Podcasts about weavers

How can we create a meaningful life in a self-centered world? Have our societal notions of success misled us? How does connection underpin our sense of meaning? What practical skills do we need to understand other humans? And what do morals and values have to do with any of this?   A few years ago, David Brooks, columnist & cultural commentator, experienced deep personal loss. He suddenly found himself emotionally at sea. As he looked for ways to keep his head afloat, he realized he wasn't alone; that somehow many Americans had become disconnected from their families or beliefs or way of life. Brooks saw an America drifting from its values and morals, to the point that the basics of human relations were out of reach. Instead of moralizing, Brooks set out on a journey to find people who are truly connected and anchored, and to learn what they do and how they do it.   In this episode, the Surgeon General and David Brooks dig into deep questions. In a world that can feel uncertain and pressured, this episode is a pause to ask what stories we tell, about ourselves and the world, and to think about what gives each of us a sense of meaning in our lives.  Email us at ⁠housecalls@hhs.gov⁠ with your feedback & ideas.   (03:33)    Why is America in a state of emotional pain?  (00:08)    Can we even talk about morals, values, and social skills?  (11:38)    People or government: where can we find moral support?  (14:06)    Can AI provide emotional sustenance for humans?  (17:56)    How can parents help kids build a moral foundation?  (21:16)    Is being social a teachable skill?  (25:03)    What is the “moral and relational hunger” that fascinates David Brooks?  (27:52)    David Brooks' personal quest to better relate to people.  (29:30)    Can the pressure of striving de-humanize us?  (31:25)    How can we be authentic in a world of likes and clicks?  (35:06)    How do external notions of “success” shape us?  (38:41)    What is the story of the Weavers?  (42:38)    How can we build up the Weaver movement?  (45:12)    How do we expand positive social norms?  (48:45)    How's your social life? What keeps you from hosting gatherings?  (55:47)    Can we connect across difference?  (01:01:13)    Where does David Brooks find hope?  (01:04:12)    Is faith a source of inspiration for David Brooks?   David Brooks, Columnist Twitter: @nytdavidbrooks  Weave: the Social Fabric Project: @weavetheppl  About David Brooks David Brooks is a columnist for The New York Times and a contributor to The Atlantic. He is a commentator on “The PBS Newshour."   His most recent book, “The Second Mountain,” shows what can happen when we put commitment-making and relationships at the center of our lives. He is also the author of “The Road to Character,” “Bobos In Paradise: The New Upper Class and How They Got There” and “The Social Animal: The Hidden Sources of Love, Character, and Achievement.”  Mr. Brooks is on the faculty of Yale University and is a member of the American Academy of Arts & Sciences.

On this week's episode, the Weavers break down the 11 ticket punchers we've seen over the past few days. What seed are they destined for? Who can they beat?  We also make picks for the leagues we did not preview last episode, discuss the already-spinning coaching carousel, and assess what Jaylen Clark's absence will mean for UCLA. PLUS: a live reaction to a Champ Week buzzer beater! Shout out to Wake Forest's Tyree Appleby... The Rundown (0:10) - Intro and Reviews (12:52) - Root's Roundup (Coaching news including Texas Tech suspending Mark Adams and Ole Miss' pursuit of Chris Beard, some quick awards talk) (29:40) - Welcome to the Winners (auto bid victors) (45:30) - Tournament Picks

A group of Kāpiti Coast kairaranga or weavers, has been teaching the local council harakeke tikanga after they say several flax plants were butchered last year. There's a call for similar workshops to run across the motu. Niva Chittock reports.   

In Weavers, Scribes, and Kings: A New History of the Ancient Near East (Oxford University Press, 2022), a sweeping history of the ancient Near East, Dr. Amanda Podany takes readers on a gripping journey from the creation of the world's first cities to the conquests of Alexander the Great. The book is built around the life stories of many ancient men and women, from kings, priestesses, and merchants to brickmakers, musicians, and weavers. Their habits of daily life, beliefs, triumphs, and crises, and the changes that people faced over time are explored through their own written words and the buildings, cities, and empires in which they lived. These life stories are preserved on ancient clay tablets, which allow us to trace, for example, the career of a weaver as she advanced to become a supervisor of a workshop, listen to a king trying to persuade his generals to prepare for a siege, and feel the pain of a starving young couple and their four young children as they suffered through a time of famine. What might seem at first glance to be a remote and inaccessible ancient culture proves to be a comprehensible world, one that bequeathed to the modern world many of our institutions and beliefs, a truly fascinating place to visit. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Weavers, Scribes, and Kings: A New History of the Ancient Near East (Oxford University Press, 2022), a sweeping history of the ancient Near East, Dr. Amanda Podany takes readers on a gripping journey from the creation of the world's first cities to the conquests of Alexander the Great. The book is built around the life stories of many ancient men and women, from kings, priestesses, and merchants to brickmakers, musicians, and weavers. Their habits of daily life, beliefs, triumphs, and crises, and the changes that people faced over time are explored through their own written words and the buildings, cities, and empires in which they lived. These life stories are preserved on ancient clay tablets, which allow us to trace, for example, the career of a weaver as she advanced to become a supervisor of a workshop, listen to a king trying to persuade his generals to prepare for a siege, and feel the pain of a starving young couple and their four young children as they suffered through a time of famine. What might seem at first glance to be a remote and inaccessible ancient culture proves to be a comprehensible world, one that bequeathed to the modern world many of our institutions and beliefs, a truly fascinating place to visit. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/middle-eastern-studies

In Weavers, Scribes, and Kings: A New History of the Ancient Near East (Oxford University Press, 2022), a sweeping history of the ancient Near East, Dr. Amanda Podany takes readers on a gripping journey from the creation of the world's first cities to the conquests of Alexander the Great. The book is built around the life stories of many ancient men and women, from kings, priestesses, and merchants to brickmakers, musicians, and weavers. Their habits of daily life, beliefs, triumphs, and crises, and the changes that people faced over time are explored through their own written words and the buildings, cities, and empires in which they lived. These life stories are preserved on ancient clay tablets, which allow us to trace, for example, the career of a weaver as she advanced to become a supervisor of a workshop, listen to a king trying to persuade his generals to prepare for a siege, and feel the pain of a starving young couple and their four young children as they suffered through a time of famine. What might seem at first glance to be a remote and inaccessible ancient culture proves to be a comprehensible world, one that bequeathed to the modern world many of our institutions and beliefs, a truly fascinating place to visit. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In Weavers, Scribes, and Kings: A New History of the Ancient Near East (Oxford University Press, 2022), a sweeping history of the ancient Near East, Dr. Amanda Podany takes readers on a gripping journey from the creation of the world's first cities to the conquests of Alexander the Great. The book is built around the life stories of many ancient men and women, from kings, priestesses, and merchants to brickmakers, musicians, and weavers. Their habits of daily life, beliefs, triumphs, and crises, and the changes that people faced over time are explored through their own written words and the buildings, cities, and empires in which they lived. These life stories are preserved on ancient clay tablets, which allow us to trace, for example, the career of a weaver as she advanced to become a supervisor of a workshop, listen to a king trying to persuade his generals to prepare for a siege, and feel the pain of a starving young couple and their four young children as they suffered through a time of famine. What might seem at first glance to be a remote and inaccessible ancient culture proves to be a comprehensible world, one that bequeathed to the modern world many of our institutions and beliefs, a truly fascinating place to visit. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/archaeology

In Weavers, Scribes, and Kings: A New History of the Ancient Near East (Oxford University Press, 2022), a sweeping history of the ancient Near East, Dr. Amanda Podany takes readers on a gripping journey from the creation of the world's first cities to the conquests of Alexander the Great. The book is built around the life stories of many ancient men and women, from kings, priestesses, and merchants to brickmakers, musicians, and weavers. Their habits of daily life, beliefs, triumphs, and crises, and the changes that people faced over time are explored through their own written words and the buildings, cities, and empires in which they lived. These life stories are preserved on ancient clay tablets, which allow us to trace, for example, the career of a weaver as she advanced to become a supervisor of a workshop, listen to a king trying to persuade his generals to prepare for a siege, and feel the pain of a starving young couple and their four young children as they suffered through a time of famine. What might seem at first glance to be a remote and inaccessible ancient culture proves to be a comprehensible world, one that bequeathed to the modern world many of our institutions and beliefs, a truly fascinating place to visit. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Happy New Year to our listeners! We have finished projects including a huge completion for Marsha. We've started some projects, plus some discussion about a new e-spinner. Full notes with photos and links and a transcript can be found in the podcast section of our shop website: TwoEwesFiberAdventures.com Join the community on Ravelry or become a patron and support the show on our Patreon Page. Subscribe on Apple Podcasts or Subscribe on Android or Subscribe on Google Podcasts Episode 200 Q and A: To celebrate 200 episodes and over eight years of podcasting, we'll answer your questions. Ask us about yarn, our lives, the meaning of life, Fibonacci, poodle grooming, or whatever… We'll do our best! Send your questions to twoewes@twoewesfiberadventures.com or use the Ravelry thread, or DM 1hundredprojects or betterinmotion on instagram.  Marsha's Projects:  Ben's Sweater: Whoohoo!! His sweater is finished! January Blanket: Handspun Manx Loaghton, 3-ply aran weight, 1,460 yards. Decided to add one additional 15 stitch repeat so I cast on 192 stitches. I went up a need size to #9 and have knit about 28 inches. Noromania: Bought 18 skeins of Noro Kureyon (Aran weight) to make a blanket for Mark. EEW 6.0 Electric spinning wheel from Dreaming Robots. Kelly's Projects: I finished what I set out in the last episode: the angel from the knitted nativity scene kit, a bumper for Minnie's wool cat bed, and a warp for Monk's Belt dishtowels. I started the Coloresque Wrap Erin Kurup using the Neighborhood Fiber Company rustic fingering gradient set Shades of Turquoise. This was a door prize from the NoCKRs retreat several years ago. I started this project as Stitches West knitting, but couldn't follow the pattern in that setting and gave it up. Then I lost the yarn for at least a year! It is really more of a wide scarf than a wrap, but it might block out bigger than it looks.  I've returned to working on the spirit yarn mohair vest. I will have A LOT of yarn left over. I think I could have made a Garter Squish blanket. Monk's Belt Weaving project: I am making dish towels rather than the placemats in the JST episode. I started with what I thought were neutral gray and brown and once they were put together they look a lot like lilac and orange. We talk a little about the way colors work in weaving and how the brain and preconceived ideas also affect the way we interpret colors.  Patreon Pattern Giveaway  A hearty, year-end thank you to our patrons! Your support has made our show better and our prizes more numerous. Message Kelly with the pattern of your choice ($10 or less). Thank you for your generosity. You've helped to build this community! Winter Weave Along October 1 - March 31 Transcript Full transcript available at twoewesfiberadventures.com Marsha  0:03   Hi, this is Marsha and this is Kelly. We are the Two Ewes of Two Ewes Fiber Adventures. Thanks for stopping by. Kelly  0:10   You'll hear about knitting, spinning, dyeing, crocheting, and just about anything else we can think of as a way to play with string. Marsha  0:17   We blog and post show notes at Two Ewes Fiber Adventures dot com. Kelly  0:22   And we invite you to join our Two Ewes Fiber Adventures group on Ravelry. I'm 1hundred projects and I am better in motion. We are both on Instagram and Ravelry. And we look forward to meeting you there. Enjoy the Episode! Marsha  0:42   Hi, Kelly, Happy New Year. Kelly  0:44   Happy New Year to you too, Marsha. Marsha  0:46   Yeah, this is the first time we talked I think since before the holiday. Kelly  0:50   Yeah. How's how's your 2023 been? Marsha  0:53   It's been very nice so far. Because I left New Year's Day for the beach. We went to-- Kim and I went down to the Oregon coast to Cannon Beach. And with the dogs, because the dogs needed a vacation from the stress of the holidays. Kelly  1:10   Only the dogs needed a vacation from the stress of the holidays?  [laughing] Marsha  1:14   Yeah [laughing] So it's nice. We had four nights down there. It was really fun. I don't know if you saw any of the pictures I posted but they had very high tides. So we couldn't really go to the beach in the morning like we normally do. We had to wait till the afternoon till the tide went out. So that was a little bit different. But it was fine. Kelly  1:34   I did see the one picture you posted where there literally was no beach. Marsha  1:38   Yeah, it was hitting the the rock wall they have along in front of the hotel where we were staying. And I actually thought, those really expensive, desirable homes that are right on the beach with a fantastic views? I don't know that I want to stay in one of those.  Kelly  1:54   Yeah Marsha  1:55   I liked being--we had a view. But we were not right on the beach. We were back. We kind of overlooked--It doesn't sound good, But it was it's actually fine--You sort of overlook a parking lot for the park. And so you're back at solid 50 yards probably from the beach, which made me--and we were up on the third floor which made me feel better. I don't think I'd want to be on one of those houses right on the beach. With the bedrooms on the ground floor. Yeah, not during this storm. And, and you're having storms down there too, right? in California? Kelly  2:26   Yeah, we weren't hit as bad as some of the surrounding areas. We but we've had--every time it rains we've had more than an inch, which is really unusual for us to, you know, to get that much rain at a time. We did have one day, it wasn't this most recent storm it was maybe a week and a half ago where the street flooded in front of our house, you know because of the slough, what used to be the slough, running through our yard and through the yards of, you know, all of the the neighbors. It comes right across the street, you know, what used to be the slough. You can see from above you know, it's comes right across our street. And so the street kind of dips down because of the the old slough having been there.  Marsha  3:18   Right  Kelly  3:19   And so that part of the-- that part where the street dips down floods and the, you know, especially if the if the city pumps for the stormwater aren't working properly, then it really floods. Anyway, it got high enough that it went above the curb and was flowing into the old slough in our yard. And so I always like it-- Robert hates when that happens but I always like it because I feel like I'm capturing stormwater for my own yard. Like yay! Extra water! But this year he was worried about it because he said, you know, he didn't want it to he didn't want that water to undermine his his fence posts that he had put in and that didn't happen. It, you know, was nothing huge. But there was some water runoff from the street into our into our little ravine and that hasn't  happened in a in quite a few years. So so yeah, we you know we we didn't suffer much at all. We didn't suffer at all from the from the storm. But like the beach in in the Capitola area, one of the old beaches that I used to, you know, the beach that I used to go to when I was a kid, their whole parking lot is gone. Just destroyed from the from the tides. Robert was showing me pictures this morning. And he's been really watching the weather and you know he's got the Weather Channel and all the places that he used to look when he was working at the agency and needed to keep tabs on what the weather was going to be for their generator system case power-- case of power outages and the storm water. So they could predict and, you know, because the stormwater goes to the treatment plant. Yeah, he was really-- well, he has been sort of obsessing over the   radar and all that. Marsha  5:12   Well and when I was at the beach he texted me that about the light fixtures on the front of the house that I helped him put them up that one time I was down there. And he was-- he put some extra wire on them I think, to secure them because he was really worried about the winds. Yeah, the reason why you got those new ones is the wind had knocked the old ones, had damaged the old ones. So he was really worried about that. They're fine though? So far? Kelly  5:36   Yeah, yeah, they are fine. The only-- his rain gauge, which is a five gallon bucket, the one day that the wind was so so hard I looked out the kitchen window, and this white plastic bucket goes flying across the yard. Oh Okay! So now he's got, he turned our, we have a like a, you know, that teak side table. He turned that upside down, set the bucket inside of the four legs, and then propped bricks around the edge to both hold the table down and hold the bucket firmly inside the table. He's got that sitting outside to measure so he can kind of keep track of the rain. The amount of rain. I measure it by the amount that's in the dog dishes. So I have a 12 hour rain gauge, you know, feed the dogs in the morning and when I go out at night and feed them again I see how much is there. Yesterday, it was about an inch in the 12 hours. It was pretty steady. And not hard rain, but pretty steady all day. Until yesterday afternoon. Today, we have a break. It's really nice. It's um, I can even see blue sky outside. So there was one day that it was so gray. It felt like nighttime all day long. It was  super unusual for us. So anyway, yeah, that's what's been happening here. Aunt Betty had her second cataract surgery and it went all fine. So now we're good. So she's, she's happy. She's able to see. She had a follow up appointment yesterday. So that's all good. So yeah, my 2023 is going pretty well, too. Yeah, well, mine is going pretty well, because I had a nice trip to the beach. And then I'll talk about some other stuff when we get to projects. So should we jump into projects? Or? Well let me just announce about the episode 200 As long as we're stopping for business here. So we are currently on episode 198. Coming up on episode 200. And so we're going to do for episode 200 a listener q&a. So we'll answer your questions. And we've got quite a few questions already between email and the Ravelry thread. But I put up a Ravelry thread where you can ask questions, or you can email us to us at Two Ewes Fiber Adventures dot com. Or you can message us, you know on Instagram, or you can use our website Two Ewes Fiber Adventures dot com. And there's a Contact Us page and you can use that to send us an email. Lots of ways for you to let us know what your questions are. And then we're going to answer them on episode 200.  Marsha  8:43   Try to answer! Kelly  8:44   All of them. Yeah. And I have been listening to some of the older episodes just kind of going back to refresh my memory about them. At first I was a little worried like oh I'm not sure I want to go back there and see how we sound. You know we weren't that bad Marsha.[laughing] I think we did pretty good. First. I just remember, I do remember when we first started, on every episode, Robert would go to work and he'd listened to it. Then the next day he'd give me a rundown. It helped us get better. I do have to say that it helped us get better. But sometimes it was not a welcome critique. [laughing] Marsha  9:29   Now do you remember? I'm kind of curious, like maybe I shouldn't even ask but I'm dying of curiosity. Like what were some of the critiques that that he would give? Kelly  9:37   He said I repeated myself, which I still do. When I edit sometimes I think oh Kelly, why did you have to say the same phrase three times while you were thinking of the next thing you were gonna say? He also said that I talk slowly. Like I'll be talking along at a normal pace and then he can tell that I'm thinking because I get really slow. So, stuff like that, you know. And then when we started actually recording together, he's like, You guys are much more interesting when you're recording on the phone together. So.. Marsha  10:12   Yeah, I know, I think that changed the dynamic a lot, you know, when we started recording together, but I still listen to myself and every episode I'm critical of myself. Like, I can't follow my train of thought. And I, and I make so many mistakes too, in terms of when I'm describing stockinette, or garter stitch, or making the garter Squish, blanket. like, Ah, god, sometimes I listen back and I roll my eyes, you know, but anyway, we're just human right? Kelly  10:52   Yeah, you need to be kinder to yourself, Marsha. Marsha  10:55   Yeah, yeah, yeah. Well, yes, I've been reading the questions, and I'm looking forward to answering them. Kelly  11:02   Yeah, it'll be fun. So do do. Send us your questions. And, you know, it could be about anything. So far, a lot of the questions have been about about our lives and our crafting and the podcast, that kind of thing. But, but yeah. Bring them on. Let's see. Marsha  11:27   All right. Okay. So projects. Kelly  11:29   Yeah, so let's go. I can go first. So last episode, I said, I had some plans. I did not have much knitting, but I did have some plans. And I can say that I did what I set out to do, I finished the angel from the knitted nativity scene. I did finish the star the knitting of the star. Now I just have to sew it. It's two pieces and then you sew them together and stuff it. So she's holding on to this stuffed star. So I didn't I didn't get it, but I haven't sewn it together and stuffed it but the angel part is done. I even washed her hair because the the yarn, the yarn that they had for her hair was wound around a cardboard. Most of the yarn was in little, little balls or cakes. And the yarn for her hair. I'm not sure why, was wrapped around a cardboard. And so where it wrapped around, it had like a kink. So her ponytails were very messy. Were curling all--just all different ways. And not curled. But like fish hooked, you know, like kinked.  Marsha  12:47   Yeah, yeah,  Kelly  12:48   The edge of that cardboard. So I wet the her hair. I had to wet it down twice. And then let her dry before before most of that came out, so so she's done. I've knit a bumper for Minnie's cat bed. And it's in there.  Marsha  13:05   Yeah?  Kelly  13:06   So, and I do know she slept in at least one night. During the real rainy days, she sleeps in the-- we have a house out there that I have a woven a wool woven pad in-- the one she used to have-- I put in there. And she sleeps in there when it's rainy, and she needs to really stay out of the rain or it's really cold. I'm not sure where she sleeps all the time, because she's not always on the front porch, especially since we got Beary and he barks at her. Although she doesn't--honestly I say she doesn't sleep there because of Beary. But Beary has been on the front porch coming in, you know, in the morning. And she has been under the car in the driveway on the porch in that same morning and walked up to him. Like, twice. So she's not really afraid of him. Although she-- I don't think she likes the barking. But she's not afraid of him. He's afraid of her. This is funny. You'll you'll get a kick out of this. So one morning, Robert had him and he kind of growled at her as she was walking towards him. And so Robert, you know, corrected him and said no. And so, and he was you know, wiping off his feet and stuff to let him in. And so Beary turned himself around and put his head in the corner of the porch. So you didn't have to look at her. Here's this big dog. He's really kind of afraid of her. He doesn't know what to make of her. And so since he couldn't growl or do anything wrong, do anything aggressive towards her. He had to just put his head in the corner. If you can't see her, she doesn't exist.[laughing] Yeah, so all of that orange wool is gone. And then I had to grab some additional coned wool from my weaving stash. And I knit with it for the rest of the bumper. So I got that done. And then the third thing that was on my list for before was to wind a warp for monks' belt. For the monk's belt project at the Jane Stafford Guild, and I did, I did that as well. And I'll talk more about that at the end of my projects. So I got all of that done. And then I've even returned to working on the mohair vest.  Marsha  15:33   Oh, okay.  Kelly  15:34   Yeah, that's what I have in my lap right now, what I've been knitting on, and I tried it on this morning. And so it's top down. And I have more than 12, about 12 inches from the armholes. So it's kind of at high hip length.  I want it to be longer so I'm I'm continuing to knit down but I'm gonna have so much yarn leftover. Maybe I won't, maybe once I put the ribbing and the the band on. I started with three skeins, I've basically got two balls, which is one skein that I am working on actively and then one skein in the bag  so I don't know. We'll see. So I'm continuing it. Maybe I should have made a blanket, because I think I'm gonna have a lot of yarn leftover but it's back on its-- back in the rotation. And then the other project, I started a new project knitting project. Do you remember the yarn I lost? The neighborhood fiber company gradients? Marsha  16:52   Oh right. Yeah, Kelly  16:54   Yeah. I think I lost it twice. I mean, I think I lost it, discovered it, said oh, okay, that's where it is. And then forgot where it was. And lost it again. I can't exactly remember. But anyway, it's 1250 yards of rustic fingering from neighborhood fiber company. And it's a turquoise it's called Shades of Turquoise. It's a turquoise gradient. And it starts with a really dark dark, almost black, blue, and then changed into a more true-- I don't know if I call it turquoise, I guess I call it turquoise. A more true turquoise. So there's two really dark skeins, then there's like this medium bright turquoise, and then there's two light turquoise skeins. So I'm doing the original project, I looked around for something else. But I thought you know what, I'm just gonna go back to the original project that I selected for this. It's called the Coloresque Wrap. And it's by Erin Kurup. I think her company name is remade by hand. And actually I met her at stitches. And I believe that this was a gift from her, this pattern. And so I started it one year. Right after I think the year after I got it. I started it for my Stitches West project, which was a mistake.  Marsha  18:22   Yes, I remember. I remember you working on it. Kelly  18:26   Yeah, I'm not sure if I had been a little further along when we went to stitches, I think it would have been okay. But it's it's a striping pattern. So as you're using two colors, and it's a striping pattern that has you doing stockinette and then one pearl ridge and then stockinette and then one pearl ridge. And so I was having trouble with that. And then I was also having trouble with the-- it's trapezoidal. So you're knitting together on one side and making one on the other side, knitting in front and back on the other side. So it's going kind of out of slant and like a trapezoid. So that was an issue. Remembering to do that was an issue. And then it has, it's not really a big edge detail. But it has a little edge detail to keep the edges nice and tidy. And that was giving me fits. So I had to-- I came home and it was such a mess that I just ripped it out. But now it's back on the needles and I've gotten a fair ways along I think I'm maybe at about 20 inches. Maybe a little longer than maybe closer to 30 Marsha  19:43   Do you have a project page for this?  Kelly  19:46   Yeah, I just put up a project page but I don't have a picture yet. Marsha  19:50   Okay, oh, let me look here. Oh, here it is. I see. Kelly  19:52   Okay, and then it has lace. The pattern has these stripes and then it also has lace sections. And so it gives me the opportunity to use the colors. And it's kind of--the pattern is nice because it's kind of set up, I mean, they have the pattern, she has the pattern set up where you just follow the pattern with your colors. But then she also has a page in the, I think it's in the pattern, or maybe it's on--also linked on the pattern page. But she has a page where you can do your own color design.  Marsha  19:53   Mm hmm.  Kelly  20:01   And so she has like the template of the of the shawl or wrap laid out. And then she talks about, you know, how you can figure out which colors to put where and, and it does talk about how many grams of of yarn you use for the lace sections, although I added a repeat, so mine won't be following that exactly, you know. The next lace section I do, I'll have to weigh my yarn and then determine how much yarn I need for one of the lace sections. So I've got two lace sections in here now with the striping pattern in between. And I liked the lace section. So I think I'll do more of them than is in their original pattern. Because I kind of liked that. I haven't done lace in a long time. It actually looks kind of like the lace that you have, like little V pattern Chevron.  Marsha  21:19   Yeah, in my blanket.  Kelly  21:21   Looks very similar to the lace in your in your blog. Marsha  21:24   Nice. Well, I'm, I'm interested to see a picture of it posted. But this is a nice looking shawl It's pretty. Kelly  21:32   So I've just been choosing colors along the way trying to keep you know, kind of the gradient idea going from dark to light, but I have the contrast stripes. So I've got you know, sometimes I have two medium colors together in the stripe, sometimes I have the darkest with the lightest, or colors just a couple or one or two shades away. Since I have five colors, I have a lot of choices. And it's coming out nicely. It's looking right now like it's not going to be more than just a wide scarf with stripes and lace combination. But maybe when I block it, it'll be a little bit wider. The original pattern called for I think was about 12 inches wide. And then I added an additional repeat of the lace because I wanted it to be a little bit wider than that. But I didn't want to make it so wide that then I wasn't going to have enough yarn. I wasn't sure how that was going to work. So I'm moving along on it and enjoying it. It's giving me, it's giving me two projects on the go that are knitting projects. So and then I have my my weaving project.  Marsha  22:43   Okay, and let's hear about that.  Kelly  22:45   So I'm making-- I decided with the monks belt that I wanted to make, of course, dishtowels. The project for the Jane Stafford guild is placemats. So at first I was a little worried that maybe it was a weave structure that wasn't a good choice for dish towels. But I found a dish towel pattern in a book I had bought years ago and it was monks belt and turns out it's exactly the same draft as what's in the Jane Stafford guild, which is basically the Marguerite Porter Davison, you know Weaver's bible of stitches. This Monks belt draft is not anything, you know, it's not anything new and improved or you know, combined with other things or whatever. So I'm basically following the information from the episode of The Jane Stafford School of weaving TV Guild and also following the pattern from this book. But the book has only two dish towels in its warp and I put on enough for six dish towels I should have enough for six dish towels so I have a little bit of room to play which will be fun. I did want to talk a little bit about color choice. Because I had decided--I thought I would make dish towels for Sarah for housewarming gift, my niece. And for my mom for her trailer. The new trailer is sort of gray and brown. The floor is tha-- a lot of people have you know the gray like wood floor now is kind of popular? And that is the flooring in the trailer. They don't have carpet they just have the grayish wood flooring and then, you know, kind of brown upholstery and stuff so I thought okay, I'll do neutrals. And I know Sarah, as much as she loves color, is more along the neutrals line for stuff in her house. So I thought okay, this would be good. I'll find some neutrals. So I grabbed-- you remember the yarn that you got me the Swedish yarn that you got me from the goodwill? The weaving yarn came in a bag-- there was a red and a green and a gray. Marsha  25:07   Oh, right. I didn't know it was Swedish but oh yeah, I remember getting that. Yeah, Kelly  25:11   I think it's I think it's Swedish. Anyway. Okay, I took one of the--I decided to use the gray out of that. And then I used one of the cones I have of the Sally Fox Fox fiber, which is a brown is called Sienna, Sierra Sienna Brown. And you know, the color crayon color of Sienna?  Marsha  25:31   Yeah,  Kelly  25:31   Kind of a rusty brown-- a yellow, yellow or orange toned brown. So there's that. And then I saw-- I put those two together. I was like, okay, yeah, this is what I'm going to use it's going to be nice and neutrals, gray, brown. I have a little bit of black. I have oh, I have this other cone of this variegated black and brown yarn that I bought thinking I would knit a linen shawl that I never a lace shawl that I never did. So I got that out. I got them all together. And I wound them. You know, this is great! Neutrals. And the gray looks purple. And the brown looks orange. When you put all those colors together... Marsha  25:38    So interestin! Kelly  26:20   next to each other, you can really tell that this is a gray that leans purple blue, like bluey purple, like a lilac color. It sort of leans lilac. And this brown, of course, leans very orange. And because those were such, you know, because purple and orange are such contrasting colors. I think they're what complimentary colors maybe. Right? It really, it really makes them look like they're--it's purple and orange. So it's okay, it's not the neutral that I was going for. It's really pretty. I really like it. Not sure they'll go to the intended recipients. It depends how. depends how they come out-- what I think once I've got them off the loom. Once I've you know, put other colors in the weft because that tones things down a little bit too. So. So we'll see. Marsha  27:20   I'm just going to interject here about color and weaving. You made me some towels that are actually red, white and gray. And I swear that gray is green. And I think it's because, and I always I use them at Christmas time because to me they look like Christmas color. But it's not green. It's gray.  Kelly  27:40   Right.  Marsha  27:41   So I don't know it's so interesting Kelly  27:43   That same gray? I'm using as a weft color. Okay, and against the other ones. It looks blue. It's like a slate blue. Yeah, Marsha  27:55   yeah. And I have to say in the towels, it doesn't look like Christmas green. But it definitely looks like a green to me, like a forest green. Kind of.  It's not I know, it's I know, it's gray. But Kelly  28:10   Well, and those are the same those. That's the exact same warp as the napkins in the trailer. Okay, yeah. And in the trailer, to me it it reads as gray. Not green, but in the house, it really did look like, it did look green to me, too. Yeah. So it's very interesting. choosing colors-- it's fascinating. I really think it's really an interesting thing. And then and then the thing about weaving that doesn't happen in knitting. Is that optical blending, you know, you get a lot more of the optical blending in weaving because the, I want to say the pixels are so small, right? When you're weaving, your yarn is going over and under each other. The dots of color are about the size of the yarn, unless you're doing stripes.  Marsha  29:05   Yeah.  Kelly  29:06   Whereas with with knitting, your dots of color, the smallest they can be is really a stitch. You know, I mean, even if you're doing mosaic stitch where you're trying to blend optically blend the colors, doing mosaic knitting or slip stitches, where you're trying to optically blend the colors. You're not going to get that kind of blending so much with knitting so it-- Yeah, it's it is kind of funny. And then one last thing about these is the  patterning in them is coming from the color that I'm using for the weft. So I started with a weft of an even deeper rust color. And then a black and then that slate, that slate color that you think looks green, and that I have thought looked blue and I I, I was like, okay, yeah, this will be a good, this will be a good color progression, you know, and I'll just repeat this color pattern. And then I took a picture of it this morning and put it on Ravelry. And when I looked at the picture, I went, Oh, the black and the gray look like the same color in this picture. I think I need to take out the black and go rust, or rather, take out the gray, the slate that I just started because I don't have that much of it. I mean, I have less than half an inch. So I think I'm gonna take that out and go rust, and then black and then rust and then slate. I don't think I want the black and the slate next to each other because they look too much like the same color. Not enough value difference. So anyway. It's one of the things I love about weaving is the the color play that you can do. And I'll do--you know with six towels, I'll get into a lot. So yeah, my purple and orange dish towels. [laughing] I think something--some parts of color also have to do with what color you think something is. That color, I haven't actually looked in I don't know, if it even says on the label what you know, a color away name. I think the label is in Swedish. So I don't know if it says a colorway name. Or often weaving cones just have a color way number. But I wouldn't be surprised if the color name was lilac. And because it was just in a bag with a red and a green. And I can't remember what color it was with. But anyway, the color it was with made me think it was gray. And because I thought it was gray. It looked gray. You know what I mean?  Marsha  31:52   Yeah, yeah. And I think that I'm looking at the gray, red and white. And I think it seems like Christmas colors. So I'm reading it as green because red and green are Christmas colors. I don'tknow. Yeah. Kelly  32:08    It's like once your brain locks on what color you think it is. That's what color you see until something comes along to shock you out of that thinking, like, oh my god, this is purple and orange. Marsha  32:25   Okay, I'm going to look up your picture because you said it's in Ravelry.  Kelly  32:29   Yeah, in the weaving thread. Marsha  32:31   Oh, but here on Instagram, too. Did you post it?  Kelly  32:34   Yeah, I posted an Instagram  But I didn't have much of the weaving done when I posted on Instagram. Ravelry is a better picture, will be on a more recent picture. I don't know if it's better. The more recent picture is on Ravelry. So just an interesting thing, how color works. And how your brain tells you things that aren't really true. Marsha  33:03   Funny, huh? Well, should I talk about my projects and I don't want to interrupt. Are you done? I don't want... Kelly  33:09   No I'm I'm finished. That's enough. You'll hear more about this project. Since it's six towels. It'll be okay. It'll be going for a while. Marsha  33:17   Oh, okay. Well, I have big news. Yeah, I did not finish it between Christmas and New Year's but at the beach I finished Ben's sweater. It is done.  Kelly  33:30   Yay.  Marsha  33:32   Yay. And I will not relive the whole thing. But I did. I think the last episode, I don't remember. I honestly I don't even remember where I was with the whole thing. But I did rip out both sleeves back to the elbow and re knit them with fewer decreases. And I came home from the beach yesterday afternoon. I got home around 4:30 or so. And the first thing I did was wash and block the sweater. Kelly  33:58    Nice.  Marsha  33:59   So it's drying. And I've a few ends to weave in. But I'm calling it done.  Kelly  34:05   Nice.  Marsha  34:05   Yeah. So and it blocked out really nicely. It grew a little bit which is what I wanted. And so I think it's going to be... I'm just glad I'm done. So I'm starting off the new year fresh. So that's all I'm gonna about to say about the sweater. I don't want to talk about it anymore. Done. I'm done. And I will say and a story I will say I finished it at the beach. Now I don't remember now what day it was I finished it and when I bound off this, I finished the first sleeve before I went to the beach and then I finished the second sleeve at the beach and bound off the cuff. And this I was getting like: 10 rows, nine rows, eight rows and seven and getting more and more excited and this huge weight has been lifted off of me by having that done. It's like this is a great way to start the new year. It's done, so I'm excited. So anyway, I worked on my January blanket. And I have knit about 28 inches of it. And I really like it. I think it's turning out really nicely. It feels great. Because it's handspun kind of woolen spun is what I tried. So it has, it's very light. But yeah, it's very nice. And this is really nice yarn. It doesn't. It's a woolly yarn, but it's not harsh at all. It's just super nice. I really like it. Kelly  35:39   It looks really pretty. I like that solid color. I mean,  we've both done so many blankets with you know, colors changing all that. But that is a really nice look  that one solid color with a nice lace pattern. Marsha  35:57   Yeah. And I love the color of this. It's --I never know what to call it. It's sort of Carmel Cafe Au Lait. Yeah. The color of Milk in Tea. I don't know. Kelly  36:11   Yeah, I would say I would say Cafe au Lait  is a good way to describe it. Marsha  36:17   The color of a little brown dog? I don't know. I don't know. Kelly  36:23   It's a little lighter than Orkney. Right? Marsha  36:25   Yeah, yeah. I'll just interject. I remember, I probably have said this before in the podcast, but I worked with a guy who was in a Cajun band. And so he knew a lot about Cajun cooking, because he always would go down to Louisiana. And so I asked him if he had a recipe for gumbo. And you start with a roux, and you cooked the flour and oil together until it was the color of an old hound dog. And I, we worked together and I went up to the receiving area where he worked. And I just on a piece of paper, I wrote down his recipe. And that's what I actually wrote down: cook the roux until it's the color of an old hound dog. So this is like the color of an old hound dog, I guess. Anyway. Anyway, so I'm really enjoying knitting on this. And then, I think, I guess I mentioned in the last episode, because I had it here in the show notes that I bought the Noro Kureyon to make the Noro mania blanket for my brother and I gave it to him for Christmas. And he's thrilled with it. So I'm going to cast that on. You know, as soon as I finish this blanket, I'll start that and do a little figuring about what size I want to make. But my big news is I have a new addition to the the the yarn and  fiber family, which is I bought an electric spinning wheel. Woohoo! and so both Kim and I bought the the it's called the electric eel or the e w 6.0. Technically, from dreaming robots. And I'll talk more about this at a later date. But I we both they arrived in the mail, and we didn't unbox them until we got to the beach and set them up very easy. We watched the tutorial they have on the dreaming robots website. And so we set them up. I should back up and say our inspiration for buying these was our friend Dagmar. She bought one a while ago and she had it at NoCKRs retreat. And I was really interested in it. And when I knew she was going to be meeting us at Black Sheep, I said to Kim, you need to come and check out her spinning wheel, this E spinner because I think because Kim has been adamant she was not going to get a spinning wheel. no, right, just stick with the drop spindle. And I could tell when she was watching Dagmar that she was very interested. So anyway, we had fun. Our four days down there of just playing with the spinning wheels. It was interesting. I had some polworth that I had bought years ago I don't even remember now where I bought it. So I was practicing with that and she also had polworth That was dyed. And so she was practicing with that and it is really interesting to just to spin the same fiber but one's dyed and one's not dyed, how they're different. Because the the technique of dyeing, the roving, it gets a little stuck together kind of. Needs a little bit more pre drafting that has to go on than with an undyed fiber, I think. But they're really, they're great wheels and I think they're really well designed. He's thought of everything. And we also-- it does not come with a battery but you can order a battery that so then it'd be great for...  Kelly, if I go to the trailer rally again, I would actually be able to be easier to transport this to California on a plane or whatever or in the car. And then I don't need to plug in, I can just spin off the battery. So it's going to be great for all kinds of situations. But it is funny, Kim was sitting at the dining room table practicing and I was sitting on the sofa and had the wheel sitting on the coffee table. And underneath the coffee table there was another little shelf and I kept pushing on that shelf with my foot trying just to treadle-- stop the wheel, start the wheel. That was actually amusing to me. I kind of thought wow, this is so nice. I wonder what it's going to be like when I go home and spin on little Herbie. And last night I spun for two hours or so while I watched the news and whatnot. And I love little Herbie. I have not given up my complete love for little Herbie. I love treadling. But this is this is a really nice, it's gonna be great for taking to the beach.  Kelly  41:02   Yeah,  Marsha  41:03   taking to your house, taking to NoCKRs because it's so portable. So I have to thank Dagmar for introducing us to it because it's been great. It's really fun. So I'll report more on it came in, I think gonna get together this weekend to practice a bit more, and I might record a little bit get some of her thoughts, too.  Kelly  41:21   Oh, that'd be cool. Yeah. Marsha  41:23   Yeah, I'll do that. That would be good. I have to say I thought about-- I thought about recording when we were at the beach. But honestly, it was kind of fun just to get lost in it and not have to think about talking about it. Kelly  41:37   Well, you'll have more to talk about once you've been working with it a little bit longer, too. Marsha  41:42   Yeah. It's interesting though, the bobbins. On the website, they say they hold eight ounces of fiber. And so I'm interested to see. I'm spinning up a four ounce skein. And it's, it's about half full. So I'm gonna see if it'll hold the eight ounces. That's, that's a lot. Kelly  42:03   That is a lot. Yeah, it's kind of a double edged sword. It's sort of like ink-- with the fountain pens when you buy ink. So, you know, there are some people who are real big proponents of you know, the ink bottles that come, you know, 50 milliliter, 60 milliliters 80 milliliters, you know, these nice big bottles of ink that you get your money's worth, right?  Marsha  42:32   Right.  Kelly  42:33   The problem with that, or the other side of that double edged sword is that you have all of this ink and then if you want a different color it's hard to justify buying. Well. For some people, it's hard to... for myself, it's hard to justify, I guess, if I were further down this, this rabbit hole, I could have a whole large stash of over 200 inks like some people do. It really ...but it's difficult, it's more difficult to justify buying another bottle of ink in a different color that looks fun and that you want, when you have, you know, 50 60, 70 milliliter bottles of ink that are big. And you don't even use-- I think one time we were talking, I said that it takes like 10 milliliters. It doesn't even take one milliliter to fill most of my pens, I was way off there. So you know, if you're using less than a  milliliter every time you fill your pen, and it takes me a couple of weeks for my pens to run out if I have a couple of pens inked up at the same time. Like not a lot of ink. Right. So so the bobbin.. Marsha  43:50   Yes! Kelly  43:50   Oh, go ahead. Marsha  43:52   Well, I was gonna say if I I'm spinning just a natural colored cream.  Kelly  43:56   Yeah,  Marsha  43:57   yarn or fiber. It's gonna... and eight ounces. That's days of the same thing. You know, so I know what you're saying is you can't... like it's having a smaller bobbin and you get to change a lot. Kelly  44:10   Right? You know, right. And that's part of what I-- that's part of what I like. I mean and you could even spin two eight ounce bobbins if you had 16 ounces. You could spin two eight ounce bobbins and then ply those two together like you could be working on cream colored yarn for what felt like Ben's-- a Ben's sweater worth of time. [laughing] Marsha  44:37   Well, and also Kelly, I'm just going to add this in there too is that I before I went packing for the beach, getting the wheel and getting you know the first thing you pack when you travel is a knitter is all your projects, right? And so I was like what fiber am I going to spin and so I found I had this polworth and me being me, I didn't buy one skein I bought three packages of four skeins each.  four ounces? So how many?  So each package has has four pieces of--hanks of roving, okay, and each one is four ounces so Kelly  45:24   so okay so you have 16 ounces in a bag and you have three bags? Both  45:40   Three bags! [laughing] Marsha  45:42   I'm like that but I do know, I as I say I don't remember where I bought it-- if I bought it at Black Sheep or if I bought it at fiber fusion. I think I bought it at Black Sheep because I don't I don't-- I did not buy it in the marketplace. I remember I bought it from the person with the sheep. Like out in the barn?  Anyway, I bought it and so I bought three bags and there's four skeins in each bag  Kelly  46:05   and it's  all undyed and each is four ounces it's all undyed, natural white.  Marsha  46:12   Yeah, I am. I'm slightly insane. Kelly  46:16   Well, it doesn't all  have to be one project.  Marsha  46:18   Oh, you know me. I always buy a sweater quantity of something. I always buy a big quantity or something. So I don't know what-- I don't know what I was thinking Kelly  46:25   It's a little more than one sweater. Marsha  46:29   Yeah, I know. It's another blanket. Kelly  46:36   Now you're gonna become known as the person who always buys a blanket quantity. Marsha  46:44   Yeah, so I don't know what I'm going to I've just I've I didn't even spin four ounces. Kelly  46:51   It's about like if you bought a fleece and sent it away to be processed. Right? A small fleece and sent it out to be processed.  Marsha  47:01   Yeah, no, I'm just a little insane. Kelly  47:03   I kind of learned my lesson from this six pounds of CVM. Well, I won't say I learned a lesson because I'm pretty sure I didn't. But I do remember being really sick of it by the time I was done, yeah. And I in fact, I found a little scrap of roving from that CVM fleece this summer while I was cleaning up, I found a little bump of it. And I think I ended up putting it. I might have put it in the felting box. But I honestly I might have put it with the stuff that I used to compost. I might have just said you know what? I'm done. I'm totally done with you. And I want this out of my stash. Totally. Not even a little scrap in the felting box. I think I did end up composting it. I mean, it was less than an ounce I think ,but still. Marsha  48:00   Yeah. I mean, I in my defense I have to defend myself just a little bit is that I did buy this early in my spinning life. And when I was in you know new spinners, new knitters, new crocheters, new Weavers, new spinners. anybody new to something, you get all excited about it, and you think you're never going to see any fiber ever again, this is your only chance to buy. And so I yeah, I went a little crazy Kelly  48:27   Well, and you go through it fast. If you're really if you're really spinning, especially when you're a beginner and or if you're making yarn that's thicker, you do go through roving, you can go through roving quickly depending on the, you know, the type of thing you're spinning, but you can go through quite quickly because I remember doing a swap that was 24-- I had to make 24 skeins, each of them two ounces. So that's 48 ounces. So what? That's three pounds, right? So and I remember telling myself at the beginning if I just spin this three pounds, by the time I'm done spinning three pounds of wool, I'll be a good spinner. And, and I cranked through it one summer, you know, just spinning for this. For this swap. It wasn't all the same type of fiber. But I gathered together--basically gathered together three pounds of fiber and and spun it for this for this swap. So you do go through it fast. Yeah, you're a newer spinner and, and I could see why you would think okay, I need more because I'm just a four ounce braid just takes me no time at all. You know. Marsha  49:21   Basically I really love the wheel. I think it's a great investment just for traveling just because there's so many times I've not been able to bring my wheel to visit you because we're to the beach and I have to I'm all engrossed in a project but then I can't take it. Kelly  49:53   That's nice. I'm excited to see it. Marsha  49:55   I have to say we have to finish because my ear pods are failing and the right one is run out of charge. So let's keep moving here before my earbuds fail. Kelly  50:08    Okay,  Marsha  50:10   what else do we have to talk about? Kelly  50:11    Anything else for your projects? Marsha  50:13   Oh, that's it. That's all I have.  Kelly  50:14   Okay, so the only other thing we have to remind our patrons about is the Patreon  giveaway. This is our year-end, thank you to our patrons for their support of our show. And so they should just let me know, email me, email or message me on Ravelry with the pattern of your choice $10 or less, and I will get that pattern out to you. I just want to thank everyone who supports us on Patreon. And if anyone would like to join the Patreon supporters, the link is at the top of our show notes. And it's patreon.com forward slash two ewes and you can become a patron of our show. But yeah, get your get your information to us and we'll get you your pattern choice. Marsha  51:04   Yeah, so thank you. All right. I think that's it, Kelly.  Kelly  51:08   I agree.  Marsha  51:10   I have to go cuz you're fading in the left. You're fading in my left ear now. So okay, I think we talked to we talked too long before we started recording. Kelly  51:19   Right, right. Marsha  51:21   Okay. All right. Well, we'll talk in two weeks. Kelly  51:25    In two weeks. Yeah. Marsha  51:26   All righty. Okay, bye bye. Kelly  51:29   Bye. Thank you so much for listening. To subscribe to the podcast visit Two Ewes Fiber Adventures dot come. Marsha  51:37   Join us on our adventures on Ravelry and Instagram. I am better in motion and Kelly is 1hundred projects. Kelly  51:44   Until next time, we're the Two Ewes doing our part for  world fleece. Transcribed by https://otter.ai

A read through and discussion of the second of two surviving Coventry mystery plays, the text surviving from 1534. With Gregory Musson as Simeon, Jesus; Eric Karoulla as 1st Prophet, 1st Angel, Clerk, 1st Doctor; Liza Graham as Host, Joseph; Lynsey Beauchamp as 2nd Angel, Mary, Second Doctor; Lisa Hill-Corley as 2nd Prophet, Anna, Gabriel, Third Doctor The host was Robert Crighton. The video version of this episode is also available here - https://youtu.be/1GIWFskVxYk The Beyond Shakespeare Podcast is supported by its patrons – become a patron and you get to choose the plays we work on next. Go to www.patreon.com/beyondshakespeare - or if you'd like to buy us a coffee at ko-fi https://ko-fi.com/beyondshakespeare - or if you want to give us some feedback, email us at admin@beyondshakespeare.org, follow us on Twitter, Facebook & Instagram @BeyondShakes or go to our website: https://beyondshakespeare.org You can also subscribe to our YouTube channel where (most of) our exploring sessions live - https://www.youtube.com/channel/UCLa4pXxGZFwTX4QSaB5XNdQ The Beyond Shakespeare Podcast is hosted and produced by Robert Crighton.

A new year is here, but the Weavers haven't gone anywhere! We're back with another weekly episode to discuss the NCAA Tournament potentially going to 90 teams, offense vs. defense in the Big Dance, mid-major darlings, and teams trending way up or way down since the start of December. Plus, other news tidbits in Root's Roundup, Weave Saw That featuring Michigan (bad) and Kansas State (good), and three weekend game previews. No resolutions here, just cold hard content.  The Rundown (0:10) - Intro (Reviews, Updates) (8:38) - Root's Roundup (News and Notes) (20:33) - Weave Saw That (Shocking Results) (30:44) - Three Man Thoughts (1:00:02) - Game Previews (UK at Bama, KU at WVU, Houston at Cincy)

I worship God with my offerings.“I will sacrifice a freewill offering to you; I will praise your name, O Lord, for it is good” (Psalm 54:6, NIV).

Check out Dr Greenthumb aka B-Real as he sits down with VERY SPECIAL guest KOALA PUFFS. Join B-Real, BOBO, Cali-Blaise, Weavers, and the Tree House Crew as they hang, chat, and of course smoke. Roll one, smoke up, and enjoy the show!

**Smiffy's Christmas Special Replay On www.traxfm.org. This Week Smiffy Features A Christmas Special Extra Show! Featuring Frankie Kelly, Paul McCartney, The Ronettes, The Temptations, The Weavers, Nat King Cole, The Platters, The Crystals, Jackson 5 & More #boogie #soul #70sgrooves #80sgrooves #danceclassics #contemporarysoul #raregrooves #ChristmasSoul Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : facebook.com/original103.3 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Tune In Radio : tunein.com/radio/Trax-FM-s225176 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

I worship God with my offerings.“I will sacrifice a freewill offering to you; I will praise your name, O Lord, for it is good” (Psalm 54:6, NIV).

The sheer amount of time separating the establishment of the first cities in the ancient Near East, and the invention of cuneiform writing, from the end of the period that they define is mind-boggling: almost 3,000 years, far longer than the span that separates us today from the end of that period. Professor Amanda Podany has written a fantastic book on this whole age, entitled Weavers, Scribes, and Kings, that looks at both kings and everyday people in a fascinating time and place.Patrick's book is now available! Get The Verge: Reformation, Renaissance, and Forty Years that Shook the World in hardcopy, ebook, or audiobook (read by Patrick) here: https://bit.ly/PWvergeListen to new episodes 1 week early, to exclusive seasons 1 and 2, and to all episodes ad free with Wondery+. Join Wondery+ for exclusives, binges, early access, and ad free listening. Available in the Wondery App https://wondery.app.link/tidesofhistory.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Right now, over the course of the next couple weeks, somewhere in the neighborhood of one billion people will tune in to the same event. This event is not a geopolitical one. Governmental regimes will not be decided based on its outcome. It is not an economic one. The winner will be financially compensated, but not in any way that will meaningfully affect the people of that country. National boundaries will not be redrawn as a result of this conflict. Ultimately, it comes down to twenty-two men, a ball, and who can put it put it in the opponents net the most times. It is the World Cup.I don't say this as someone who thinks the World Cup isn't important. I think it's fantastically important, and I count down to it every four years starting approximately three days after the final match. But many people believe that because it's a game, because it doesn't have overt real-world implications, that the World Cup doesn't matter. Some people believe that because it's a certain kind of game—one in which Europeans are usually dominant, not Americans—that it doesn't matter. But it does matter. And the reason it matters is that there's no other event in the world that quite so many people from quite so many walks of life get worked up about. An election, a TV show, the publication of a book, a Nobel Prize—none of these things can compete with the sheer volume of interest generated by the World Cup. It may be a fiction. But it is one that a large proportion of the planet has bought into.I think this dynamic is useful to pay attention to because this is also the way games work more generally. The points aren't real in any sense but the number on the scoreboard. Yet people live and die by whether their team's number is bigger than their opponent's. They dedicate a large portion of their leisure time to following the accumulation of these points. Arguably, these kind of games are what humanity, in aggregate, cares about most.This makes for a paradox of sorts. Even though they don't have meaningful stakes outside the arena, games are designed to elicit concentrated doses of meaningful engagement. When you're into a game, nothing feels like it matters quite as much as the outcome of that match. A defensible definition of a “game” is an event or set of actions which is fundamentally meaningless to which we have assigned meaning.More specifically, this is the process of gamification, and the downsides of gamification is the topic of a recent book by my guest today. Adrian Hon is a game developer, and CEO of gaming company Six to Start. Adrian's best known game is Zombies, Run! an app which incites runners to move faster by overlaying a plot of apocalyptic escape on their movements in the real-world. It has been downloaded over ten million times. Adrian's an expert on the power of gamification, and his book is all about taking a skeptical look at how gamification has infiltrated our lives.At the heart of Adrian's observations is a tension. I think of it as the double-edged sword of gamification. By assigning points to vocab learning, or tracking the number of steps you've taken every day, gamification is able to take trivial, mundane actions, which we want to engage in but don't find particularly appealing, and imbue them with meaning. This in turns gives us the motivation to accomplish those actions at a more efficient rate than we otherwise would. Where this goes wrong is when the game itself—the points system, the badges, the leaderboard—becomes more meaningful than the original reason for wanting to perform this action. When we care more about the fictional story in a way that starts taking away from the real things we actually care about, that's when gamification becomes a problem.The thrust of Adrian's book is that more and more companies are using the powerful techniques of gamification to get us to engage in their products far longer and in different ways than we might initially intend to. In other words, it's commonplace for products and apps to be designed to exploit the most vulnerable aspects of our psychology. The psychological dynamics of games are increasingly becoming a part of our every day life, and we need people like Adrian Hon to help us get a handle on how they work.Adrian's new book is You've Been Played: How Corporations, Governments, and Schools Use Games to Control Us All. It's out now.And if you still aren't convinced that games matter, just look at the World Cup. Qatar spent 220 billion dollars (they could've bought Twitter five times over!) to host it. Why? Not because they're going to recoup that money. Because it puts them right in the crosshairs of the world's attention. From Ecuador, to Japan, to Germany, to Cameroon, to Serbia, to Brazil, to even a large part of the United States—everyone will be watching. And when that many people buy into the stakes of a game, there's bound to be real-world consequences.At the end of each episode, I ask my guest about three books that have most influenced their thinking. Here are Adrian's picks:* Life: A User's Manualby Georges Perec (1978)Astonishingly good: a lesson in how to use rules to produce interesting art. * Weavers, Scribes, and Kings: A New History of the Ancient Near Eastby Amanda Podany (2022)A look at the past not from the “big” events, but from the lives of everyday people. Stories reconstructed from ancient cuneiform texts. * The Futurological Congress by Stanislaw Lem (1971)The funniest of the sci-fi writers; this book is the most insightful look at what virtual reality will ultimately look like—which is to say, crazy.Books by Adrian:* 2022: You've Been Played: How Corporations, Governments, and Schools Use Games to Control Us All* 2020: A New History of the Future in 100 Objects: A Fiction(I hope you find something good for your next read. If you happen to find it through the above links, I get a referral fee. Thanks!) This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit codykommers.substack.com/subscribe

Hundreds of blades of flax are being weaved to raise awareness of safe baby sleeping practices in Christchurch. Between 40 to 60 babies die each year from sudden unexplained death in infancy, where bed-sharing is a main risk factor. This week Te Puawaitanga ki Otautahi Trust is restarting its wahakura or woven co-sleeping basket workshop after a two-year hiatus during the pandemic. Niva Chittock went along.

This episode was fated to be as the sisters have declared it and if your wondering who these sisters are they are the Moirai also know as the Fates listen along as Silver,Kaotic, and Special guest Selendrea as they discuss the sisters and get into some mayhem ======================================================================================================================= Guest Links https://www.twitch.tv/selendrea https://twitter.com/Selendrea_ https://www.youtube.com/channel/UCgWswE0COtFrlrOn9IuJN6A https://www.tiktok.com/@selendrea_ -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Podcast Links https://discord.gg/F9wtSUYzAN Discord https://twitter.com/MmMayhemPodcast Twitter https://www.twitch.tv/kaoticleigh Twitch https://www.etsy.com/shop/NerdyRags?ref=notif_nfyfs&order=date_desc§ion_id=37632532 merch https://www.patreon.com/MonstersMythsMayhem Patreon https://www.etsy.com/shop/WrappedinKaos?ref=simple-shop-header-name&listing_id=1310105575 Etsy writing

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.

Y'all, it was my privilege and honor to have Dasos Crowsong on the show this week. We are winding down Weaver November by discussing the art of spinning, and actual weaving, and how it informs Dasos's magic and journey as a Druid. Their path has always been one that wanted to be woven into stories, and here, we have nothing short of gold.Dasos is the only true Rumpelstiltskin I've ever had the pleasure of knowing.Episode notes:Dasos's pronouns are he/her/she/him. In addition to being a witch, Dasos is also a weaver, a spinner, a writer and a multimedia artist. She is studying the Ovate Grade (2nd degree equivalent) right now and the wandering path of that work has led her to filming a YouTube series that she hopes to begin releasing this month called SwampCraft.Dasos's work on InstagramEmail DasosDasos on Twitter

As more results roll in, the Weavers put their heads together to analyze some of the results. Is the ACC broken? Or is that just Louisville and Florida State? Is the Big Ten a regular season juggernaut again? How much do we love the new flop technical rule? (We do not) Root's Roundup knocks out a few bits of recruiting news, followed by We Saw That, Three Man Thoughts, and a couple weekend previews. The Rundown(0:09) - Intro & Reviews (9:00) - Root's Roundup (16:16) - We Saw That (Champ Classic thoughts, ACC = Bad, Pac-12 vs. SWAC, TCU = Bad) (29:52) - Three Man Thoughts (Flop rule, Charges, Big Ten, Lock Room Rifts, This or That - Team Edition, Saint Mary's (57:05) - Previews (Baylor/Virginia, Illinois/UCLA, Kentucky/Gonzaga)

Y'all, it was my privilege and honor to interview two Southern weavers: one silversmith, one seamstress/woader, who are also both witches. Here in Weaver November, it's important to remember our witchy crafters and all of the love, magic, and care that they put into their work!As we get closer to the gift-giving season, remember to thwart the patriarchy and give business to small businesses. Support Witches, Y'all!Episode Notes:HaxanWolf on InstagramHaxanWolf on EtsyHagCraft Farm on InstagramHagCraft Farm WebsiteHagCraft Farm on FacebookHagCraft Farm on TikTok

Song of Songs 7:4c thy nose is as the tower of Lebanon which looketh toward Damascus. On Watch For The Silent Sackcloth Weavers is quiet the beauty in the Lords eyes - listen to find out why.

In this conversation we talk about finding autistic community, the new term “profound autism”,  do-it-yourself body piercings, our love of science, and a bad racist date. | 0:01  | update to AutiComm in December  | 0:09  | Derry Girls....pretty accurate | 0:10  | Dublin called "the big smoke" | 0:10  | Toronto Population 2021/2022 | 0:11  | Article: Opinion: It's time to embrace ‘profound autism' | Spectrum | 0:12  | Applied Behavioral Analysis (ABA) Therapy for Autism | 0:15  | Spectrum News | 0:27  | The Gut Microbiome and the Brain - PMC | 0:27  | Bacteria and the brain: A new insight into mental health | 0:27  | How the Nervous System Responds to Trauma | 0:28  | Fish Form Social Networks—and They're Actually Good | WIRED | 0:29  | Every cell can communicate with electrical signals  | 0:30  | 2002 Nobel Prize in Physics | 0:30  | The guy who tried to prove Einstein right but proved him wrong | 0:31  | Quantum physics | 0:42  | California sober | 0:48  | Many autistics have trouble with change | 0:54  | Changes cost extra spoons |             | Weavers and concluders | 1:27  | Infodumping | 1:31  | Healthy boundaries | 1:44  | DM Tango @ A Team on Instagram.......auties helping auties 

Last Sunday, the  first ever Great Northern Textile Show opened its doors to the public, welcoming crafters to mingle with artists and craftspeople from a wide range of disciplines and enjoy a celebration of creativity.The event was Tracy Fox's idea - my guest for the previous episode of Making Stitches - as an artist, print maker and dyer of fabric herself, she felt there was a gap in the market for a show celebrating local talent in Manchester and the wider area. As a city built on textiles during the industrial revolution, Tracy believed there should be a showcase for talent from the world of textiles, and so, after much thought and meticulous planning, the Great Northern Textile Show was born. I went along to experience it for myself and took my microphone with me to capture some of the atmosphere.  I hope you enjoy listening to the conversations I had with some of the people  I met there.Thank you to everyone who spoke to me for this episode including:Tracy Fox, the event organiserLeah Higgins, artistLouise from Sincerely LouiseHolly Palmer from Planet QuiltsIan Fothergill from The Knitting Gift ShopTanya from the Woolly TangleJulie from Tilly Flop DesignsChristine and Ally from the International Feltmakers AssociationCaroline from Montague Patchers in SaleLiz Carrington from the North Cheshire Guild of Spinners, Weavers & DyersHelen & Carrie from the Yarn Addicts of ManchesterGreat Northern Textile ShowTo join the mailing list for the new Making Stitches Newsletter, please click onto this link.For full show notes for this episode, please visit the Making Stitches website.The music featured in this episode is Make You Smile by RGMusic from Melody Loops.The Making Stitches logo was designed by Neil Warburton at iamunknown.You can support Making Stitches Podcast with running costs through Ko-fi.Making Stitches  Podcast is supported by the Making Stitches Shop which offers Making Stitches Podcast merchandise for sale as well as Up the Garden Path crochet patterns created by me & illustrated by Emma Jackson.Making Stitches Podcast is presented, recorded and edited by Lindsay Weston.

If you're not a patron you can get the full episode by visiting patreon.com/workstoppage and support us with $5 a month. In the second part of our series on Peter Winn's book Weavers of Revolution, we discuss the moves made by the workers at the Yarur Mill in Chile following their successful union election. Faced with sabotage by the mill owners, workers found themselves forced to take control of the mill in their own hands. Pulling the government along behind them, workers advanced the transition to socialism themselves, seizing the mill and demanding its nationalization. During the period of worker self-management, the mill's productivity soared along with workers wages while the culture of fear and oppression disappeared. Workers developed their own systems of democratic management, bringing dignity and respect to their jobs for the first time. Though their victory was short lived due to the US-backed coup that overthrew the government, there is so much we can learn from these workers' incredible struggle. Join the discord: discord.gg/tDvmNzX  Follow the pod at instagram.com/workstoppage, @WorkStoppagePod on Twitter,  John @facebookvillain, and Lina @solidaritybee

The Houghton Weavers have been entertaining folk for 47 years with their unique blend of popular folk music, humour and audience participation and they announce their annual forthcoming Autumn / Winter 2022 UK Tour. The North West's leading comedy/folk group will visit towns and cities such as Colwyn Bay, Morecambe, Darwen, Preston, Lytham St Anne's, Blackpool and Buxton. To coincide with their UK Tour, they release their brand-new single, 'Wild Mountain Thyme' on Friday 7th October, taken from their forthcoming album 'New World in the Morning' due out on Friday 14th October. "To us, this traditional Scottish Folk Song depicts the love that Queen Elizabeth II had for the beautiful Scottish Highlands. It could almost be a signature to her love and time spent north of the border. It's such a poignant and beautiful traditional song and it seems a perfect track as our tribute to the passing of Queen Elizabeth II. Having been working on the album for almost 2 years, through covid and into the summer of 2022, It's a mixture of self-penned and traditional songs as well as some very well-known folk covers. We have used various session musicians including Ken Nichol of Steeleye Span and the wonderful country folk guitarist Pete Frampton. The album has that Weavers comedy element but is brought back down to earth with some beautifully poignant trad folk songs. We are dedicating this album to our late Tony Berry who sadly passed away in 2019." The Houghton Weavers have been entertaining folk up and down the country and promise a fun-packed, sing-along family show with great music and funny stories galore! There will be plenty of laughter and the old familiar songs like the Blackpool Belle, Matchstalk Men and Wild Rover mixed together with some new songs, and festive perennial favourites on the Christmas Tour like Let It Snow, Bless Your Whiskers and White Christmas. Learning their craft in the folk clubs of their native North West, the group have never wavered from their original motto of "Keep Folk Smiling". Steve Millington, David Littler and Jim Berry entertain their audiences in a show of charming fun, humorous jokes, and anecdotes, together with plenty of music, varying from raucous traditional and popular Folk Songs to sing-along favourites, with beautiful ballads and original pieces included throughout. Their wide and varied repertoire and unique and well-known style ensure that no two shows in the company of The Houghton Weavers are ever the same. The band continue their non-stop success with a packed schedule of theatres and other venues, also hosting two residential weekends a year. With a large and active fan club, and growing social media following, The Houghton Weavers enjoy entertaining those young and old in a show designed for all the family to enjoy. In their time together, the band have performed thousands of concerts, recorded over 30 albums and starred in several of their own highly successful BBC radio and TV series and made countless appearances on other programmes. They guarantee a wonderful afternoon / evening of entertainment and their experience – together with their style and professionalism – ensures that, as their motto says, they always "Keep Folk Smiling". Hosted on Acast. See acast.com/privacy for more information.

a nearly 2 hour recording of a recent live performance rehearsal session filled to the brim with high quality atmosphere, nuance and textures.

If you're not a patron you can get the full episode by visiting patreon.com/workstoppage and support us with $5 a month. In this new two-part Overtime series we will be discussing Peter Winn's fantastic labor history book, Weavers of Revolution: The Yarur Workers and Chile's Road to Socialism. The story of the workers at the Yarur cotton mill and their movement for worker control of the factory is rich with lessons for our struggles today.  Though the Chilean Revolution was short lived, it was full of experimentation with different forms of worker control of the means of production. In this first episode, we get into the background history of the Yarur mill and the decades of struggle by the workers there for an independent union. We discuss the different class forces in play in Chile during this period and how Allende's Popular Unity government tried to maintain a balance of these forces to allow them to advance their program of a transition to socialism. In the second part we will cover the seizure of the mill by the workers, the response from the state, and the fate of the workers' movement in the wake of Pinochet's coup. Join the discord: discord.gg/tDvmNzX  Follow the pod at instagram.com/workstoppage, @WorkStoppagePod on Twitter,  John @facebookvillain, and Lina @solidaritybee

The history of the ancient Near East can seem like staring down a deep, deep well of time, so deep that it gives one vertigo. It stretches back to 3,500 BC: that is, I'll do the math for you, 5,522 years ago. In thinking about its 3,000 years of history, one begins to think not in terms of years, but in decades and centuries. Yet there were continuities amidst change, not simply within those three-plus millennia, but between then and now. For surely it would be impossible to imagine what 2022 would be like without writing, families, getting right with higher powers, kings and rulers, laws and litigation, cities and watering the garden. And all of those things can be found in the Ancient Near East With me to give a I hour overview of 3,500 years is Amanda H. Podany. She is Professor Emeritus of History at California State Polytechnic University, and author most recently of Weavers, Scribes, and Kings: A New History of the Ancient Near East. By the way, if you were listening to the conversation, you'll recognize our featured image: it's Amanda's drawing of the clay impressions of the feet one of the children sold into slavery, found in the Museum of Aleppo–which has by now experienced its own much more contemporary tragedies. For Further Investigation Amanda writes: "since we talked about brick-makers, an interesting image is of a clay brick with a cuneiform inscription. And this impression of a cylinder seal shows weaving women working at a loom..." "There are just so many books and articles and websites that might be interesting for listeners. Here's a list I wrote recently for Shepherd.com" "Another option is this website created by the British Museum about ancient Mesopotamia, though apparently it will only be available until December, after which it will be retired." Three previous podcasts have gone back to about 1000 BC, which now seems a trivial, juvenile sort of date. They were with Dimitri Nakassis, who discussed Mycenaean Greece and his excavations of the site at Pylos in Episode 33; Eric Cline on the First Dark Ages in Episode 62 (though admittedly he argued that the term "dark ages" was a base slander); and Joe Manning laid out his arguments about the ancient Mediterranean economies prior to the rise of Rome in Episode 164.

Well, y'all: I barely got this one recorded before running off to my happy place on the coast. The chat on the porch is more of a wandering today down the backroads of the stories that have knitted my life together. Remember to stay for the moments after sunset . . . sometimes, that's where the fun is.Love y'all! SebaThe Song Playlist for this EpisodeJoin Us on Patreon for Extra Content!

Luke and Julie Weaver make their first appearance on the Larry Kreider Leadership Podcast to share their leadership insights and how they helped to start YWAM Lancaster. Listen as they explain how they make decisions as a couple in a God-honoring way, the impact of getting your entire family involved in your ministry, and the importance of remembering that God is the author of the plan. Luke and Julie Weaver helped to pioneer YWAM Lancaster, located in Ephrata, Pennsylvania. YWAM Lancaster's mission is to train disciples to reach the unreached internationally, grow and develop leaders, and fulfill the Great Commission. Luke currently serves as the director of YWAM Lancaster. The Weavers have six children and reside in Lancaster, PA. Quotable Quotes: "I'm living and dying based upon seeing the fulfillment of the dream of God." "We cannot do it on our own." Highlights: Give 100% in everything you do for the Lord. Wait, and then move forward with a decision once you and your spouse are on the same page about what God is saying. Write down whatever you hear from God to help you process and remember. Keep your focus on the journey itself rather than the end result. Your journey will have twists and turns. It will not be linear. You may not have the same role throughout your leadership journey. However, you need to maintain the same heart in every position. Isaiah 62 Habakkuk 2 I Peter 1:23 What God is planning is so much bigger than you. Mentioned in Today's Podcast: YWAM Lancaster Gateway House of Prayer Is That Really You, God? by Loren Cunningham Lou Engel Ministries Related Resources: Contact YWAM Lancaster YWAM Lancaster Facebook page YWAM Lancaster

Koala Puffs and Latina Beautty welcome Weavers to the show

Jocko Willink studies gena to improve his Weaver skills, but finds that prolixity is a greater threat to the future of the Weavers.

موزه Powerhouse در سیدنی به زودی (از هفتم سپتامبر) نمایشگاهی را با عنوان Weavers, Merchants and Kings برگزار خواهد کرد. یکی از آثار بسیار منحصر به فرد این نمایشگاه یک قالی به سبک «درخش» است که بسیار بی نظیر است و تا به حال فقط یک قالی مشابه آن در جهان موجود است.

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