Podcast appearances and mentions of william berry

Education Savings Accounts (ESAs) have expanded across the United States in recent years. These accounts provide state education funds, originally allocated for students to attend public school, to be redirected to families to use for educational services of their choice. These programs enable parents to use these funds for a wide range of educational services, such as private school tuition, tutoring, distance learning options, and more. In this episode of the Leading Voices podcast, host Danny Torres talks with William Berry, Research Associate with WestEd's Charter and School Choice team, and Robin Chait Project Director with our School Choice team. They discuss how ESAs work, three primary accountability mechanisms, and the need for research on student outcomes. Their conversation covers the following topics: The growth or popularity of ESAs over time Variation and flexibility among state ESA programs Three types of accountability mechanisms Transcript Resources Mentioned in this Episode Education Savings Accounts and Accountability: A Landscape Analysis Across States (Report) Charters and School Choice (Website)

Join us for an inspiring conversation with President William Berry of Bethune-Cookman University as we explore the bright future for B-CU and Historically Black Colleges and Universities (HBCUs) nationwide. Listen in on how innovative leadership, community engagement, and transformative initiatives are shaping the path forward for these vital institutions. Whether you're an alum, student, or advocate for education, you won't want to miss this vision for growth, opportunity, and impact!

La “professió” va per dins. Crítica teatral de l'obra «La nit del peix kiwi», de Josep Julien. Intèrpret: Santi Ricart. Escenografia: Anna Tantull. Ajudant de direcció: Pepo Blasco. Equips del Teatre Lliure. Producció: Flyhard Produccions, S.L. Direcció: Josep Julien. Sala Flyhard, Barcelona, 25 maig 2023. Reposició: 28 setembre 2023. Reposició: Espai Lliure Montjuïc, Barcelona, 16 octubre 2024. Veu: Andreu Sotorra. Música: Losing my religion. Interpretació: R.E.M. Composició: Micahel Mills, Michael Stipe, Peter Buck i William Berry. Àlbum: Out of Time,1991.

Ne t'excuse pas de chanter. N'attends pas qu'on t'autorise à chanter.... Les phrases cultes de Bérengère résonnent avec mon propre cheminement en thérapie. J'ai l'impression de passer aux travaux pratiques. Je découvre le pouvoir du chant, je découvre que la musique soigne.Le chant des possibles, un podcast intime et polyphonique sur le pouvoir du chant et du groupe.Episode 4/9 : Ceci n'est pas une musicothérapie.Ce podcast a été réalisé dans le cadre du cours de chant de Bérengère Suarez-Pazos à l'école des possibles à Mains d'Oeuvres à Saint-Ouen (93) Egalement disponible sur deezer, spotify, podcast addict, apple podcast.CréditsPrise de son, réalisation et montage : Annabelle HubertMixage: Sylvain CartonConseil artistique : Marion BazileIllustration : Valentine BoidronProduction : La tête dans les étoilesMusiquesLe roi et l'oiseau (générique) - Wojciech Kilar interprété par SoleymaneJe voudrais dormir de Jeanne Cherhal, chanté par Elia accompagné à la guitare par ClémenceSway de Norman Gimbel et Pablo Bertran Ruiz, produit par David Foster, Humberto Gatica, chanté par Elia.Wild world, de Yusuf et Cat Stevens, produit par Paul Samwell-Smith, chanté par Elia accompagné au piano par AnnabelleDu bout des lèvres de Barbara, chanté par Valérie, accompagné au piano par ValérieNantes, de Barbara, produit par Monique Serf, chanté par Valérie, accompagné au piano par AnnabelleCe doute, composé et interprété par Bérengère Suarez Pasos sur un poème de Bertrand Suarez-PazosEverybody hurts, de Mickael Mills, Michael Stipe, Peter Buck, William Berry, produit par Scott Litt et R.E.M, chanté par Edwige, accompagné à la guitare par ChloéJumping Jack Flash de Keith Richards et Mick Jagger, chanté par Chloé, accompagné à la guitare par Chloé et Jérémie.

Ceci n'est pas un podcast sur un cours de chant, ceci est un récit choral et initiatique. Nous sortons toutes transformées de ces mois passés à contrer notre peur en chantant. L'aventure ne fait que commencer.Le chant des possibles, un podcast intime et polyphonique sur le pouvoir du chant et du groupe.Episode 9/9 : Et maintenant, on fait quoi ? Ce podcast a été réalisé dans le cadre du cours de chant de Bérengère Suarez-Pazos à l'école des possibles à Mains d'Oeuvres à Saint-Ouen (93) Egalement disponible sur deezer, spotify, podcast addict, apple podcast.CréditsPrise de son, réalisation et montage : Annabelle HubertMixage : Pierre BrienConseil artistique : Marion BazileIllustration : Valentine BoidronProduction : La tête dans les étoilesMusiquesLe roi et l'oiseau (générique) - Wojciech Kilar interprété par SoleymaneYou know I'm no good d'Amy Winehouse, produit par Mark Ronson, chanté par Amandine et accompagné au piano par Annabelle et à la guitare par ThomasMarcia Baïla, de Catherine Ringer et Fred Chichin, chanté par Valérie et accompagné à la guitare par Chloé et JérémieEverybody hurts, de Mickael Mills, Michael Stipe, Peter Buck, William Berry, produit par Scott Litt et R.E.M, chanté par Edwiiiiiiiiige et accompagné à la guitare par ChloéLe coup d'soleil composé par jean Paul Dréau, parodié et chanté par Valérie, accompagné à la guitare par ChloéPlus je t'embrasse de Ben Ryan, et Max François, chanté et accompagné au piano par Annabelle

In this episode LHMC. (Licensed Mental Health Counselor), CAP. (Certified Addiction Professional) William Berry talks about his personal battle with overcoming addiction, his experience with depression, and touching on what it is like to be a therapist. He also gives some advice on meditation, philosophy. and psychology. We really enjoyed this episode, we hope you guys do too!

In April 1982, President Ronald Regan gave a speech before the U.S. Chamber of Congress saying:  “Entrepreneurs are heroes of modern times. They rarely receive the credit they deserve. Treasury Secretary Don Regan recently reminded the student body of Bucknell University that it was under capitalism that mankind brought ‘light where before there was darkness, heat where once there was only cold, medicines where there was sickness and disease, food where there was scarcity, and wealth where humanity was living in squalor.' And much of what he was talking about came into being in the lifetime of many of us here in this room. But the societies which achieve the most spectacular progress in the shortest period of time are not the most tightly controlled, the biggest in size, or the wealthiest in material resources. They are societies that reward initiative and believe in the magic of the marketplace…” (Source: Small Business Trends) As we take this day to remember our presidents, we want to also recognize and learn from those presidents who made entrepreneurial ventures, took risks, and helped add to the prosperity of this country. Although each of them was not successful, there is something to be learned from their stories. Today we will be recognizing 11 entrepreneur U.S. Presidents along with their challenges, resilience, and successes.  These 11 entrepreneur Presidents are from both major U.S. political parties, and I understand that some of these Presidents are controversial to some people. By including them in this article, I'm not endorsing their political views. Instead, I'm trying to learn and teach what I can from their experiences as entrepreneurs.    1. George Washington (1789-1797): 1st President   “The harder the conflict, the greater the triumph.”- President Washington  While most presidents were entrepreneurs before they took office, President Washington didn't become an entrepreneur until after his final term as president. For much of his childhood, Washington lived on a farm in Mount Vernon, Virginia, which was later inherited by his half-brother, Lawrence. When Lawrence passed away, Washington leased it from Lawrence's wife and inherited it in 1761 (Source: History.com). He later renovated the estate into a mansion, gardens, a place to lay family tombs, shops, barns, and various living quarters. Washington even turned a large portion into farms as wheat being his main harvest. He then packaged the wheat and created GW Flour, one of the very first branded food products (Source: GoodReads review of “George Washington, Entrepreneur”), which was then exported throughout the US and Europe. President Washington's farm manager, James Anderson, later encouraged Washington to open up a distillery on the grounds of Mount Vernon, Virginia, and “with just a boiler and five copper stills, the 2,250 square-foot distillery became profitable almost instantly.” (Source: Ondeck) By the year 1799, Washington had one of the largest distilleries in the country making 11,000 gallons per year (Source: Business News Daily).    2. Abraham Lincoln (1861-1865): 16th President   “Always bear in mind that your own resolution to succeed is more important than any other one thing.”- President Lincoln In 1833 and at the age of 23, President Lincoln and his friend, William Berry, opened up a general store called Lincoln-Berry in New Salem, Illinois. Many sources say that they were not very successful as they purchased inventory from other stores on credit and then made a profit by reselling the items. Although the economy was doing very well at the time, the location of their store wasn't ideal as the town stopped growing. Lincoln had to sell his share of the store as a result, and after Berry died, Lincoln received his $1,000 debt (Source: Business News Daily), which resulted in Lincoln's bankruptcy. Over 17 years, soon to be President Lincoln was required to pay his creditors back (Source: Legal Zoom).  “Despite it all, Lincoln was known to rise triumphantly out of failure. He went on to launch a successful law practice in 1837, and became the only president to receive a patent in 1849” (Source: OnDeck), which was for a device to lift riverboats over sandbars.  “The best way to predict your future is to create it.”- President Lincoln    3. Andrew Johnson (1865-1869): 17th President   “I realized, there are people out there who can beat me, want to beat me. And unless I continue to innovate and evolve, I am going to learn a painful lesson from someone who has.”- President Johnson Before becoming President of the United States and running political campaigns, President Johnson was a very successful tailor and real estate owner. His mother was also a very talented seamstress who helped Andrew find an apprenticeship in Greeneville, Tennessee when he was only 18-years-old (Source: OnDeck). His talents with tailoring flourished, he opened up a shop in 1826, which became very successful, and he started investing in real estate from there. A fun fact about President Johnson is that while working at his tailor shop, “it eventually became a gathering place for political debate, and Johnson held his first meetings as an alderman (an elected member of a municipal council) in 1829.” (Source: OnDeck)   4. Warren Harding (1921-1923): 29th President   “America's present need is not heroics but healing; not nostrums but normalcy; not revolution but restoration.”- President Harding President Harding was raised in a family that found interest in the newspaper. He eventually attended school at Ohio Central College, and there, according to an article by Business News Daily, “he studied the newspaper trade in college after dabbling in teaching, insurance, and law,” and graduated at the age of seventeen. Two years later, he and several partners purchased the Ohio newspaper, The Marion Star, for $300 (Source: OnDeck) while it was near bankruptcy. Their biggest challenge was owning a Republican newspaper in a Democratic area (Source: OnDeck), but Harding completely turned things around with his wife's help in managing the newspaper. The Marion Star eventually became “the city's official daily newspaper.” (Source: CheatSheet)  After receiving full ownership of the paper at the age of 21, Harding became worn down and had to spend time at a local sanitarium (Source: Business News Daily). He eventually recovered, found favor in his writing from local politicians, and earned revenue to run his political campaigns (Source: FreedomVoice Blog). He was a very successful businessman and after being in the newspaper business for 39 years (Source: TIME), he was able to sell the newspaper before dying in 1923 for $550,000, which is equivalent to $7 Million today (Source: Business News Daily). “Today, the business (from the newspaper in Ohio called the Marion Star) is still alive and owned by the Gannett Company, a publicly-traded media holding company.” (Source: NextShark)   5. Herbert Hoover (1929-1933): 31st President   “Competition is not only the basis of protection to the customer, but is the incentive to progress.” - President Hoover At the age of 40, Herbert Hoover became a millionaire (Source: FreedomVoice Blog), but he found success from his labors by being diligent and resilient. When Herbert was 9-years-old, he became an orphan along with his two siblings. His uncle eventually took them in, but according to an article by Miller Center, “the young Hoover was shy, sensitive, introverted, and somewhat suspicious, characteristics that developed, at least in part, in reaction to the loss of his parents at such a young age.” Although he had average to failing grades except for math (Source: Miller Center), Hoover was determined and attended Stanford University. According to the same source, he worked in the clerk's registration office to pay for tuition and began using his entrepreneurial skills by creating a student laundry service.  After graduating college with a geology degree, he got a job with Bewick, Moreing & Co working 70 hours/week in a gold mine pushing carts. Hoover then left to start his own mining consulting business called Burmese silver mines, which focused on reorganizing failing companies and finding investors to pay for developing new mines. His company quickly employed 175,000 employees (Source: Entrepreneur), and the success that he built with his company earned him the title of “Doctor of sick mines.” (Source: OnDeck) By the time that he was forty, his wealth had grown not only from his company but from publishing a leading textbook on mining engineering. Other entrepreneurial successes he had included inventing a new process to extract zinc that had been lost and starting up in the Zinc Corporation, which later became part of a larger corporation (Source: Business News Daily).   6. Franklin Roosevelt (1933-1945): 32nd President   “The country needs and, unless I mistake its temper, the country demands bold, persistent experimentation. It is common sense to take a method and try it: If it fails, admit it frankly and try another. But above all, try something.”- President Roosevelt At the age of 39, Franklin Roosevelt became ill with many symptoms, including paralysis of his legs. Although he was first diagnosed with paralytic poliomyelitis, his symptoms were shown to be more consistent with Guillain-Barre syndrome (Source: Pubmed). Despite his physical circumstances, he refused to accept that he would be permanently paralyzed. He became president in 1933, but before his political endeavors, he founded a hydrotherapy center in 1926 for the treatment of his disease, according to the FreedomVoice Blog. It became known as the Roosevelt Warm Springs Institute for Rehabilitation and still operates, serving about 4,000 people each year with all types of disabilities (Source: Entrepreneur).   8. Harry Truman (1945-1953): 33rd President   “I studied the lives of great men and famous women, and I found that the men and women who got to the top were those who did the jobs they had in hand, with everything they had of energy and enthusiasm and hard work.”- President Truman Due to medical issues, President Truman is the only president elected after 1897 who did not earn a college degree (Source: Business News Daily). He then served in France during WWI and upon returning home, Truman and his wartime friend, Eddie Jacobson, opened up a men's clothing store in Kansas City, Missouri, which was successful for three years before failing, due to the postwar recession. “After his shop went bankrupt, it took him 15 years to pay off his share of the firm's debts. Nevertheless, the store established Truman's reputation as a respected businessman, which in turn set him on the path to civic engagement.” (Source: OnDeck) This new path paved the way for greater success in other offices. According to the same article by OnDeck, he even joined the Triangle Club, which is an association of businessmen committed to improving the city, and became involved in activities with the American Legion.    9. Jimmy Carter (1977-1981): 39th President   “It's not necessary to fear the prospect of failure but to be determined not to fail.”- President Carter When President Carter was 10-years-old, he stocked his family's peanut farm with produce and took it to town to be sold. He continued to save the money he made, and by the age of 13, “he bought five houses around the plains which the Great Depression put on the market at rock-bottom prices. He then rented the homes to families in the area.” (Source: Abby Connect)  The risk of losing the 2,500-acre peanut farm became very high when his father died of cancer in 1953. According to an article by Entrepreneur, Carter then returned home from the Navy to manage the struggling peanut farm. “Carter reportedly threw himself into farming the way he had with his naval duties, and hard work and effective management made the Carter farm prosperous by 1959.” (Source: Entrepreneur)  In 1971, a sudden drought hit, bringing another risk to the farm, so Carter bought local farmers' peanuts and sold them in bulk to big processors. “This led Carter Warehouse to gross $800,000 annually by 1971, up from a mere $184 when Carter started.” (Source: TIME)   9. George H.W. Bush (1989-1993): 41st President   "No problem of human making is too great to be overcome by human ingenuity, human energy, and the untiring hope of the human spirit."- President George H.W. Bush President George H.W. Bush found much entrepreneurial success from the oil industry, after graduating from Yale with an economics degree. He first started in oil as a salesperson for Dresser (Source: Time), then later formed a partnership with his neighbor, John Overby, and created the Bush-Overby Oil Development Co. in 1951. Due to family connections, the company was financed with nearly half a million dollars from Bush's uncle (Source: Entrepreneur).  The success of the company grew, and in 1954, Bush-Overby Oil controlled 71 wells, which produced 1,250 barrels of oil per day (Source: LegalZoom). By 1953, their company then merged with another independent oil company to create Zapata Petroleum, of which Bush became president (Source: Entrepreneur). After years of growth and in 1966, Bush was able to sell his holding and made about $1 Million doing so (Source: TIME). "Be bold in your caring, be bold in your dreaming and above all else, always do your best."- President George H.W. Bush   10. George W. Bush (2001-2009): 43rd President   “Prosperity results from entrepreneurship and ingenuity.”- President George W. Bush George W. Bush earned his bachelor's degree from Yale and then became the first US president to earn his MBA, which he received from Harvard. After school, he followed in his father's footsteps in the oil industry, but took a different approach as he “searched mineral-rights titles in county courthouses around West Texas and then would see if the owners would lease those rights to oil companies.” (Source: Time) In 1977, he then founded his own company called Arbusto (Spanish for Bush), which focused on low-risk, low-return wells, and found a relatively low gas field (Source: Abby Connect). Eventually, the price of oil dropped, and their company became very high-risk. Spectrum 7 Energy Corporation jumped in and rescued their company, merging the two in 1984 with Bush as the CEO, according to an article by LegalZoom. “After losing $400,000, it was purchased by Harken Energy Corporation, and Bush served as a consultant to Harken,” (Source: LegalZoom) After working in the oil industry for many years, Bush decided to move into sports and invested in the Texas Rangers MLB team with $600,000 (Source: Entrepreneur). According to the same article by Entrepreneur, he then sold his stakes for the team in 1998 for $15 Million, a 2,400% ROI.   11. Donald Trump (2017-2021): 45th President   “As long as you are going to be thinking anyway, think big.”- President Donald Trump Donald Trump is a real estate guru. He studied real estate at the University of Pennsylvania Wharton School and invested in Philadelphia real estate while studying there. He took over his family's company to develop it into an international brand and according to Abby Connect, in the 1970s he began branching into Manhattan skyscrapers and renamed the company Trump Organization. He's built luxurious hotels such as the Grand Hyatt Hotel and Trump Plaza, Trump's Tower on Fifth Avenue, as well as the Trump headquarters. In the 1980s, he started placing casinos in Atlantic City, adding to Trump Plaza, and Trump Castle. In 1990, he even opened up his own Trump Taj Mahal, known as his own “eighth wonder of the world.” (Source: Abby Connect)  According to Time, Trump appears to own or control more than 500 businesses in some two-dozen countries around the world! He has been very successful, but not without several bankruptcies, according to Abby Connect. Amidst his many businesses all over the world, he has also published books, opened up golf and hotel resorts, owned beauty pageants, and created his own branded products such as Trump steaks, Trump University, Trump shuttle, and Trump Success Eau De Toilette (Source: Business News Daily).  “Get going. Move forward. Aim High. Plan a takeoff. Don't just sit on the runway and hope someone will come along and push the airplane. It simply won't happen. Change your attitude and gain some altitude. Believe me, you'll love it up here.”- President Donald Trump Key Takeaways Here are some of my key takeaways from this episode: President  Washington the greater the conflict, the better the triumph. We savor the hard-won victories even more.  President Lincoln taught us to not let failure stop us. Perseverance is a key attribute of successful entrepreneurs. President Johnson taught us that unless we continue to innovate and evolve, we're going to learn a painful lesson from someone who has. This is so true with tectonic shifts.  Don't be afraid to take risks. Be determined, don't get caught up in the circumstances, and press forward as President Harding did.  Current circumstances will not remain forever. Diligence and resilience go on a long way as President Hoover has proven.  President Roosevelt encouraged us to be bold and persistently experiment. Try something. If it fails, pivot or move onto another. President Truman taught that those who made it to the top were those who did the work, with enthusiasm and everything they had. Whatever we do, we should do our best and give it all we have. President Carter taught us that we don't need to be afraid of failure, we just have to be determined no to fail.  President George H.W. Bush taught us to be bold in our caring and dreaming. President George W. Bush taught us that prosperity comes from entrepreneurship and ingenuity.  President Trump taught us to move forward, aim high, and create a plan. We shouldn't wait around for others to do the work for us or to make things happen. Want to be a Better Digital Monetizer? Did you like today's episode? Then please follow these channels to receive free digital monetization content: Get a free Monetization Assessment of your business Subscribe to the free Monetization eMagazine. Follow the Monetization Nation Blog. Join our private Monetization Nation Facebook Group. Subscribe to the Monetization Nation YouTube channel. Subscribe to the Monetization Nation podcast on Apple Podcast, Google Podcasts, Spotify or Stitcher.  Connect with Nathan on Linkedin.  Follow Monetization Nation on Instagram.  Follow Monetization Nation on Twitter. Challenge If we desire monetization we have never before achieved, we must leverage strategies we have never before implemented. I challenge each of us to pick one thing that resonated with us from today's episode and schedule a time this week to implement it to help achieve our monetization goals. Share Your Story  Do you know of any other entrepreneurial presidents or stories of president entrepreneurs that we missed? Please join our private Monetization Nation Facebook group and share your insights with other digital monetizers. Read at: https://www.monetizationnation.com/11-11-u-s-presidents-who-were-entrepreneurs-and-what-we-can-learn-from-them/

Episode 107 of A History of Rock Music in 500 Songs looks at “Surf City” and the career of Jan and Dean, including a Pop Symphony, accidental conspiracy to kidnap, and a career that both started and ended with attempts to get out of being drafted. 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 “Hey Little Cobra” by the Rip Chords. 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/ —-more—- Resources No Mixcloud this week, due to the number of songs by Jan and Dean. Stephen McParland has published many, many books on the California surf and hot-rod music scenes. The Grand High Potentates of California Rock: Jan and Dean “In Perspective” 1958-1968 is the one I used most here, but I referred to several. His books can be found at https://payhip.com/CMusicBooks I also used Dead Man’s Curve and Back: The Jan and Dean Story by Mark Thomas Passmore, and Dean Torrence’s autobiography Surf City.  The original mono versions of the Liberty singles are only available on an out-of-print CD that goes for over £400, and many compilations have later rerecordings (often by Dean without Jan) but this has the proper recordings, albeit in stereo mixes. This compilation contains their pre-Liberty singles, including the Jan & Arnie material.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   Transcript A warning about this episode — it features some discussion of a car crash and resulting disability and recovery, which may be upsetting to some people. Today we’re going to look at one of the most successful duos in rock and roll history, but one who have been relegated to a footnote because of their collaboration with a far more successful band, who had a similar sound to them. We’re going to look at Jan and Dean, and at “Surf City”: [Excerpt: Jan and Dean, “Surf City”] The story of Jan and Dean begins with Jan and Arnie, and with the Barons. We discussed the Barons briefly in the episode on “LSD-25”, a few months ago, but only in passing, so to recap — the Barons were a singing group that formed at University High School in LA in the late fifties, centred around Jan Berry. Various people involved in the group’s formation went on to be important parts of the LA music scene in the sixties, but by 1958 they were down to Berry and his friends Arnie Ginsburg — not the DJ we talked about last episode, Dean Torrence, and Don Altfeld. The group members all had a love for R&B, and hung around with various of the Black groups of the time — Don Altfeld has talked about him and Berry being present, but not participating, for Richard Berry’s recording of “Louie Louie”, though his memories of the time seem confused in the interviews I’ve read. And Jan Berry in particular was a real music obsessive, and had what may have been the biggest R&B and rock and roll record collection in LA — which he obtained by scamming record companies, which seems to be very in character for him. He got a letterhead made up for a fake radio station, KJAN, and wrote to every record company he could find asking for promo copies. He ended up getting six copies of every new release “to play on the radio”, and would give some of the extra copies to his friends — and others he would use as frisbees. According to Torrence, Berry would often receive two hundred new records a day, all free. Berry had a reel-to-reel tape recorder belonging to his father — his father, William Berry, was important in the Howard Hughes organisation, and had been in charge of the Spruce Goose project, even flying in the famous plane with Hughes, and Hughes had given him the tape recorder, which unlike almost all recording equipment available in the fifties had a primitive reverb function built in. With that and a microphone stolen from the school auditorium, Berry started recording himself and his friends, and he’d wanted to play one of the tapes he’d made at a party, so he’d taken it to a studio to be cut as an acetate, where it had been heard by Joe Lubin of Arwin Records, who took the tape and got session musicians to overdub it: [Excerpt: Jan and Arnie, “Jennie Lee”] That record was released as by Jan and Arnie, rather than the Barons — Dean Torrence was off doing six months in the army, to get out of being conscripted later. Torrence has always said that he could hear himself on the recording, and that it was one the Barons had done together, but everyone else involved has claimed that while the Barons did record a version of that song, the finished version only features Jan and Arnie’s vocals. Don Altfeld didn’t sing on it, because he was never allowed to sing in the Barons — he was forced to just mouth along, which given that both Jan and Dean were known for regularly singing flat must say something about just how bad a singer he is — though he did apparently hit a metal chair leg as percussion on the record. “Jennie Lee” went to number three on the Cashbox chart — number eight on Billboard — and was a big enough hit that it set a precedent for how all the records Jan Berry would be involved in for the next few years would be made — he would record vocals and piano in his garage, with a ton of reverb, and then the backing track would be recorded to that, usually by the same group of musicians that played on records by people like Sam Cooke, Ritchie Valens, and other late-fifties LA singers — a group centred around Ernie Freeman on piano and organ, Rene Hall on guitar, and Earl Palmer on drums. This was a completely backwards way of recording — normally you’d have the musicians play the backing track first and then overdub the vocals on it — but it was how they would carry on doing things for several years. Jan and Arnie’s follow-up, “Gas Money”, written by Berry, Ginsburg, and Altfeld, did less well, only making number eighty-one in the charts: [Excerpt: Jan and Arnie, “Gas Money”] And their third single didn’t chart at all. By this point, Arnie Ginsburg was getting thoroughly sick of working with Jan Berry — pretty much without exception everyone who knew Berry in the fifties and early sixties says two things about him — that he was the single most intelligent person they ever met, and that he was a domineering egomaniac who used anyone he could remorselessly. Jan and Arnie split up, and Arwin Records seems to have decided to stick with Arnie, rather than Jan — though this might have been because Arnie seemed *less* likely to have hits, as Dean Torrence has later claimed that Arwin was a tax dodge — it was owned by Marty Melcher, Doris Day’s husband, and seems to have been used as much to get out of paying as much tax on the family’s vast wealth as it was a real record label. Whatever the reason, though, Arnie made one more single, as The Rituals, backed by many of the people who had played with The Barons — Bruce Johnston, Sandy Nelson, and Dave Shostac, plus their regular collaborators Mike Deasy, Richie Polodor and Harper Cosby. It didn’t chart: [Excerpt: The Rituals, “Girl in Zanzibar”] Dean Torrence, who had by now left the Army, saw his chance, and soon Jan and Arnie had become Jan and Dean — after a brief phase in which it looked like they might persuade Dean to change his name in order to avoid losing the group name. They hooked up with a new management and production team, Lou Adler and Herb Alpert, who had both been working at Keen Records with Sam Cooke. Kim Fowley later said that it was him who persuaded Adler to sign the duo, but Kim Fowley said a lot of things, very few of them true. Adler and Alpert got the new duo signed to Doré Records, a small label based in LA, and their first release on the label was a cover version of a record originally by a group called the Laurels: [Excerpt: The Laurels, “Baby Talk”] Herb Alpert brought that song to the duo, and their version became a top ten hit, with Jan singing the low parts and Dean singing the lead: [Excerpt: Jan and Dean, “Baby Talk”] The hit was big enough that budget labels released soundalike cover versions of it, one of which was by a duo called Tom and Jerry, who had been one hit wonders a year earlier: [Excerpt: Tom and Jerry, “Baby Talk”] That cover version was unsuccessful, something Paul Simon and Art Garfunkel were probably very grateful for when they reinvented themselves as sensitive folkies a couple of years later. Around this time, Jan got his girlfriend pregnant. In order not to spoil their son’s promising career — as well as being a singer, he was also at university and planned to become a doctor — Jan’s parents adopted his son and raised the boy as their own son. The duo went on a tour with Little Willie John, Bobby Day, and Little Richard’s old backing band The Upsetters, playing to mainly Black audiences — a tour they were booked on because almost all West Coast doo-wop at that time was from Black singers. Once the mistake was realised, a decision was made to promote the new duo’s image more — lots of photos of the very blonde, very white, duo started to be released, as a way to reassure the white audience. The duo’s film-star good looks assured them of regular coverage in the teen magazines, but they didn’t have any more hits on Doré — of the seven singles they released in the two years after “Baby Talk”, none of them got to better than number fifty-three on the charts.  Eventually the duo left Doré, and Jan released one solo single, “Tomorrow’s Teardrops”: [Excerpt: Jan Berry, “Tomorrow’s Teardrops”] That was actually released as by Jan Barry, rather than Jan Berry, at a point when the duo had actually split up — Dean was getting tired of not having any further hit records, and wanted to concentrate on his college work, while Berry was one of those people who needs to be doing several things simultaneously. Berry’s new girlfriend Jill Gibson added backing vocals — by this time he’d dumped the one he’d got pregnant — and the song was written by Berry and Altfeld. Jan actually started his own label, Ripple Records — named after the brand of cheap wine — to release it, and Dean created the logo for him — the first of many he would create over the years. However, the duo soon reunited, and came up with a plan which would have them only touring during the summer break, and doing local performances in the LA area on those weekends when neither had any homework. Now they needed to get signed to a major label. The one they wanted was Liberty, the label that Eddie Cochran had been on, and whose owner, Si Waronker, was actually the cousin of the owners of Doré. And they had recorded a track that they were sure would get them signed to Liberty. The Marcels had recently had a hit with their doo-wop revival of the old standard “Blue Moon”: [Excerpt: The Marcels, “Blue Moon”] Jan had decided to make a soundalike arrangement of another song from the same period, using the same chord changes — the old Hoagy Carmichael song “Heart and Soul”: [Excerpt: Jan and Dean, “Heart and Soul”] They were sure that would be a hit. But Herb Alpert wasn’t — he thought it was a dreadful record, He hated it so much, in fact, that he broke up his partnership with Lou Adler. The division of the partnership’s assets was straightforward — they owned Jan and Dean’s contract, and they owned a tape recorder. Alpert got the tape recorder, and Adler got Jan and Dean. Alpert went on to have a string of hit records as a trumpet player, starting with “The Lonely Bull” in 1962: [Excerpt: Herb Alpert, “The Lonely Bull”] He later formed his own record label, A&M, and never seems to have regretted losing Jan & Dean. Jan and Dean took their tape of “Heart and Soul” to Liberty Records, who said that they did want to sign Jan and Dean, but they didn’t want to release a record like that — they told them to take it somewhere else, and then when the single was a flop, they could come back to Liberty and make some proper records. So the duo got a two-record deal with the small label Challenge Records, on the understanding that after those two singles they would move on to Liberty. And “Heart and Soul” turned out to be a big hit, making number twenty-five on the charts: [Excerpt: Jan and Dean, “Heart and Soul”] Their second single on Challenge only made number one hundred and four, but by this time they knew the drill — they’d release their first single on a new label, it would be a big hit, then everything after that would be a flop. But they were going to a new label anyway, and they were sure their first single on Liberty Records would be a huge hit, just like every time they changed labels. The first record they put out on Liberty was a cover of another oldie, “A Sunday Kind of Love”, suggested by Si Waronker’s son Lenny, who we’ll be hearing a lot more about in future episodes. By this point Lou Adler was working for Aldon Music as their West Coast representative, and so the track was credited as “produced by Lou Adler for Nevins-Kirshner”, but Jan was given a separate arrangement credit on the record. But despite their predictions that the single would be a hit because it was a new label, it only made number ninety-four on the charts. The follow-up, “Tennessee”, was a song which had been more or less forced on them — it was originally one of the recordings that Phil Spector produced during his short-lived contract with Liberty, for a group called the Ducanes, but when the Ducanes had made a hash of it, Liberty forced the song on Jan & Dean instead: [Excerpt: Jan and Dean, “Tennessee”] By this time, while Ernie Freeman was still the studio leader of the session musicians, Jan was requesting a rather larger group of musicians, and they’d started recording the backing tracks first. The musicians on “Tennessee” included Tommy Allsup and Jerry Allison of the Crickets, Earl Palmer on drums, and Glen Campbell on guitar, but even these proven hit-makers couldn’t bring the song to more than number sixty-nine on the charts. And even that was better than their next two singles, neither of which even made the Hot One Hundred — though the fact that by this point they were reduced to recording versions of “Frosty The Snowman”, and attempting to recapture their first hit with a sequel called “She’s Still Talking Baby Talk” shows how desperately they were casting around for something, anything that could be a hit. Eventually they found something that worked. A group called the Regents had recently had a hit with “Barbara Ann”: [Excerpt: The Regents, “Barbara Ann”] The duo had cut a cover version of that for their most recent album, and they thought it had worked well, and so they wanted something else that would allow Dean to sing a falsetto lead, over a bass vocal by Jan, with a girl’s name in the title. They eventually hit on an old standard from the 1940s, originally written as a favour for the songwriter’s lawyer, Lee Eastman, about his then one-year-old daughter Linda (who we’ll be hearing more about later in this series). Their version of “Linda” finally gave them another hit after five flops in a row, reaching number twenty-eight in the charts: [Excerpt: Jan and Dean, “Linda”] Their career was on an upswing again, and then everything changed for them when they played a gig with support from a local band who had just started having hits, the Beach Boys. The story goes that the Beach Boys were booked to do their own support slot and then to back Jan and Dean on their set. The show went down well with the audience, and they wanted an encore, but Jan and Dean had run out of rehearsed songs. So they suggested that the Beach Boys play their own two singles again, and Jan and Dean would sing with them. The group were flattered that two big stars like Jan and Dean would want to perform their songs, and eagerly joined in. Suddenly, Jan and Dean had an idea — their next album was going to be called Jan & Dean Take Linda Surfin’, but as yet they hadn’t recorded any surf songs. They invited the Beach Boys to come into the studio and record new versions of their two singles for Jan & Dean’s album, with Jan and Dean singing the leads: [Excerpt: Jan and Dean and the Beach Boys, “Surfin'”] The Beach Boys weren’t credited for that session, as they were signed to another label, but it started a long collaboration between the two groups. In particular, the Beach Boys’ leader Brian Wilson became a close collaborator with Berry. And at that same session, Wilson gave Jan and Dean what would become their biggest hit. After the recording, Jan and Dean asked Wilson if he had any new songs they might be able to do. The first one he played them, “Surfin’ USA”, he told them they couldn’t do anything with as he wanted that for the Beach Boys themselves. But then he played them two others. The one that Jan and Dean saw most potential in was a song he’d completed, “Gonna Hustle You”: [Excerpt: Brian Wilson, “Gonna Hustle You”] The duo wanted that as their next single, but Liberty Records flat out refused to put out something that sounded so dirty as “Gonna Hustle You”. They tried rewriting it as “Get a Chance With You”, but even that was too much. They put the song aside, though they’d return to it later as “The New Girl In School”, which would become a minor hit for them. Instead, they worked on a half-completed song that Wilson had started, very much in the same mould as the first two Beach Boys singles, with the provisional title “Goodie Connie Won’t You Please Come Home”. This song would become the first of many Jan and Dean songs for which the songwriting credit is disputed. No-one argues with the fact that the basic idea of the song was Brian Wilson’s, but Jan Berry’s process was to get a lot of people to throw ideas in, sometimes working in a group, sometimes working separately and not even knowing that other people had been involved. The song is officially credited to Wilson and Berry, but Don Altfeld has also claimed he contributed to it, Dean Torrence says that he wrote about a quarter of the lyrics, and it’s also been suggested that Roger Christian wrote the lyrics to the first verse. Christian was an LA-area DJ who was obsessed with cars, and had come to Wilson’s attention after he’d said on the air that the Beach Boys’ “409” was a great song about a bad car. He’d started writing songs with Wilson, and he would also collaborate with both Jan Berry and Wilson’s friend Gary Usher (who was a big part of this scene but hardly ever worked with Jan and Dean because he hated Jan). Almost every car song from this period, by the Beach Boys, Jan and Dean, or any number of studio groups, was co-written by Christian, and we’ll be hearing more about him in a future episode. This group of people — Jan and Dean, Brian Wilson, Roger Christian, and Don Altfeld — would write together in various combinations, and write a lot of hits, but a lot of the credits were assigned more or less randomly — though Jan Berry was almost always credited, and Dean Torrence almost never was. The completed song, titled “Surf City”, was recorded with members of the Wrecking Crew — the studio musicians who usually worked with Phil Spector — performing the backing track. In this case, these were Hal Blaine, Glen Campbell, Earl Palmer, Bill Pitman, Ray Pohlman and Billy Strange — there were two drummers because Berry liked a big drum sound. Brian Wilson was at the session, and soon after this he started using some of those musicians himself. While it was released as a Jan and Dean record, Dean doesn’t sing on it at all — the vocals featured Jan, three singers from another Liberty Records group called the Gents, and Brian Wilson, with Wilson and Tony Minichello of the Gents singing the falsetto parts that Dean would sing live: [Excerpt: Jan and Dean, “Surf City”] That went to number one, becoming Jan and Dean’s only number one, and Brian Wilson’s first — much to the fury of Wilson’s father Murry, who thought that Wilson’s hits should only be going to the Beach Boys. Murry Wilson may well have been more bothered by the fact that the publishing for the song went to Columbia/Screen Gems, to whom Jan was signed, rather than to Sea of Tunes, the company that published Wilson’s other songs, and which was owned by Murry himself. Murry started calling Jan a “pirate”, which prompted Berry to turn up to a Beach Boys session wearing a full pirate costume to taunt Murry. From “Linda” on, Jan and Dean had ten top forty hits with ten singles — one of the B-sides also charted, but they did miss with “Here They Come From All Over The World”, the theme tune for the TAMI Show, a classic rock concert film on which Jan and Dean appeared both as singers and as the hosts. That was by far their weakest single from this period, being as it is just a list of the musicians in the show, some of them described incorrectly — the song talks about “The Rolling Stones from Liverpool” and James Brown being “the King of the Blues”. All of these hits were made by the same team. The Wrecking Crew would play the instruments, the Gents — now renamed the Matadors, and sometimes the Blossoms would provide backing vocals on the earlier singles. The later ones would feature the Fantastic Baggies instead of the Matadors — two young songwriters, Steve Barri and P.F. Sloan, who were also making their own surf records. The lead would be sung by Jan, the falsetto by some combination of Brian Wilson, Dean Torrence, Tony Minichello and P.F. Sloan — often Dean wouldn’t appear at all. The singles would be written by some combination of Wilson, Berry, Altfeld and Christian, and the songs would be about the same subjects as the Beach Boys’ records — surf, cars, girls, or some combination of the three. Sometimes the records would be just repetitions of the formula, like “Drag City”, which was an attempt at a second “Surf City”: [Excerpt: Jan and Dean, “Drag City”] But often there would be a self-parodic element that wasn’t present in the Beach Boys’ singles, as in “The Little Old Lady From Pasadena”, a car song written by Berry, Christian, and Altfeld, based on a series of Dodge commercials featuring a car-racing old lady: [Excerpt: Jan and Dean, “The Little Old Lady From Pasadena”] And the grotesque “Dead Man’s Curve”, equal parts a serious attempt at a teen tragedy song and a parody of the genre, which took on a new meaning a few years after it was a hit: [Excerpt: Jan and Dean, “Dead Man’s Curve”] But while 1963 and 64 saw the duo rack up an incredible run of hits, they were making enemies. Jan was so unpleasant to people by this point that even the teen mags would call him out, with Teen Scene in March 1964 running an article which read, in part, “Blast of the month goes to half of a certain group whose initials are J&D. Reason for the blast: his personality, which makes enemies faster than Carter makes pills… (It’s the Jan Half)… Acting like Mr. Big Britches gets you nowhere, and your poor partner, who is one of the nicest guys on earth, shouldn’t be forced to go around making apologies for your actions.” And while Torrence may have been “one of the nicest guys on Earth”, not all of his friends were. In fact, in December 1963, his closest friend, Barry Keenan, was the ringleader in the kidnapping of Frank Sinatra Jr.  Keenan told Torrence about the plan in advance, and Torrence had lent Keenan a great deal of money, which Keenan used to finance the kidnapping. Torrence was accused of being a major part of the plot, though he was let off after testifying against the people who were actually involved — he’s always claimed that he thought that his friend’s talking about his plan for the perfect crime was just talk, not a serious plan. Torrence had even offered suggestions, jokingly, which Keenan had incorporated — and Keenan had left a bag containing fifty thousand dollars at Torrence’s home, Torrence’s share of the ransom money, which Torrence refused to keep. However, Sinatra Sr was annoyed enough at Torrence that a lot of plans for Jan and Dean TV shows and film appearances suddenly dried up. The lack of TV and film appearances was a particular problem as the music industry was changing under them, and surf and hot rod records weren’t the in thing any more — and Brian Wilson seems to have been less interested in working with them as well, as the Beach Boys overtook Jan and Dean in popularity. 1965 saw them trying to figure out the new, more serious, music scene, with experiments like Pop Symphony Number 1, an album of orchestral arrangements of the duo’s hits by Berry (who minored in music at UCLA) and George Tipton: [Excerpt: The Bel-Aire Pops Orchestra, “Surf City”] The duo also tried going folk-rock, releasing an album called Folk ‘n’ Roll, which featured another variation on the “Surf City” and “Drag City” theme — this one “Folk City”: [Excerpt: Jan and Dean, “Folk City”] That album didn’t do well at all, not least because the lead-off single was a pro-war protest song, released as a Jan Berry solo single. Berry had become incensed by Buffy Saint-Marie’s song “The Universal Soldier”, and had written a right-wing response, “The Universal Coward”: [Excerpt: Jan Berry, “The Universal Coward”] As you can imagine, that was not popular with the folk-rock crowd, especially coming as it did from someone who was still managing to avoid the draft by studying medicine, even as he was also a pop star. Torrence became so irritated with Berry, and with the music they were making, during the recording of that album that he ended up going down the hall to another studio, where the Beach Boys were recording their unplugged Party! album, and sitting in with them. He suggested they do a new recording of “Barbara Ann”, and he sang lead on it, uncredited: [Excerpt: The Beach Boys, “Barbara Ann”] That went to number two on the charts, becoming the biggest hit record that Torrence ever sang on. Torrence was happier with the next project, though, an album spoofing the popular TV show Batman, with several comedy sketches, along with songs about the characters from the TV show: [Excerpt: Jan and Dean, “Batman”] But by this point, in 1966, Jan and Dean’s singles were doing absolutely nothing in the charts. In March, Liberty Records dropped them. And then on April the twelfth, 1966, something happened that would end their chances of another comeback. Jan Berry had been in numerous accidents over the previous few years — he was a thrill-seeker, and would often end up crashing cars or breaking bones. On April the twelfth, he had an appointment at the draft board, at which he was given bad news — depending on which account you read, he was either told that his draft deferment was coming to an end and he was going to Vietnam straight away, or that he was going to Vietnam as soon as he graduated from medical school at the end of the school year. He was furious, and he got into his car. What happened next has been the subject of some debate. Some people say that a wheel came off his car — and some have hinted that this was the result of some of Sinatra’s friends getting revenge on Jan and Dean. Others just say he was driving carelessly, which he often did. Some have suggested that he was trying to deliberately get into a minor accident to avoid being drafted. Whatever happened, he was involved in a major accident, in which he, though luckily no-one else, was severely injured. He spent a month in a coma, and came out of it severely brain damaged. He had to relearn to read and speak, and for the rest of his life would have problems with his memory, his physical co-ordination, and his speech. Liberty kept releasing old Jan and Dean tracks, and even got them a final top twenty hit with “Popsicle”, a song from a few years earlier. Dean made a Jan and Dean album, Save For a Rainy Day, without Jan, while Jan was still recovering, as a way of trying to keep their career options open if Jan ever got better. Dean put it out on the duo’s own new label, J&D, and there were plans for Columbia to pick it up and give it a wider release, but Jan refused to sign the contracts — he was furious that Dean had made a Jan and Dean record without him, and would have nothing to do with it. Torrence tried to have a music career anyway — he put out a cover of the Beach Boys song “Vegetables” under the name The Laughing Gravy: [Excerpt: The Laughing Gravy, “Vegetables”] But he soon gave up, and became an artist, designing covers and logos for people like Harry Nilsson, Canned Heat, the Turtles, and the Beach Boys. Jan tried making his own Jan and Dean album without Dean, even though he was unable to sing again or write yet. With a lot of help from Roger Christian, he pulled together some old half-finished songs and finished them, got in some soundalike session singers and famous friends like Glen Campbell and Davy Jones of the Monkees and put together Carnival of Sound, an album that didn’t get released until 2010: [Excerpt: Jan and Dean, “Girl You’re Blowing My Mind”] In the mid-seventies, Jan and Dean got back together and started touring the nostalgia circuit, spurred by a TV movie, Dead Man’s Curve, based on their lives. There seemed to be a love-hate relationship between them in later years — they would split up and get back together, and their roles had reversed, with Dean now taking most of the leads on the shows — Dean had to look after Jan a lot of the time, and some reports said that Jan had to relearn the words to the three songs he sang lead on every night. But with the aid of some excellent backing musicians, and with some love and tolerance from the audience for Jan’s ongoing problems, they managed to regularly please crowds of thousands until a few weeks before Jan’s death in 2004. Since then, Dean has mostly performed with the Surf City All-Stars, a band that sometimes also features Al Jardine and David Marks of the Beach Boys, playing a few shows a year. He released an autobiography in 2016 — it came out at the same time as the autobiographies of Brian Wilson and Mike Love of the Beach Boys, ensuring that even at this late date, he would be overshadowed by his more famous colleagues.

Episode 107 of A History of Rock Music in 500 Songs looks at "Surf City" and the career of Jan and Dean, including a Pop Symphony, accidental conspiracy to kidnap, and a career that both started and ended with attempts to get out of being drafted. 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 "Hey Little Cobra" by the Rip Chords. 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/ ----more---- Resources No Mixcloud this week, due to the number of songs by Jan and Dean. Stephen McParland has published many, many books on the California surf and hot-rod music scenes. The Grand High Potentates of California Rock: Jan and Dean "In Perspective" 1958-1968 is the one I used most here, but I referred to several. His books can be found at https://payhip.com/CMusicBooks I also used Dead Man's Curve and Back: The Jan and Dean Story by Mark Thomas Passmore, and Dean Torrence's autobiography Surf City.  The original mono versions of the Liberty singles are only available on an out-of-print CD that goes for over £400, and many compilations have later rerecordings (often by Dean without Jan) but this has the proper recordings, albeit in stereo mixes. This compilation contains their pre-Liberty singles, including the Jan & Arnie material.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   Transcript A warning about this episode -- it features some discussion of a car crash and resulting disability and recovery, which may be upsetting to some people. Today we're going to look at one of the most successful duos in rock and roll history, but one who have been relegated to a footnote because of their collaboration with a far more successful band, who had a similar sound to them. We're going to look at Jan and Dean, and at "Surf City": [Excerpt: Jan and Dean, "Surf City"] The story of Jan and Dean begins with Jan and Arnie, and with the Barons. We discussed the Barons briefly in the episode on "LSD-25", a few months ago, but only in passing, so to recap -- the Barons were a singing group that formed at University High School in LA in the late fifties, centred around Jan Berry. Various people involved in the group's formation went on to be important parts of the LA music scene in the sixties, but by 1958 they were down to Berry and his friends Arnie Ginsburg -- not the DJ we talked about last episode, Dean Torrence, and Don Altfeld. The group members all had a love for R&B, and hung around with various of the Black groups of the time -- Don Altfeld has talked about him and Berry being present, but not participating, for Richard Berry's recording of "Louie Louie", though his memories of the time seem confused in the interviews I've read. And Jan Berry in particular was a real music obsessive, and had what may have been the biggest R&B and rock and roll record collection in LA -- which he obtained by scamming record companies, which seems to be very in character for him. He got a letterhead made up for a fake radio station, KJAN, and wrote to every record company he could find asking for promo copies. He ended up getting six copies of every new release "to play on the radio", and would give some of the extra copies to his friends -- and others he would use as frisbees. According to Torrence, Berry would often receive two hundred new records a day, all free. Berry had a reel-to-reel tape recorder belonging to his father -- his father, William Berry, was important in the Howard Hughes organisation, and had been in charge of the Spruce Goose project, even flying in the famous plane with Hughes, and Hughes had given him the tape recorder, which unlike almost all recording equipment available in the fifties had a primitive reverb function built in. With that and a microphone stolen from the school auditorium, Berry started recording himself and his friends, and he'd wanted to play one of the tapes he'd made at a party, so he'd taken it to a studio to be cut as an acetate, where it had been heard by Joe Lubin of Arwin Records, who took the tape and got session musicians to overdub it: [Excerpt: Jan and Arnie, "Jennie Lee"] That record was released as by Jan and Arnie, rather than the Barons -- Dean Torrence was off doing six months in the army, to get out of being conscripted later. Torrence has always said that he could hear himself on the recording, and that it was one the Barons had done together, but everyone else involved has claimed that while the Barons did record a version of that song, the finished version only features Jan and Arnie's vocals. Don Altfeld didn't sing on it, because he was never allowed to sing in the Barons -- he was forced to just mouth along, which given that both Jan and Dean were known for regularly singing flat must say something about just how bad a singer he is -- though he did apparently hit a metal chair leg as percussion on the record. "Jennie Lee" went to number three on the Cashbox chart -- number eight on Billboard -- and was a big enough hit that it set a precedent for how all the records Jan Berry would be involved in for the next few years would be made -- he would record vocals and piano in his garage, with a ton of reverb, and then the backing track would be recorded to that, usually by the same group of musicians that played on records by people like Sam Cooke, Ritchie Valens, and other late-fifties LA singers -- a group centred around Ernie Freeman on piano and organ, Rene Hall on guitar, and Earl Palmer on drums. This was a completely backwards way of recording -- normally you'd have the musicians play the backing track first and then overdub the vocals on it -- but it was how they would carry on doing things for several years. Jan and Arnie's follow-up, "Gas Money", written by Berry, Ginsburg, and Altfeld, did less well, only making number eighty-one in the charts: [Excerpt: Jan and Arnie, "Gas Money"] And their third single didn't chart at all. By this point, Arnie Ginsburg was getting thoroughly sick of working with Jan Berry -- pretty much without exception everyone who knew Berry in the fifties and early sixties says two things about him -- that he was the single most intelligent person they ever met, and that he was a domineering egomaniac who used anyone he could remorselessly. Jan and Arnie split up, and Arwin Records seems to have decided to stick with Arnie, rather than Jan -- though this might have been because Arnie seemed *less* likely to have hits, as Dean Torrence has later claimed that Arwin was a tax dodge -- it was owned by Marty Melcher, Doris Day's husband, and seems to have been used as much to get out of paying as much tax on the family's vast wealth as it was a real record label. Whatever the reason, though, Arnie made one more single, as The Rituals, backed by many of the people who had played with The Barons -- Bruce Johnston, Sandy Nelson, and Dave Shostac, plus their regular collaborators Mike Deasy, Richie Polodor and Harper Cosby. It didn't chart: [Excerpt: The Rituals, "Girl in Zanzibar"] Dean Torrence, who had by now left the Army, saw his chance, and soon Jan and Arnie had become Jan and Dean -- after a brief phase in which it looked like they might persuade Dean to change his name in order to avoid losing the group name. They hooked up with a new management and production team, Lou Adler and Herb Alpert, who had both been working at Keen Records with Sam Cooke. Kim Fowley later said that it was him who persuaded Adler to sign the duo, but Kim Fowley said a lot of things, very few of them true. Adler and Alpert got the new duo signed to Doré Records, a small label based in LA, and their first release on the label was a cover version of a record originally by a group called the Laurels: [Excerpt: The Laurels, "Baby Talk"] Herb Alpert brought that song to the duo, and their version became a top ten hit, with Jan singing the low parts and Dean singing the lead: [Excerpt: Jan and Dean, "Baby Talk"] The hit was big enough that budget labels released soundalike cover versions of it, one of which was by a duo called Tom and Jerry, who had been one hit wonders a year earlier: [Excerpt: Tom and Jerry, "Baby Talk"] That cover version was unsuccessful, something Paul Simon and Art Garfunkel were probably very grateful for when they reinvented themselves as sensitive folkies a couple of years later. Around this time, Jan got his girlfriend pregnant. In order not to spoil their son's promising career -- as well as being a singer, he was also at university and planned to become a doctor -- Jan's parents adopted his son and raised the boy as their own son. The duo went on a tour with Little Willie John, Bobby Day, and Little Richard's old backing band The Upsetters, playing to mainly Black audiences -- a tour they were booked on because almost all West Coast doo-wop at that time was from Black singers. Once the mistake was realised, a decision was made to promote the new duo's image more -- lots of photos of the very blonde, very white, duo started to be released, as a way to reassure the white audience. The duo's film-star good looks assured them of regular coverage in the teen magazines, but they didn't have any more hits on Doré -- of the seven singles they released in the two years after "Baby Talk", none of them got to better than number fifty-three on the charts.  Eventually the duo left Doré, and Jan released one solo single, "Tomorrow's Teardrops": [Excerpt: Jan Berry, "Tomorrow's Teardrops"] That was actually released as by Jan Barry, rather than Jan Berry, at a point when the duo had actually split up -- Dean was getting tired of not having any further hit records, and wanted to concentrate on his college work, while Berry was one of those people who needs to be doing several things simultaneously. Berry's new girlfriend Jill Gibson added backing vocals -- by this time he'd dumped the one he'd got pregnant -- and the song was written by Berry and Altfeld. Jan actually started his own label, Ripple Records -- named after the brand of cheap wine -- to release it, and Dean created the logo for him -- the first of many he would create over the years. However, the duo soon reunited, and came up with a plan which would have them only touring during the summer break, and doing local performances in the LA area on those weekends when neither had any homework. Now they needed to get signed to a major label. The one they wanted was Liberty, the label that Eddie Cochran had been on, and whose owner, Si Waronker, was actually the cousin of the owners of Doré. And they had recorded a track that they were sure would get them signed to Liberty. The Marcels had recently had a hit with their doo-wop revival of the old standard "Blue Moon": [Excerpt: The Marcels, "Blue Moon"] Jan had decided to make a soundalike arrangement of another song from the same period, using the same chord changes -- the old Hoagy Carmichael song "Heart and Soul": [Excerpt: Jan and Dean, "Heart and Soul"] They were sure that would be a hit. But Herb Alpert wasn't -- he thought it was a dreadful record, He hated it so much, in fact, that he broke up his partnership with Lou Adler. The division of the partnership's assets was straightforward -- they owned Jan and Dean's contract, and they owned a tape recorder. Alpert got the tape recorder, and Adler got Jan and Dean. Alpert went on to have a string of hit records as a trumpet player, starting with "The Lonely Bull" in 1962: [Excerpt: Herb Alpert, "The Lonely Bull"] He later formed his own record label, A&M, and never seems to have regretted losing Jan & Dean. Jan and Dean took their tape of "Heart and Soul" to Liberty Records, who said that they did want to sign Jan and Dean, but they didn't want to release a record like that -- they told them to take it somewhere else, and then when the single was a flop, they could come back to Liberty and make some proper records. So the duo got a two-record deal with the small label Challenge Records, on the understanding that after those two singles they would move on to Liberty. And "Heart and Soul" turned out to be a big hit, making number twenty-five on the charts: [Excerpt: Jan and Dean, "Heart and Soul"] Their second single on Challenge only made number one hundred and four, but by this time they knew the drill -- they'd release their first single on a new label, it would be a big hit, then everything after that would be a flop. But they were going to a new label anyway, and they were sure their first single on Liberty Records would be a huge hit, just like every time they changed labels. The first record they put out on Liberty was a cover of another oldie, "A Sunday Kind of Love", suggested by Si Waronker's son Lenny, who we'll be hearing a lot more about in future episodes. By this point Lou Adler was working for Aldon Music as their West Coast representative, and so the track was credited as "produced by Lou Adler for Nevins-Kirshner", but Jan was given a separate arrangement credit on the record. But despite their predictions that the single would be a hit because it was a new label, it only made number ninety-four on the charts. The follow-up, "Tennessee", was a song which had been more or less forced on them -- it was originally one of the recordings that Phil Spector produced during his short-lived contract with Liberty, for a group called the Ducanes, but when the Ducanes had made a hash of it, Liberty forced the song on Jan & Dean instead: [Excerpt: Jan and Dean, "Tennessee"] By this time, while Ernie Freeman was still the studio leader of the session musicians, Jan was requesting a rather larger group of musicians, and they'd started recording the backing tracks first. The musicians on "Tennessee" included Tommy Allsup and Jerry Allison of the Crickets, Earl Palmer on drums, and Glen Campbell on guitar, but even these proven hit-makers couldn't bring the song to more than number sixty-nine on the charts. And even that was better than their next two singles, neither of which even made the Hot One Hundred -- though the fact that by this point they were reduced to recording versions of "Frosty The Snowman", and attempting to recapture their first hit with a sequel called "She's Still Talking Baby Talk" shows how desperately they were casting around for something, anything that could be a hit. Eventually they found something that worked. A group called the Regents had recently had a hit with "Barbara Ann": [Excerpt: The Regents, "Barbara Ann"] The duo had cut a cover version of that for their most recent album, and they thought it had worked well, and so they wanted something else that would allow Dean to sing a falsetto lead, over a bass vocal by Jan, with a girl's name in the title. They eventually hit on an old standard from the 1940s, originally written as a favour for the songwriter's lawyer, Lee Eastman, about his then one-year-old daughter Linda (who we'll be hearing more about later in this series). Their version of "Linda" finally gave them another hit after five flops in a row, reaching number twenty-eight in the charts: [Excerpt: Jan and Dean, "Linda"] Their career was on an upswing again, and then everything changed for them when they played a gig with support from a local band who had just started having hits, the Beach Boys. The story goes that the Beach Boys were booked to do their own support slot and then to back Jan and Dean on their set. The show went down well with the audience, and they wanted an encore, but Jan and Dean had run out of rehearsed songs. So they suggested that the Beach Boys play their own two singles again, and Jan and Dean would sing with them. The group were flattered that two big stars like Jan and Dean would want to perform their songs, and eagerly joined in. Suddenly, Jan and Dean had an idea -- their next album was going to be called Jan & Dean Take Linda Surfin', but as yet they hadn't recorded any surf songs. They invited the Beach Boys to come into the studio and record new versions of their two singles for Jan & Dean's album, with Jan and Dean singing the leads: [Excerpt: Jan and Dean and the Beach Boys, "Surfin'"] The Beach Boys weren't credited for that session, as they were signed to another label, but it started a long collaboration between the two groups. In particular, the Beach Boys' leader Brian Wilson became a close collaborator with Berry. And at that same session, Wilson gave Jan and Dean what would become their biggest hit. After the recording, Jan and Dean asked Wilson if he had any new songs they might be able to do. The first one he played them, "Surfin' USA", he told them they couldn't do anything with as he wanted that for the Beach Boys themselves. But then he played them two others. The one that Jan and Dean saw most potential in was a song he'd completed, "Gonna Hustle You": [Excerpt: Brian Wilson, "Gonna Hustle You"] The duo wanted that as their next single, but Liberty Records flat out refused to put out something that sounded so dirty as "Gonna Hustle You". They tried rewriting it as "Get a Chance With You", but even that was too much. They put the song aside, though they'd return to it later as "The New Girl In School", which would become a minor hit for them. Instead, they worked on a half-completed song that Wilson had started, very much in the same mould as the first two Beach Boys singles, with the provisional title "Goodie Connie Won't You Please Come Home". This song would become the first of many Jan and Dean songs for which the songwriting credit is disputed. No-one argues with the fact that the basic idea of the song was Brian Wilson's, but Jan Berry's process was to get a lot of people to throw ideas in, sometimes working in a group, sometimes working separately and not even knowing that other people had been involved. The song is officially credited to Wilson and Berry, but Don Altfeld has also claimed he contributed to it, Dean Torrence says that he wrote about a quarter of the lyrics, and it's also been suggested that Roger Christian wrote the lyrics to the first verse. Christian was an LA-area DJ who was obsessed with cars, and had come to Wilson's attention after he'd said on the air that the Beach Boys' "409" was a great song about a bad car. He'd started writing songs with Wilson, and he would also collaborate with both Jan Berry and Wilson's friend Gary Usher (who was a big part of this scene but hardly ever worked with Jan and Dean because he hated Jan). Almost every car song from this period, by the Beach Boys, Jan and Dean, or any number of studio groups, was co-written by Christian, and we'll be hearing more about him in a future episode. This group of people -- Jan and Dean, Brian Wilson, Roger Christian, and Don Altfeld -- would write together in various combinations, and write a lot of hits, but a lot of the credits were assigned more or less randomly -- though Jan Berry was almost always credited, and Dean Torrence almost never was. The completed song, titled "Surf City", was recorded with members of the Wrecking Crew -- the studio musicians who usually worked with Phil Spector -- performing the backing track. In this case, these were Hal Blaine, Glen Campbell, Earl Palmer, Bill Pitman, Ray Pohlman and Billy Strange -- there were two drummers because Berry liked a big drum sound. Brian Wilson was at the session, and soon after this he started using some of those musicians himself. While it was released as a Jan and Dean record, Dean doesn't sing on it at all -- the vocals featured Jan, three singers from another Liberty Records group called the Gents, and Brian Wilson, with Wilson and Tony Minichello of the Gents singing the falsetto parts that Dean would sing live: [Excerpt: Jan and Dean, "Surf City"] That went to number one, becoming Jan and Dean's only number one, and Brian Wilson's first -- much to the fury of Wilson's father Murry, who thought that Wilson's hits should only be going to the Beach Boys. Murry Wilson may well have been more bothered by the fact that the publishing for the song went to Columbia/Screen Gems, to whom Jan was signed, rather than to Sea of Tunes, the company that published Wilson's other songs, and which was owned by Murry himself. Murry started calling Jan a "pirate", which prompted Berry to turn up to a Beach Boys session wearing a full pirate costume to taunt Murry. From "Linda" on, Jan and Dean had ten top forty hits with ten singles -- one of the B-sides also charted, but they did miss with "Here They Come From All Over The World", the theme tune for the TAMI Show, a classic rock concert film on which Jan and Dean appeared both as singers and as the hosts. That was by far their weakest single from this period, being as it is just a list of the musicians in the show, some of them described incorrectly -- the song talks about "The Rolling Stones from Liverpool" and James Brown being "the King of the Blues". All of these hits were made by the same team. The Wrecking Crew would play the instruments, the Gents -- now renamed the Matadors, and sometimes the Blossoms would provide backing vocals on the earlier singles. The later ones would feature the Fantastic Baggies instead of the Matadors -- two young songwriters, Steve Barri and P.F. Sloan, who were also making their own surf records. The lead would be sung by Jan, the falsetto by some combination of Brian Wilson, Dean Torrence, Tony Minichello and P.F. Sloan -- often Dean wouldn't appear at all. The singles would be written by some combination of Wilson, Berry, Altfeld and Christian, and the songs would be about the same subjects as the Beach Boys' records -- surf, cars, girls, or some combination of the three. Sometimes the records would be just repetitions of the formula, like "Drag City", which was an attempt at a second "Surf City": [Excerpt: Jan and Dean, "Drag City"] But often there would be a self-parodic element that wasn't present in the Beach Boys' singles, as in "The Little Old Lady From Pasadena", a car song written by Berry, Christian, and Altfeld, based on a series of Dodge commercials featuring a car-racing old lady: [Excerpt: Jan and Dean, "The Little Old Lady From Pasadena"] And the grotesque "Dead Man's Curve", equal parts a serious attempt at a teen tragedy song and a parody of the genre, which took on a new meaning a few years after it was a hit: [Excerpt: Jan and Dean, "Dead Man's Curve"] But while 1963 and 64 saw the duo rack up an incredible run of hits, they were making enemies. Jan was so unpleasant to people by this point that even the teen mags would call him out, with Teen Scene in March 1964 running an article which read, in part, "Blast of the month goes to half of a certain group whose initials are J&D. Reason for the blast: his personality, which makes enemies faster than Carter makes pills... (It's the Jan Half)... Acting like Mr. Big Britches gets you nowhere, and your poor partner, who is one of the nicest guys on earth, shouldn't be forced to go around making apologies for your actions." And while Torrence may have been "one of the nicest guys on Earth", not all of his friends were. In fact, in December 1963, his closest friend, Barry Keenan, was the ringleader in the kidnapping of Frank Sinatra Jr.  Keenan told Torrence about the plan in advance, and Torrence had lent Keenan a great deal of money, which Keenan used to finance the kidnapping. Torrence was accused of being a major part of the plot, though he was let off after testifying against the people who were actually involved -- he's always claimed that he thought that his friend's talking about his plan for the perfect crime was just talk, not a serious plan. Torrence had even offered suggestions, jokingly, which Keenan had incorporated -- and Keenan had left a bag containing fifty thousand dollars at Torrence's home, Torrence's share of the ransom money, which Torrence refused to keep. However, Sinatra Sr was annoyed enough at Torrence that a lot of plans for Jan and Dean TV shows and film appearances suddenly dried up. The lack of TV and film appearances was a particular problem as the music industry was changing under them, and surf and hot rod records weren't the in thing any more -- and Brian Wilson seems to have been less interested in working with them as well, as the Beach Boys overtook Jan and Dean in popularity. 1965 saw them trying to figure out the new, more serious, music scene, with experiments like Pop Symphony Number 1, an album of orchestral arrangements of the duo's hits by Berry (who minored in music at UCLA) and George Tipton: [Excerpt: The Bel-Aire Pops Orchestra, "Surf City"] The duo also tried going folk-rock, releasing an album called Folk 'n' Roll, which featured another variation on the "Surf City" and "Drag City" theme -- this one "Folk City": [Excerpt: Jan and Dean, "Folk City"] That album didn't do well at all, not least because the lead-off single was a pro-war protest song, released as a Jan Berry solo single. Berry had become incensed by Buffy Saint-Marie's song "The Universal Soldier", and had written a right-wing response, "The Universal Coward": [Excerpt: Jan Berry, "The Universal Coward"] As you can imagine, that was not popular with the folk-rock crowd, especially coming as it did from someone who was still managing to avoid the draft by studying medicine, even as he was also a pop star. Torrence became so irritated with Berry, and with the music they were making, during the recording of that album that he ended up going down the hall to another studio, where the Beach Boys were recording their unplugged Party! album, and sitting in with them. He suggested they do a new recording of "Barbara Ann", and he sang lead on it, uncredited: [Excerpt: The Beach Boys, "Barbara Ann"] That went to number two on the charts, becoming the biggest hit record that Torrence ever sang on. Torrence was happier with the next project, though, an album spoofing the popular TV show Batman, with several comedy sketches, along with songs about the characters from the TV show: [Excerpt: Jan and Dean, "Batman"] But by this point, in 1966, Jan and Dean's singles were doing absolutely nothing in the charts. In March, Liberty Records dropped them. And then on April the twelfth, 1966, something happened that would end their chances of another comeback. Jan Berry had been in numerous accidents over the previous few years -- he was a thrill-seeker, and would often end up crashing cars or breaking bones. On April the twelfth, he had an appointment at the draft board, at which he was given bad news -- depending on which account you read, he was either told that his draft deferment was coming to an end and he was going to Vietnam straight away, or that he was going to Vietnam as soon as he graduated from medical school at the end of the school year. He was furious, and he got into his car. What happened next has been the subject of some debate. Some people say that a wheel came off his car -- and some have hinted that this was the result of some of Sinatra's friends getting revenge on Jan and Dean. Others just say he was driving carelessly, which he often did. Some have suggested that he was trying to deliberately get into a minor accident to avoid being drafted. Whatever happened, he was involved in a major accident, in which he, though luckily no-one else, was severely injured. He spent a month in a coma, and came out of it severely brain damaged. He had to relearn to read and speak, and for the rest of his life would have problems with his memory, his physical co-ordination, and his speech. Liberty kept releasing old Jan and Dean tracks, and even got them a final top twenty hit with "Popsicle", a song from a few years earlier. Dean made a Jan and Dean album, Save For a Rainy Day, without Jan, while Jan was still recovering, as a way of trying to keep their career options open if Jan ever got better. Dean put it out on the duo's own new label, J&D, and there were plans for Columbia to pick it up and give it a wider release, but Jan refused to sign the contracts -- he was furious that Dean had made a Jan and Dean record without him, and would have nothing to do with it. Torrence tried to have a music career anyway -- he put out a cover of the Beach Boys song "Vegetables" under the name The Laughing Gravy: [Excerpt: The Laughing Gravy, "Vegetables"] But he soon gave up, and became an artist, designing covers and logos for people like Harry Nilsson, Canned Heat, the Turtles, and the Beach Boys. Jan tried making his own Jan and Dean album without Dean, even though he was unable to sing again or write yet. With a lot of help from Roger Christian, he pulled together some old half-finished songs and finished them, got in some soundalike session singers and famous friends like Glen Campbell and Davy Jones of the Monkees and put together Carnival of Sound, an album that didn't get released until 2010: [Excerpt: Jan and Dean, “Girl You're Blowing My Mind"] In the mid-seventies, Jan and Dean got back together and started touring the nostalgia circuit, spurred by a TV movie, Dead Man's Curve, based on their lives. There seemed to be a love-hate relationship between them in later years -- they would split up and get back together, and their roles had reversed, with Dean now taking most of the leads on the shows -- Dean had to look after Jan a lot of the time, and some reports said that Jan had to relearn the words to the three songs he sang lead on every night. But with the aid of some excellent backing musicians, and with some love and tolerance from the audience for Jan's ongoing problems, they managed to regularly please crowds of thousands until a few weeks before Jan's death in 2004. Since then, Dean has mostly performed with the Surf City All-Stars, a band that sometimes also features Al Jardine and David Marks of the Beach Boys, playing a few shows a year. He released an autobiography in 2016 -- it came out at the same time as the autobiographies of Brian Wilson and Mike Love of the Beach Boys, ensuring that even at this late date, he would be overshadowed by his more famous colleagues.

The Kansas City Chiefs stumbled early but found a way to pull out a tight overtime victory against a scrappy Los Angeles Chargers team led by Justin Herbert. Join Matt Verderame and Patrick Allen as they break down all the action. In this episode:  Game Reaction and Analysis Earning Their Arrowheads AFC Contenders and Pretenders Fan Questions from:  Nate Taylor (@taylonr), William Berry (@williamberry88), Spider Woman! (@spiderwomn6), Brian Foss (@brian_foss) and @Gr8tGooglyMoogly. See omnystudio.com/listener for privacy information.

Exposição online Sociedade Espírita Seara de Luz. Expositor: Mathues P. Brochetto. The Right Voice by SackJo22 (c) copyright 2011 Licensed under a Creative Commons Attribution (3.0) license. http://dig.ccmixter.org/files/SackJo22/33699 Ft: Helen Money, Gurdonark, Dimitri Artemenko, William Berry, Jovica

After a disastrous business failure, Lincoln struggled to find his professional footing and continue his self-education. His program would bring him to unorthodox religious beliefs that would present a challenge for his political ambitions.

#1 Producer in Symmetry, Jeremy Whitaker, hosts this call on the 4 ingredients of succeeding with production, along with the #1 Producer in 2017 for the Smith Agency, Colby Setzer, and Elite Producer, William Berry. (1. Setting a goal, 2. Creating a plan, 3. Making a commitment, 4. Accountability)

It's the "Allow Me To Retort" edition of the podcast with PodVader, Neil (Redskins), Rob (Bills), James (Eagles), Nick (Chiefs) and James (Texans). On Sunday, the SuperFans held their first annual Sacred Cow Slaughter (if you missed the show, please subscribe on iTunes, TuneIn, Stitcher, or anywhere great podcasts are heard - and leave us a review while you).  On today's show, we shall resuscitate some of those cows, but first...The NFL made some rule changes including allowing more celebrations after TDs, shortened overtime, moved roster cut downs and allow for 2 players to come back from the Injured Reserve List. Plus, because of "rain", the Los Angeles stadium building has been delayed, thus the need for L.A. to delay in hosting a Super Bowl. PodVader talks with special guest, Clint Daly from the Daly Dose Sports podcast and writer at milehighsports.com. He talks about his Broncos, the Sacred Cow known as Tom Brady, Dan Marino's place in the G.O.A.T. argument and Jay Cutler should still be playing. Pod and the SuperFans take on that Tom Brady isn't the G.O.A.T. Sacred Cow and got some help from William Berry on Facebook.com/NFUPodcast. Rob had some issues with the QBR stat being slaughtered and came to its defense. The guys wrapped up the podcast talking about the Bills signing Nate Peterman (rookie QB) and Gerald Hodges (free agent LB), the Patriots signed Andrew Hawkins, the Browns signed Ryan Grigson to their front office ("that's what not getting better looks like"), Brock Osweiler believes the film is his friend, and Neil suggests playing OTA bingo.Detroit Lions and Tampa Bay Buccaneers fans - we need you as the SuperFan rep for your team!  Email us: nextfanup@gmail.comSubscribe, download, share, listen & enjoy!!!

The surgeon postponed removing a catheter fragment, and then forgot about it.

The patient and his wife felt that the surgeon was not forthcoming with an explanation of what happened and seemed indifferent to the impact on his patient, following conversion to an open procedure and large blood loss.

A five-month-old girl was referred to the emergency department for evaluation of intermittent fevers and lethargy.

Communication and documentation flaws compromised a case that featured allegations of poor assessment and monitoring both pre-op and post-op.

A case where a sign-out checklist or documentation of an order may have prevented the patient's poor outcome.