Podcasts about We Built This City

"Peace is an ongoing journey; it never ends."What motivates somebody to tackle Manchester's biggest problems?Professor Erinma Bell MBE joins host Lisa Morton to share what drove her to create change at a time when the city region was being called ‘Gunchester' and the values that have kept her on that mission for the past 25 years.Erinma is a peace activist, community leader, and councillor for Manchester City Council.In the late 1990s, Erinma was part of a community group in Moss Side that was intent on making a change. But when her friend was shot in front of her, she knew that change needed to happen faster.From grassroots activism to national recognition, Erinma went on to help set up Carisma, a conflict resolution and community cohesion charity leading initiatives that courageously tackle the pressing issues of gun and gang crime. Erinma shares her personal reflections on the significance of family values, the strength of community support, and the essential need for young people to feel a genuine sense of belonging in their environments. Her story is one of resilience, compassion, and unwavering determination, reminding us all of the power of activism in the face of adversity.You'll hear Lisa delve into Erinma's commitment to creating a safer environment for the next generation, the ongoing pursuit of peace in Manchester's communities and the vital role you can play in creating a brighter future for the next generation.------Your host, Lisa Morton, started PR company Roland Dransfield in 1996, one month after the fateful IRA bomb that tore apart the city centre. From that point, the business, and its team members, have been involved in helping to support the creation of Modern Manchester – across regeneration, business, charity, leisure and hospitality, sport and culture.To celebrate the 28 years that Roland Dransfield has spent creating these bonds, Lisa is gathering together some of her Greater Mancunian ‘family' and will be exploring how they have created their own purposeful relationships with the best place in the world.Connect with Erinma Via her websiteVia LinkedInConnect with Lisa and Roland Dransfield: Via our websiteOn InstagramOn X FKA TwitterOn this episode, We Built This City has partnered with Manchester Metropolitan University. Wherever your business wants to be, Manchester Met is there to help you go further. Visit mmu.ac.uk/business or follow Business at Manchester Met on LinkedIn, to find out more.

"If you want something, you can't sit there and wait for someone to put it in your hand for you."In this episode, Lisa sat down with Victoria Braddock, the Managing Director of Marketing Manchester, Lisa heard how she and her team are putting Manchester's brand on the global stage. Victoria shares what it was like growing up in Manchester, offering ‘backies' into town on her brother's bike as a kid, her career journey from Wimpy burger as a teenager to joining ‘Marketing Manchester' over 20 years ago, find out what has made her ambitious to stay!From major international campaigns to the power of local stories, Victoria reveals what she's learnt from positioning Manchester as a must-visit destination for tourists, businesses, and investors alike. Whether you're a business owner, marketer, or a proud Mancunian, this episode will give you an insider's look at how strategic storytelling fuels the city's growth. ------Your host, Lisa Morton, started PR company Roland Dransfield in 1996, one month after the fateful IRA bomb that tore apart the city centre. From that point, the business, and its team members, have been involved in helping to support the creation of Modern Manchester – across regeneration, business, charity, leisure and hospitality, sport and culture.To celebrate the 28 years that Roland Dransfield has spent creating these bonds, Lisa is gathering together some of her Greater Mancunian ‘family' and will be exploring how they have created their own purposeful relationships with the best place in the world.Connect with Victoria:On LinkedInOn Marketing Manchester's LinkedInVia Marketing Mancheter's WebsiteConnect with Lisa and Roland Dransfield: Via our websiteOn InstagramOn X FKA TwitterOn this episode, We Built This City has partnered with Manchester Metropolitan University. Wherever your business wants to be, Manchester Met is there to help you go further. Visit mmu.ac.uk/business or follow Business at Manchester Met on LinkedIn, to find out more.

Show Notes Episode 489: We Built This City on Flake and Blow This week Host Dave Bledsoe puts on a Hawwian shirt, drops a Jimmy Buffett record on the turntable and mixes up a Bahama Mama before anyone figured out that he was not part of the wedding and threw him out of the venue. (This happens a lot.) On the show this week we head south to a city of sun, sand and billions of dollars worth of cocaine, we talk about the Miami Drug Wars! Along the way we discover that a television news man was the most trusted man in Dave's family. Then we dive right into the history of what would become Miami Florida, and the first snow birds who moved there after they retired. From there we get into how the CIA helped kick start the cocaine trade in America. (This isn't just something “funny” Dave said, this happened.) We learn how the Cubans were all murdered by the Colombians (Scarface was a documentary really) and took over the Miami trade for themselves. We meet the scariest woman in Miami (and Bogota, and, well everywhere) before we get down to the business of finding a way to take all the drug money and put it to work.  (Real Estate baby!) Our Sponsor this week is Fast Eddie's Investment Services, investing involves risk and it doesn't get much riskier than Fast Eddie.  We open with Miami news coverage of the drug wars and close with the T Sisters explaining big city commercial real estate. (If you hate the Starship version, you are REALLY going to hate the T Sisters!)  Show Theme: Hypnostate Prelude to Common Sense The Show on Bluesky: https://bsky.app/profile/whatthehellpodcast.bsky.social The Show on Facebook: https://www.facebook.com/whatthehellpodcast/ The Show on Youtube:  https://www.youtube.com/channel/UCjxP5ywpZ-O7qu_MFkLXQUQ The Show on Instagram: https://www.instagram.com/whatthehellwereyouthinkingpod/ Our Discord Server: https://discord.gg/kHmmrjptrq Our Website: www.whatthehellpodcast.com Patreon:  https://www.patreon.com/Whatthehellpodcast The Show Line: 347 687 9601 Closing Music: https://youtu.be/3JphLIPqhpg?si=QjZOk1u3m6IU_BoS Buy Our Stuff: https://www.seltzerkings.com/shop Citations Needed: KILLINGS IN FLORIDA OVER DRUGS ON RISE https://www.nytimes.com/1979/07/22/archives/killings-in-florida-over-drugs-on-rise-40-deaths-this-year.html MIAMI CRIME RISES AS DRUGS POUR IN https://www.nytimes.com/1981/08/12/us/miami-crime-rises-as-drugs-pour-in.html America's Drug War https://americanradioworks.publicradio.org/features/drug_wars/story3.html Miami flooded by cocaine cash https://www.upi.com/Archives/1990/02/11/Miami-flooded-by-cocaine-cash/8767634712400/ PBS Frontline: Drug Wars https://www.pbs.org/wgbh/pages/frontline/shows/drugs/interviews/mcdonald.html SUSPECT HELD ON $10 MILLION BOND IN A CRACKDOWN ON DRUGS IN MIAMI https://www.nytimes.com/1981/02/28/us/suspect-held-on-10-million-bond-in-a-crackdown-on-drugs-in-miami.html Learn more about your ad choices. Visit podcastchoices.com/adchoices

Rhino Records has 47—yes, 47—releases coming out on Record Store Day (April 12), but that's not all that's been keeping Rhino Senior A&R Director Patrick Milligan busy. The Rhino High Fidelity series, which he oversees, has taken off, with recent Doors and Black Sabbath releases selling out quickly. He also launched the less expensive, still-all-analog Rhino Reserve series with albums from Allen Toussaint and Eddie Hazel. How does the label choose the titles for each series? How did it come up with 47 RSD releases, including live sets from Joni Mitchell, David Bowie, Talking Heads, Yes and the Grateful Dead? Why on earth is one of these releases a 12-inch picture-disc single of “We Built This City”? Is it better to press too many of an album or too few? Is the vinyl market still on the rise, or has it plateaued? Milligan bats around these questions and more.

"We always look out for each other in Manchester, no matter what."Five years ago Lisa Morton launched the ‘We Built This City' podcast in an aim to connect with born, bred and adopted Mancunians who have helped to shape this city region, not just with bricks and mortar but with their impact too. It's impossible to reflect back on that time without acknowledging the toll of the COVID-19 pandemic on Greater Manchester and the world, so in this episode, you'll hear Lisa reconnect with early guests to explore the lasting effects on the community, business and hospitality sector. From innovative adaptations in the restaurant industry to the resilience of local businesses, how did Mancunians support each other at the time, and how has the city region recovered, grown and adapted? This episode captures the spirit of Manchester and its people during challenging times. Join Lisa as she celebrates five years of the podcast and shares the stories and values that emerged from adversity.------Your host, Lisa Morton, started PR company Roland Dransfield in 1996, one month after the fateful IRA bomb that tore apart the city centre. From that point, the business, and its team members, have been involved in helping to support the creation of Modern Manchester – across regeneration, business, charity, leisure and hospitality, sport and culture.To celebrate the 28 years that Roland Dransfield has spent creating these bonds, Lisa is gathering together some of her Greater Mancunian ‘family' and will be exploring how they have created their own purposeful relationships with the best place in the world.Connect with Lisa and Roland Dransfield: Via our websiteOn InstagramOn X FKA Twitter

Watching Now: Daredevil Born Again is a Watching Now podcast special from Couch Soup. Join us for reactions, reviews, and excitement about all things MCU. We're all MCU Maniacs, so join us for some laughs and ultra-nerdy discussion!

Zach and Giovanni break down the fourth episode of Daredevil: Born Again. They give their Devil Digits (score out of 10), the writing and overarching storyline, SKRULL reference, Matt Murdock is a rizzler once again, who will appear this season, We Built This City, Frank Castle/The Punisher, Wilson Fisk/Vanessa, Daredevil vs The Corrupt System, Muse, closing thoughts, and The Newton Brothers. –Follow the hosts:Zach Perilstein: @TripleZ_87Giovanni Delgadillo: @GioDelNopeCheck out Boardwalk Times, the Destination for True Disney Parks Fans Plus Everything Else. Website: boardwalktimes.net Visit BoardwalkTimes.store for the greatest merch in the multiverseTwitter: twitter.com/boardwalktimes Instagram: instagram.com/boardwalktimesMusic: purple-planet.com 

Mickey Thomas is best known as one of the lead vocalists of Jefferson Starship and Starship. Probably most famous for singing ‘We Built This City' Thomas and Starship are playing Chinook Winds Casino March 1st. He spoke with Terry and Jeetz ahead of the show!

(8:05am) MORNING NEWS DUMP It'll be a while before we find out what may have caused the collision in the skies over the Potomac River in DC. Sen. Tim Kaine comments on the air traffic in the northeast corridor and at Reagan National Airport.Stephen Miller comments on the issues with DEI at the FAA.St. Louis City will hand out city government-issued ID cards to people who can't or won't get one from the State. They're called Gateway Cards and are not legal as ID for things like voting.Kristi Noem comments on the preparations at Guantanamo Bay for violent illegal aliens.Former ND Gov. Doug Burgum will be the new Secretary of the Interior. MO Sen. Josh Hawley is not super confident about Tulsi Gabbard getting enough votes to become the Director of National Intelligence (DNI).Blues (23-24-4) are on the road tonight to face the Avalanche (29-21-2) in Colorado at 8pm. (8:20am) Our Flashback Friday theme today is bad songs that were hits in the '80s. How did that happen?!? We tabulated listener votes for the "best worst" hit songs in the '80s...those songs that make you think "why did we love THAT song back then??" It was tough narrowing it down to 10 songs! You can check out the list on our website at www.newstalkstl.com Go to ON-AIR at the top of the page and the pulldown menu will show Mike Ferguson in the Morning. Click on that, go to our page, and scroll down to Mike's Morning Music. Click on that and you'll see the Flashback Friday song lists with links to the music videos for the songs! Enjoy the tunes! (8:35am) Col. William "Burner" Dunn, former military attack helicopter pilot, shares his insights into the tragic collision in Washington, DC. Colonel Dunn flew in many of the world's deadliest hot spots in dozens of combat missions as an attack helicopter pilot. He and his team currently support U.S. Central Command (USCENTCOM), Marine Forces Central Command (MARCENT), U.S. Cyber Command (USCYBERCOM), U.S. Strategic Command (USSTRATCOM), and Special Operations Command Central (SOCCENT) around the world. In the aftermath of the devastating aviation disaster in Washington, DC—the worst in America since 2009—decorated veteran military attack helicopter pilot Colonel William “Burner” Dunn provides expert analysis. Colonel Dunn is a combat-proven pilot who has flown dozens of missions in some of the world’s most volatile war zones. He shares his no-nonsense, informed perspective on how this tragedy could have occurred in one of the world’s most heavily monitored air corridors. His military helicopter pilot expertise and credibility make him an invaluable voice in understanding this tragic event. He is a military attack helicopter pilot who has flown in and around Washington, DC. With decades of experience navigating high-stakes aerial operations, Colonel Dunn can tell us more about: -Why this military helicopter training flight might have veered into Reagan National Airport's flight path -The strengths and vulnerabilities of the Blackhawk UH-60 helicopter that collided with the American Eagle flight as it was about to land in Reagan National Airport -The 12th Aviation Battalion, based out of Fort Belvoir, which provides helicopter transportation and “technical rescue support” to the National Capital Region -Whether Washington, DC’s crowded airspace—encompassing Reagan National, Dulles, BWI, Andrews Air Force Base, and more—poses systemic risks to aviation safety William Dunn is the President of Strategic Resilience Group, LLC. He started the company in July 2016 after his retirement from a 33-year career in the United States Marine Corps, during which he rose through the ranks of Private through Sergeant, and Second Lieutenant through Colonel. He attended Old Dominion University, earning a bachelor's degree in business administration; and Boston University, where he completed his master's degree in Business Administration. He also completed a master's degree in Strategic Studies. Upon completion of the Marine Corps Basic School and the Infantry Officers Course in Quantico, Virginia, he reported to NAS Pensacola for flight training. He was assigned as a Marine Cobra pilot and completed multiple deployments including a seven-month deployment to Iraq as commander of HMLA-369, "The Gunfighters" in support of Operation Iraqi Freedom 06-08. He is married to his wife, Mimi, and they have two daughters, Sarah and Laura. More information on his book "Gunfighters Rule" here: https://www.amazon.com/Gunfighters-Rule-William-Dunn/dp/1662948980/ref=monarch_sidesheet_image (8:50am) The top '80s song that people love to hate is Starship's "We Built This City." We try to figure out how that happened! NewsTalkSTL website: https://newstalkstl.com/ Rumble: https://rumble.com/c/NewsTalkSTL Twitter/X: https://twitter.com/NewstalkSTL Facebook: https://www.facebook.com/NewsTalkSTL Livestream 24/7: bit.ly/NEWSTALKSTLSTREAMSSee omnystudio.com/listener for privacy information.

The show opens with Adam & Mayhem listening to and discussing some Jefferson Starship, in preparation for David Freiberg's visit later in the show. They also discuss Adam's disappointment in his recent visit to Roseanne's house, his new Sirius/XM ‘70s station game, Lizzo reaching her weight-loss goal, and Elizabeth “Billy Jack” Warren. Next, musician David Freiberg joins the show to talk about Jefferson Starship's 50th anniversary tour, moving to San Francisco in the late-50s, “We Built This City” being called by many as the worst song of all-time, why he left Starship, and his reaction to Adam's list of worst songs. Then, Jason “Mayhem” Miller reads the news including stories about Lyft being sued after 489lb passenger was told she couldn't fit inside the car, NY Mag cover accused of cropping out Black attendees of Trump inauguration event, the city of Huntington Beach suing California over a sanctuary state law that prevents local law enforcement from working with immigration officials, and two “Just Stop Oil” protesters interrupting a play starring Sigourney Weaver. For more with David Freiberg: NEW TOUR: 50th Anniversary, Runaway Again Tour‬ WEBSITE : jeffersonstarship.com‬ ‭INSTAGRAM:‬‭ @jeffersonstarship‬‭ ‭LIVE DATES:‬‭ Feb. 11 – Seattle, WA‬ March 6 - Gainesville, GA‬ March 7 - Newton, NC‬ March 8 - Newberry, SC‬ March 9 - Ft. Lauderdale, FL‬ March 11 - Middleton, FL‬ Thank you for supporting our sponsors: HomeChef.com/ADAM http://ForThePeople.com/Adam or Dial #LAW (#529) RuffGreens.com, use code: Adam

Music legend Mickey Thomas, known for his unforgettable vocals on Starship hits and Elvin Bishop's timeless classic "Fooled Around and Fell in Love," released his first Christmas album, "A Classic Christmas," on November 15. With an illustrious career spanning decades, Thomas delivers soulful and nostalgic renditions of beloved holiday songs, bringing a fresh, heartfelt approach to festive classics that fans old and new can enjoy. "A Classic Christmas" is now available on all streaming platforms.Listeners can stream the album and save for future playlists here: sym.ffm.to/mickeythomas-aclassicchristmas Also available on vinyl and CD at StarshipControl.com. "I've always wanted to record a Christmas album, and this is the fulfillment of that dream," Thomas shares. "These songs are the soundtrack to my own childhood holidays, and I wanted to stay true to the originals while putting my own spin on the vocals. I hope listeners feel the same warmth and nostalgia I did while recording it."Known worldwide for his soaring voice on Starship's "We Built This City," "Sara," and "Nothing's Gonna Stop Us Now," Thomas also brought Jefferson Starship fans timeless rock anthems like "Jane," "No Way Out," "Stranger," "Find Your Way Back," and "Layin' It On The Line." His tenure as lead singer for The Elvin Bishop Band produced the 1976 hit "Fooled Around and Fell in Love," a track many don't realize was driven by Thomas' powerful, soulful vocals. Now, his journey through rock's greatest hits continues with a holiday twist in 'A Classic Christmas.' The album, produced by Dan Frizsell and recorded in Nashville, showcases Thomas's iconic voice on cherished holiday tunes, including "White Christmas," "The Christmas Song," and "Silver Bells." Collaborating with Nashville's finest musicians, Thomas brings rich instrumentation and warmth to these tracks, making each one a memorable, feel-good experience that encapsulates the holiday spirit.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

Music legend Mickey Thomas, known for his unforgettable vocals on Starship hits and Elvin Bishop's timeless classic "Fooled Around and Fell in Love," released his first Christmas album, "A Classic Christmas," on November 15. With an illustrious career spanning decades, Thomas delivers soulful and nostalgic renditions of beloved holiday songs, bringing a fresh, heartfelt approach to festive classics that fans old and new can enjoy. "A Classic Christmas" is now available on all streaming platforms.Listeners can stream the album and save for future playlists here: sym.ffm.to/mickeythomas-aclassicchristmas Also available on vinyl and CD at StarshipControl.com. "I've always wanted to record a Christmas album, and this is the fulfillment of that dream," Thomas shares. "These songs are the soundtrack to my own childhood holidays, and I wanted to stay true to the originals while putting my own spin on the vocals. I hope listeners feel the same warmth and nostalgia I did while recording it."Known worldwide for his soaring voice on Starship's "We Built This City," "Sara," and "Nothing's Gonna Stop Us Now," Thomas also brought Jefferson Starship fans timeless rock anthems like "Jane," "No Way Out," "Stranger," "Find Your Way Back," and "Layin' It On The Line." His tenure as lead singer for The Elvin Bishop Band produced the 1976 hit "Fooled Around and Fell in Love," a track many don't realize was driven by Thomas' powerful, soulful vocals. Now, his journey through rock's greatest hits continues with a holiday twist in 'A Classic Christmas.' The album, produced by Dan Frizsell and recorded in Nashville, showcases Thomas's iconic voice on cherished holiday tunes, including "White Christmas," "The Christmas Song," and "Silver Bells." Collaborating with Nashville's finest musicians, Thomas brings rich instrumentation and warmth to these tracks, making each one a memorable, feel-good experience that encapsulates the holiday spirit.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

"Legacy isn't about monuments or headlines. It's about impact."Join Lisa Morton in a reflective episode of "We Built This City" as she delves into the themes of values and legacy. This special episode revisits conversations with some of the guests who have joined Lisa on “We Built This City” over the past year, including Gethen Jones and Julie Hesmondhalgh. Learn how Manchester's unique character shapes their sense of purpose and legacy. You'll hear stories of community support, creativity and collaboration and Lisa speaks to the importance of leaving a lasting impact. As 2024 comes to a close let's celebrate the resilience, creativity, and collective spirit that defines Greater Manchester.------Your host, Lisa Morton, started PR company Roland Dransfield in 1996, one month after the fateful IRA bomb that tore apart the city centre. From that point, the business, and its team members, have been involved in helping to support the creation of Modern Manchester – across regeneration, business, charity, leisure and hospitality, sport and culture.To celebrate the 28 years that Roland Dransfield has spent creating these bonds, Lisa is gathering together some of her Greater Mancunian ‘family' and will be exploring how they have created their own purposeful relationships with the best place in the world.Connect with Lisa and Roland Dransfield: Via our websiteOn InstagramOn X FKA Twitter

“Everything we do is all about relationships”We Built This City host Lisa Morton isn't the one asking the questions this week, she shares with you her conversation on the 3:00AM Conversations podcast from international Law firm Hill Dickinson.Hosts Peter Jackson and Anjon Mallik hear how Lisa made her way as a young female entrepreneur in the 1990's, to become a leader in communications in Manchester. They uncover how, inspired by James Kerr's “Legacy”, Lisa and her team developed a business that's committed to its values, purpose and legacy. They learn about Lisa's resilience, her fight against perfectionism, and the values she and her team live by that drive business success.'Click here to follow and listen to more 3:00AM Conversations

Help keep our podcast going by contributing to our Patreon! The hosts of the Partial Historians Podcast—Dr. Rad and Dr. G—have written a book! Your Cheeky Guide to the Roman Empire takes you from the regal period through to the so-called 'fall' in the 5th century, covering topics such as: We Built This City on Rock and Roads - learn about the walls and aqueducts! Let's Get Mythical  Armed and Dangerous - the Romans didn't always win on the battlefield!  Of course, no book on ancient Rome would be complete without covering Spartacus. Please enjoy this excerpt from the Spartacus chapter of their upcoming book, With a Rebel Yell. Your Cheeky Guide to the Roman Empire is available November 5 and can be pre-ordered here. Sponsors and Advertising This episode was brought to you by Taskrabbit. Go to Taskrabbit.com and use promo code FANGIRL at checkout for 15% off your first task. This episode was brought to you by Field of Greens. Go to FieldofGreens.com and use promo code FANGIRL for 15% off your first order and FREE rush shipping. This episode was brought to you by Factor. Go to Factormeals.com/Fangirl50 and use code Fangirl50 to get 50% off your first box plus 20% off your next month as long as your subscription lasts. This podcast is a member of Airwave Media podcast network. Want to advertise on our show? Please direct advertising inquiries to advertising@airwavemedia.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

From playing keys for Frank Zappa to writing and producing some of the biggest songs in pop history (We Built This City, Everybody Wang Chung Tonight) to producing several songs for 4HIM, Peter Wolf has had a career that nearly defies description! He and his wife Lea join me on this episode to talk about his journey through the entertainment world, some wild song stories, how he and Lea reignited their faith, and what he's up to now.Support the showandychrisman.com

From playing keys for Frank Zappa to writing and producing some of the biggest songs in pop history (We Built This City, Everybody Wang Chung Tonight) to producing several songs for 4HIM, Peter Wolf has had a career that nearly defies description! He and his wife Lea join me on this episode to talk about his journey through the entertainment world, some wild song stories, how he and Lea reignited their faith, and what he's up to now.Support the showandychrisman.com

When we walk in joy celebrating God, it becomes contagious. #theloriclineshow Interested in learning more about becoming a devoted follower of Christ? Go to follow.lifeword.org! ~~~ Have you ever had an ear worm? And no I'm not talking about an actual worm. Ew. No I'm talking about what happens when you get a song stuck in your head! We have a friend who would intentionally hum or whisper the Kenny Rogers song, ‘lady' in our ear just for the purpose of waiting to see if we would start humming it or singing it at some point. We usually would. It was so funny and frustrating at the same time. Isn't there some song that if you hear it, it will be in your head for days? There's a reason for that. It was played A LOT at radio. Some of these songs fall into the most annoying category, which makes it even worse. One such song is ‘We Built This City' by Starship. It debuted in 1985 and was a HUGE hit. The band used a lot of synthesizer and a lot of hair spray. You gotta love the eighties. Unfortunately they wanted us to know so badly that they built this city on rock and roll that they repeated that line over and over in the song at least 15 times. Over the years the song came to be, what we call in radio, a high burn. It's fried and crispy. Please don't ever play it again. We're full force into a new year. Are you already a little fried and crispy, tired of singing the same old song? I don't know what you've walked through or what you may be walking through right now, but often don't we settle into the circumstance and get oh so weary feeling like we're never going to sing anything new. The same routine. The same song, maybe a different verse. You're not alone. Look up. God is with you even now and has a new song for you to sing, not just this new year, but this new day. Psalm 40:1-3 ​​I waited patiently for the Lord; he turned to me and heard my cry. He lifted me out of the slimy pit, out of the mud and mire; he set my feet on a rock and gave me a firm place to stand. He put a new song in my mouth, a hymn of praise to our God. Many will see and fear the Lord and put their trust in him. God hears your cry today. He's listening and He is oh so near. No matter what this life brings, when our feet are firm on the rock of Jesus, we can sing for joy and give thanks to the Lord in ALL things for He IS good. He is at work in your life and IN whatever you are facing. His love for you never ends. We see new songs rise throughout scripture from hearts that have experienced God's goodness. God has a new song for you to sing as well. The old is gone and a new melody is being written even now in your story. Shout for joy and sing a new song for what God is doing and will do as you trust Him. When we begin singing a new song it becomes contagious in a good way. You might even find someone else getting hooked on the rhythm of joy and hope your walking in step with. A really good song has a way of doing that. While a new song rises in the here and now, one day to come there will be a new song like no other, sung throughout the heavens. You can read more about it in Revelation 5 starting with verse 8. Creatures and elders begin the first verse then angels, too many to count, join in for the second. It's too great to not sing along so every creature in heaven and on earth and under the earth and in the sea will join in for the last verse. Blessing and honor and glory and power be to Him who sits on the throne, and to the Lamb, forever and ever! It will be an eternal praise, a song we will never tire of hearing or singing. That's the truth. Look to Jesus for a new song. He has one for you today. And I promise you this, once you start singing it, you won't be able to stop. I'm Lori Cline.

A 9-year-old had urine spilled all over her when she tilted a candle on the shelf at a Dollar General in Indiana towards her to smell. Katy Perry won the MTV Video Vanguard Award last night.  "We Built This City" by Starship as the worst song of the '80s.  Now it's ended up as a new toilet paper jingle. Is this anything? See omnystudio.com/listener for privacy information.

Send us a Text Message.Mickey Thomas is a powerhouse vocalist whose distinctive voice became the driving force behind the success of Starship, one of the most iconic rock bands of the 1980s. Born in Cairo, Georgia, Thomas first gained national recognition as the lead vocalist on the 1976 hit “Fooled Around and Fell in Love” with The Elvin Bishop Band. This breakthrough performance showcased his soulful, soaring voice, setting the stage for his future career.In 1979, Thomas joined Jefferson Starship as the lead singer, following the departure of Grace Slick and Marty Balin. His arrival marked a new era for the band, which had been a significant force in the 1970s rock scene. With Thomas at the helm, Jefferson Starship produced several hits, including "Jane," "No Way Out," "Find Your Way Back," "Stranger," and "Layin' It on the Line." His dynamic vocal range and powerful performances breathed new life into the band, helping them maintain their relevance during a time of significant transition in the music industry.In 1985, the band rebranded as Starship, marking a new chapter in its storied history. Under this new name, they achieved immense commercial success, with Thomas's voice leading the charge on a string of chart-topping hits. "We Built This City," "Sara," and "Nothing's Gonna Stop Us Now" became anthems of the era, dominating the airwaves and solidifying Starship's place in rock history. These songs, characterized by their catchy hooks and polished production, became staples on MTV and VH1, further cementing Thomas's reputation as one of rock's most recognizable voices.Today, Mickey Thomas continues to tour with Starship, performing both the classic hits of Starship and Jefferson Starship, along with a few nods to Jefferson Airplane's legacy. His enduring talent and passion for music have kept Starship's legacy alive for new generations of fans.http://www.betterhelp.com/TheBarnThis episode is sponsored by www.betterhelp.com/TheBarn and brought to you as always by The Barn Media Group. YOUTUBE https://www.youtube.com/@TheBarnPodcastNetwork SPOTIFY https://open.spotify.com/show/09neXeCS8I0U8OZJroUGd4?si=2f9b8dfa5d2c4504 APPLE https://podcasts.apple.com/podcast/id1625411141 I HEART RADIO https://www.iheart.com/podcast/97160034/ AMAZON https://music.amazon.com/podcasts/7aff7d00-c41b-4154-94cf-221a808e3595/the-barn

"What ​I ​love ​about ​Manchester, is ​it's ​constantly ​evolving”Seema Malhotra combines glitz, glamour and proper manc graft.On this episode of ‘We Built This City' host Lisa Morton is joined by the co-founder of fashion brand ‘Forever Unique' and star of the reality show ‘The Real Housewives of Cheshire'. Seema candidly shares her experiences of juggling cultural and family expectations whilst trying to find her own identity in Manchester in the 90's. You'll hear what it was like to establish a clothing brand in the textile quarter of the City and how Seema and her husband worked tirelessly to take it to the heights of the Fashion industry, and ultimately what it was like closing the doors on that brand after 30 years.They also touch on her unwavering passion for Manchester United and why Roy Keane holds a special place in Seema's heart.------Your host, Lisa Morton, started PR company Roland Dransfield in 1996, one month after the fateful IRA bomb that tore apart the city centre. From that point, the business, and its team members, have been involved in helping to support the creation of Modern Manchester – across regeneration, business, charity, leisure and hospitality, sport and culture.To celebrate the nearly 28 years that Roland Dransfield has spent creating these bonds, Lisa is gathering together some of her Greater Mancunian ‘family' and will be exploring how they have created their own purposeful relationships with the best place in the world.Connect with Lisa and Roland Dransfield: Via our websiteOn InstagramOn X FKA TwitterConnect with SeemaOn Instagram On X

In this one, Eddie and Jerry talk The Predator franchise, WWE doing Rugged Ronnie Garvin dirty, defend the amazing Starship song "We Built This City" and a lot more malinged songs from the 1980s, settle a battle between Twiki from Buck Rogers and Vicki from Small Wonder and so much more... enjoy!

Noel Katz is a composer and lyricist. He is best known for Such Good Friends, an original musical comedy presented at the fourth annual New York Musical Theatre Festival in 2007, here it won five awards, including Talkin' Broadway's Citation as the season's best musical. It tells the story of three old friends working together in the early years of live television who are forced to name names before the House Un-American Activities Committee, and the consequences of the different choices each character makes. Katz composed Our Wedding, The Musical, a musical written for his own actual wedding, which was featured in The New York Times in 2003. Katz is also a specialist in theatrical improvisation. He has taught at Artistic New Directions' Summer Improv Retreat and currently teaches at The People's Improv Theatre. He has composed scores for a variety of Second City (NY) improv-based revues, including We Built This City on Rent Control, A Time For Heroes and Hoagies, and Generation F'd. He has also taught song improvisation at Fairleigh Dickinson University, Circle in the Square and the National Dance Institute. Rehearsing for Life sees eleven actors on the spectrum decide to form an improv troupe. We see them learn, rehearse and improve. Then, half of them do an actual improvised set, based on audience suggestions, and an epilogue illuminates how their lives have changed.

Seth and Marc revisit a band they haven't talked about since episode 3... Starship's "We Built This City." Highly regarded as one of the worst songs of the 80's by some publications and one of the worst songs ever by others, where do the guys think it stack

“We look after the community and try to grow Manchester” Julie Twist is a property pioneer who has been helping to shape the city's skyline since 1994. In this episode of "We Built This City," Julie recounts her unexpected leap from supermarket employee to city centre property specialist celebrating 30 years of her company, Julie Twist Properties. Discover alongside host Lisa Morton how Julie took on a male-dominated industry aged only 23, and what it was like to navigate a business through historic events like the Manchester IRA bomb.Julie shares insights on the seismic shifts in Manchester's real estate landscape, the rise of luxury developments, and the challenges of balancing motherhood with a burgeoning business. Find out how you create a community where there wasn't one before and what it takes to create a 24-hour city.------Your host, Lisa Morton, started PR company Roland Dransfield in 1996, one month after the fateful IRA bomb that tore apart the city centre. From that point, the business, and its team members, have been involved in helping to support the creation of Modern Manchester – across regeneration, business, charity, leisure and hospitality, sport and culture.To celebrate the 26 years that Roland Dransfield has spent creating these bonds, Lisa is gathering together some of her Greater Mancunian ‘family' and will be exploring how they have created their own purposeful relationships with the best place in the world.Connect with Lisa and Roland Dransfield: Via our websiteOn InstagramOn X FKA TwitterConnect with Julie On RightmoveVia her websiteOn LinkedIn

“All of these formidable women, it's amazing”To mark International Women's Day 2024, Lisa Morton is asking some of Greater Manchester's most inspiring role models what they are both celebrating and campaigning for in 2024. In this special episode of We Built This City, Lisa explores what's changing for women across boardrooms, classrooms, changing rooms and dancefloors.You'll hear from Jane Kenyon, founder of Girls Out Loud, Radio 1's Victoria Jane, Zalena Vandrewala, chair of Women of the Year awards, Yvonne Harrison, CEO of Women In Football and Natasha Davies, Senior Marketing Manager for fine dining group, D&D London, who made it onto Northern Power Women's Future List for 2024. Find out what they are proud of, what they're still fighting for - and which Greater Mancunian women inspire them to keep pushing for change.Girls Out Loud have an upcoming fundraising ball on 19th April find out more information here.------Your host, Lisa Morton, started PR company Roland Dransfield in 1996, one month after the fateful IRA bomb that tore apart the city centre. From that point, the business, and its team members, have been involved in helping to support the creation of Modern Manchester – across regeneration, business, charity, leisure and hospitality, sport and culture.To celebrate the 26 years that Roland Dransfield has spent creating these bonds, Lisa is gathering together some of her Greater Mancunian ‘family' and will be exploring how they have created their own purposeful relationships with the best place in the world.Connect with Lisa and Roland Dransfield: Via our websiteOn InstagramOn X FKA Twitter

Welcome to Song Swap Showdown Quick Hits! The show where we dive into one-song reviews, pulled straight from the full episodes of Song Swap Showdown. Get ready for rapid-fire music insights and fun, all in a quick, bite-sized format. Each song is swapped and rated on a scale of 1-5 records, with 1 being a dumpster fire and 5 being heavenly music to our ears and going on our eternity playlists. Chris doesn't hold back as he shares his true feelings about Starship's hit song 'We Built This City.' Known for stirring up strong opinions, this song has been a topic of debate among music fans for years. GQ Article - https://www.gq.com/story/oral-history... SongFacts.com - https://www.songfacts.com/facts/stars... We Built this City on Sausage Rolls -    • We Built This City ...on Sausage Roll...   We Built This City - Starship -    • Starship - We Built This City (Offici...  

Earworm Extravaganza: Songs That Get Stuck In Your Head" on Song Swap Showdown 

¡Saludos, melómanos y exploradores del tiempo en Vinyl Radio!

The podcast covering the Bubblegum Crisis episode We Built This City opens with a 20 minute conversation about The Worst Song of All Time. Our theme music is Jojowave by Milk Jooce, it can be found at https://milkjooce.bandcamp.com/ If you enjoy the show, please consider supporting us at https://www.patreon.com/jojosworld

Podcast host Chris (from Ignite That Light) enters center stage to introduce the reshaping, remodeling and different tones of the crowdpleasing band, Jefferson's Starship.   Did they tie Prince with the number of times they renamed their group? Are they still a perfect soundtrack for karaoke night? Why did "We Built This City" make various Worst Songs of All Time lists? And more deep cuts!   Follow Chris on Twitter:  https://twitter.com/PositivelyChris                               MAIN LINKS:  LinkTree: https://linktr.ee/JURSPodcast Facebook Page: https://www.facebook.com/JackedUpReviewShow/ Facebook Group: https://www.facebook.com/groups/2452329545040913 Twitter: https://twitter.com/JackedUpReview  Instagram: https://www.instagram.com/jacked_up_podcast/          SHOW LINKS: YouTube: https://m.youtube.com/channel/UCIyMawFPgvOpOUhKcQo4eQQ   iHeartRadio: https://www.iheart.com/podcast/269-the-jacked-up-review-show-59422651/   Podbean: https://jackedupreviewshow.podbean.com   Spotify: https://open.spotify.com/show/7Eg8w0DNympD6SQXSj1X3M   Apple Podcasts: https://podcasts.apple.com/us/podcast/the-jacked-up-review-show-podcast/id1494236218   RadioPublic: https://radiopublic.com/the-jacked-up-review-show-We4VjE   Overcast: https://overcast.fm/itunes1494236218/the-jacked-up-review-show-podcast   Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9hNDYyOTdjL3BvZGNhc3QvcnNz   Anchor:  https://anchor.fm/s/a46297c/podcast/rss   PocketCasts: https://pca.st/0ncd5qp4   CastBox:  https://castbox.fm/channel/The-Jacked-Up-Review-Show-Podcast-id2591222       #MovieReview #FilmTwitter #PodFamily #PodcastersOfInstagram #Movies #Film #Cinema #Music #Reviews #Retrospect #Podcasts #MutantFam #MutantFamily #actionmystery #bmovies #scifihorror #truecrime #historydramas #warmovies #podcastcollabs #hottakes #edgy #cultmovies #nsfw #HorrorFam #badass   

We Built This City on Sausage Rolls. Morons in the News. UFO Exposure.   Everyone Needs a Laugh. Down the Rabbit Hole. Joe Exotic Christmas Ornament.   Talkback Callers. Bad Work Parties. Can You Believe This S***?   Topics Therapists Deal with Most. From the Vault.See omnystudio.com/listener for privacy information.

Matt just went to two weddings in one weekend and has lotsa thoughts on those certain songs you'll inevitably encounter on the dancefloor with grandma. Thomas then tries to untangle the whole Jefferson Airplane / Starship fiasco, and ponders how you go from White Rabbit to We Built This City... Click here for the LMO survey!   https://www.niagaramoonmusic.com/   https://www.thinlear.com/   X / Twitter: https://twitter.com/losingmyopinion IG: https://www.instagram.com/losingmyopinion/ Tiktok: https://www.tiktok.com/losingmyopinion

Recorded for release W/C 30th Oct 2023 We chat with Kelle Bryan about Snow White at the Grand, Jean-Luke Worrell about Peter Pan Goes Wrong also at the Grand, Dr Hillary Jones talks about Flu Vaccines, we find out about the music of Buddy Holly being performed at the Stafford Gatehouse, Alison Norton tells us about South Staffs Musical Theatre's Spooktacular, hear about We Built This City a project from Central Youth Theatre and find out about Movember too.

Get ready for a rhythmic ride, as I, your loyal host dj Mordicchio, take you through a musical journey curated by our esteemed listener, Federico. Journeying from the enchanting nights encapsulated in Miami Horrors' "Sometimes," to the poignant depths of Chain Gang of 1974's "Sleepwalking Day," and culminating in the rock-n-roll rebellion of "We Built This City," each song amplifies a story that will resonate with your soul. As we analyze each lyric and melody, we uncover tales of timeless youth, unspoken love, and the zeal of rock-n-roll. Each song in this episode promises to take you on an adventure, transporting you from the dim alleys of Miami Horrors' "Sometimes," to the emotional twists of "Sleepwalking Day," and finally dropping you in the bustling cityscape in "We Built This City." So, gear up to lose yourself in the rhythm, engage with the lyrics, and surrender to the euphonic power of music!Support the showLa missione di FuffaWebFuffaWeb è da sempre impegnata nella diffusione della verità senza censura, e questo articolo fa parte del nostro impegno nel portare alla luce temi importanti. Vogliamo essere una risorsa affidabile per tutti voi, fornendo informazioni pertinenti e incoraggiando azioni positive.fuffa web online, free podcast : graffio@fuffaweb.com - mordicchio@fuffaweb.com FuffaWeb Italia, il podcast di qualita anti fuffa .news - arte - musica - crescita personale - moda - gaming - cucinaQUESTE LE RUBRICHE CHE SINTEIZZANO GLI ARGOMENTI DA NOI TRATTATI PER TIPOLOGIA D'EPISODIOFuffaWeb è da sempre impegnata nella diffusione della verità senza censura, e questo articolo fa parte del nostro impegno nel portare alla luce temi importanti.Vogliamo essere una risorsa affidabile per tutti voi, fornendo informazioni pertinenti e incoraggiando azioni positive.Un ringraziamento speciale a tutti Voi Se il nostro podcast ti piace, vota qui: I love FuffaWeb Italia Vota il nostro podcast, il tuo punto di vista conta per noi, e per gli altri, clicca il link qui sotto ed esprikmi il tuo paraere, ci contiamo, grazie:#PodcastGratis #AscoltaOra #NuovoEpisodio #PodcastDellSe...

Who's putting the "great" into Greater Manchester? We Built This City is all about the people, places and relationships that have built the fabric of modern Manchester. Season 4 launches on 2nd November. In this series, host Lisa Morton brings you the remaining 22 of 100 born, bred or adopted Mancs that have impacted the city region.

Send us a Text Message.Welcome to Dream Keepers Radio, where we're excited to present an engaging dialogue with Chief Amir Zahir that transcends the usual. Have you ever contemplated achieving financial liberation motivated by a book? That's exactly what Amir Zahir accomplished, inspired by the works of Don Kilam, especially the book 'We Built This City'. He carved a route to financial autonomy and liberty. In this extraordinary conversation, we dissect the book's teachings on forming governments, townships, and cities, emphasizing the importance of land ownership, generational curses, and municipal bonds.Ever considered how private trusts and unincorporated associations could be leveraged to navigate state laws and secure land? We're venturing into this rarely touched domain, discussing the pros and cons of such entities. We even broach the topic of Nevada's laws that provide more freedom and flexibility to families. As we continue our journey, we shift focus to the acknowledgment and personal experiences of combat veterans in Iraq and Tikrit. We compare lifestyles in America to those in other nations, stressing the need to comprehend our rights, self-awareness, and the value of community over individuality.Lastly, what's the power concealed in a name change? We explore this question as we discuss Abraham's transformation from Abram in terms of authority and character. We also delve into the potential use of covenants to achieve a lien-free status with the government. Our dialogue wraps up with the significance of having a vision and self-belief. Don't miss this enlightening episode packed with useful insights on financial independence, personal growth, and much more.https://onlyfans.com/donkilam https://onlyfans.com/donkilam https://www.amazon.com/Capi https://www.amazon.com/Million-Dollars-Worth-Game-Kilam/dp/B09HQZNRB9Support the Show.https://donkilam.com

Beave and Len walk through the band originally known as Jefferson Airplane, and trace it through its evolution to Jefferson Starship and then eventually Starship. Are they an underrated band? Was Grace Slick in fact the most badass rock star of them all? What are their best songs? Is Starship even worthy of discussion? What is their all-time best album? Did you know they also did a rooftop concert in New York? Why was Grace Slick ultimately thrown out of the band? All these questions get answered and more! Put a little Jagabsg in your ear.

A CMO Confidential Interview with Bill Cobb, the CEO of Frontdoor who was previously the President of eBay North America and CEO of H&R Block. Bill shares his thoughts on how to succeed as a CMO, the best and worst marketing management practices of boards and CEOs, how to evaluate potential opportunities and the fact that there's life after getting fired. Key topics include his belief that marketing should be the most integrated function, a marketplace disrupter and "the hub of the wheel,"  the need to think and work  cross functionally, why it's a really tough road if the CEO doesn't support marketing, and why the "board skills matrix" undervalues marketers. Listen to hear how one board member had trouble distinguishing John Hamm from Don Draper and Bill's fabulous rendition of Frontdoor's ad campaign song "We Built This Toilet" sung to the tune of Jefferson Airplane's "We Built This City." Learn more about your ad choices. Visit megaphone.fm/adchoices See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

GGACP marks the 50th anniversary of the Four Tops hits, "Ain't No Woman (Like the One I've Got)" and "Are You Man Enough?" (from "Shaft In Africa") with this ENCORE of a 2019 interview with Grammy-nominated songwriter Dennis Lambert ("One Tin Soldier," "Nightshift," "Don't Pull Your Love"). In this episode, Dennis discusses working the Catskills as a boy singer, shopping songs in the Brill Building era, producing hit records for the Righteous Brothers and co-creating the oft-maligned Starship hit, "We Built This City." Also, Neil Diamond hawks holiday tunes, Carole King demos "One Fine Day," Gilbert "covers" Glen Campbell (!) and Dennis becomes a superstar in the Philippines. PLUS: Freddie and the Dreamers! The artistry of Levi Stubbs! The versatility of Steve Lawrence! "Billy Jack" gets a message from God! And Dennis breaks down the construction of a Top 10 hit! Learn more about your ad choices. Visit megaphone.fm/adchoices

The guys breakdown the long history, core members, and eventual meltdown of the band that helped birth hippies and counterculture and then performed (what some call) the worst song of all time. This episode brought to you in part by Louder Than Life Music Festival. Louder Than Life America's Biggest Rock Festival Louisville, KY September 21-24, 2023 Highland Festival Grounds At Kentucky Exposition Center Foo Fighters, Green Day, Tool, Avenged Sevenfold, Godsmack, Pantera, Queens Of The Stone Age, Weezer, Limp Bizkit, Megadeth, Rancid, Turnstile & More General Admission And VIP Passes On Sale Now Starting At $10 Down Win Louder Than Life tickets by entering HERE!   Support the show on Patreon: https://www.patreon.com/rocknrollbedtimestories SHOW NOTES: Songs used in this episode: "We Built This City" by Starship https://jeffersonairplane.com/ https://en.wikipedia.org/wiki/Jefferson_Airplane https://en.wikipedia.org/wiki/San_Francisco_sound https://en.wikipedia.org/wiki/Marty_Balin https://en.wikipedia.org/wiki/The_Great_Society_(band) https://eddiesrockmusic.wordpress.com/2020/05/19/j-is-forjefferson-airplane-flight-log-1966-1976/ https://www.elsewhere.co.nz/fromthevaults/4014/the-great-society-somebody-to-love-1966/ https://www.newyorker.com/news/hendrik-hertzberg/newsweeks-glory-days-mine-too https://www.theguardian.com/music/2015/may/07/bill-graham-drigs https://www.nytimes.com/1977/05/13/archives/the-pop-life.html https://en.wikipedia.org/wiki/Jefferson_Starship https://ultimateclassicrock.com/grace-slick-quits-jefferson-starship/ https://en.wikipedia.org/wiki/Paul_Kantner https://en.wikipedia.org/wiki/Nuclear_Furniture http://alansalbumarchives.blogspot.com/2008/07/review-87-jefferson-starship-nuclear.html https://ultimateclassicrock.com/jefferson-airplane-jefferson-starship-starship/ https://rockshowcritique.com/2016/03/interview-craig-chaquico/ https://www.artsjournal.com/jazzbeyondjazz/2016/01/whys-nobody-mourning-paul-kantner-jefferson-airplane-flies-forever.html Play That Rock N Roll podcast: https://youtu.be/MHpMqKfAg5Q

Lamplighter and Waveform are DONE! Sweet Spot just broke up the universe’s biggest power couple! Wildstrike busts some kneecaps, and Carapace makes some gator gumbo! We want to hear your feedback! Post a comment here or email feedback for Empire Of Rust directly to rust@transmissionspodcast.com! Want some TransMissions swag? Check out our online shop, powered by TeePublic! Like what we’re doing and want to help make our podcast even better? If you already support us, thank you! Show Notes: Intro [0:00:00] Chapter 1 – Carapace “Honors” Leatherback [0:05:32] Chapter 2 – Sweet Spot Returns To The Limelight [0:17:10] Chapter 3 – Communing With A City [0:37:37] Closing [1:02:48] If you enjoy Empire of Rust, please rate us and subscribe on Apple Podcasts, Google Podcasts, Stitcher, and Spotify! These ratings greatly help podcasts become more discoverable to other people using those services and is an easy way to help out our show.… Continue reading The post Empire Of Rust 102 – We Built This City! With Nuts & Bolts! appeared first on TransMissions Podcast Network.

Lamplighter and Waveform are DONE! Sweet Spot just broke up the universe’s biggest power couple! Wildstrike busts some kneecaps, and Carapace makes some gator gumbo! We want to hear your feedback! Post a comment here or email feedback for Empire Of Rust directly to rust@transmissionspodcast.com! Want some TransMissions swag? Check out our online shop, powered by TeePublic! Like what we’re doing and want to help make our podcast even better? If you already support us, thank you! Show Notes: Intro [0:00:00] Chapter 1 – Carapace “Honors” Leatherback [0:05:32] Chapter 2 – Sweet Spot Returns To The Limelight [0:17:10] Chapter 3 – Communing With A City [0:37:37] Closing [1:02:48] If you enjoy Empire of Rust, please rate us and subscribe on Apple Podcasts, Google Podcasts, Stitcher, and Spotify! These ratings greatly help podcasts become more discoverable to other people using those services and is an easy way to help out our show.… Continue reading The post Empire Of Rust 102 – We Built This City! With Nuts & Bolts! appeared first on TransMissions Podcast Network.

Buckle up, ladies & gentlemen, you're in for an amazing ride. This week on the Keep Going podcast, we are joined by Paul Carrozza, the Godfather of Austin running. In our No Direction Home episode a few weeks ago (Episode 11, for reference) we mentioned how one of the three pillars holding up the foundations of Austin running was the mercurial & magical energy bottled up in RunTex, the original local running store that Paul & his wife Sheila owed & operated between 1988-2013. In its 25 year run, it fundamentally changed the entire city, not just the running scene. On any given day you might bump into governors - at least three Texas governors (Ann Richards, George W Bush & Rick Perry) were consistent drop ins, tech millionaires - Michael Dell trained with Carrozza & was a close friend, musical celebrities - Willie Nelson, Jerry Jeff Walker were New Balance junkies & spent time on the RunTex floor, but, in addition,  also all the rest of the wild & weird scene that made Austin such a vibrant & exciting place in the 90's & 00's. Those halcyon days are hinted at in this episode where we unpack where Paul started & how he made his way to Austin & the early days of RunTex where every employee was trained in the Trifecta of shoe sales, event production & coaching. Two of your hosts worked in this melting pot of creativity, inspiration & hard work & bring an insider's vibe to the conversation. Stories abound. This is the first in a series of episodes we have planned with Paul as there is simply too much history to cover in an hour. So in honor of 1985, the year Paul & Shiela moved to Austin, as well the year Starship released their international hit smash, We Built This City, we bring to you the episode we call He Built This City: Paul Carrozza, the Godfather of Austin Running.Godspeed, my friends, godspeed. 

Matt Brand is in the studio with us to chat about the menagerie of pets he has at his home. We learn that Kelly knows a great deal about fish and Kim's favorite car song growing up was "We Built This City" by Starship. This is a totally fun & random episode as we weave in thoughts from our growing up in the 1980s. Is Matt and his family ready for a puppy? You decide. Podcast Jingle Podcast Jingle Created by Kim Mixed by Kostas www.itisRUFFoutthere.com

Dedicating this 80s-tastic episode to Erico Theriot.  This episode Drew discusses an 80s staple We Built This City by Starship and he discusses the 80s fascination with cities, cocaine and songs named after a girl.

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

In this episode, I will speak with Lisa Morton. Lisa is the CEO and founder of Roland Dransfield, one of the most established communications agencies in Manchester, England. For the last 24 years, Lisa and her team worked to create meaningful, lasting business relationships that create both business growth and social impact. Lisa's commitment to purpose-driven work is exemplified by Roland Dransfield's “We Built This City” podcast, a podcast series which hears from Mancunians (a native or inhabitant of Manchester) who put the heart into Greater Manchester. In this episode we will speak about how leaders and businesses communicate their values in a transparent and authentic way, and why it's so crucial. Why is it important to implement transparent communication and what does it mean? What are the other mistakes we're making as leaders and individuals in communication?

The podcasting world was rocked by scandal last week when it was revealed that guests have been paying up to $50,000 to appear on podcasts. Which means one thing. Our past guests owe us A LOT of money! Tom and Julie welcome past guest Sean Clements (Hollywood Handbook) to discuss a payment plan. Plus Tom and Julie dictate an email for Producer Brett to send to podcast guest marketplace Guestio. An in-depth reinvestigation of the Robert Loggia Minute Maid commercial. Tom and Julie come up with two new hit stage shows - Boomerpalooza and A Totally Effed Up Christmas, featuring Charlie Claus, Gacy the Red Nosed Murderer, Jack Skellington jerking off, raccoons, Jersey Mike's, and more. Also Frank Sinatra, Sonny & Cher, Producer Brett tries to negotiate a repeat, Ed Gains: Fashion Influencer, Arthur Murray's Wild West Dance Studio, Bloomberg's Gonna Win!, Jordan Peterson is The Fly, Skrillex, Mumford and Sons, We Built This City on Rock 'n Roll (But This is Not a Rock Song), Easy Money, James Franco as Fidel Castro, Madonna's Bored Ape, and Patrick Schwarzenegger is rude at restaurants. "Podcast Guests Are Paying Up to $50,000 to Appear on Popular Shows" https://www.bloomberg.com/news/articles/2022-08-03/podcast-guests-can-pay-big-money-to-be-on-top-shows Robert Loggia Minute Maid Commercial https://www.youtube.com/watch?v=bZIzRqDOSZo BUY TICKETS TO DOUBLE THREAT LIVE! 2ND NEW YORK DATE ADDED! *September 28 2022 - Los Angeles - Lodge Room - https://www.lodgeroomhlp.com/shows/double-threat-podcast *October 21 2022 - Brooklyn - The Bell House - https://www.eventbrite.com/e/double-threat-hosted-by-julie-klausner-tom-scharpling-tickets-330645087357 JOIN FOREVER DOG PLUS FOR VIDEO EPISODES, AD-FREE EPISODES, & BONUS CONTENT: http://foreverdog.plus JOIN THE DOUBLE THREAT FAN GROUPS: *Discord https://discord.com/invite/PrcwsbuaJx *Reddit https://www.reddit.com/r/doublethreatfriends *Facebook https://www.facebook.com/groups/doublethreatfriends DOUBLE THREAT MERCH: https://www.teepublic.com/stores/double-threat SEND SUBMISSIONS TO: DoubleThreatPod@gmail.com FOLLOW DOUBLE THREAT: https://twitter.com/doublethreatpod https://www.instagram.com/doublethreatpod DOUBLE THREAT IS A FOREVER DOG PODCAST: https://foreverdogpodcasts.com/podcasts/double-threat Theme song by Mike Krol Artwork by Michael Kupperman Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode features "We Built This City" written by Marie Vibbert. Published in the June 2022 issue of Clarkesworld Magazine and read by Kate Baker. The text version of this story can be found at: https://clarkesworldmagazine.com/vibbert_06_22 Support us on Patreon at https://www.patreon.com/join/clarkesworld?