Rock Music in Five Hundred Songs with an extra-long look at "San Francisco" by Scott McKenzie, and at the Monterey Pop Festival, and the careers of the Mamas and the Papas and P.F. Sloan. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Up, Up, and Away" by the 5th Dimension. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, all the songs excerpted in the podcast can be heard in full at Mixcloud. Scott McKenzie's first album is available here. There are many compilations of the Mamas and the Papas' music, but sadly none that are in print in the UK have the original mono mixes. This set is about as good as you're going to find, though, for the stereo versions. Information on the Mamas and the Papas came from Go Where You Wanna Go: The Oral History of The Mamas and the Papas by Matthew Greenwald, California Dreamin': The True Story Of The Mamas and Papas by Michelle Phillips, and Papa John by John Phillips and Jim Jerome. Information on P.F. Sloan came from PF - TRAVELLING BAREFOOT ON A ROCKY ROAD by Stephen McParland and What's Exactly the Matter With Me? by P.F. Sloan and S.E. Feinberg. The film of the Monterey Pop Festival is available on this Criterion Blu-Ray set. Sadly the CD of the performances seems to be deleted. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to season four of A History of Rock Music in Five Hundred Songs. It's good to be back. Before we start this episode, I just want to say one thing. I get a lot of credit at times for the way I don't shy away from dealing with the more unsavoury elements of the people being covered in my podcast -- particularly the more awful men. But as I said very early on, I only cover those aspects of their life when they're relevant to the music, because this is a music podcast and not a true crime podcast. But also I worry that in some cases this might mean I'm giving a false impression of some people. In the case of this episode, one of the central figures is John Phillips of the Mamas and the Papas. Now, Phillips has posthumously been accused of some truly monstrous acts, the kind of thing that is truly unforgivable, and I believe those accusations. But those acts didn't take place during the time period covered by most of this episode, so I won't be covering them here -- but they're easily googlable if you want to know. I thought it best to get that out of the way at the start, so no-one's either anxiously waiting for the penny to drop or upset that I didn't acknowledge the elephant in the room. Separately, this episode will have some discussion of fatphobia and diet culture, and of a death that is at least in part attributable to those things. Those of you affected by that may want to skip this one or read the transcript. There are also some mentions of drug addiction and alcoholism. Anyway, on with the show. One of the things that causes problems with rock history is the tendency of people to have selective memories, and that's never more true than when it comes to the Summer of Love, summer of 1967. In the mythology that's built up around it, that was a golden time, the greatest time ever, a period of peace and love where everything was possible, and the world looked like it was going to just keep on getting better. But what that means, of course, is that the people remembering it that way do so because it was the best time of their lives. And what happens when the best time of your life is over in one summer? When you have one hit and never have a second, or when your band splits up after only eighteen months, and you have to cope with the reality that your best years are not only behind you, but they weren't even best years, but just best months? What stories would you tell about that time? Would you remember it as the eve of destruction, the last great moment before everything went to hell, or would you remember it as a golden summer, full of people with flowers in their hair? And would either really be true? [Excerpt: Scott McKenzie, "San Francisco"] Other than the city in which they worked, there are a few things that seem to characterise almost all the important figures on the LA music scene in the middle part of the 1960s. They almost all seem to be incredibly ambitious, as one might imagine. There seem to be a huge number of fantasists among them -- people who will not only choose the legend over reality when it suits them, but who will choose the legend over reality even when it doesn't suit them. And they almost all seem to have a story about being turned down in a rude and arrogant manner by Lou Adler, usually more or less the same story. To give an example, I'm going to read out a bit of Ray Manzarek's autobiography here. Now, Manzarek uses a few words that I can't use on this podcast and keep a clean rating, so I'm just going to do slight pauses when I get to them, but I'll leave the words in the transcript for those who aren't offended by them: "Sometimes Jim and Dorothy and I went alone. The three of us tried Dunhill Records. Lou Adler was the head man. He was shrewd and he was hip. He had the Mamas and the Papas and a big single with Barry McGuire's 'Eve of Destruction.' He was flush. We were ushered into his office. He looked cool. He was California casually disheveled and had the look of a stoner, but his eyes were as cold as a shark's. He took the twelve-inch acetate demo from me and we all sat down. He put the disc on his turntable and played each cut…for ten seconds. Ten seconds! You can't tell jack [shit] from ten seconds. At least listen to one of the songs all the way through. I wanted to rage at him. 'How dare you! We're the Doors! This is [fucking] Jim Morrison! He's going to be a [fucking] star! Can't you see that? Can't you see how [fucking] handsome he is? Can't you hear how groovy the music is? Don't you [fucking] get it? Listen to the words, man!' My brain was a boiling, lava-filled Jell-O mold of rage. I wanted to eviscerate that shark. The songs he so casually dismissed were 'Moonlight Drive,' 'Hello, I Love You,' 'Summer's Almost Gone,' 'End of the Night,' 'I Looked at You,' 'Go Insane.' He rejected the whole demo. Ten seconds on each song—maybe twenty seconds on 'Hello, I Love You' (I took that as an omen of potential airplay)—and we were dismissed out of hand. Just like that. He took the demo off the turntable and handed it back to me with an obsequious smile and said, 'Nothing here I can use.' We were shocked. We stood up, the three of us, and Jim, with a wry and knowing smile on his lips, cuttingly and coolly shot back at him, 'That's okay, man. We don't want to be *used*, anyway.'" Now, as you may have gathered from the episode on the Doors, Ray Manzarek was one of those print-the-legend types, and that's true of everyone who tells similar stories about Lou Alder. But... there are a *lot* of people who tell similar stories about Lou Adler. One of those was Phil Sloan. You can get an idea of Sloan's attitude to storytelling from a story he always used to tell. Shortly after he and his family moved to LA from New York, he got a job selling newspapers on a street corner on Hollywood Boulevard, just across from Schwab's Drug Store. One day James Dean drove up in his Porsche and made an unusual request. He wanted to buy every copy of the newspaper that Sloan had -- around a hundred and fifty copies in total. But he only wanted one article, something in the entertainment section. Sloan didn't remember what the article was, but he did remember that one of the headlines was on the final illness of Oliver Hardy, who died shortly afterwards, and thought it might have been something to do with that. Dean was going to just clip that article from every copy he bought, and then he was going to give all the newspapers back to Sloan to sell again, so Sloan ended up making a lot of extra money that day. There is one rather big problem with that story. Oliver Hardy died in August 1957, just after the Sloan family moved to LA. But James Dean died in September 1955, two years earlier. Sloan admitted that, and said he couldn't explain it, but he was insistent. He sold a hundred and fifty newspapers to James Dean two years after Dean's death. When not selling newspapers to dead celebrities, Sloan went to Fairfax High School, and developed an interest in music which was mostly oriented around the kind of white pop vocal groups that were popular at the time, groups like the Kingston Trio, the Four Lads, and the Four Aces. But the record that made Sloan decide he wanted to make music himself was "Just Goofed" by the Teen Queens: [Excerpt: The Teen Queens, "Just Goofed"] In 1959, when he was fourteen, he saw an advert for an open audition with Aladdin Records, a label he liked because of Thurston Harris. He went along to the audition, and was successful. His first single, released as by Flip Sloan -- Flip was a nickname, a corruption of "Philip" -- was produced by Bumps Blackwell and featured several of the musicians who played with Sam Cooke, plus Larry Knechtel on piano and Mike Deasey on guitar, but Aladdin shut down shortly after releasing it, and it may not even have had a general release, just promo copies. I've not been able to find a copy online anywhere. After that, he tried Arwin Records, the label that Jan and Arnie recorded for, which was owned by Marty Melcher (Doris Day's husband and Terry Melcher's stepfather). Melcher signed him, and put out a single, "She's My Girl", on Mart Records, a subsidiary of Arwin, on which Sloan was backed by a group of session players including Sandy Nelson and Bruce Johnston: [Excerpt: Philip Sloan, "She's My Girl"] That record didn't have any success, and Sloan was soon dropped by Mart Records. He went on to sign with Blue Bird Records, which was as far as can be ascertained essentially a scam organisation that would record demos for songwriters, but tell the performers that they were making a real record, so that they would record it for the royalties they would never get, rather than for a decent fee as a professional demo singer would get. But Steve Venet -- the brother of Nik Venet, and occasional songwriting collaborator with Tommy Boyce -- happened to come to Blue Bird one day, and hear one of Sloan's original songs. He thought Sloan would make a good songwriter, and took him to see Lou Adler at Columbia-Screen Gems music publishing. This was shortly after the merger between Columbia-Screen Gems and Aldon Music, and Adler was at this point the West Coast head of operations, subservient to Don Kirshner and Al Nevins, but largely left to do what he wanted. The way Sloan always told the story, Venet tried to get Adler to sign Sloan, but Adler said his songs stunk and had no commercial potential. But Sloan persisted in trying to get a contract there, and eventually Al Nevins happened to be in the office and overruled Adler, much to Adler's disgust. Sloan was signed to Columbia-Screen Gems as a songwriter, though he wasn't put on a salary like the Brill Building songwriters, just told that he could bring in songs and they would publish them. Shortly after this, Adler suggested to Sloan that he might want to form a writing team with another songwriter, Steve Barri, who had had a similar non-career non-trajectory, but was very slightly further ahead in his career, having done some work with Carol Connors, the former lead singer of the Teddy Bears. Barri had co-written a couple of flop singles for Connors, before the two of them had formed a vocal group, the Storytellers, with Connors' sister. The Storytellers had released a single, "When Two People (Are in Love)" , which was put out on a local independent label and which Adler had licensed to be released on Dimension Records, the label associated with Aldon Music: [Excerpt: The Storytellers "When Two People (Are in Love)"] That record didn't sell, but it was enough to get Barri into the Columbia-Screen Gems circle, and Adler set him and Sloan up as a songwriting team -- although the way Sloan told it, it wasn't so much a songwriting team as Sloan writing songs while Barri was also there. Sloan would later claim "it was mostly a collaboration of spirit, and it seemed that I was writing most of the music and the lyric, but it couldn't possibly have ever happened unless both of us were present at the same time". One suspects that Barri might have a different recollection of how it went... Sloan and Barri's first collaboration was a song that Sloan had half-written before they met, called "Kick That Little Foot Sally Ann", which was recorded by a West Coast Chubby Checker knockoff who went under the name Round Robin, and who had his own dance craze, the Slauson, which was much less successful than the Twist: [Excerpt: Round Robin, "Kick that Little Foot Sally Ann"] That track was produced and arranged by Jack Nitzsche, and Nitzsche asked Sloan to be one of the rhythm guitarists on the track, apparently liking Sloan's feel. Sloan would end up playing rhythm guitar or singing backing vocals on many of the records made of songs he and Barri wrote together. "Kick That Little Foot Sally Ann" only made number sixty-one nationally, but it was a regional hit, and it meant that Sloan and Barri soon became what Sloan later described as "the Goffin and King of the West Coast follow-ups." According to Sloan "We'd be given a list on Monday morning by Lou Adler with thirty names on it of the groups who needed follow-ups to their hit." They'd then write the songs to order, and they started to specialise in dance craze songs. For example, when the Swim looked like it might be the next big dance, they wrote "Swim Swim Swim", "She Only Wants to Swim", "Let's Swim Baby", "Big Boss Swimmer", "Swim Party" and "My Swimmin' Girl" (the last a collaboration with Jan Berry and Roger Christian). These songs were exactly as good as they needed to be, in order to provide album filler for mid-tier artists, and while Sloan and Barri weren't writing any massive hits, they were doing very well as mid-tier writers. According to Sloan's biographer Stephen McParland, there was a three-year period in the mid-sixties where at least one song written or co-written by Sloan was on the national charts at any given time. Most of these songs weren't for Columbia-Screen Gems though. In early 1964 Lou Adler had a falling out with Don Kirshner, and decided to start up his own company, Dunhill, which was equal parts production company, music publishers, and management -- doing for West Coast pop singers what Motown was doing for Detroit soul singers, and putting everything into one basket. Dunhill's early clients included Jan and Dean and the rockabilly singer Johnny Rivers, and Dunhill also signed Sloan and Barri as songwriters. Because of this connection, Sloan and Barri soon became an important part of Jan and Dean's hit-making process. The Matadors, the vocal group that had provided most of the backing vocals on the duo's hits, had started asking for more money than Jan Berry was willing to pay, and Jan and Dean couldn't do the vocals themselves -- as Bones Howe put it "As a singer, Dean is a wonderful graphic artist" -- and so Sloan and Barri stepped in, doing session vocals without payment in the hope that Jan and Dean would record a few of their songs. For example, on the big hit "The Little Old Lady From Pasadena", Dean Torrence is not present at all on the record -- Jan Berry sings the lead vocal, with Sloan doubling him for much of it, Sloan sings "Dean"'s falsetto, with the engineer Bones Howe helping out, and the rest of the backing vocals are sung by Sloan, Barri, and Howe: [Excerpt: Jan and Dean, "The Little Old Lady From Pasadena"] For these recordings, Sloan and Barri were known as The Fantastic Baggys, a name which came from the Rolling Stones' manager Andrew Oldham and Mick Jagger, when the two were visiting California. Oldham had been commenting on baggys, the kind of shorts worn by surfers, and had asked Jagger what he thought of The Baggys as a group name. Jagger had replied "Fantastic!" and so the Fantastic Baggys had been born. As part of this, Sloan and Barri moved hard into surf and hot-rod music from the dance songs they had been writing previously. The Fantastic Baggys recorded their own album, Tell 'Em I'm Surfin', as a quickie album suggested by Adler: [Excerpt: The Fantastic Baggys, "Tell 'Em I'm Surfin'"] And under the name The Rally Packs they recorded a version of Jan and Dean's "Move Out Little Mustang" which featured Berry's girlfriend Jill Gibson doing a spoken section: [Excerpt: The Rally Packs, "Move Out Little Mustang"] They also wrote several album tracks for Jan and Dean, and wrote "Summer Means Fun" for Bruce and Terry -- Bruce Johnston, later of the Beach Boys, and Terry Melcher: [Excerpt: Bruce and Terry, "Summer Means Fun"] And they wrote the very surf-flavoured "Secret Agent Man" for fellow Dunhill artist Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But of course, when you're chasing trends, you're chasing trends, and soon the craze for twangy guitars and falsetto harmonies had ended, replaced by a craze for jangly twelve-string guitars and closer harmonies. According to Sloan, he was in at the very beginning of the folk-rock trend -- the way he told the story, he was involved in the mastering of the Byrds' version of "Mr. Tambourine Man". He later talked about Terry Melcher getting him to help out, saying "He had produced a record called 'Mr. Tambourine Man', and had sent it into the head office, and it had been rejected. He called me up and said 'I've got three more hours in the studio before I'm being kicked out of Columbia. Can you come over and help me with this new record?' I did. I went over there. It was under lock and key. There were two guards outside the door. Terry asked me something about 'Summer Means Fun'. "He said 'Do you remember the guitar that we worked on with that? How we put in that double reverb?' "And I said 'yes' "And he said 'What do you think if we did something like that with the Byrds?' "And I said 'That sounds good. Let's see what it sounds like.' So we patched into all the reverb centres in Columbia Music, and mastered the record in three hours." Whether Sloan really was there at the birth of folk rock, he and Barri jumped on the folk-rock craze just as they had the surf and hot-rod craze, and wrote a string of jangly hits including "You Baby" for the Turtles: [Excerpt: The Turtles, "You Baby"] and "I Found a Girl" for Jan and Dean: [Excerpt: Jan and Dean, "I Found a Girl"] That song was later included on Jan and Dean's Folk 'n' Roll album, which also included... a song I'm not even going to name, but long-time listeners will know the one I mean. It was also notable in that "I Found a Girl" was the first song on which Sloan was credited not as Phil Sloan, but as P.F. Sloan -- he didn't have a middle name beginning with F, but rather the F stood for his nickname "Flip". Sloan would later talk of Phil Sloan and P.F. Sloan as almost being two different people, with P.F. being a far more serious, intense, songwriter. Folk 'n' Roll also contained another Sloan song, this one credited solely to Sloan. And that song is the one for which he became best known. There are two very different stories about how "Eve of Destruction" came to be written. To tell Sloan's version, I'm going to read a few paragraphs from his autobiography: "By late 1964, I had already written ‘Eve Of Destruction,' ‘The Sins Of A Family,' ‘This Mornin',' ‘Ain't No Way I'm Gonna Change My Mind,' and ‘What's Exactly The Matter With Me?' They all arrived on one cataclysmic evening, and nearly at the same time, as I worked on the lyrics almost simultaneously. ‘Eve Of Destruction' came about from hearing a voice, perhaps an angel's. The voice instructed me to place five pieces of paper and spread them out on my bed. I obeyed the voice. The voice told me that the first song would be called ‘Eve Of Destruction,' so I wrote the title at the top of the page. For the next few hours, the voice came and went as I was writing the lyric, as if this spirit—or whatever it was—stood over me like a teacher: ‘No, no … not think of all the hate there is in Red Russia … Red China!' I didn't understand. I thought the Soviet Union was the mortal threat to America, but the voice went on to reveal to me the future of the world until 2024. I was told the Soviet Union would fall, and that Red China would continue to be communist far into the future, but that communism was not going to be allowed to take over this Divine Planet—therefore, think of all the hate there is in Red China. I argued and wrestled with the voice for hours, until I was exhausted but satisfied inside with my plea to God to either take me out of the world, as I could not live in such a hypocritical society, or to show me a way to make things better. When I was writing ‘Eve,' I was on my hands and knees, pleading for an answer." Lou Adler's story is that he gave Phil Sloan a copy of Bob Dylan's Bringing it All Back Home album and told him to write a bunch of songs that sounded like that, and Sloan came back a week later as instructed with ten Dylan knock-offs. Adler said "It was a natural feel for him. He's a great mimic." As one other data point, both Steve Barri and Bones Howe, the engineer who worked on most of the sessions we're looking at today, have often talked in interviews about "Eve of Destruction" as being a Sloan/Barri collaboration, as if to them it's common knowledge that it wasn't written alone, although Sloan's is the only name on the credits. The song was given to a new signing to Dunhill Records, Barry McGuire. McGuire was someone who had been part of the folk scene for years, He'd been playing folk clubs in LA while also acting in a TV show from 1961. When the TV show had finished, he'd formed a duo, Barry and Barry, with Barry Kane, and they performed much the same repertoire as all the other early-sixties folkies: [Excerpt: Barry and Barry, "If I Had a Hammer"] After recording their one album, both Barrys joined the New Christy Minstrels. We've talked about the Christys before, but they were -- and are to this day -- an ultra-commercial folk group, led by Randy Sparks, with a revolving membership of usually eight or nine singers which included several other people who've come up in this podcast, like Gene Clark and Jerry Yester. McGuire became one of the principal lead singers of the Christys, singing lead on their version of the novelty cowboy song "Three Wheels on My Wagon", which was later released as a single in the UK and became a perennial children's favourite (though it has a problematic attitude towards Native Americans): [Excerpt: The New Christy Minstrels, "Three Wheels on My Wagon"] And he also sang lead on their big hit "Green Green", which he co-wrote with Randy Sparks: [Excerpt: The New Christy Minstrels, "Green Green"] But by 1965 McGuire had left the New Christy Minstrels. As he said later "I'd sung 'Green Green' a thousand times and I didn't want to sing it again. This is January of 1965. I went back to LA to meet some producers, and I was broke. Nobody had the time of day for me. I was walking down street one time to see Dr. Strangelove and I walked by the music store, and I heard "Green Green" comin' out of the store, ya know, on Hollywood Boulevard. And I heard my voice, and I thought, 'I got four dollars in my pocket!' I couldn't believe it, my voice is comin' out on Hollywood Boulevard, and I'm broke. And right at that moment, a car pulls up, and the radio is playing 'Chim Chim Cherie" also by the Minstrels. So I got my voice comin' at me in stereo, standin' on the sidewalk there, and I'm broke, and I can't get anyone to sign me!" But McGuire had a lot of friends who he'd met on the folk scene, some of whom were now in the new folk-rock scene that was just starting to spring up. One of them was Roger McGuinn, who told him that his band, the Byrds, were just about to put out a new single, "Mr. Tambourine Man", and that they were about to start a residency at Ciro's on Sunset Strip. McGuinn invited McGuire to the opening night of that residency, where a lot of other people from the scene were there to see the new group. Bob Dylan was there, as was Phil Sloan, and the actor Jack Nicholson, who was still at the time a minor bit-part player in low-budget films made by people like American International Pictures (the cinematographer on many of Nicholson's early films was Floyd Crosby, David Crosby's father, which may be why he was there). Someone else who was there was Lou Adler, who according to McGuire recognised him instantly. According to Adler, he actually asked Terry Melcher who the long-haired dancer wearing furs was, because "he looked like the leader of a movement", and Melcher told him that he was the former lead singer of the New Christy Minstrels. Either way, Adler approached McGuire and asked if he was currently signed -- Dunhill Records was just starting up, and getting someone like McGuire, who had a proven ability to sing lead on hit records, would be a good start for the label. As McGuire didn't have a contract, he was signed to Dunhill, and he was given some of Sloan's new songs to pick from, and chose "What's Exactly the Matter With Me?" as his single: [Excerpt: Barry McGuire, "What's Exactly the Matter With Me?"] McGuire described what happened next: "It was like, a three-hour session. We did two songs, and then the third one wasn't turning out. We only had about a half hour left in the session, so I said 'Let's do this tune', and I pulled 'Eve of Destruction' out of my pocket, and it just had Phil's words scrawled on a piece of paper, all wrinkled up. Phil worked the chords out with the musicians, who were Hal Blaine on drums and Larry Knechtel on bass." There were actually more musicians than that at the session -- apparently both Knechtel and Joe Osborn were there, so I'm not entirely sure who's playing bass -- Knechtel was a keyboard player as well as a bass player, but I don't hear any keyboards on the track. And Tommy Tedesco was playing lead guitar, and Steve Barri added percussion, along with Sloan on rhythm guitar and harmonica. The chords were apparently scribbled down for the musicians on bits of greasy paper that had been used to wrap some takeaway chicken, and they got through the track in a single take. According to McGuire "I'm reading the words off this piece of wrinkled paper, and I'm singing 'My blood's so mad, feels like coagulatin'", that part that goes 'Ahhh you can't twist the truth', and the reason I'm going 'Ahhh' is because I lost my place on the page. People said 'Man, you really sounded frustrated when you were singing.' I was. I couldn't see the words!" [Excerpt: Barry McGuire, "Eve of Destruction"] With a few overdubs -- the female backing singers in the chorus, and possibly the kettledrums, which I've seen differing claims about, with some saying that Hal Blaine played them during the basic track and others saying that Lou Adler suggested them as an overdub, the track was complete. McGuire wasn't happy with his vocal, and a session was scheduled for him to redo it, but then a record promoter working with Adler was DJing a birthday party for the head of programming at KFWB, the big top forty radio station in LA at the time, and he played a few acetates he'd picked up from Adler. Most went down OK with the crowd, but when he played "Eve of Destruction", the crowd went wild and insisted he play it three times in a row. The head of programming called Adler up and told him that "Eve of Destruction" was going to be put into rotation on the station from Monday, so he'd better get the record out. As McGuire was away for the weekend, Adler just released the track as it was, and what had been intended to be a B-side became Barry McGuire's first and only number one record: [Excerpt: Barry McGuire, "Eve of Destruction"] Sloan would later claim that that song was a major reason why the twenty-sixth amendment to the US Constitution was passed six years later, because the line "you're old enough to kill but not for votin'" shamed Congress into changing the constitution to allow eighteen-year-olds to vote. If so, that would make "Eve of Destruction" arguably the single most impactful rock record in history, though Sloan is the only person I've ever seen saying that As well as going to number one in McGuire's version, the song was also covered by the other artists who regularly performed Sloan and Barri songs, like the Turtles: [Excerpt: The Turtles, "Eve of Destruction"] And Jan and Dean, whose version on Folk & Roll used the same backing track as McGuire, but had a few lyrical changes to make it fit with Jan Berry's right-wing politics, most notably changing "Selma, Alabama" to "Watts, California", thus changing a reference to peaceful civil rights protestors being brutally attacked and murdered by white supremacist state troopers to a reference to what was seen, in the popular imaginary, as Black people rioting for no reason: [Excerpt: Jan and Dean, "Eve of Destruction"] According to Sloan, he worked on the Folk & Roll album as a favour to Berry, even though he thought Berry was being cynical and exploitative in making the record, but those changes caused a rift in their friendship. Sloan said in his autobiography "Where I was completely wrong was in helping him capitalize on something in which he didn't believe. Jan wanted the public to perceive him as a person who was deeply concerned and who embraced the values of the progressive politics of the day. But he wasn't that person. That's how I was being pulled. It was when he recorded my actual song ‘Eve Of Destruction' and changed a number of lines to reflect his own ideals that my principles demanded that I leave Folk City and never return." It's true that Sloan gave no more songs to Jan and Dean after that point -- but it's also true that the duo would record only one more album, the comedy concept album Jan and Dean Meet Batman, before Jan's accident. Incidentally, the reference to Selma, Alabama in the lyric might help people decide on which story about the writing of "Eve of Destruction" they think is more plausible. Remember that Lou Adler said that it was written after Adler gave Sloan a copy of Bringing it All Back Home and told him to write a bunch of knock-offs, while Sloan said it was written after a supernatural force gave him access to all the events that would happen in the world for the next sixty years. Sloan claimed the song was written in late 1964. Selma, Alabama, became national news in late February and early March 1965. Bringing it All Back Home was released in late March 1965. So either Adler was telling the truth, or Sloan really *was* given a supernatural insight into the events of the future. Now, as it turned out, while "Eve of Destruction" went to number one, that would be McGuire's only hit as a solo artist. His next couple of singles would reach the very low end of the Hot One Hundred, and that would be it -- he'd release several more albums, before appearing in the Broadway musical Hair, most famous for its nude scenes, and getting a small part in the cinematic masterpiece Werewolves on Wheels: [Excerpt: Werewolves on Wheels trailer] P.F. Sloan would later tell various stories about why McGuire never had another hit. Sometimes he would say that Dunhill Records had received death threats because of "Eve of Destruction" and so deliberately tried to bury McGuire's career, other times he would say that Lou Adler had told him that Billboard had said they were never going to put McGuire's records on the charts no matter how well they sold, because "Eve of Destruction" had just been too powerful and upset the advertisers. But of course at this time Dunhill were still trying for a follow-up to "Eve of Destruction", and they thought they might have one when Barry McGuire brought in a few friends of his to sing backing vocals on his second album. Now, we've covered some of the history of the Mamas and the Papas already, because they were intimately tied up with other groups like the Byrds and the Lovin' Spoonful, and with the folk scene that led to songs like "Hey Joe", so some of this will be more like a recap than a totally new story, but I'm going to recap those parts of the story anyway, so it's fresh in everyone's heads. John Phillips, Scott McKenzie, and Cass Elliot all grew up in Alexandria, Virginia, just a few miles south of Washington DC. Elliot was a few years younger than Phillips and McKenzie, and so as is the way with young men they never really noticed her, and as McKenzie later said "She lived like a quarter of a mile from me and I never met her until New York". While they didn't know who Elliot was, though, she was aware who they were, as Phillips and McKenzie sang together in a vocal group called The Smoothies. The Smoothies were a modern jazz harmony group, influenced by groups like the Modernaires, the Hi-Los, and the Four Freshmen. John Phillips later said "We were drawn to jazz, because we were sort of beatniks, really, rather than hippies, or whatever, flower children. So we used to sing modern harmonies, like Lambert, Hendricks, and Ross. Dave Lambert did a lot of our arrangements for us as a matter of fact." Now, I've not seen any evidence other than Phillips' claim that Dave Lambert ever arranged for the Smoothies, but that does tell you a lot about the kind of music that they were doing. Lambert, Hendricks, and Ross were a vocalese trio whose main star was Annie Ross, who had a career worthy of an episode in itself -- she sang with Paul Whiteman, appeared in a Little Rascals film when she was seven, had an affair with Lenny Bruce, dubbed Britt Ekland's voice in The Wicker Man, played the villain's sister in Superman III, and much more. Vocalese, you'll remember, was a style of jazz vocal where a singer would take a jazz instrumental, often an improvised one, and add lyrics which they would sing, like Lambert, Hendricks, and Ross' version of "Cloudburst": [Excerpt: Lambert, Hendricks, and Ross, "Cloudburst"] Whether Dave Lambert ever really did arrange for the Smoothies or not, it's very clear that the trio had a huge influence on John Phillips' ideas about vocal arrangement, as you can hear on Mamas and Papas records like "Once Was a Time I Thought": [Excerpt: The Mamas and the Papas, "Once Was a Time I Thought"] While the Smoothies thought of themselves as a jazz group, when they signed to Decca they started out making the standard teen pop of the era, with songs like "Softly": [Excerpt, The Smoothies, "Softly"] When the folk boom started, Phillips realised that this was music that he could do easily, because the level of musicianship among the pop-folk musicians was so much lower than in the jazz world. The Smoothies made some recordings in the style of the Kingston Trio, like "Ride Ride Ride": [Excerpt: The Smoothies, "Ride Ride Ride"] Then when the Smoothies split, Phillips and McKenzie formed a trio with a banjo player, Dick Weissman, who they met through Izzy Young's Folklore Centre in Greenwich Village after Phillips asked Young to name some musicians who could make a folk record with him. Weissman was often considered the best banjo player on the scene, and was a friend of Pete Seeger's, to whom Seeger sometimes turned for banjo tips. The trio, who called themselves the Journeymen, quickly established themselves on the folk scene. Weissman later said "we had this interesting balance. John had all of this charisma -- they didn't know about the writing thing yet -- John had the personality, Scott had the voice, and I could play. If you think about it, all of those bands like the Kingston Trio, the Brothers Four, nobody could really *sing* and nobody could really *play*, relatively speaking." This is the take that most people seemed to have about John Phillips, in any band he was ever in. Nobody thought he was a particularly good singer or instrumentalist -- he could sing on key and play adequate rhythm guitar, but nobody would actually pay money to listen to him do those things. Mark Volman of the Turtles, for example, said of him "John wasn't the kind of guy who was going to be able to go up on stage and sing his songs as a singer-songwriter. He had to put himself in the context of a group." But he was charismatic, he had presence, and he also had a great musical mind. He would surround himself with the best players and best singers he could, and then he would organise and arrange them in ways that made the most of their talents. He would work out the arrangements, in a manner that was far more professional than the quick head arrangements that other folk groups used, and he instigated a level of professionalism in his groups that was not at all common on the scene. Phillips' friend Jim Mason talked about the first time he saw the Journeymen -- "They were warming up backstage, and John had all of them doing vocal exercises; one thing in particular that's pretty famous called 'Seiber Syllables' -- it's a series of vocal exercises where you enunciate different vowel and consonant sounds. It had the effect of clearing your head, and it's something that really good operetta singers do." The group were soon signed by Frank Werber, the manager of the Kingston Trio, who signed them as an insurance policy. Dave Guard, the Kingston Trio's banjo player, was increasingly having trouble with the other members, and Werber knew it was only a matter of time before he left the group. Werber wanted the Journeymen as a sort of farm team -- he had the idea that when Guard left, Phillips would join the Kingston Trio in his place as the third singer. Weissman would become the Trio's accompanist on banjo, and Scott McKenzie, who everyone agreed had a remarkable voice, would be spun off as a solo artist. But until that happened, they might as well make records by themselves. The Journeymen signed to MGM records, but were dropped before they recorded anything. They instead signed to Capitol, for whom they recorded their first album: [Excerpt: The Journeymen, "500 Miles"] After recording that album, the Journeymen moved out to California, with Phillips' wife and children. But soon Phillips' marriage was to collapse, as he met and fell in love with Michelle Gilliam. Gilliam was nine years younger than him -- he was twenty-six and she was seventeen -- and she had the kind of appearance which meant that in every interview with an older heterosexual man who knew her, that man will spend half the interview talking about how attractive he found her. Phillips soon left his wife and children, but before he did, the group had a turntable hit with "River Come Down", the B-side to "500 Miles": [Excerpt: The Journeymen, "River Come Down"] Around the same time, Dave Guard *did* leave the Kingston Trio, but the plan to split the Journeymen never happened. Instead Phillips' friend John Stewart replaced Guard -- and this soon became a new source of income for Phillips. Both Phillips and Stewart were aspiring songwriters, and they collaborated together on several songs for the Trio, including "Chilly Winds": [Excerpt: The Kingston Trio, "Chilly Winds"] Phillips became particularly good at writing songs that sounded like they could be old traditional folk songs, sometimes taking odd lines from older songs to jump-start new ones, as in "Oh Miss Mary", which he and Stewart wrote after hearing someone sing the first line of a song she couldn't remember the rest of: [Excerpt: The Kingston Trio, "Oh Miss Mary"] Phillips and Stewart became so close that Phillips actually suggested to Stewart that he quit the Kingston Trio and replace Dick Weissman in the Journeymen. Stewart did quit the Trio -- but then the next day Phillips suggested that maybe it was a bad idea and he should stay where he was. Stewart went back to the Trio, claimed he had only pretended to quit because he wanted a pay-rise, and got his raise, so everyone ended up happy. The Journeymen moved back to New York with Michelle in place of Phillips' first wife (and Michelle's sister Russell also coming along, as she was dating Scott McKenzie) and on New Year's Eve 1962 John and Michelle married -- so from this point on I will refer to them by their first names, because they both had the surname Phillips. The group continued having success through 1963, including making appearances on "Hootenanny": [Excerpt: The Journeymen, "Stack O'Lee (live on Hootenanny)"] By the time of the Journeymen's third album, though, John and Scott McKenzie were on bad terms. Weissman said "They had been the closest of friends and now they were the worst of enemies. They talked through me like I was a medium. It got to the point where we'd be standing in the dressing room and John would say to me 'Tell Scott that his right sock doesn't match his left sock...' Things like that, when they were standing five feet away from each other." Eventually, the group split up. Weissman was always going to be able to find employment given his banjo ability, and he was about to get married and didn't need the hassle of dealing with the other two. McKenzie was planning on a solo career -- everyone was agreed that he had the vocal ability. But John was another matter. He needed to be in a group. And not only that, the Journeymen had bookings they needed to complete. He quickly pulled together a group he called the New Journeymen. The core of the lineup was himself, Michelle on vocals, and banjo player Marshall Brickman. Brickman had previously been a member of a folk group called the Tarriers, who had had a revolving lineup, and had played on most of their early-sixties recordings: [Excerpt: The Tarriers, "Quinto (My Little Pony)"] We've met the Tarriers before in the podcast -- they had been formed by Erik Darling, who later replaced Pete Seeger in the Weavers after Seeger's socialist principles wouldn't let him do advertising, and Alan Arkin, later to go on to be a film star, and had had hits with "Cindy, O Cindy", with lead vocals from Vince Martin, who would later go on to be a major performer in the Greenwich Village scene, and with "The Banana Boat Song". By the time Brickman had joined, though, Darling, Arkin, and Martin had all left the group to go on to bigger things, and while he played with them for several years, it was after their commercial peak. Brickman would, though, also go on to a surprising amount of success, but as a writer rather than a musician -- he had a successful collaboration with Woody Allen in the 1970s, co-writing four of Allen's most highly regarded films -- Sleeper, Annie Hall, Manhattan, and Manhattan Murder Mystery -- and with another collaborator he later co-wrote the books for the stage musicals Jersey Boys and The Addams Family. Both John and Michelle were decent singers, and both have their admirers as vocalists -- P.F. Sloan always said that Michelle was the best singer in the group they eventually formed, and that it was her voice that gave the group its sound -- but for the most part they were not considered as particularly astonishing lead vocalists. Certainly, neither had a voice that stood out the way that Scott McKenzie's had. They needed a strong lead singer, and they found one in Denny Doherty. Now, we covered Denny Doherty's early career in the episode on the Lovin' Spoonful, because he was intimately involved in the formation of that group, so I won't go into too much detail here, but I'll give a very abbreviated version of what I said there. Doherty was a Canadian performer who had been a member of the Halifax Three with Zal Yanovsky: [Excerpt: The Halifax Three, "When I First Came to This Land"] After the Halifax Three had split up, Doherty and Yanovsky had performed as a duo for a while, before joining up with Cass Elliot and her husband Jim Hendricks, who both had previously been in the Big Three with Tim Rose: [Excerpt: Cass Elliot and the Big 3, "The Banjo Song"] Elliot, Hendricks, Yanovsky, and Doherty had formed The Mugwumps, sometimes joined by John Sebastian, and had tried to go in more of a rock direction after seeing the Beatles on Ed Sullivan. They recorded one album together before splitting up: [Excerpt: The Mugwumps, "Searchin'"] Part of the reason they split up was that interpersonal relationships within the group were put under some strain -- Elliot and Hendricks split up, though they would remain friends and remain married for several years even though they were living apart, and Elliot had an unrequited crush on Doherty. But since they'd split up, and Yanovsky and Sebastian had gone off to form the Lovin' Spoonful, that meant that Doherty was free, and he was regarded as possibly the best male lead vocalist on the circuit, so the group snapped him up. The only problem was that the Journeymen still had gigs booked that needed to be played, one of them was in just three days, and Doherty didn't know the repertoire. This was a problem with an easy solution for people in their twenties though -- they took a huge amount of amphetamines, and stayed awake for three days straight rehearsing. They made the gig, and Doherty was now the lead singer of the New Journeymen: [Excerpt: The New Journeymen, "The Last Thing on My Mind"] But the New Journeymen didn't last in that form for very long, because even before joining the group, Denny Doherty had been going in a more folk-rock direction with the Mugwumps. At the time, John Phillips thought rock and roll was kids' music, and he was far more interested in folk and jazz, but he was also very interested in making money, and he soon decided it was an idea to start listening to the Beatles. There's some dispute as to who first played the Beatles for John in early 1965 -- some claim it was Doherty, others claim it was Cass Elliot, but everyone agrees it was after Denny Doherty had introduced Phillips to something else -- he brought round some LSD for John and Michelle, and Michelle's sister Rusty, to try. And then he told them he'd invited round a friend. Michelle Phillips later remembered, "I remember saying to the guys "I don't know about you guys, but this drug does nothing for me." At that point there was a knock on the door, and as I opened the door and saw Cass, the acid hit me *over the head*. I saw her standing there in a pleated skirt, a pink Angora sweater with great big eyelashes on and her hair in a flip. And all of a sudden I thought 'This is really *quite* a drug!' It was an image I will have securely fixed in my brain for the rest of my life. I said 'Hi, I'm Michelle. We just took some LSD-25, do you wanna join us?' And she said 'Sure...'" Rusty Gilliam's description matches this -- "It was mind-boggling. She had on a white pleated skirt, false eyelashes. These were the kind of eyelashes that when you put them on you were supposed to trim them to an appropriate length, which she didn't, and when she blinked she looked like a cow, or those dolls you get when you're little and the eyes open and close. And we're on acid. Oh my God! It was a sight! And everything she was wearing were things that you weren't supposed to be wearing if you were heavy -- white pleated skirt, mohair sweater. You know, until she became famous, she suffered so much, and was poked fun at." This gets to an important point about Elliot, and one which sadly affected everything about her life. Elliot was *very* fat -- I've seen her weight listed at about three hundred pounds, and she was only five foot five tall -- and she also didn't have the kind of face that gets thought of as conventionally attractive. Her appearance would be cruelly mocked by pretty much everyone for the rest of her life, in ways that it's genuinely hurtful to read about, and which I will avoid discussing in detail in order to avoid hurting fat listeners. But the two *other* things that defined Elliot in the minds of those who knew her were her voice -- every single person who knew her talks about what a wonderful singer she was -- and her personality. I've read a lot of things about Cass Elliot, and I have never read a single negative word about her as a person, but have read many people going into raptures about what a charming, loving, friendly, understanding person she was. Michelle later said of her "From the time I left Los Angeles, I hadn't had a friend, a buddy. I was married, and John and I did not hang out with women, we just hung out with men, and especially not with women my age. John was nine years older than I was. And here was a fun-loving, intelligent woman. She captivated me. I was as close to in love with Cass as I could be to any woman in my life at that point. She also represented something to me: freedom. Everything she did was because she wanted to do it. She was completely independent and I admired her and was in awe of her. And later on, Cass would be the one to tell me not to let John run my life. And John hated her for that." Either Elliot had brought round Meet The Beatles, the Beatles' first Capitol album, for everyone to listen to, or Denny Doherty already had it, but either way Elliot and Doherty were by this time already Beatles fans. Michelle, being younger than the rest and not part of the folk scene until she met John, was much more interested in rock and roll than any of them, but because she'd been married to John for a couple of years and been part of his musical world she hadn't really encountered the Beatles music, though she had a vague memory that she might have heard a track or two on the radio. John was hesitant -- he didn't want to listen to any rock and roll, but eventually he was persuaded, and the record was put on while he was on his first acid trip: [Excerpt: The Beatles, "I Want to Hold Your Hand"] Within a month, John Phillips had written thirty songs that he thought of as inspired by the Beatles. The New Journeymen were going to go rock and roll. By this time Marshall Brickman was out of the band, and instead John, Michelle, and Denny recruited a new lead guitarist, Eric Hord. Denny started playing bass, with John on rhythm guitar, and a violinist friend of theirs, Peter Pilafian, knew a bit of drums and took on that role. The new lineup of the group used the Journeymen's credit card, which hadn't been stopped even though the Journeymen were no more, to go down to St. Thomas in the Caribbean, along with Michelle's sister, John's daughter Mackenzie (from whose name Scott McKenzie had taken his stage name, as he was born Philip Blondheim), a pet dog, and sundry band members' girlfriends. They stayed there for several months, living in tents on the beach, taking acid, and rehearsing. While they were there, Michelle and Denny started an affair which would have important ramifications for the group later. They got a gig playing at a club called Duffy's, whose address was on Creeque Alley, and soon after they started playing there Cass Elliot travelled down as well -- she was in love with Denny, and wanted to be around him. She wasn't in the group, but she got a job working at Duffy's as a waitress, and she would often sing harmony with the group while waiting at tables. Depending on who was telling the story, either she didn't want to be in the group because she didn't want her appearance to be compared to Michelle's, or John wouldn't *let* her be in the group because she was so fat. Later a story would be made up to cover for this, saying that she hadn't been in the group at first because she couldn't sing the highest notes that were needed, until she got hit on the head with a metal pipe and discovered that it had increased her range by three notes, but that seems to be a lie. One of the songs the New Journeymen were performing at this time was "Mr. Tambourine Man". They'd heard that their old friend Roger McGuinn had recorded it with his new band, but they hadn't yet heard his version, and they'd come up with their own arrangement: [Excerpt: The New Journeymen, "Mr. Tambourine Man"] Denny later said "We were doing three-part harmony on 'Mr Tambourine Man', but a lot slower... like a polka or something! And I tell John, 'No John, we gotta slow it down and give it a backbeat.' Finally we get the Byrds 45 down here, and we put it on and turn it up to ten, and John says 'Oh, like that?' Well, as you can tell, it had already been done. So John goes 'Oh, ah... that's it...' a light went on. So we started doing Beatles stuff. We dropped 'Mr Tambourine Man' after hearing the Byrds version, because there was no point." Eventually they had to leave the island -- they had completely run out of money, and were down to fifty dollars. The credit card had been cut up, and the governor of the island had a personal vendetta against them because they gave his son acid, and they were likely to get arrested if they didn't leave the island. Elliot and her then-partner had round-trip tickets, so they just left, but the rest of them were in trouble. By this point they were unwashed, they were homeless, and they'd spent their last money on stage costumes. They got to the airport, and John Phillips tried to write a cheque for eight air fares back to the mainland, which the person at the check-in desk just laughed at. So they took their last fifty dollars and went to a casino. There Michelle played craps, and she rolled seventeen straight passes, something which should be statistically impossible. She turned their fifty dollars into six thousand dollars, which they scooped up, took to the airport, and paid for their flights out in cash. The New Journeymen arrived back in New York, but quickly decided that they were going to try their luck in California. They rented a car, using Scott McKenzie's credit card, and drove out to LA. There they met up with Hoyt Axton, who you may remember as the son of Mae Axton, the writer of "Heartbreak Hotel", and as the performer who had inspired Michael Nesmith to go into folk music: [Excerpt: Hoyt Axton, "Greenback Dollar"] Axton knew the group, and fed them and put them up for a night, but they needed somewhere else to stay. They went to stay with one of Michelle's friends, but after one night their rented car was stolen, with all their possessions in it. They needed somewhere else to stay, so they went to ask Jim Hendricks if they could crash at his place -- and they were surprised to find that Cass Elliot was there already. Hendricks had another partner -- though he and Elliot wouldn't have their marriage annulled until 1968 and were still technically married -- but he'd happily invited her to stay with them. And now all her friends had turned up, he invited them to stay as well, taking apart the beds in his one-bedroom apartment so he could put down a load of mattresses in the space for everyone to sleep on. The next part becomes difficult, because pretty much everyone in the LA music scene of the sixties was a liar who liked to embellish their own roles in things, so it's quite difficult to unpick what actually happened. What seems to have happened though is that first this new rock-oriented version of the New Journeymen went to see Frank Werber, on the recommendation of John Stewart. Werber was the manager of the Kingston Trio, and had also managed the Journeymen. He, however, was not interested -- not because he didn't think they had talent, but because he had experience of working with John Phillips previously. When Phillips came into his office Werber picked up a tape that he'd been given of the group, and said "I have not had a chance to listen to this tape. I believe that you are a most talented individual, and that's why we took you on in the first place. But I also believe that you're also a drag to work with. A pain in the ass. So I'll tell you what, before whatever you have on here sways me, I'm gonna give it back to you and say that we're not interested." Meanwhile -- and this part of the story comes from Kim Fowley, who was never one to let the truth get in the way of him taking claim for everything, but parts of it at least are corroborated by other people -- Cass Elliot had called Fowley, and told him that her friends' new group sounded pretty good and he should sign them. Fowley was at that time working as a talent scout for a label, but according to him the label wouldn't give the group the money they wanted. So instead, Fowley got in touch with Nik Venet, who had just produced the Leaves' hit version of "Hey Joe" on Mira Records: [Excerpt: The Leaves, "Hey Joe"] Fowley suggested to Venet that Venet should sign the group to Mira Records, and Fowley would sign them to a publishing contract, and they could both get rich. The trio went to audition for Venet, and Elliot drove them over -- and Venet thought the group had a great look as a quartet. He wanted to sign them to a record contract, but only if Elliot was in the group as well. They agreed, he gave them a one hundred and fifty dollar advance, and told them to come back the next day to see his boss at Mira. But Barry McGuire was also hanging round with Elliot and Hendricks, and decided that he wanted to have Lou Adler hear the four of them. He thought they might be useful both as backing vocalists on his second album and as a source of new songs. He got them to go and see Lou Adler, and according to McGuire Phillips didn't want Elliot to go with them, but as Elliot was the one who was friends with McGuire, Phillips worried that they'd lose the chance with Adler if she didn't. Adler was amazed, and decided to sign the group right then and there -- both Bones Howe and P.F. Sloan claimed to have been there when the group auditioned for him and have said "if you won't sign them, I will", though exactly what Sloan would have signed them to I'm not sure. Adler paid them three thousand dollars in cash and told them not to bother with Nik Venet, so they just didn't turn up for the Mira Records audition the next day. Instead, they went into the studio with McGuire and cut backing vocals on about half of his new album: [Excerpt: Barry McGuire with the Mamas and the Papas, "Hide Your Love Away"] While the group were excellent vocalists, there were two main reasons that Adler wanted to sign them. The first was that he found Michelle Phillips extremely attractive, and the second is a song that John and Michelle had written which he thought might be very suitable for McGuire's album. Most people who knew John Phillips think of "California Dreamin'" as a solo composition, and he would later claim that he gave Michelle fifty percent just for transcribing his lyric, saying he got inspired in the middle of the night, woke her up, and got her to write the song down as he came up with it. But Michelle, who is a credited co-writer on the song, has been very insistent that she wrote the lyrics to the second verse, and that it's about her own real experiences, saying that she would often go into churches and light candles even though she was "at best an agnostic, and possibly an atheist" in her words, and this would annoy John, who had also been raised Catholic, but who had become aggressively opposed to expressions of religion, rather than still having nostalgia for the aesthetics of the church as Michelle did. They were out walking on a particularly cold winter's day in 1963, and Michelle wanted to go into St Patrick's Cathedral and John very much did not want to. A couple of nights later, John woke her up, having written the first verse of the song, starting "All the leaves are brown and the sky is grey/I went for a walk on a winter's day", and insisting she collaborate with him. She liked the song, and came up with the lines "Stopped into a church, I passed along the way/I got down on my knees and I pretend to pray/The preacher likes the cold, he knows I'm going to stay", which John would later apparently dislike, but which stayed in the song. Most sources I've seen for the recording of "California Dreamin'" say that the lineup of musicians was the standard set of players who had played on McGuire's other records, with the addition of John Phillips on twelve-string guitar -- P.F. Sloan on guitar and harmonica, Joe Osborn on bass, Larry Knechtel on keyboards, and Hal Blaine on drums, but for some reason Stephen McParland's book on Sloan has Bones Howe down as playing drums on the track while engineering -- a detail so weird, and from such a respectable researcher, that I have to wonder if it might be true. In his autobiography, Sloan claims to have rewritten the chord sequence to "California Dreamin'". He says "Barry Mann had unintentionally showed me a suspended chord back at Screen Gems. I was so impressed by this beautiful, simple chord that I called Brian Wilson and played it for him over the phone. The next thing I knew, Brian had written ‘Don't Worry Baby,' which had within it a number suspended chords. And then the chord heard 'round the world, two months later, was the opening suspended chord of ‘A Hard Day's Night.' I used these chords throughout ‘California Dreamin',' and more specifically as a bridge to get back and forth from the verse to the chorus." Now, nobody else corroborates this story, and both Brian Wilson and John Phillips had the kind of background in modern harmony that means they would have been very aware of suspended chords before either ever encountered Sloan, but I thought I should mention it. Rather more plausible is Sloan's other claim, that he came up with the intro to the song. According to Sloan, he was inspired by "Walk Don't Run" by the Ventures: [Excerpt: The Ventures, "Walk Don't Run"] And you can easily see how this: [plays "Walk Don't Run"] Can lead to this: [plays "California Dreamin'"] And I'm fairly certain that if that was the inspiration, it was Sloan who was the one who thought it up. John Phillips had been paying no attention to the world of surf music when "Walk Don't Run" had been a hit -- that had been at the point when he was very firmly in the folk world, while Sloan of course had been recording "Tell 'Em I'm Surfin'", and it had been his job to know surf music intimately. So Sloan's intro became the start of what was intended to be Barry McGuire's next single: [Excerpt: Barry McGuire, "California Dreamin'"] Sloan also provided the harmonica solo on the track: [Excerpt: Barry McGuire, "California Dreamin'"] The Mamas and the Papas -- the new name that was now given to the former New Journeymen, now they were a quartet -- were also signed to Dunhill as an act on their own, and recorded their own first single, "Go Where You Wanna Go", a song apparently written by John about Michelle, in late 1963, after she had briefly left him to have an affair with Russ Titelman, the record producer and songwriter, before coming back to him: [Excerpt: The Mamas and the Papas, "Go Where You Wanna Go"] But while that was put out, they quickly decided to scrap it and go with another song. The "Go Where You Wanna Go" single was pulled after only selling a handful of copies, though its commercial potential was later proved when in 1967 a new vocal group, the 5th Dimension, released a soundalike version as their second single. The track was produced by Lou Adler's client Johnny Rivers, and used the exact same musicians as the Mamas and the Papas version, with the exception of Phillips. It became their first hit, reaching number sixteen on the charts: [Excerpt: The 5th Dimension, "Go Where You Wanna Go"] The reason the Mamas and the Papas version of "Go Where You Wanna Go" was pulled was because everyone became convinced that their first single should instead be their own version of "California Dreamin'". This is the exact same track as McGuire's track, with just two changes. The first is that McGuire's lead vocal was replaced with Denny Doherty: [Excerpt: The Mamas and the Papas, "California Dreamin'"] Though if you listen to the stereo mix of the song and isolate the left channel, you can hear McGuire singing the lead on the first line, and occasional leakage from him elsewhere on the backing vocal track: [Excerpt: The Mamas and the Papas, "California Dreamin'"] The other change made was to replace Sloan's harmonica solo with an alto flute solo by Bud Shank, a jazz musician who we heard about in the episode on "Light My Fire", when he collaborated with Ravi Shankar on "Improvisations on the Theme From Pather Panchali": [Excerpt: Ravi Shankar, "Improvisation on the Theme From Pather Panchali"] Shank was working on another session in Western Studios, where they were recording the Mamas and Papas track, and Bones Howe approached him while he was packing his instrument and asked if he'd be interested in doing another session. Shank agreed, though the track caused problems for him. According to Shank "What had happened was that whe

Before the feast of Passover, Jesus knew that his hour had come to pass from this world to the Father. He loved his own in the world and he loved them to the end. The devil had already induced Judas, son of Simon the Iscariot, to hand him over. So, during supper, fully aware that the Father had put everything into his power and that he had come from God and was returning to God, he rose from supper and took off his outer garments. He took a towel and tied it around his waist. Then he poured water into a basin and began to wash the disciples' feet and dry them with the towel around his waist. He came to Simon Peter, who said to him, “Master, are you going to wash my feet?” Jesus answered and said to him, “What I am doing, you do not understand now, but you will understand later.” Peter said to him, “You will never wash my feet.” Jesus answered him, “Unless I wash you, you will have no inheritance with me.” Simon Peter said to him, “Master, then not only my feet, but my hands and head as well.” Jesus said to him, “Whoever has bathed has no need except to have his feet washed, for he is clean all over; so you are clean, but not all.” For he knew who would betray him; for this reason, he said, “Not all of you are clean.” So when he had washed their feet and put his garments back on and reclined at table again, he said to them, “Do you realize what I have done for you? You call me ‘teacher' and ‘master,' and rightly so, for indeed I am. If I, therefore, the master and teacher, have washed your feet, you ought to wash one another's feet. I have given you a model to follow, so that as I have done for you, you should also do.”

Join us for Day 5 of our Holy Week Devotionals. Today, our Simpsonville Care Pastor, Robbie Funderburk, will be leading us through John 13:1-30.

4-14-22_maundy_thursday_service.mp3File Size: 41743 kbFile Type: mp3Download File [...]

John's Gospel, written to a fractured community, holds great wisdom for our own fractured communities. Peter, Elizabeth, and Justin discuss the paradigm-shifting nature of this story and how, like the apostle Peter, our love for Jesus is still evident even when we mess up.#John13 #MaundyThursday #HolyWeek #episcopal #episcopalchurch #episcopalian #church #jesusmovement #wayoflove #christian #anglican #allarewelcome #christianity #prayer #jesus #iglesiaepiscopal #caminodelamor #history #churchhistory #theology #anglicanchurch #holyspririt #faith #stmarksnewcanaaan #revpeterwalsh  #revjustincrisp #revelizabethgarnsey #ens #ecct #spirituality #bible #scriptures #joy #peace #grace #hope

We continue diving deeper into the prayer of Jesus before his death and resurrection and practice unity and reconciliation within the church body.

EPISODE 174: THOUGHT-PROVOKING THURSDAY JOHN BITTROLFF --- Support this podcast: https://anchor.fm/scott-alexander74/support

EPISODE 19 THOUGHT-PROVOKING THURSDAY JOHN ARTHUR ACKROYD 'HIGHWAY 20 KILLER' --- Support this podcast: https://anchor.fm/scott-alexander74/support

Looking for a non-serious book by a serious author? 'Sweet Thursday' by John Steinbeck is a fictional story set in Cannery Row, Monterey, California. It contains a humorous set of characters with the main plot to help the Doc from his listless depression. There are prostitutes with elegant table manners, a sneaky Mexican who is a natural lawbreaker, kind hearted buffoons and a skint millionaire. The themes of the book delve into the strange relationships that can be formed between people as well as manipulating someone in the attempt to help them.I summarised the book as follows. "It's a fun, zany tale of caring but foolish oddballs. It had me laughing throughout at the absolute mayhem of their schemes. The only downside is that I could have easily handled another 50 pages in the middle of the book. The ending as well was a bit 'meh', and only wish it could have been a bit more climactic. It is similar to the enjoyment I got while reading 'Cat's Cradle' by Kurt Vonnegut."As always, we hope you enjoy, Mere Mortals out!Timeline:(0:00) - Synopsis(1:48) - Relationships: Improbable and shouldn't work, but they do(3:40) - Manipulation: Control/influence in a skilful manner(6:12) - Personal Observations(8:04) - Summary(9:13) - Pragmatic Takeaway: Life is too short not to read funny booksConnect with Mere Mortals:Instagram: https://www.instagram.com/meremortalspodcast/Support the show

Deanna Lorraine breaks down former Secretary of State John Kerry's comment that under Biden, the Great Reset “will happen with greater speed and with greater intensity than a lot of people might imagine.”

Saturday is review day on The Daily Promise. Every Saturday, we review the promises of the week so we can allow them to go deep into our hearts and lives. Here are the promises we covered this week. Monday - 1 John 5:4 Tuesday - John 15:16 Wednesday - 2 Samuel 22:34 Thursday - John 15:11 Friday - Psalm 139:17-18