Podcasts about Alembic

How do you measure the real impact of marketing when every campaign unfolds across multiple channels, mixes digital with physical, and generates more data than most teams can handle? That's exactly what Abby Kearns and the team at Alembic are tackling. As Chief Technology Officer, Abby is helping build a marketing intelligence platform that doesn't stop at high-level trends or guesswork. Instead, it goes deeper to identify what actions actually drive business outcomes. In this episode, Abby joins me to explain how Alembic brings together data science, custom-built neural networks, and lessons from pandemic-era contact tracing to solve one of the longest-standing problems in enterprise marketing. By ingesting data from CRM systems, media buys, social platforms, events, and even foot traffic, Alembic identifies causal relationships between brand activities and revenue. It's an approach that has already earned the trust of companies like Nvidia and Delta Airlines. We also talk about how Alembic uses a combination of deep learning and large language models. While their custom algorithms surface insights and attribute outcomes, the AI layer makes the data digestible for decision-makers. The goal is to help enterprise teams move beyond anecdotal evidence and finally answer the question: what is working, and why? Abby also opens up about the challenges that come with building and scaling a platform at the edge of what's technically possible. From managing massive data pipelines to keeping pace with generative AI innovation, the team at Alembic is pushing forward fast. This episode is packed with insights for business leaders who want to make smarter marketing decisions grounded in real data, not assumptions. Are you confident that your marketing spend is delivering measurable value, or is it time to take a closer look at what the data is really telling you?

In this episode of Beam Radio, hosts Andrew Ek and Lars Wikman welcome Josh Price from Alembic. They discuss the recent AlchemyConf, the value of smaller conferences, and the importance of community in the Elixir ecosystem. Josh shares insights on how Ash simplifies the process of building applications, integrates with AI, and future-proofs projects. We want to connect with you! Twitter: @BeamRadio1 Send us your questions via Twitter @BeamRadio1 #ProcessMailbox Keep up to date with our hosts: Bluesky @akoutmos.bsky.social @ektastrophe.bsky.social @lawik.bsky.social @RedRapids.bskysocial Twitter: @akoutmos @ektastrophe @meryldakin @redrapids Sponsored by Groxio (https://grox.io) and Underjord (https://underjord.io)

In this episode, Abby Kearns, CTO of Alembic Technologies, shares how embracing her identity as a Catalyst—and its superpowers—empowered her to shed the "pain in the ass" label she'd been given along the way. Abby discusses the keys to success for Catalyst executives, from embracing the possibility of being wrong and leaning into risk, to identifying environments where there is strong executive and board buy-in. She calls out that as Catalyst leaders, we have to be open to having candid conversations with the CEO or senior leaders about how our success at driving change will be supported by the organization – hitting head on the classic Innovator's Dilemma. Abby also opens up about one of her toughest challenges: bringing people along on the journey by clarifying vision, roles, and outcomes.Her advice for sustaining energy amidst the demands of transformative leadership? "Find your tribe!"Original music by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Lynz Floren⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

Daten(banken) versionieren – klingt maximal unsexy, spart aber Stress im Deployment. Warum ohne Schema-Versionierung selbst kleine Änderungen große Probleme verursachen und was ORMs, Flyway oder Liquibase damit zu tun haben, erfahrt ihr hier. Daten historisieren ist ein Must-have für Compliance, Reproduzierbarkeit und Modellierung. Aber Achtung: Nicht jede Lösung passt für jede Datenbank und den Live-Betrieb. Wir geben Tipps, wie ihr eure Datenprodukte systematisch und effizient im Griff behaltet. **Zusammenfassung** Schema-Versionierung ist essenziell, um Änderungen an Datenbanken nachvollziehbar und reibungslos ins Deployment einzubinden Fehlende Versionierung kann zu kaputten Prozessen führen, wenn Schema-Änderungen nicht dokumentiert und automatisiert umgesetzt werden Werkzeuge wie ORMs, Flyway oder Liquibase helfen dabei, Änderungen an Datenbankschemata strukturiert zu verwalten Historisierung von Daten ist für Compliance, Reproduzierbarkeit und Modellierung entscheidend   Ansätze zur Datenhistorisierung: Append-only-Strategien vs. System-Versionierung Herausforderungen: Performance-Engpässe, hohe Pflegekosten und Kompatibilitätsprobleme je nach Datenbank und Migrationstool   Best Practices: Versionierung systematisch einführen, Automatisierung priorisieren und sicherstellen, dass Downgrades funktionieren.   **Links** #58: Arm, aber sexy: Data Warehousing at Scale ohne Budget https://www.podbean.com/ew/pb-gywt4-1719aef #52: In-process Datenbanken und das Ende von Big Data https://www.podbean.com/ew/pb-tekgi-16896e4 #36: Der Data Mesh Hype und was davon bleibt https://www.podbean.com/ew/pb-7er7v-15080c1 Flyway: https://www.red-gate.com/products/flyway/ Liquibase: https://www.liquibase.com/ Alembic (für SQLAlchemy): https://alembic.sqlalchemy.org/en/latest/ MariaDB: https://mariadb.org/ ClickHouse: https://clickhouse.com/ Fragen, Feedback und Themenwünsche gern an podcast@inwt-statistics.de

We’ve long known, in the US, that our global economic advantage rests on an educated workforce. To that end, a couple of generations ago, America was virtually alone in providing free, readily available high school education. As knowledge-based industries have grown, so has the demand for a higher-educated workforce. Today, over 60% of US high school graduates go on to college. That’s almost twice the number of other OECD countries including Japan, Germany, and France. This has created a segment of the finance industry that loans money to students. Students who then graduate with debt significant enough to prevent them from doing other things, like buying a house. At the same time, we have a housing crisis in the US. According to NPR’s reporting, right now we have a shortfall of up to 7 million houses. Education, debt-distribution, and the housing shortage might seem like huge, intractable macro-economic issues. But, locally, right here in New Orleans, Aaron Frumin is doing something to correct them. Aaron is founder and CEO of unCommon Construction. It’s a construction company that builds houses. And it gets a significant portion of its workforce from high schools. High school students spend 100 hours each semester as apprentices, learning all aspects of construction, from swinging a hammer to team leadership. We first met Aaron back in 2018, when unCommon Construction was just getting rolling. Today, unCommon Construction has filled 500 apprenticeship positions, distributed over half a million dollars in scholarships, and over 80% of kids who graduate from their work-skills program go into the construction industry. Also back in 2018, we first learned about an atypical property development company, Alembic Community Development. Alembic partners with non-profit organizations, or like-minded for-profits, to develop real estate in typically disadvantaged communities. In other words, they build houses, community and commercial properties, in neighborhoods that are unattractive to most investors. Starting out in New York, Alembic opened its doors in New Orleans in 2007. In 2008 Mike Grote joined the company as Director of its New Orleans office. It’s a position Mike still holds today. There are a lot of things in New Orleans that are different from most other cities in the country: Gumbo, Bourbon Street, second-lines, muffulettas, Mardi Gras, the list goes on. But our much-vaunted fun-first lifestyle doesn’t immunize us from the problems that afflict the rest of the country - especially around the issues of affordable housing, and alternatives to debt-laden college education. While the public image of New Orleans focuses on frivolity, and while Aaron and Mike enjoy Mardi Gras and live music as much as any other New Orleanian, they’re both making significant contributions to solving serious, nationwide problems. We're always happy when Out ot Lunch can shine a light on New Orleanians like Aaron and Mike and businesses like unCommon Construction and Almebic Community Development whose contributions to our city and country are overshadowed by the brighter lights of food and fun. Out to Lunch was recorded live over lunch at Columns in Uptown New Orleans. You can find photos from this show by Jill Lafleur at itsneworleans.com. See omnystudio.com/listener for privacy information.

Today's podcast is with Gregory Kennedy, VP of Marketing at Alembic Technologies, which provides AI-powered marketing analytics for C-suite executives. We talk about how Alembic is applying mathematics and AI, developed for identifying causes, treatments, and mortality during the pandemic, to tracing the results of marketing initiatives across the board, what that means for marketers and how they ended up with a series of backers, that include NVIDIA's Jensen Huang, DreamWorks founder Jeffrey Katzenberg and former 49-ers Quarterback Joe Montana. This interview follows on from my recent interview – Broken funnels, flywheels and human messaging – Key insights from HubSpot executives at GROW Europe 2024 – and is number 524 in the series of interviews with authors and business leaders who are doing great things, providing valuable insights, helping businesses innovate and delivering great service and experience to both their customers and their employees.

What can be scarier than Halloween ghouls? How about a trip through the LSD underground?Today, the Spotlight shines On Erik Davis, and this trip is no bummer. Erik is an author, award-winning journalist, and teacher in San Francisco. He is the author, most recently, of Blotter: The Untold Story of an Acid Medium_, a study of LSD blotter art. And that's what he's joined us to talk about.Erik also wrote one of my favorite books, High Weirdness: Drugs, Esoterica, and Visionary Experience in the Seventies. His scholarly and popular essays on music, technoculture, drugs, and spirituality have appeared in many books, magazines, and journals. He is also one of the founders of Alembic, a center in Berkeley, California, devoted to meditation, movement, and visionary arts and culture.Enjoy our talk about the hysteria surrounding LSD, the cultural significance and risks of the LSD blotter art trade, as well as the intersection between that art and the illicit drug market.–Dig DeeperVisit Erik Davis at techgnosis.comSubscribe to Erik Davis's newsletter Burning Shore at burningshore.comPurchase Blotter: The Untold Story of an Acid Medium and other books by Erik Davis from MIT Press, Bookshop, Amazon, Barnes & Noble, and Powell'sEight LSD Blotters That Defined Psychedelic CultureInside the LSD Museum That the DEA Somehow Hasn't Torn to the Ground‘I'm high as a Georgia pine': Dock Ellis's no-hitter on LSD, 50 years onDig into this episode's complete show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice.• Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Instagram, Facebook, and Mastodon. Hosted on Acast. See acast.com/privacy for more information.

What can be scarier than Halloween ghouls? How about a trip through the LSD underground?Today, the Spotlight shines On Erik Davis, and this trip is no bummer. Erik is an author, award-winning journalist, and teacher in San Francisco. He is the author, most recently, of Blotter: The Untold Story of an Acid Medium_, a study of LSD blotter art. And that's what he's joined us to talk about.Erik also wrote one of my favorite books, High Weirdness: Drugs, Esoterica, and Visionary Experience in the Seventies. His scholarly and popular essays on music, technoculture, drugs, and spirituality have appeared in many books, magazines, and journals. He is also one of the founders of Alembic, a center in Berkeley, California, devoted to meditation, movement, and visionary arts and culture.Enjoy our talk about the hysteria surrounding LSD, the cultural significance and risks of the LSD blotter art trade, as well as the intersection between that art and the illicit drug market.–Dig DeeperVisit Erik Davis at techgnosis.comSubscribe to Erik Davis's newsletter Burning Shore at burningshore.comPurchase Blotter: The Untold Story of an Acid Medium and other books by Erik Davis from MIT Press, Bookshop, Amazon, Barnes & Noble, and Powell'sEight LSD Blotters That Defined Psychedelic CultureInside the LSD Museum That the DEA Somehow Hasn't Torn to the Ground‘I'm high as a Georgia pine': Dock Ellis's no-hitter on LSD, 50 years onDig into this episode's complete show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice.• Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Instagram, Facebook, and Mastodon. Hosted on Acast. See acast.com/privacy for more information.

It's the 139th episode of the Truth About Vintage Amps podcast, where amp tech Skip Simmons fields your questions on all-things-tube amps!  Want to be a part of our show? Just email us a question or voice memo to podcast@fretboardjournal.com. Some of the topics discussed this week:  :48 On the bench: A 1974 Alembic pre-amp, a Showman head in disguise 3:58 Webb's Music and a hang gliding pioneer 6:08 Our sponsors: Grez Guitars; Emerald City Guitars and Amplified Parts; the Wood Wire & Volts Show in Anaheim (link); Bruce Harvie of Orcas Island Tonewoods 11:10 Skip has a warning for the TAVA Kegger Facebook group...and others 14:38 A luthiers' pet peeve 16:55 Bias modulating tremolo, intensity pots 20:45 Skip works on a Dan Torres-modded amp 21:35 Jason screens his Ben Harper Dumble film in Seattle; Ben Harper on TAVA (ep. 118) 25:34 When does Skip use his tube tester? 28:17 Should I turn this jukebox amp into a guitar amp? 30:52 A monitor out a la GA17RVT; Quilter amps; full-fat Greek yogurt 36:24 When do we get a Marshall/Vox expert on the show? 37:58 A Kroker Triple Toad amp 40:13 Warming up a Nat Daniel-designed amp; separately mounted pre-amp tubes 42:17 Late '60s Fender biasing (AC568) 43:54 Skip's new guitar: A 1966 Fender Duo-Sonic 49:51 The Fender Files on YouTube (thanks, Larry Chung) 52:17 Using 5V4 rectifier tubes in a Matchless DC-30; Nduja mayonnaise (link) 1:00:17 Recommended reading: "There Are No Electrons: Electronics for Earthlings" (Amazon link); subbing a 6SL7 for a 6SN7 in a Gibson BR9 1:02:42 Transformer Corner: Using US amps overseas   1:11:07 Recommended music: Henry Kaiser & David Lindley's "Sweet Sunny North;" Steve Melkisethian remembered 1:13:01 A cheap and easy output transformer dynamic test; rebuilding reverb tanks 1:19:54 Skip's map collection Hosted by amp tech Skip Simmons and co-hosted/produced by Jason Verlinde of the Fretboard Journal.  Don't forget, we have a Patreon page. Join us to get show updates and get to the front of the question line. 

Send Steve a Text MessageEver wondered how a passion for skateboarding could spark a lifelong journey into the world of music? Victor Tanaskovski, an acclaimed guitarist and GuitarZoom instructor, shares his unexpected path from being a punk rock enthusiast influenced by the Tony Hawk Pro Skater soundtracks to becoming a jazz aficionado trained at a Jazz Academy in Macedonia. Victor's story is a testament to the transformative power of music, evolving from playing in cover bands to crafting original pieces with Minstrels Gallery, Alembic, and the improvisational trio Improve. Each step of his journey showcases a dedication to exploring and mastering different musical styles, deliberately steering clear of traditional Balkan folk elements.Victor reveals the layers behind his music creation process, beginning with mastering guitar fundamentals sans effects and progressing to a collaborative band approach enriched with innovative tools like loopers and octave dividers. His duo, Alembic, transforms into a full-band sound with the help of his classically trained pianist girlfriend, who adds depth with keyboards, theremin, and vocals. Dive into the intriguing dynamics of his improvisational trio, Improve, where every performance is a one-of-a-kind experience guided by Brian Eno's Oblique Strategies cards, ensuring that no two sessions are ever the same.Explore the breadth of Victor's musical influences and his unique recording techniques in our conversation. From the avant-garde impact of John Cage's 4'33" to the magic of creating music with unexpected elements like a cat on a piano, Victor's stories are as enlightening as they are entertaining. We also discuss the balance between technical precision and soulful expression in teaching guitar, aiming to inspire students with a versatile approach across genres. Celebrate Victor's contributions to GuitarZoom Academy and get a taste of his original material, linking directly from our podcast. Don't miss this captivating episode packed with musical insights and creative inspirations!Check out Viktor's YouTube Page for music and videos:Viktor Tanaskovski - YouTubeReady to learn Guitar with Viktor?Viktor Tanaskovski (guitarzoom.com) Links: Steve's Channel → https://www.youtube.com/user/stinemus... GuitarZoom Channel → https://www.youtube.com/user/guitarz0... Songs Channel → https://www.youtube.com/user/GuitarSo... . Check out Steve's Guitar Membership and Courses: https://bit.ly/3rbZ3He

Join the Alembic Team for an insightful webinar that explores how to manage the pace of growth, evaluate your business model's capability, and optimise your systems and processes. Discover the vital role people play in driving change and learn strategies for creating additional capacity within your organisation. We'll discuss the importance of governance as the foundation for sustainable growth, and how to recognise when your team is ready to scale. Plus, we share practical tools you can implement straight away to drive your business forward and towards your growth and investment goals!

Welcome back to CNBC-TV18's Marketbuzz Podcast. Here are all the latest developments from around the world ahead of the trading session of August 26 -The key crucial remark from the weekend is from US Fed Chair Jerome Powell's Jackson Hole speech. He said that the time has come for policy to adjust. The direction of travel is clear, and the timing and pace of rate cuts will depend on incoming data, evolving outlook and the balance of risks. This is exactly what the street wished to hear. -While the reaction in the Indian markets will be seen on Monday, Powell's speech was definitely cheered by Wall Street. The Dow Jones rallied over 450 points, as did the S&P 500. The Nasdaq composite surged over 1.5%. All three benchmark indices ended the week with gains. -Back home, this week will see the expiry of the August F&O series for the Nifty and Nifty Bank. The Nifty has been volatile this series but as of closing on Friday, the index is absolutely flat, just 10 points adrift of the July expiry close of 24,834. For the week gone by, both Nifty and the Nifty Bank ended with gains of a percent each. -The latest round of the Nifty 50 rejig was also announced on Friday. Trent, the Tata Group multibagger, which is up 20 times from its Covid-19 lows, will be the latest entrant to the index, along with state-run Bharat Electronics. Both these names will replace Divi's Laboratories and LTIMindtree, which will be moved back to the Nifty Next 50 or the Nifty Junior index. -In addition to the Nifty Rejig, announcements were also made for the latest addition to the FTSE All World Index. They include names like Bank of Maharashtra, Bharat Dynamics, Central Bank of India, Cochin Shipyard, Endurance Tech, Escorts Kubota, GE T&D India, Hitachi Energy India, HUDCO, IRB Infra, KEI Industries, Lloyds Metals, Motilal Oswal. Changes to be effective from September 23, 2024. -Stocks to watch: Ambuja Cements, Transport Corporation of India, Alembic pharma, Prime Fresh, Karur Vysya Bank, Lemon Tree, FDC, Religare Enterprises, JSW Energy, and Zydus Life. -On the global front, Asian stocks advanced this morning and the yen strengthened to a three-week high as investors took positions in anticipation of the Federal Reserve cutting US interest rates from next month. Shares in Australia and Hong Kong climbed on Monday, benefitting from Chair Jerome Powell's Jackson Hole speech, when he said the “time has come” to pivot to monetary easing. -GIFTYNifty was higher this morning trading at a premium of nearly 60 pts from Nifty Futures Friday close, indicating a start in the green for the Indian market Tune in to the Marketbuzz Podcast for more news and cues

“Make networking a daily occurrence. It's everyday interactions. It's making a good impression early doors and really taking the time to build meaningful relationships and connections.”  In today's episode, we've put our host, James Mitra, into the interviewee seat.  James was recently invited on Alembic Strategy's Strategy Café, hosted by Founder and MD, Nick Mayhew.  If you haven't heard of Alembic before, they're a team of facilitators and coaches working at board level with family businesses, founder-led businesses, private equity and with developing leaders, in the UK and internationally.  Nick and James discuss the unique journey JBM has been on and the key lessons James has learned over the last 11 years of leading JBM.  Episode chapters:  ➡️ Introductions [01:08]  ➡️ The power of networking [04:45]  ➡️ Bringing networking into your day to day [08:20]  ➡️ Starting JBM at age 25 [14:20]  ➡️ Disrupting traditional recruitment [17:40]  ➡️ Dealing with competition [20:15]  ➡️ Changing lives through recruitment [24:50]  ➡️ The mistakes along the way [28:30]  ⛳ Helpful links: ➡️ Follow Nick on LinkedIn: https://www.linkedin.com/in/mayhewnick/  ➡️ Follow James on LinkedIn: https://www.linkedin.com/in/jamesmitra-jbm/?originalSubdomain=uk  ➡️ Find out more about Alembic Strategy: https://www.alembicstrategy.com/  ➡️ Find out more about JBM: https://jbmc.co.uk/  ⭐Enjoyed this episode?⭐️ Keep up to date with all our latest episodes, by hitting the subscribe button on your favourite podcast platform. And for any feedback on what you enjoy the most and ideas on what we can do to make 40 Minute Mentor even better, please leave us a review on https://ratethispodcast.com/40mm Learn more about your ad choices. Visit megaphone.fm/adchoices

What do communicators need to know about AI? Tomás Puig, Founder and CEO of Alembic, breaks down common myths about generative AI. He highlights the impact of earned media in reaching a broader audience. Curtis Sparrer, Principal of Bospar PR, shares his experience discussing the impact of AI with colleagues and clients. Tomás and Curtis stress the significance of gaining insights from experts before implementing AI.

Every other January, hundreds of volunteers hit the stress across the Bay Area and attempt to count the number of unhoused people and families. The point-in-time count offers a snapshot into the scope of homelessness in different communities, but most experts agree the methodology is often inaccurate and flawed. The preliminary data for this year's count is finally out and reveals jumps and declines in different cities across the Bay Area. We'll talk to experts to demystify the counting process, understand this year's numbers and discuss how data collection could be improved. Guests: Sydney Johnson, reporter, KQED News Elester Hubbard, outreach supervisor, San Francisco Homeless Outreach Team (SFHOT) Paul Boden, executive director, Western Regional Advocacy Project (WRAP) Dr. Margot Kushel, professor of medicine, UCSF; director, UCSF Benioff Homelessness and Housing Initiative Christin Evans, vice chair, San Francisco's Homelessness Oversight Commission; owner, Booksmith; co-owner, the Alembic bar

In this episode, recorded in March 2023 for the Deconstructing Yourself podcast hosted by Michael Taft, we look at the similarities and differences between Tantrik Shaivism, Tantrik Buddhism, and Vedanta. Alongside Michael - spiritual teacher, bestselling author of "The Mindful Geek" and co-founder of The Alembic in Berkeley - we debunk a few myths and misconceptions about these spiritual paths. The discussion then leads us to some of the most unique and key teachings of non-dual tantra, such as the concepts of 'fullness of emptiness' and beneficial possession, comparing them to other prevalent spiritual philosophies from India. Discover a treasure trove of guided meditations, teachings, and courses at tantrailluminated.org. Hosted on Acast. See acast.com/privacy for more information.

Fredrik och Ulf pratar om hur man kan tänka när man samlar på gitarrer. Fölster tar sig an ämnet aktiva mickar. I veckans pryl testar vi Drive In Style, en overdrive från Skipper's Amps. I detta avsnitt: Gibson, Fender, Rickenbacker, Danelectro, Schecter, Gretsch, EMG, Seymour Duncan, Alembic, Tyler, Valley Arts, Dimarzio, Bartolini, UA, Skipper's Amps.

In this improvised walk-and-talk monoloque I reflect on (and atone for) the time I met Werner Herzog at the premiere of lan Cheney's documentary film “Arc of Oblivion.” I use this anecdote as a jump off point to share thoughts about documentation, impersonation, Spiritualism as Proto-feminism, my time working as a photo double for the Riggs character in the Lethal Weapon TV show, the relative duration of objective vs subjective time, the parasocial reality of meeting celebrities, and the redemptive arc of self-esteem-punking oneself in order to give in to the humbling & the bumbling. Ft. music by @bohemiancristalinstrument, Live

This episode is an interview recorded in late 2023 for the Deconstructing Yourself podcast, founded and hosted by Michael Taft. Michael, a seasoned meditator, meditation teacher, and author of the bestseller "The Mindful Geek," as well as co-founder of The Alembic in Berkeley, engages in an in-depth conversation about my latest book, "Near Enemies of the Truth," which addresses the complexities and misconceptions around spiritual clichés and platitudes. Together, we explore the nuances of the term 'enlightenment,' its meanings in both English and Sanskrit, the differences between awakening and liberation, and what embodied liberation truly entails, alongside the implications of karma and samskara.Discover a treasure trove of guided meditations, teachings and course at www.tantrailluminated.org. Hosted on Acast. See acast.com/privacy for more information.

Rosemary Candwell's past has exploded into her present. Down-and-out and deteriorating, she drifts from anonymous beds and bars in Providence, to a homeless shelter hidden among the hedge-rowed avenues of Newport, and through the revolving door of service jobs and quick-fix psychiatric care, always grasping for hope, for a solution. She's desperate to readjust back into a family and a world that has deemed her a crazy bitch living a choice they believe she could simply un-choose at any time. She endures flashbacks and panic attacks, migraines and nightmares. She can't sleep or she sleeps for days; she lashes out at anyone and everyone, especially herself. She abuses over-the-counter cold medicine and guzzles down anything caffeinated just to feel less alone. What if her family is right? What if she is truly broken beyond repair? Drawn from the author's experience of homelessness and trauma recovery, It's Not Nothing is a collage of small moments, biting jokes, intrusive memories, and quiet epiphanies meant to reveal a greater truth: Resilience never looks the way we expect it to look. Courtney Denelle is the author of IT'S NOT NOTHING (Santa Fe Writers Project, 2022), a novel-in-fragments drawn from her experience of homelessness and recovery, and the forthcoming novel Real Piece of Work, an art world satire that explores image-craft and the unbidden toll of a life lived in persona. Her stories have appeared in the Alembic, Tahoma Literary Review, Southampton Review, and elsewhere. Courtney was also winner of the 2021 Poets & Writers Maureen Egen award, and she has been granted a Hawthornden Fellowship and a MacColl Johnson Fellowship, as well as residencies from Hedgebrook and the Jentel Foundation. Recommended Books: Naomi Klein, Doppelganger Kate Doyle, I Meant It Once Isle McElroy, People Collide Kerri Schlottman, Tell Me One Thing Kimberly King Parsons, We Were The Universe Lucas Mann, Attachments Yiyun Lee, Dear Friend, From My Life I Write to You in Your Life Emily St. John Mandel, Last Night in Montreal Sarah Manguso, Liars  Chris Holmes is Chair of Literatures in English and Associate Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro as World Literature, is under contract with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. Learn more about your ad choices. Visit megaphone.fm/adchoices

Rosemary Candwell's past has exploded into her present. Down-and-out and deteriorating, she drifts from anonymous beds and bars in Providence, to a homeless shelter hidden among the hedge-rowed avenues of Newport, and through the revolving door of service jobs and quick-fix psychiatric care, always grasping for hope, for a solution. She's desperate to readjust back into a family and a world that has deemed her a crazy bitch living a choice they believe she could simply un-choose at any time. She endures flashbacks and panic attacks, migraines and nightmares. She can't sleep or she sleeps for days; she lashes out at anyone and everyone, especially herself. She abuses over-the-counter cold medicine and guzzles down anything caffeinated just to feel less alone. What if her family is right? What if she is truly broken beyond repair? Drawn from the author's experience of homelessness and trauma recovery, It's Not Nothing is a collage of small moments, biting jokes, intrusive memories, and quiet epiphanies meant to reveal a greater truth: Resilience never looks the way we expect it to look. Courtney Denelle is the author of IT'S NOT NOTHING (Santa Fe Writers Project, 2022), a novel-in-fragments drawn from her experience of homelessness and recovery, and the forthcoming novel Real Piece of Work, an art world satire that explores image-craft and the unbidden toll of a life lived in persona. Her stories have appeared in the Alembic, Tahoma Literary Review, Southampton Review, and elsewhere. Courtney was also winner of the 2021 Poets & Writers Maureen Egen award, and she has been granted a Hawthornden Fellowship and a MacColl Johnson Fellowship, as well as residencies from Hedgebrook and the Jentel Foundation. Recommended Books: Naomi Klein, Doppelganger Kate Doyle, I Meant It Once Isle McElroy, People Collide Kerri Schlottman, Tell Me One Thing Kimberly King Parsons, We Were The Universe Lucas Mann, Attachments Yiyun Lee, Dear Friend, From My Life I Write to You in Your Life Emily St. John Mandel, Last Night in Montreal Sarah Manguso, Liars  Chris Holmes is Chair of Literatures in English and Associate Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro as World Literature, is under contract with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. 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

Rosemary Candwell's past has exploded into her present. Down-and-out and deteriorating, she drifts from anonymous beds and bars in Providence, to a homeless shelter hidden among the hedge-rowed avenues of Newport, and through the revolving door of service jobs and quick-fix psychiatric care, always grasping for hope, for a solution. She's desperate to readjust back into a family and a world that has deemed her a crazy bitch living a choice they believe she could simply un-choose at any time. She endures flashbacks and panic attacks, migraines and nightmares. She can't sleep or she sleeps for days; she lashes out at anyone and everyone, especially herself. She abuses over-the-counter cold medicine and guzzles down anything caffeinated just to feel less alone. What if her family is right? What if she is truly broken beyond repair? Drawn from the author's experience of homelessness and trauma recovery, It's Not Nothing is a collage of small moments, biting jokes, intrusive memories, and quiet epiphanies meant to reveal a greater truth: Resilience never looks the way we expect it to look. Courtney Denelle is the author of IT'S NOT NOTHING (Santa Fe Writers Project, 2022), a novel-in-fragments drawn from her experience of homelessness and recovery, and the forthcoming novel Real Piece of Work, an art world satire that explores image-craft and the unbidden toll of a life lived in persona. Her stories have appeared in the Alembic, Tahoma Literary Review, Southampton Review, and elsewhere. Courtney was also winner of the 2021 Poets & Writers Maureen Egen award, and she has been granted a Hawthornden Fellowship and a MacColl Johnson Fellowship, as well as residencies from Hedgebrook and the Jentel Foundation. Recommended Books: Naomi Klein, Doppelganger Kate Doyle, I Meant It Once Isle McElroy, People Collide Kerri Schlottman, Tell Me One Thing Kimberly King Parsons, We Were The Universe Lucas Mann, Attachments Yiyun Lee, Dear Friend, From My Life I Write to You in Your Life Emily St. John Mandel, Last Night in Montreal Sarah Manguso, Liars  Chris Holmes is Chair of Literatures in English and Associate Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro as World Literature, is under contract with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Rosemary Candwell's past has exploded into her present. Down-and-out and deteriorating, she drifts from anonymous beds and bars in Providence, to a homeless shelter hidden among the hedge-rowed avenues of Newport, and through the revolving door of service jobs and quick-fix psychiatric care, always grasping for hope, for a solution. She's desperate to readjust back into a family and a world that has deemed her a crazy bitch living a choice they believe she could simply un-choose at any time. She endures flashbacks and panic attacks, migraines and nightmares. She can't sleep or she sleeps for days; she lashes out at anyone and everyone, especially herself. She abuses over-the-counter cold medicine and guzzles down anything caffeinated just to feel less alone. What if her family is right? What if she is truly broken beyond repair? Drawn from the author's experience of homelessness and trauma recovery, It's Not Nothing is a collage of small moments, biting jokes, intrusive memories, and quiet epiphanies meant to reveal a greater truth: Resilience never looks the way we expect it to look. Courtney Denelle is the author of IT'S NOT NOTHING (Santa Fe Writers Project, 2022), a novel-in-fragments drawn from her experience of homelessness and recovery, and the forthcoming novel Real Piece of Work, an art world satire that explores image-craft and the unbidden toll of a life lived in persona. Her stories have appeared in the Alembic, Tahoma Literary Review, Southampton Review, and elsewhere. Courtney was also winner of the 2021 Poets & Writers Maureen Egen award, and she has been granted a Hawthornden Fellowship and a MacColl Johnson Fellowship, as well as residencies from Hedgebrook and the Jentel Foundation. Recommended Books: Naomi Klein, Doppelganger Kate Doyle, I Meant It Once Isle McElroy, People Collide Kerri Schlottman, Tell Me One Thing Kimberly King Parsons, We Were The Universe Lucas Mann, Attachments Yiyun Lee, Dear Friend, From My Life I Write to You in Your Life Emily St. John Mandel, Last Night in Montreal Sarah Manguso, Liars  Chris Holmes is Chair of Literatures in English and Associate Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro as World Literature, is under contract with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

The dynamic of your leadership team, especially in a family business, is key to success. Great teams have more chance of surviving in a difficult market and will outperform other teams in a good one. There is no route to high performance without being deeply emotionally involved with one another and easing the tensions that pressure brings. When interpersonal chemistry and relational intelligence in leadership teams are not yet developed, the tensions of daily life sometimes become 'Dead Cats.' Smellier than the elephant in the room (which we all know to ignore), a dead cat needs action, and our process of Burying the Dead Cats can heal relationships at breaking point. Tune in as the Alembic Team discusses Dead Cats, and how to bury them. The tensions that naturally happen in the high pressure of business leadership, and even more so in family businesses, can gain momentum and push us apart. Our process helps clients learn how to change the direction of that momentum, fix broken relationships, and make the impossible possible. We hope you find value in listening to this webinar and would be pleased to talk to you more about how to do this for your family business or leadership team. Book a meeting with a member of the team on our website alembicstrategy.com.

Welcome to another episode of "Who's My Rep?" In today's interview, host Jason Littrell sits down with the president of AmbreBev, Dr. Tom Baeker, who is also the driving force behind Blue Rook Cane Spirits. Join us as we delve into the fascinating journey of how Dr. Baeker's love affair with Brazil and its iconic beverage, cachaca, led him to create a unique line of spirits in Central Kentucky. Discover the story behind the decision to import cachaca, the challenges they faced in finding it in the US, and their ultimate goal to share this delightful drink with the American market. We also explore the intricacies of sugarcane spirit production and the distinct differences between corn and sugarcane-based neutral spirits. So sit back, relax, and join us as we uncover the captivating world of Blue Rook Distillery in this full interview with Dr. Tom Baeker. "Kentucky's Love Affair with Cachaca: The real question then is why did somebody from Kentucky end up becoming so enchanted with Keshasa in the 1st place and Cain's spirits, on another." — Dr. Tom Baeker [00:01:32 → 00:01:40] Viral Topic: "The Fascination with Cachaca and Caipirinha in Brazil" Quote: "We became really intrigued by cachaca and the cocktail that was typically made with it called the caipirinha. It was everywhere. I mean, everywhere you turned, not just in city centers, but in more rural areas, in the most remote bodegas, everybody had and was drinking some sort of concoction made with cachaca, most usually the caipirinha." — Dr. Tom Baeker [00:03:22 → 00:03:31] "Importing Cachaca: 'This should is something that we should bring to the US in a more robust way.'" — Dr. Tom Baeker [00:04:17 → 00:04:23] "The Love Story of Cachaca: 'We fell in love, finally, with a distillery Just north of the city of Rio in a town called Novo Fri Bordeaux, the distillery is called Fazenda Soledada, And it was a it's a beautiful place located in a nature preserve, with crystal clear running water and run by a True master distiller.'" Dr. Tom Baeker, the president of AmbreBev, now doing business as Blue Rook Cane Spirits, is an indie entrepreneur based in Central Kentucky. While Kentucky is known for its bourbon, Dr. Baeker's company is breaking the mold by offering unique and unconventional products. With no bourbon or whiskey in their repertoire, Blue Rook Cane Spirits stands out by providing one-of-a-kind offerings to both the local community and the rest of the country. Dr. Baeker's innovative and daring approach sets him apart in the spirits industry. Jason Littrell, general questions, Tom Baker, president, AmbreBev, Blue Rook Cane Spirits, Central Kentucky, bourbon country, whiskey, unique products, Brazil, Kachasa, distillate, limbic distillation, fermented sugarcane nectar, international trade laws, bourbon, US, enchanted, Keshasa, cane spirits, daughter, college, Brazil, volunteering, teaching English, music, favelas, slum, Northern Brazil, Salvador, fluent in Portuguese, love, wedding, kyberynia, cocktail, caipirinha, delicious, refreshing, Tashasas Strait, US, package store, bring to the US, import cachaca, distilleries, manufacturing of Cachaca, Fazenda Soledada, distillery, nature preserve, master distiller, Brazilian Pachaca Association, importing, gastropical products, sugarcane neutral spirit, breath alcohol, grain neutral spirit, blending, proofing, hand labeling, bottling, sugarcane vodka, filtration, imported Brazilian cachaca, Brazilian sugarcane neutral spirit, distillation room, Alembic still, dream, gin, botanicals, vapor infusion, Brazil, Acai, guarana, response, GNS, corn, sugarcane spirit, difference, production, clear, substrate, extract ethanol, ferment, sucrose, fructose, glucose, cook, starch granules, starch, small sugar molecules, yeast, distillation process, press, squeeze, sugarcane nectar, fermented, alembic still, proof, dilution, pure ethanol neutral spirit, expert testers, origins, grapes, potatoes.

In Part 2, Teresa shares how she came to find out about Chef Eddie Blyden through a mutual friend. She was persistent in her efforts to track Eddie down, and once she did, she asked him to teach the youth in the nascent Old Skool program, which was still taking place at Teresa's house. Eddie agreed to join the Old Skool crew and he brought in other SF chefs. They did supper salons and pop-ups as well as gala fundraisers with as many as 250 guests. Chef would cook outside the events, which were volunteer-run and meant to raise money for their own brick-and-mortar space. Later, years after Eddie had moved on and as she was preparing for the 10-year anniversary of the Old Skool spot just off Third Street, Teresa reached out again to her chef friend. Eddie Blyden was born in Nigeria. His dad was born in Sierra Leone, and his mom was from Massachusetts. He has lived in the US, the Virgin Islands, Africa, and Europe. He was living in Zurich, Switzerland, when a friend told Eddie he was opening brewery in The City. This is what brought him to the Bay—he moved here to help open 21st Amendment. Eddie says that he has remained here for nearly three decades because of the beauty, the proximity to so many diverse landscapes, the food scene, and the laid-back way of life we enjoy. After they opened 21st Amendment, he left briefly to work in Philadelphia, but came back to work at Magnolia Brewing as they were ramping up to open The Alembic. He lists off many restaurants and hotels, in SF and the East Bay, where worked for years before going private as well as doing some catering. The Old Skool chef tells us that the menu at the supper club was inspired by the youth who've worked there, drawing from several family food lines from Central America and other parts of the world. He cites three challenges of running the kitchen at OSC: 1. the food itself; 2. working with youth around the food; and 3. the youth and their life challenges. He enjoys it to this day, pointing to what he considers a “village of people, adults and youth.” Photography by Michelle Kilfeather

It's now clear that the adoption of AI will continue to increase, with nearly every industry working to rapidly incorporate it into their systems and applications to provide greater value to their users. Business analytics is a key domain that promises to be radically reshaped by AI. Alembic is an AI platform that integrates web The post AI and Business Analytics with John Adams appeared first on Software Engineering Daily.

It's now clear that the adoption of AI will continue to increase, with nearly every industry working to rapidly incorporate it into their systems and applications to provide greater value to their users. Business analytics is a key domain that promises to be radically reshaped by AI. Alembic is an AI platform that integrates web The post AI and Business Analytics with John Adams appeared first on Software Engineering Daily.

In celebration of How Minds Change, my new book, turning one-year-old, in this episode Michael Taft interviews David McRaney about how minds do and do not change, the process behind writing a book about it, and what he has learned since writing it and promoting it.Michael is a meditation teacher, bestselling author, and  a mindfulness coach – and he specializes in secular, science-based mindfulness training. If you are interested in a science-based, secular book about meditation and and mindfulness, I highly recommend his book,The Mindful Geek, snd I recommend guided meditation with him. He offers that at The Alembic in Berkely. You can join them virtually, over the internet. Links below.I also recommend his podcast, Deconstructing Yourself. It is all about entheogens and neurofeedback and brain hacking. If you are a Carl Sagan loving, science endorsing, evidence based sort of person – a nerd, geek, or skeptic or humanist who wants to know more about meditation and deep dive into what we do and do not know about it – that's what his podcast is about. Sam Harris will be a guest on there soon, and I think many of you will love that episode.Deconstructing YourselfThe AlembicMichael TaftHow Minds ChangeDavid McRaney's TwitterYANSS TwitterShow NotesNewsletterPatreon

Read the full transcript here. How does nondual meditation differ from other forms of meditation? Is nonduality the sort of thing a person can just "get" immediately? What value is provided by the more effortful, less "sudden" forms of meditation? Is there such a thing as full or complete enlightenment? And what would such a state entail? To what extent do nondual meditation teachers agree about what nonduality is? Are glimpses of enlightenment available to everyone? How long does it usually take a person to stabilize their ability to return to a nondual way of seeing the world? What are some common ways people get "stuck" while learning nondual meditation? How important are meditation retreats? Though the paths themselves are obviously quite distinct from one another, do all forms of meditation ultimately share a common goal? How are all of these things related to spirituality or religion?Michael Taft is a teacher of nondual meditation and host of the Deconstructing Yourself podcast and website. He is the author of The Mindful Geek, and co-founder of The Alembic, a Berkeley-based center for meditation, movement, citizen neuroscience, and visionary culture. Having lived all over the world and practiced deeply in several traditions, Michael currently makes his home in California. Email him at michaeltaft@gmail.com, or learn more about him at his website, deconstructingyourself.com.Jeremy Stevenson hails from Adelaide, Australia, and has a PhD in clinical psychology with a dissertation focused on the effects of self-compassion on social anxiety. During his PhD he became intensely interested in meditation, sitting several shorter retreats which eventually culminated in sitting longer retreats, including a 3-month retreat in Nepal. He is now working as a clinical psychologist as well as doing research work for Spark Wave. His ongoing meditation interest is the perplexing skill of nondual mindfulness. Email him at jeremy.david.stevenson@gmail.com, or listen to his previous episode on this podcast here. [Read more]

Host Michael Taft talks with neuroscientist and Executive Director of the Alembic, Kati Devaney about meditation, the neuroscience of meditation, predictive processing, the wonder of travel, psychedelics, and more.Kathryn Devaney, Ph.D. is a neuroscientist and meditation practitioner, with over 20 years of meditation experience. Kati earned her PhD in 2018, using fMRI to examine attention and default mode network function in experienced Vipassana meditators. After completing her postdoctoral fellowship at Harvard Medical School, Kati moved to Berkeley CA to start The Berkeley Alembic Foundation with Michael Taft and Erik Davis. Kati is currently the Executive Director of The Alembic, the Chief Science Officer of Jhourney.io, and a researcher at the UC Berkeley Center for the Science of Psychedelics. You can support the creation of future episodes of this podcast by contributing through Patreon.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Ever since Jack Casady first used an Alembic to hot-wire his bass sound with Jefferson Airplane, boutique builders have maintained legendary status throughout the bass world. But can the right player make any bass sound good? In this episode, we discuss one of the most recognisable and idolised bass guitar designs of all time (and Scott's new bass hero who played it.In this episode you're going to learn:Why we've called out Alembic in recent episodes.Who is Scott's new bass guitar hero?Do vintage basses actually sound better?Why Ian rents out his upright bass.And much, much more!

Ever since Jack Casady first used an Alembic to hot-wire his bass sound with Jefferson Airplane, boutique builders have maintained legendary status throughout the bass world. But can the right player make any bass sound good? In this episode, we discuss one of the most recognisable and idolised bass guitar designs of all time (and Scott's new bass hero who played it.In this episode you're going to learn:Why we've called out Alembic in recent episodes.Who is Scott's new bass guitar hero?Do vintage basses actually sound better?Why Ian rents out his upright bass.And much, much more!

Episode 165 of A History of Rock Music in Five Hundred Songs looks at “Dark Stat” and the career of the Grateful Dead. This is a long one, even longer than the previous episode, but don't worry, that won't be the norm. There's a reason these two were much longer than average. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Codine" by the Charlatans. Errata I mispronounce Brent Mydland's name as Myland a couple of times, and in the introduction I say "Touch of Grey" came out in 1988 -- I later, correctly, say 1987. (I seem to have had a real problem with dates in the intro -- I also originally talked about "Blue Suede Shoes" being in 1954 before fixing it in the edit to be 1956) Resources No Mixcloud this week, as there are too many songs by the Grateful Dead, and Grayfolded runs to two hours. I referred to a lot of books for this episode, partly because almost everything about the Grateful Dead is written from a fannish perspective that already assumes background knowledge, rather than to provide that background knowledge. Of the various books I used, Dennis McNally's biography of the band and This Is All a Dream We Dreamed: An Oral History of the Grateful Dead by Blair Jackson and David Gans are probably most useful for the casually interested. Other books on the Dead I used included McNally's Jerry on Jerry, a collection of interviews with Garcia; Deal, Bill Kreutzmann's autobiography; The Grateful Dead FAQ by Tony Sclafani; So Many Roads by David Browne; Deadology by Howard F. Weiner; Fare Thee Well by Joel Selvin and Pamela Turley; and Skeleton Key: A Dictionary for Deadheads by David Shenk and Steve Silberman. Tom Wolfe's The Electric Kool-Aid Acid Test is the classic account of the Pranksters, though not always reliable. I reference Slaughterhouse Five a lot. As well as the novel itself, which everyone should read, I also read this rather excellent graphic novel adaptation, and The Writer's Crusade, a book about the writing of the novel. I also reference Ted Sturgeon's More Than Human. For background on the scene around Astounding Science Fiction which included Sturgeon, John W. Campbell, L. Ron Hubbard, and many other science fiction writers, I recommend Alec Nevala-Lee's Astounding. 1,000 True Fans can be read online, as can the essay on the Californian ideology, and John Perry Barlow's "Declaration of the Independence of Cyberspace". The best collection of Grateful Dead material is the box set The Golden Road, which contains all the albums released in Pigpen's lifetime along with a lot of bonus material, but which appears currently out of print. Live/Dead contains both the live version of "Dark Star" which made it well known and, as a CD bonus track, the original single version. And archive.org has more live recordings of the group than you can possibly ever listen to. Grayfolded can be bought from John Oswald's Bandcamp Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Excerpt: Tuning from "Grayfolded", under the warnings Before we begin -- as we're tuning up, as it were, I should mention that this episode contains discussions of alcoholism, drug addiction, racism, nonconsensual drugging of other people, and deaths from drug abuse, suicide, and car accidents. As always, I try to deal with these subjects as carefully as possible, but if you find any of those things upsetting you may wish to read the transcript rather than listen to this episode, or skip it altogether. Also, I should note that the members of the Grateful Dead were much freer with their use of swearing in interviews than any other band we've covered so far, and that makes using quotes from them rather more difficult than with other bands, given the limitations of the rules imposed to stop the podcast being marked as adult. If I quote anything with a word I can't use here, I'll give a brief pause in the audio, and in the transcript I'll have the word in square brackets. [tuning ends] All this happened, more or less. In 1910, T. S. Eliot started work on "The Love Song of J. Alfred Prufrock", which at the time was deemed barely poetry, with one reviewer imagining Eliot saying "I'll just put down the first thing that comes into my head, and call it 'The Love Song of J. Alfred Prufrock.'" It is now considered one of the great classics of modernist literature. In 1969, Kurt Vonnegut wrote "Slaughterhouse-Five, or, The Children's Crusade: A Duty-Dance with Death", a book in which the protagonist, Billy Pilgrim, comes unstuck in time, and starts living a nonlinear life, hopping around between times reliving his experiences in the Second World War, and future experiences up to 1976 after being kidnapped by beings from the planet Tralfamadore. Or perhaps he has flashbacks and hallucinations after having a breakdown from PTSD. It is now considered one of the great classics of modernist literature or of science fiction, depending on how you look at it. In 1953, Theodore Sturgeon wrote More Than Human. It is now considered one of the great classics of science fiction. In 1950, L. Ron Hubbard wrote Dianetics: The Modern Science of Mental Health. It is now considered either a bad piece of science fiction or one of the great revelatory works of religious history, depending on how you look at it. In 1994, 1995, and 1996 the composer John Oswald released, first as two individual CDs and then as a double-CD, an album called Grayfolded, which the composer says in the liner notes he thinks of as existing in Tralfamadorian time. The Tralfamadorians in Vonnegut's novels don't see time as a linear thing with a beginning and end, but as a continuum that they can move between at will. When someone dies, they just think that at this particular point in time they're not doing so good, but at other points in time they're fine, so why focus on the bad time? In the book, when told of someone dying, the Tralfamadorians just say "so it goes". In between the first CD's release and the release of the double-CD version, Jerry Garcia died. From August 1942 through August 1995, Jerry Garcia was alive. So it goes. Shall we go, you and I? [Excerpt: The Grateful Dead, "Dark Star (Omni 3/30/94)"] "One principle has become clear. Since motives are so frequently found in combination, it is essential that the complex types be analyzed and arranged, with an eye kept single nevertheless to the master-theme under discussion. Collectors, both primary and subsidiary, have done such valiant service that the treasures at our command are amply sufficient for such studies, so extensive, indeed, that the task of going through them thoroughly has become too great for the unassisted student. It cannot be too strongly urged that a single theme in its various types and compounds must be made predominant in any useful comparative study. This is true when the sources and analogues of any literary work are treated; it is even truer when the bare motive is discussed. The Grateful Dead furnishes an apt illustration of the necessity of such handling. It appears in a variety of different combinations, almost never alone. Indeed, it is so widespread a tale, and its combinations are so various, that there is the utmost difficulty in determining just what may properly be regarded the original kernel of it, the simple theme to which other motives were joined. Various opinions, as we shall see, have been held with reference to this matter, most of them justified perhaps by the materials in the hands of the scholars holding them, but none quite adequate in view of later evidence." That's a quote from The Grateful Dead: The History of a Folk Story, by Gordon Hall Gerould, published in 1908. Kurt Vonnegut's novel Slaughterhouse-Five opens with a chapter about the process of writing the novel itself, and how difficult it was. He says "I would hate to tell you what this lousy little book cost me in money and anxiety and time. When I got home from the Second World War twenty-three years ago, I thought it would be easy for me to write about the destruction of Dresden, since all I would have to do would be to report what I had seen. And I thought, too, that it would be a masterpiece or at least make me a lot of money, since the subject was so big." This is an episode several of my listeners have been looking forward to, but it's one I've been dreading writing, because this is an episode -- I think the only one in the series -- where the format of the podcast simply *will not* work. Were the Grateful Dead not such an important band, I would skip this episode altogether, but they're a band that simply can't be ignored, and that's a real problem here. Because my intent, always, with this podcast, is to present the recordings of the artists in question, put them in context, and explain why they were important, what their music meant to its listeners. To put, as far as is possible, the positive case for why the music mattered *in the context of its time*. Not why it matters now, or why it matters to me, but why it matters *in its historical context*. Whether I like the music or not isn't the point. Whether it stands up now isn't the point. I play the music, explain what it was they were doing, why they were doing it, what people saw in it. If I do my job well, you come away listening to "Blue Suede Shoes" the way people heard it in 1956, or "Good Vibrations" the way people heard it in 1966, and understanding why people were so impressed by those records. That is simply *not possible* for the Grateful Dead. I can present a case for them as musicians, and hope to do so. I can explain the appeal as best I understand it, and talk about things I like in their music, and things I've noticed. But what I can't do is present their recordings the way they were received in the sixties and explain why they were popular. Because every other act I have covered or will cover in this podcast has been a *recording* act, and their success was based on records. They may also have been exceptional live performers, but James Brown or Ike and Tina Turner are remembered for great *records*, like "Papa's Got a Brand New Bag" or "River Deep, Mountain High". Their great moments were captured on vinyl, to be listened back to, and susceptible of analysis. That is not the case for the Grateful Dead, and what is worse *they explicitly said, publicly, on multiple occasions* that it is not possible for me to understand their art, and thus that it is not possible for me to explain it. The Grateful Dead did make studio records, some of them very good. But they always said, consistently, over a thirty year period, that their records didn't capture what they did, and that the only way -- the *only* way, they were very clear about this -- that one could actually understand and appreciate their music, was to see them live, and furthermore to see them live while on psychedelic drugs. [Excerpt: Grateful Dead crowd noise] I never saw the Grateful Dead live -- their last UK performance was a couple of years before I went to my first ever gig -- and I have never taken a psychedelic substance. So by the Grateful Dead's own criteria, it is literally impossible for me to understand or explain their music the way that it should be understood or explained. In a way I'm in a similar position to the one I was in with La Monte Young in the last episode, whose music it's mostly impossible to experience without being in his presence. This is one reason of several why I placed these two episodes back to back. Of course, there is a difference between Young and the Grateful Dead. The Grateful Dead allowed -- even encouraged -- the recording of their live performances. There are literally thousands of concert recordings in circulation, many of them of professional quality. I have listened to many of those, and I can hear what they were doing. I can tell you what *I* think is interesting about their music, and about their musicianship. And I think I can build up a good case for why they were important, and why they're interesting, and why those recordings are worth listening to. And I can certainly explain the cultural phenomenon that was the Grateful Dead. But just know that while I may have found *a* point, *an* explanation for why the Grateful Dead were important, by the band's own lights and those of their fans, no matter how good a job I do in this episode, I *cannot* get it right. And that is, in itself, enough of a reason for this episode to exist, and for me to try, even harder than I normally do, to get it right *anyway*. Because no matter how well I do my job this episode will stand as an example of why this series is called "*A* History", not *the* history. Because parts of the past are ephemeral. There are things about which it's true to say "You had to be there". I cannot know what it was like to have been an American the day Kennedy was shot, I cannot know what it was like to be alive when a man walked on the Moon. Those are things nobody my age or younger can ever experience. And since August the ninth, 1995, the experience of hearing the Grateful Dead's music the way they wanted it heard has been in that category. And that is by design. Jerry Garcia once said "if you work really hard as an artist, you may be able to build something they can't tear down, you know, after you're gone... What I want to do is I want it here. I want it now, in this lifetime. I want what I enjoy to last as long as I do and not last any longer. You know, I don't want something that ends up being as much a nuisance as it is a work of art, you know?" And there's another difficulty. There are only two points in time where it makes sense to do a podcast episode on the Grateful Dead -- late 1967 and early 1968, when the San Francisco scene they were part of was at its most culturally relevant, and 1988 when they had their only top ten hit and gained their largest audience. I can't realistically leave them out of the story until 1988, so it has to be 1968. But the songs they are most remembered for are those they wrote between 1970 and 1972, and those songs are influenced by artists and events we haven't yet covered in the podcast, who will be getting their own episodes in the future. I can't explain those things in this episode, because they need whole episodes of their own. I can't not explain them without leaving out important context for the Grateful Dead. So the best I can do is treat the story I'm telling as if it were in Tralfamadorian time. All of it's happening all at once, and some of it is happening in different episodes that haven't been recorded yet. The podcast as a whole travels linearly from 1938 through to 1999, but this episode is happening in 1968 and 1972 and 1988 and 1995 and other times, all at once. Sometimes I'll talk about things as if you're already familiar with them, but they haven't happened yet in the story. Feel free to come unstuck in time and revisit this time after episode 167, and 172, and 176, and 192, and experience it again. So this has to be an experimental episode. It may well be an experiment that you think fails. If so, the next episode is likely to be far more to your taste, and much shorter than this or the last episode, two episodes that between them have to create a scaffolding on which will hang much of the rest of this podcast's narrative. I've finished my Grateful Dead script now. The next one I write is going to be fun: [Excerpt: Grateful Dead, "Dark Star"] Infrastructure means everything. How we get from place to place, how we transport goods, information, and ourselves, makes a big difference in how society is structured, and in the music we hear. For many centuries, the prime means of long-distance transport was by water -- sailing ships on the ocean, canal boats and steamboats for inland navigation -- and so folk songs talked about the ship as both means of escape, means of making a living, and in some senses as a trap. You'd go out to sea for adventure, or to escape your problems, but you'd find that the sea itself brought its own problems. Because of this we have a long, long tradition of sea shanties which are known throughout the world: [Excerpt: A. L. Lloyd, "Off to Sea Once More"] But in the nineteenth century, the railway was invented and, at least as far as travel within a landmass goes, it replaced the steamboat in the popular imaginary. Now the railway was how you got from place to place, and how you moved freight from one place to another. The railway brought freedom, and was an opportunity for outlaws, whether train robbers or a romanticised version of the hobo hopping onto a freight train and making his way to new lands and new opportunity. It was the train that brought soldiers home from wars, and the train that allowed the Great Migration of Black people from the South to the industrial North. There would still be songs about the riverboats, about how ol' man river keeps rolling along and about the big river Johnny Cash sang about, but increasingly they would be songs of the past, not the present. The train quickly replaced the steamboat in the iconography of what we now think of as roots music -- blues, country, folk, and early jazz music. Sometimes this was very literal. Furry Lewis' "Kassie Jones" -- about a legendary train driver who would break the rules to make sure his train made the station on time, but who ended up sacrificing his own life to save his passengers in a train crash -- is based on "Alabamy Bound", which as we heard in the episode on "Stagger Lee", was about steamboats: [Excerpt: Furry Lewis, "Kassie Jones"] In the early episodes of this podcast we heard many, many, songs about the railway. Louis Jordan saying "take me right back to the track, Jack", Rosetta Tharpe singing about how "this train don't carry no gamblers", the trickster freight train driver driving on the "Rock Island Line", the mystery train sixteen coaches long, the train that kept-a-rollin' all night long, the Midnight Special which the prisoners wished would shine its ever-loving light on them, and the train coming past Folsom Prison whose whistle makes Johnny Cash hang his head and cry. But by the 1960s, that kind of song had started to dry up. It would happen on occasion -- "People Get Ready" by the Impressions is the most obvious example of the train metaphor in an important sixties record -- but by the late sixties the train was no longer a symbol of freedom but of the past. In 1969 Harry Nilsson sang about how "Nobody Cares About the Railroads Any More", and in 1968 the Kinks sang about "The Last of the Steam-Powered Trains". When in 1968 Merle Haggard sang about a freight train, it was as a memory, of a child with hopes that ended up thwarted by reality and his own nature: [Excerpt: Merle Haggard, "Mama Tried"] And the reason for this was that there had been another shift, a shift that had started in the forties and accelerated in the late fifties but had taken a little time to ripple through the culture. Now the train had been replaced in the popular imaginary by motorised transport. Instead of hopping on a train without paying, if you had no money in your pocket you'd have to hitch-hike all the way. Freedom now meant individuality. The ultimate in freedom was the biker -- the Hell's Angels who could go anywhere, unburdened by anything -- and instead of goods being moved by freight train, increasingly they were being moved by truck drivers. By the mid-seventies, truck drivers took a central place in American life, and the most romantic way to live life was to live it on the road. On The Road was also the title of a 1957 novel by Jack Kerouac, which was one of the first major signs of this cultural shift in America. Kerouac was writing about events in the late forties and early fifties, but his book was also a precursor of the sixties counterculture. He wrote the book on one continuous sheet of paper, as a stream of consciousness. Kerouac died in 1969 of an internal haemmorage brought on by too much alcohol consumption. So it goes. But the big key to this cultural shift was caused by the Federal-Aid Highway Act of 1956, a massive infrastructure spending bill that led to the construction of the modern American Interstate Highway system. This accelerated a program that had already started, of building much bigger, safer, faster roads. It also, as anyone who has read Robert Caro's The Power Broker knows, reinforced segregation and white flight. It did this both by making commuting into major cities from the suburbs easier -- thus allowing white people with more money to move further away from the cities and still work there -- and by bulldozing community spaces where Black people lived. More than a million people lost their homes and were forcibly moved, and orders of magnitude more lost their communities' parks and green spaces. And both as a result of deliberate actions and unconscious bigotry, the bulk of those affected were Black people -- who often found themselves, if they weren't forced to move, on one side of a ten-lane highway where the park used to be, with white people on the other side of the highway. The Federal-Aid Highway Act gave even more power to the unaccountable central planners like Robert Moses, the urban planner in New York who managed to become arguably the most powerful man in the city without ever getting elected, partly by slowly compromising away his early progressive ideals in the service of gaining more power. Of course, not every new highway was built through areas where poor Black people lived. Some were planned to go through richer areas for white people, just because you can't completely do away with geographical realities. For example one was planned to be built through part of San Francisco, a rich, white part. But the people who owned properties in that area had enough political power and clout to fight the development, and after nearly a decade of fighting it, the development was called off in late 1966. But over that time, many of the owners of the impressive buildings in the area had moved out, and they had no incentive to improve or maintain their properties while they were under threat of demolition, so many of them were rented out very cheaply. And when the beat community that Kerouac wrote about, many of whom had settled in San Francisco, grew too large and notorious for the area of the city they were in, North Beach, many of them moved to these cheap homes in a previously-exclusive area. The area known as Haight-Ashbury. [Excerpt: The Grateful Dead, "Grayfolded"] Stories all have their starts, even stories told in Tralfamadorian time, although sometimes those starts are shrouded in legend. For example, the story of Scientology's start has been told many times, with different people claiming to have heard L. Ron Hubbard talk about how writing was a mug's game, and if you wanted to make real money, you needed to get followers, start a religion. Either he said this over and over and over again, to many different science fiction writers, or most science fiction writers of his generation were liars. Of course, the definition of a writer is someone who tells lies for money, so who knows? One of the more plausible accounts of him saying that is given by Theodore Sturgeon. Sturgeon's account is more believable than most, because Sturgeon went on to be a supporter of Dianetics, the "new science" that Hubbard turned into his religion, for decades, even while telling the story. The story of the Grateful Dead probably starts as it ends, with Jerry Garcia. There are three things that everyone writing about the Dead says about Garcia's childhood, so we might as well say them here too. The first is that he was named by a music-loving father after Jerome Kern, the songwriter responsible for songs like "Ol' Man River" (though as Oscar Hammerstein's widow liked to point out, "Jerome Kern wrote dum-dum-dum-dum, *my husband* wrote 'Ol' Man River'" -- an important distinction we need to bear in mind when talking about songwriters who write music but not lyrics). The second is that when he was five years old that music-loving father drowned -- and Garcia would always say he had seen his father dying, though some sources claim this was a false memory. So it goes. And the third fact, which for some reason is always told after the second even though it comes before it chronologically, is that when he was four he lost two joints from his right middle finger. Garcia grew up a troubled teen, and in turn caused trouble for other people, but he also developed a few interests that would follow him through his life. He loved the fantastical, especially the fantastical macabre, and became an avid fan of horror and science fiction -- and through his love of old monster films he became enamoured with cinema more generally. Indeed, in 1983 he bought the film rights to Kurt Vonnegut's science fiction novel The Sirens of Titan, the first story in which the Tralfamadorians appear, and wrote a script based on it. He wanted to produce the film himself, with Francis Ford Coppola directing and Bill Murray starring, but most importantly for him he wanted to prevent anyone who didn't care about it from doing it badly. And in that he succeeded. As of 2023 there is no film of The Sirens of Titan. He loved to paint, and would continue that for the rest of his life, with one of his favourite subjects being Boris Karloff as the Frankenstein monster. And when he was eleven or twelve, he heard for the first time a record that was hugely influential to a whole generation of Californian musicians, even though it was a New York record -- "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Garcia would say later "That was an important song. That was the first kind of, like where the voices had that kind of not-trained-singer voices, but tough-guy-on-the-street voice." That record introduced him to R&B, and soon he was listening to Chuck Berry and Bo Diddley, to Ray Charles, and to a record we've not talked about in the podcast but which was one of the great early doo-wop records, "WPLJ" by the Four Deuces: [Excerpt: The Four Deuces, "WPLJ"] Garcia said of that record "That was one of my anthem songs when I was in junior high school and high school and around there. That was one of those songs everybody knew. And that everybody sang. Everybody sang that street-corner favorite." Garcia moved around a lot as a child, and didn't have much time for school by his own account, but one of the few teachers he did respect was an art teacher when he was in North Beach, Walter Hedrick. Hedrick was also one of the earliest of the conceptual artists, and one of the most important figures in the San Francisco arts scene that would become known as the Beat Generation (or the Beatniks, which was originally a disparaging term). Hedrick was a painter and sculptor, but also organised happenings, and he had also been one of the prime movers in starting a series of poetry readings in San Francisco, the first one of which had involved Allen Ginsberg giving the first ever reading of "Howl" -- one of a small number of poems, along with Eliot's "Prufrock" and "The Waste Land" and possibly Pound's Cantos, which can be said to have changed twentieth-century literature. Garcia was fifteen when he got to know Hedrick, in 1957, and by then the Beat scene had already become almost a parody of itself, having become known to the public because of the publication of works like On the Road, and the major artists in the scene were already rejecting the label. By this point tourists were flocking to North Beach to see these beatniks they'd heard about on TV, and Hedrick was actually employed by one cafe to sit in the window wearing a beret, turtleneck, sandals, and beard, and draw and paint, to attract the tourists who flocked by the busload because they could see that there was a "genuine beatnik" in the cafe. Hedrick was, as well as a visual artist, a guitarist and banjo player who played in traditional jazz bands, and he would bring records in to class for his students to listen to, and Garcia particularly remembered him bringing in records by Big Bill Broonzy: [Excerpt: Big Bill Broonzy, "When Things Go Wrong (It Hurts Me Too)"] Garcia was already an avid fan of rock and roll music, but it was being inspired by Hedrick that led him to get his first guitar. Like his contemporary Paul McCartney around the same time, he was initially given the wrong instrument as a birthday present -- in Garcia's case his mother gave him an accordion -- but he soon persuaded her to swap it for an electric guitar he saw in a pawn shop. And like his other contemporary, John Lennon, Garcia initially tuned his instrument incorrectly. He said later "When I started playing the guitar, believe me, I didn't know anybody that played. I mean, I didn't know anybody that played the guitar. Nobody. They weren't around. There were no guitar teachers. You couldn't take lessons. There was nothing like that, you know? When I was a kid and I had my first electric guitar, I had it tuned wrong and learned how to play on it with it tuned wrong for about a year. And I was getting somewhere on it, you know… Finally, I met a guy that knew how to tune it right and showed me three chords, and it was like a revelation. You know what I mean? It was like somebody gave me the key to heaven." He joined a band, the Chords, which mostly played big band music, and his friend Gary Foster taught him some of the rudiments of playing the guitar -- things like how to use a capo to change keys. But he was always a rebellious kid, and soon found himself faced with a choice between joining the military or going to prison. He chose the former, and it was during his time in the Army that a friend, Ron Stevenson, introduced him to the music of Merle Travis, and to Travis-style guitar picking: [Excerpt: Merle Travis, "Nine-Pound Hammer"] Garcia had never encountered playing like that before, but he instantly recognised that Travis, and Chet Atkins who Stevenson also played for him, had been an influence on Scotty Moore. He started to realise that the music he'd listened to as a teenager was influenced by music that went further back. But Stevenson, as well as teaching Garcia some of the rudiments of Travis-picking, also indirectly led to Garcia getting discharged from the Army. Stevenson was not a well man, and became suicidal. Garcia decided it was more important to keep his friend company and make sure he didn't kill himself than it was to turn up for roll call, and as a result he got discharged himself on psychiatric grounds -- according to Garcia he told the Army psychiatrist "I was involved in stuff that was more important to me in the moment than the army was and that was the reason I was late" and the psychiatrist thought it was neurotic of Garcia to have his own set of values separate from that of the Army. After discharge, Garcia did various jobs, including working as a transcriptionist for Lenny Bruce, the comedian who was a huge influence on the counterculture. In one of the various attacks over the years by authoritarians on language, Bruce was repeatedly arrested for obscenity, and in 1961 he was arrested at a jazz club in North Beach. Sixty years ago, the parts of speech that were being criminalised weren't pronouns, but prepositions and verbs: [Excerpt: Lenny Bruce, "To is a Preposition, Come is a Verb"] That piece, indeed, was so controversial that when Frank Zappa quoted part of it in a song in 1968, the record label insisted on the relevant passage being played backwards so people couldn't hear such disgusting filth: [Excerpt: The Mothers of Invention, "Harry You're a Beast"] (Anyone familiar with that song will understand that the censored portion is possibly the least offensive part of the whole thing). Bruce was facing trial, and he needed transcripts of what he had said in his recordings to present in court. Incidentally, there seems to be some confusion over exactly which of Bruce's many obscenity trials Garcia became a transcriptionist for. Dennis McNally says in his biography of the band, published in 2002, that it was the most famous of them, in autumn 1964, but in a later book, Jerry on Jerry, a book of interviews of Garcia edited by McNally, McNally talks about it being when Garcia was nineteen, which would mean it was Bruce's first trial, in 1961. We can put this down to the fact that many of the people involved, not least Garcia, lived in Tralfamadorian time, and were rather hazy on dates, but I'm placing the story here rather than in 1964 because it seems to make more sense that Garcia would be involved in a trial based on an incident in San Francisco than one in New York. Garcia got the job, even though he couldn't type, because by this point he'd spent so long listening to recordings of old folk and country music that he was used to transcribing indecipherable accents, and often, as Garcia would tell it, Bruce would mumble very fast and condense multiple syllables into one. Garcia was particularly impressed by Bruce's ability to improvise but talk in entire paragraphs, and he compared his use of language to bebop. Another thing that was starting to impress Garcia, and which he also compared to bebop, was bluegrass: [Excerpt: Bill Monroe, "Fire on the Mountain"] Bluegrass is a music that is often considered very traditional, because it's based on traditional songs and uses acoustic instruments, but in fact it was a terribly *modern* music, and largely a postwar creation of a single band -- Bill Monroe and his Blue Grass Boys. And Garcia was right when he said it was "white bebop" -- though he did say "The only thing it doesn't have is the harmonic richness of bebop. You know what I mean? That's what it's missing, but it has everything else." Both bebop and bluegrass evolved after the second world war, though they were informed by music from before it, and both prized the ability to improvise, and technical excellence. Both are musics that involved playing *fast*, in an ensemble, and being able to respond quickly to the other musicians. Both musics were also intensely rhythmic, a response to a faster paced, more stressful world. They were both part of the general change in the arts towards immediacy that we looked at in the last episode with the creation first of expressionism and then of pop art. Bluegrass didn't go into the harmonic explorations that modern jazz did, but it was absolutely as modern as anything Charlie Parker was doing, and came from the same impulses. It was tradition and innovation, the past and the future simultaneously. Bill Monroe, Jackson Pollock, Charlie Parker, Jack Kerouac, and Lenny Bruce were all in their own ways responding to the same cultural moment, and it was that which Garcia was responding to. But he didn't become able to play bluegrass until after a tragedy which shaped his life even more than his father's death had. Garcia had been to a party and was in a car with his friends Lee Adams, Paul Speegle, and Alan Trist. Adams was driving at ninety miles an hour when they hit a tight curve and crashed. Garcia, Adams, and Trist were all severely injured but survived. Speegle died. So it goes. This tragedy changed Garcia's attitudes totally. Of all his friends, Speegle was the one who was most serious about his art, and who treated it as something to work on. Garcia had always been someone who fundamentally didn't want to work or take any responsibility for anything. And he remained that way -- except for his music. Speegle's death changed Garcia's attitude to that, totally. If his friend wasn't going to be able to practice his own art any more, Garcia would practice his, in tribute to him. He resolved to become a virtuoso on guitar and banjo. His girlfriend of the time later said “I don't know if you've spent time with someone rehearsing ‘Foggy Mountain Breakdown' on a banjo for eight hours, but Jerry practiced endlessly. He really wanted to excel and be the best. He had tremendous personal ambition in the musical arena, and he wanted to master whatever he set out to explore. Then he would set another sight for himself. And practice another eight hours a day of new licks.” But of course, you can't make ensemble music on your own: [Excerpt: Jerry Garcia and Bob Hunter, "Oh Mary Don't You Weep" (including end)] "Evelyn said, “What is it called when a person needs a … person … when you want to be touched and the … two are like one thing and there isn't anything else at all anywhere?” Alicia, who had read books, thought about it. “Love,” she said at length." That's from More Than Human, by Theodore Sturgeon, a book I'll be quoting a few more times as the story goes on. Robert Hunter, like Garcia, was just out of the military -- in his case, the National Guard -- and he came into Garcia's life just after Paul Speegle had left it. Garcia and Alan Trist met Hunter ten days after the accident, and the three men started hanging out together, Trist and Hunter writing while Garcia played music. Garcia and Hunter both bonded over their shared love for the beats, and for traditional music, and the two formed a duo, Bob and Jerry, which performed together a handful of times. They started playing together, in fact, after Hunter picked up a guitar and started playing a song and halfway through Garcia took it off him and finished the song himself. The two of them learned songs from the Harry Smith Anthology -- Garcia was completely apolitical, and only once voted in his life, for Lyndon Johnson in 1964 to keep Goldwater out, and regretted even doing that, and so he didn't learn any of the more political material people like Pete Seeger, Phil Ochs, and Bob Dylan were doing at the time -- but their duo only lasted a short time because Hunter wasn't an especially good guitarist. Hunter would, though, continue to jam with Garcia and other friends, sometimes playing mandolin, while Garcia played solo gigs and with other musicians as well, playing and moving round the Bay Area and performing with whoever he could: [Excerpt: Jerry Garcia, "Railroad Bill"] "Bleshing, that was Janie's word. She said Baby told it to her. She said it meant everyone all together being something, even if they all did different things. Two arms, two legs, one body, one head, all working together, although a head can't walk and arms can't think. Lone said maybe it was a mixture of “blending” and “meshing,” but I don't think he believed that himself. It was a lot more than that." That's from More Than Human In 1961, Garcia and Hunter met another young musician, but one who was interested in a very different type of music. Phil Lesh was a serious student of modern classical music, a classically-trained violinist and trumpeter whose interest was solidly in the experimental and whose attitude can be summed up by a story that's always told about him meeting his close friend Tom Constanten for the first time. Lesh had been talking with someone about serialism, and Constanten had interrupted, saying "Music stopped being created in 1750 but it started again in 1950". Lesh just stuck out his hand, recognising a kindred spirit. Lesh and Constanten were both students of Luciano Berio, the experimental composer who created compositions for magnetic tape: [Excerpt: Luciano Berio, "Momenti"] Berio had been one of the founders of the Studio di fonologia musicale di Radio Milano, a studio for producing contemporary electronic music where John Cage had worked for a time, and he had also worked with the electronic music pioneer Karlheinz Stockhausen. Lesh would later remember being very impressed when Berio brought a tape into the classroom -- the actual multitrack tape for Stockhausen's revolutionary piece Gesang Der Juenglinge: [Excerpt: Karlheinz Stockhausen, "Gesang Der Juenglinge"] Lesh at first had been distrustful of Garcia -- Garcia was charismatic and had followers, and Lesh never liked people like that. But he was impressed by Garcia's playing, and soon realised that the two men, despite their very different musical interests, had a lot in common. Lesh was interested in the technology of music as well as in performing and composing it, and so when he wasn't studying he helped out by engineering at the university's radio station. Lesh was impressed by Garcia's playing, and suggested to the presenter of the station's folk show, the Midnight Special, that Garcia be a guest. Garcia was so good that he ended up getting an entire solo show to himself, where normally the show would feature multiple acts. Lesh and Constanten soon moved away from the Bay Area to Las Vegas, but both would be back -- in Constanten's case he would form an experimental group in San Francisco with their fellow student Steve Reich, and that group (though not with Constanten performing) would later premiere Terry Riley's In C, a piece influenced by La Monte Young and often considered one of the great masterpieces of minimalist music. By early 1962 Garcia and Hunter had formed a bluegrass band, with Garcia on guitar and banjo and Hunter on mandolin, and a rotating cast of other musicians including Ken Frankel, who played banjo and fiddle. They performed under different names, including the Tub Thumpers, the Hart Valley Drifters, and the Sleepy Valley Hog Stompers, and played a mixture of bluegrass and old-time music -- and were very careful about the distinction: [Excerpt: The Hart Valley Drifters, "Cripple Creek"] In 1993, the Republican political activist John Perry Barlow was invited to talk to the CIA about the possibilities open to them with what was then called the Information Superhighway. He later wrote, in part "They told me they'd brought Steve Jobs in a few weeks before to indoctrinate them in modern information management. And they were delighted when I returned later, bringing with me a platoon of Internet gurus, including Esther Dyson, Mitch Kapor, Tony Rutkowski, and Vint Cerf. They sealed us into an electronically impenetrable room to discuss the radical possibility that a good first step in lifting their blackout would be for the CIA to put up a Web site... We told them that information exchange was a barter system, and that to receive, one must also be willing to share. This was an alien notion to them. They weren't even willing to share information among themselves, much less the world." 1962 brought a new experience for Robert Hunter. Hunter had been recruited into taking part in psychological tests at Stanford University, which in the sixties and seventies was one of the preeminent universities for psychological experiments. As part of this, Hunter was given $140 to attend the VA hospital (where a janitor named Ken Kesey, who had himself taken part in a similar set of experiments a couple of years earlier, worked a day job while he was working on his first novel) for four weeks on the run, and take different psychedelic drugs each time, starting with LSD, so his reactions could be observed. (It was later revealed that these experiments were part of a CIA project called MKUltra, designed to investigate the possibility of using psychedelic drugs for mind control, blackmail, and torture. Hunter was quite lucky in that he was told what was going to happen to him and paid for his time. Other subjects included the unlucky customers of brothels the CIA set up as fronts -- they dosed the customers' drinks and observed them through two-way mirrors. Some of their experimental subjects died by suicide as a result of their experiences. So it goes. ) Hunter was interested in taking LSD after reading Aldous Huxley's writings about psychedelic substances, and he brought his typewriter along to the experiment. During the first test, he wrote a six-page text, a short excerpt from which is now widely quoted, reading in part "Sit back picture yourself swooping up a shell of purple with foam crests of crystal drops soft nigh they fall unto the sea of morning creep-very-softly mist ... and then sort of cascade tinkley-bell-like (must I take you by the hand, ever so slowly type) and then conglomerate suddenly into a peal of silver vibrant uncomprehendingly, blood singingly, joyously resounding bells" Hunter's experience led to everyone in their social circle wanting to try LSD, and soon they'd all come to the same conclusion -- this was something special. But Garcia needed money -- he'd got his girlfriend pregnant, and they'd married (this would be the first of several marriages in Garcia's life, and I won't be covering them all -- at Garcia's funeral, his second wife, Carolyn, said Garcia always called her the love of his life, and his first wife and his early-sixties girlfriend who he proposed to again in the nineties both simultaneously said "He said that to me!"). So he started teaching guitar at a music shop in Palo Alto. Hunter had no time for Garcia's incipient domesticity and thought that his wife was trying to make him live a conventional life, and the two drifted apart somewhat, though they'd still play together occasionally. Through working at the music store, Garcia got to know the manager, Troy Weidenheimer, who had a rock and roll band called the Zodiacs. Garcia joined the band on bass, despite that not being his instrument. He later said "Troy was a lot of fun, but I wasn't good enough a musician then to have been able to deal with it. I was out of my idiom, really, 'cause when I played with Troy I was playing electric bass, you know. I never was a good bass player. Sometimes I was playing in the wrong key and didn't even [fuckin'] know it. I couldn't hear that low, after playing banjo, you know, and going to electric...But Troy taught me the principle of, hey, you know, just stomp your foot and get on it. He was great. A great one for the instant arrangement, you know. And he was also fearless for that thing of get your friends to do it." Garcia's tenure in the Zodiacs didn't last long, nor did this experiment with rock and roll, but two other members of the Zodiacs will be notable later in the story -- the harmonica player, an old friend of Garcia's named Ron McKernan, who would soon gain the nickname Pig Pen after the Peanuts character, and the drummer, Bill Kreutzmann: [Excerpt: The Grateful Dead, "Drums/Space (Skull & Bones version)"] Kreutzmann said of the Zodiacs "Jerry was the hired bass player and I was the hired drummer. I only remember playing that one gig with them, but I was in way over my head. I always did that. I always played things that were really hard and it didn't matter. I just went for it." Garcia and Kreutzmann didn't really get to know each other then, but Garcia did get to know someone else who would soon be very important in his life. Bob Weir was from a very different background than Garcia, though both had the shared experience of long bouts of chronic illness as children. He had grown up in a very wealthy family, and had always been well-liked, but he was what we would now call neurodivergent -- reading books about the band he talks about being dyslexic but clearly has other undiagnosed neurodivergences, which often go along with dyslexia -- and as a result he was deemed to have behavioural problems which led to him getting expelled from pre-school and kicked out of the cub scouts. He was never academically gifted, thanks to his dyslexia, but he was always enthusiastic about music -- to a fault. He learned to play boogie piano but played so loudly and so often his parents sold the piano. He had a trumpet, but the neighbours complained about him playing it outside. Finally he switched to the guitar, an instrument with which it is of course impossible to make too loud a noise. The first song he learned was the Kingston Trio's version of an old sea shanty, "The Wreck of the John B": [Excerpt: The Kingston Trio, "The Wreck of the John B"] He was sent off to a private school in Colorado for teenagers with behavioural issues, and there he met the boy who would become his lifelong friend, John Perry Barlow. Unfortunately the two troublemakers got on with each other *so* well that after their first year they were told that it was too disruptive having both of them at the school, and only one could stay there the next year. Barlow stayed and Weir moved back to the Bay Area. By this point, Weir was getting more interested in folk music that went beyond the commercial folk of the Kingston Trio. As he said later "There was something in there that was ringing my bells. What I had grown up thinking of as hillbilly music, it started to have some depth for me, and I could start to hear the music in it. Suddenly, it wasn't just a bunch of ignorant hillbillies playing what they could. There was some depth and expertise and stuff like that to aspire to.” He moved from school to school but one thing that stayed with him was his love of playing guitar, and he started taking lessons from Troy Weidenheimer, but he got most of his education going to folk clubs and hootenannies. He regularly went to the Tangent, a club where Garcia played, but Garcia's bluegrass banjo playing was far too rigorous for a free spirit like Weir to emulate, and instead he started trying to copy one of the guitarists who was a regular there, Jorma Kaukonnen. On New Year's Eve 1963 Weir was out walking with his friends Bob Matthews and Rich Macauley, and they passed the music shop where Garcia was a teacher, and heard him playing his banjo. They knocked and asked if they could come in -- they all knew Garcia a little, and Bob Matthews was one of his students, having become interested in playing banjo after hearing the theme tune to the Beverly Hillbillies, played by the bluegrass greats Flatt and Scruggs: [Excerpt: Flatt and Scruggs, "The Beverly Hillbillies"] Garcia at first told these kids, several years younger than him, that they couldn't come in -- he was waiting for his students to show up. But Weir said “Jerry, listen, it's seven-thirty on New Year's Eve, and I don't think you're going to be seeing your students tonight.” Garcia realised the wisdom of this, and invited the teenagers in to jam with him. At the time, there was a bit of a renaissance in jug bands, as we talked about back in the episode on the Lovin' Spoonful. This was a form of music that had grown up in the 1920s, and was similar and related to skiffle and coffee-pot bands -- jug bands would tend to have a mixture of portable string instruments like guitars and banjos, harmonicas, and people using improvised instruments, particularly blowing into a jug. The most popular of these bands had been Gus Cannon's Jug Stompers, led by banjo player Gus Cannon and with harmonica player Noah Lewis: [Excerpt: Gus Cannon's Jug Stompers, "Viola Lee Blues"] With the folk revival, Cannon's work had become well-known again. The Rooftop Singers, a Kingston Trio style folk group, had had a hit with his song "Walk Right In" in 1963, and as a result of that success Cannon had even signed a record contract with Stax -- Stax's first album ever, a month before Booker T and the MGs' first album, was in fact the eighty-year-old Cannon playing his banjo and singing his old songs. The rediscovery of Cannon had started a craze for jug bands, and the most popular of the new jug bands was Jim Kweskin's Jug Band, which did a mixture of old songs like "You're a Viper" and more recent material redone in the old style. Weir, Matthews, and Macauley had been to see the Kweskin band the night before, and had been very impressed, especially by their singer Maria D'Amato -- who would later marry her bandmate Geoff Muldaur and take his name -- and her performance of Leiber and Stoller's "I'm a Woman": [Excerpt: Jim Kweskin's Jug Band, "I'm a Woman"] Matthews suggested that they form their own jug band, and Garcia eagerly agreed -- though Matthews found himself rapidly moving from banjo to washboard to kazoo to second kazoo before realising he was surplus to requirements. Robert Hunter was similarly an early member but claimed he "didn't have the embouchure" to play the jug, and was soon also out. He moved to LA and started studying Scientology -- later claiming that he wanted science-fictional magic powers, which L. Ron Hubbard's new religion certainly offered. The group took the name Mother McRee's Uptown Jug Champions -- apparently they varied the spelling every time they played -- and had a rotating membership that at one time or another included about twenty different people, but tended always to have Garcia on banjo, Weir on jug and later guitar, and Garcia's friend Pig Pen on harmonica: [Excerpt: Mother McRee's Uptown Jug Champions, "On the Road Again"] The group played quite regularly in early 1964, but Garcia's first love was still bluegrass, and he was trying to build an audience with his bluegrass band, The Black Mountain Boys. But bluegrass was very unpopular in the Bay Area, where it was simultaneously thought of as unsophisticated -- as "hillbilly music" -- and as elitist, because it required actual instrumental ability, which wasn't in any great supply in the amateur folk scene. But instrumental ability was something Garcia definitely had, as at this point he was still practising eight hours a day, every day, and it shows on the recordings of the Black Mountain Boys: [Excerpt: The Black Mountain Boys, "Rosa Lee McFall"] By the summer, Bob Weir was also working at the music shop, and so Garcia let Weir take over his students while he and the Black Mountain Boys' guitarist Sandy Rothman went on a road trip to see as many bluegrass musicians as they could and to audition for Bill Monroe himself. As it happened, Garcia found himself too shy to audition for Monroe, but Rothman later ended up playing with Monroe's Blue Grass Boys. On his return to the Bay Area, Garcia resumed playing with the Uptown Jug Champions, but Pig Pen started pestering him to do something different. While both men had overlapping tastes in music and a love for the blues, Garcia's tastes had always been towards the country end of the spectrum while Pig Pen's were towards R&B. And while the Uptown Jug Champions were all a bit disdainful of the Beatles at first -- apart from Bob Weir, the youngest of the group, who thought they were interesting -- Pig Pen had become enamoured of another British band who were just starting to make it big: [Excerpt: The Rolling Stones, "Not Fade Away"] 29) Garcia liked the first Rolling Stones album too, and he eventually took Pig Pen's point -- the stuff that the Rolling Stones were doing, covers of Slim Harpo and Buddy Holly, was not a million miles away from the material they were doing as Mother McRee's Uptown Jug Champions. Pig Pen could play a little electric organ, Bob had been fooling around with the electric guitars in the music shop. Why not give it a go? The stuff bands like the Rolling Stones were doing wasn't that different from the electric blues that Pig Pen liked, and they'd all seen A Hard Day's Night -- they could carry on playing with banjos, jugs, and kazoos and have the respect of a handful of folkies, or they could get electric instruments and potentially have screaming girls and millions of dollars, while playing the same songs. This was a convincing argument, especially when Dana Morgan Jr, the son of the owner of the music shop, told them they could have free electric instruments if they let him join on bass. Morgan wasn't that great on bass, but what the hell, free instruments. Pig Pen had the best voice and stage presence, so he became the frontman of the new group, singing most of the leads, though Jerry and Bob would both sing a few songs, and playing harmonica and organ. Weir was on rhythm guitar, and Garcia was the lead guitarist and obvious leader of the group. They just needed a drummer, and handily Bill Kreutzmann, who had played with Garcia and Pig Pen in the Zodiacs, was also now teaching music at the music shop. Not only that, but about three weeks before they decided to go electric, Kreutzmann had seen the Uptown Jug Champions performing and been astonished by Garcia's musicianship and charisma, and said to himself "Man, I'm gonna follow that guy forever!" The new group named themselves the Warlocks, and started rehearsing in earnest. Around this time, Garcia also finally managed to get some of the LSD that his friend Robert Hunter had been so enthusiastic about three years earlier, and it was a life-changing experience for him. In particular, he credited LSD with making him comfortable being a less disciplined player -- as a bluegrass player he'd had to be frighteningly precise, but now he was playing rock and needed to loosen up. A few days after taking LSD for the first time, Garcia also heard some of Bob Dylan's new material, and realised that the folk singer he'd had little time for with his preachy politics was now making electric music that owed a lot more to the Beat culture Garcia considered himself part of: [Excerpt: Bob Dylan, "Subterranean Homesick Blues"] Another person who was hugely affected by hearing that was Phil Lesh, who later said "I couldn't believe that was Bob Dylan on AM radio, with an electric band. It changed my whole consciousness: if something like that could happen, the sky was the limit." Up to that point, Lesh had been focused entirely on his avant-garde music, working with friends like Steve Reich to push music forward, inspired by people like John Cage and La Monte Young, but now he realised there was music of value in the rock world. He'd quickly started going to rock gigs, seeing the Rolling Stones and the Byrds, and then he took acid and went to see his friend Garcia's new electric band play their third ever gig. He was blown away, and very quickly it was decided that Lesh would be the group's new bass player -- though everyone involved tells a different story as to who made the decision and how it came about, and accounts also vary as to whether Dana Morgan took his sacking gracefully and let his erstwhile bandmates keep their instruments, or whether they had to scrounge up some new ones. Lesh had never played bass before, but he was a talented multi-instrumentalist with a deep understanding of music and an ability to compose and improvise, and the repertoire the Warlocks were playing in the early days was mostly three-chord material that doesn't take much rehearsal -- though it was apparently beyond the abilities of poor Dana Morgan, who apparently had to be told note-by-note what to play by Garcia, and learn it by rote. Garcia told Lesh what notes the strings of a bass were tuned to, told him to borrow a guitar and practice, and within two weeks he was on stage with the Warlocks: [Excerpt: The Grateful Dead, “Grayfolded"] In September 1995, just weeks after Jerry Garcia's death, an article was published in Mute magazine identifying a cultural trend that had shaped the nineties, and would as it turned out shape at least the next thirty years. It's titled "The Californian Ideology", though it may be better titled "The Bay Area Ideology", and it identifies a worldview that had grown up in Silicon Valley, based around the ideas of the hippie movement, of right-wing libertarianism, of science fiction authors, and of Marshall McLuhan. It starts "There is an emerging global orthodoxy concerning the relation between society, technology and politics. We have called this orthodoxy `the Californian Ideology' in honour of the state where it originated. By naturalising and giving a technological proof to a libertarian political philosophy, and therefore foreclosing on alternative futures, the Californian Ideologues are able to assert that social and political debates about the future have now become meaningless. The California Ideology is a mix of cybernetics, free market economics, and counter-culture libertarianism and is promulgated by magazines such as WIRED and MONDO 2000 and preached in the books of Stewart Brand, Kevin Kelly and others. The new faith has been embraced by computer nerds, slacker students, 30-something capitalists, hip academics, futurist bureaucrats and even the President of the USA himself. As usual, Europeans have not been slow to copy the latest fashion from America. While a recent EU report recommended adopting the Californian free enterprise model to build the 'infobahn', cutting-edge artists and academics have been championing the 'post-human' philosophy developed by the West Coast's Extropian cult. With no obvious opponents, the global dominance of the Californian ideology appears to be complete." [Excerpt: Grayfolded] The Warlocks' first gig with Phil Lesh on bass was on June the 18th 1965, at a club called Frenchy's with a teenage clientele. Lesh thought his playing had been wooden and it wasn't a good gig, and apparently the management of Frenchy's agreed -- they were meant to play a second night there, but turned up to be told they'd been replaced by a band with an accordion and clarinet. But by September the group had managed to get themselves a residency at a small bar named the In Room, and playing there every night made them cohere. They were at this point playing the kind of sets that bar bands everywhere play to this day, though at the time the songs they were playing, like "Gloria" by Them and "In the Midnight Hour", were the most contemporary of hits. Another song that they introduced into their repertoire was "Do You Believe in Magic" by the Lovin' Spoonful, another band which had grown up out of former jug band musicians. As well as playing their own sets, they were also the house band at The In Room and as such had to back various touring artists who were the headline acts. The first act they had to back up was Cornell Gunter's version of the Coasters. Gunter had brought his own guitarist along as musical director, and for the first show Weir sat in the audience watching the show and learning the parts, staring intently at this musical director's playing. After seeing that, Weir's playing was changed, because he also picked up how the guitarist was guiding the band while playing, the small cues that a musical director will use to steer the musicians in the right direction. Weir started doing these things himself when he was singing lead -- Pig Pen was the frontman but everyone except Bill sang sometimes -- and the group soon found that rather than Garcia being the sole leader, now whoever was the lead singer for the song was the de facto conductor as well. By this point, the Bay Area was getting almost overrun with people forming electric guitar bands, as every major urban area in America was. Some of the bands were even having hits already -- We Five had had a number three hit with "You Were On My Mind", a song which had originally been performed by the folk duo Ian and Sylvia: [Excerpt: We Five, "You Were On My Mind"] Although the band that was most highly regarded on the scene, the Charlatans, was having problems with the various record companies they tried to get signed to, and didn't end up making a record until 1969. If tracks like "Number One" had been released in 1965 when they were recorded, the history of the San Francisco music scene may have taken a very different turn: [Excerpt: The Charlatans, "Number One"] Bands like Jefferson Airplane, the Great Society, and Big Brother and the Holding Company were also forming, and Autumn Records was having a run of success with records by the Beau Brummels, whose records were produced by Autumn's in-house A&R man, Sly Stone: [Excerpt: The Beau Brummels, "Laugh Laugh"] The Warlocks were somewhat cut off from this, playing in a dive bar whose clientele was mostly depressed alcoholics. But the fact that they were playing every night for an audience that didn't care much gave them freedom, and they used that freedom to improvise. Both Lesh and Garcia were big fans of John Coltrane, and they started to take lessons from his style of playing. When the group played "Gloria" or "Midnight Hour" or whatever, they started to extend the songs and give themselves long instrumental passages for soloing. Garcia's playing wasn't influenced *harmonically* by Coltrane -- in fact Garcia was always a rather harmonically simple player. He'd tend to play lead lines either in Mixolydian mode, which is one of the most standard modes in rock, pop, blues, and jazz, or he'd play the notes of the chord that was being played, so if the band were playing a G chord his lead would emphasise the notes G, B, and D. But what he was influenced by was Coltrane's tendency to improvise in long, complex, phrases that made up a single thought -- Coltrane was thinking musically in paragraphs, rather than sentences, and Garcia started to try the same kind of th

Zach Daniel is the Principal Platform Engineer at Alembic. He joins Allen on the show to talk about his project, “Ash Framework” and how to integrate the framework into your Elixir application. Ash Framework is a declarative, resource-oriented application development framework for Elixir. About This Episode Learning more about Ash Framework Different usage of Ash Framework in your system Misconceptions around Ash Framework Different Ash Framework Extensions Sponsors AppSignal Developer Book Club starting with Clean Architecture by Robert C. Martin Become a Top 1% Dev with a Top End Devs Membership Links Ash Framework - Elixir Forum Ash Framework ElixirConf 2020 - Zach Daniel - Introduction to the Ash Framework GitHub: Ash Framework Twitter: @AshFramework Zach Daniel - YouTube Become a sponsor to Zach Daniel Twitter: @ZachSDaniel1 GitHub: zachdaniel Picks Allen - Amazon Web Services in Action Zach - Watch The Good Place | Netflix Zach - Return of the Obra Dinn Zach - Tactics Ogre: Reborn | SQUARE ENIX

The Deadcast explores the Grateful Dead's long-term cosmic entanglement with the California technology world & the architecture of the internet itself, featuring biomusic pioneer Ned Lagin, Dead Heads at the Stanford AI Lab & Apple, sonic heroes from Alembic & Meyer Sound, & more.Guests: Ned Lagin, Ron Wickersham, Susan Wickersham, Daniel Kottke, John Meyer, Helen Meyer, Paul Martin, Andy Moorer, Steve Silberman, Erik Davis, John MarkoffSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Today on the show we're excited to have Theo Harris here to discuss Onboarding Into Elixir. Theo is a technical consultant working for Alembic in Sydney, Australia. He is currently working on a project utilizing Elixir and Phoenix LiveView. Tune in today to learn more about Onboarding Into Elixir, from our guest Theo Harris! Key Points From This Episode: A brief breakdown of today's topic and introduction to our special guest, Theo Harris Theo lets us in on his current hot tech take We discuss accessibility tips and tricks Theo gives us the run down on Alembic and what they do at their company We find out whether or not Theo has a pet dinosaur We learn of the technical challenges that Theo has faced as an Elixir Engineer The breakdown of the onboarding process at Alembic Theo gives advice to beginners on how to learn Elixir/Phoenix Links Mentioned in Today's Episode: Theo Harris on Twitter — https://twitter.com/dino_coder Theo Harris on GitHub — https://github.com/Theosaurus-Rexv Theo Harris on LinkedIn — https://www.linkedin.com/in/theo-harris-coder/ Alembic — https://alembic.com.au/ SmartLogic — https://smartlogic.io/ SmartLogic Twitter — https://twitter.com/smartlogic

Vacationing with Internet interview legend Vyzygoth, proprietor of The Alembic Files and The Grassy Knoll and Beyond the Grassy Knoll. March 2020. http://radio4all.net/ Type Alembic in the search bar. Learn more about your ad choices. Visit megaphone.fm/adchoices

Feel the thump, thunder, and heaviness already!?!  We're here to talk favorite bass guitars from Cliff, Jason, and Rob.  Also some not so good lookin' axes get discussed.  A wide variety of opinions on Season 8, Episode 12.  Michael Presley, infamous bass player from ONE...The Only Tribute to Metallica joins us to share his expertise in the bass world.  In the thick of all this, we learned a fun fact that probably most die hards are unaware of.  Cliff owned the natural Alembic that Jason played?  What ?!? Mindblown!Make your lists, crack a cool one, and enjoy........Instagram - andpodcastforallFaceBook - ...And Podcast For AllLiquid Death - Official sponsor of APFA liquiddeath.com -Murder your Thirst, Death To Plasticandpodcastforall@gmail.com for all your wants, wishes, comments, Hate Train mail, needs, desires, or just to say what's up to the guys.  Email us and let us know if you want to be our next guest!  After all, it's a Podcast FOR ALL.

DrinksWithAVC chugs along, introducing episode eighteen with Jim Dugan, CEO & Managing Partner of OCA Ventures, harmonizing EMPATHY, PASSION, DETERMINATION, HUMANITY, and a touch of FRANK SINATRA. With 23 years of venture experience, Jim has journeyed through remarkable startups like Alembic, Ocient, The Mom Project, and Presidio. Vik and Bree get the lowdown on Jim's legendary Carbonara, recount a larger-than-life encounter with Andre the Giant, and explore how Jim champions the ethos that genius and grit aren't geographically constrained. Plus, don't miss the debut of our fresh segment: Follow, Co-invest, or Pass!Links:www.ocaventures.comwww.twitter.com/jimocaventureswww.themomproject.com (Cause!)www.interwovencircles.com (Learn about Tim's tremendous journey across the US)www.1kproject.org/ (Ukraine support)www.heimarkvineyard.com/acquire/ (Wine!)

In this interview I am joined by Michael Taft: maverick meditation teacher, bestselling author, host of the ‘Deconstructing Yourself' podcast, and founder of the Alembic community. Michael recounts his lifelong meditation journey, describes his initial reluctance to teach meditation, the writing of ‘Mindful Geek', and his divergence from Shinzen Young. Michael reveals his troubled upbringing, crippling teenage anxiety, and intense experimentation with LSD and the occult. Michael also shares a transformative mystical experience in Japan, his practice of classical Hindu tantra, and details experiences of seeing other dimensional entities in daily life. … Link in bio.

 Also available on Youtube, iTunes, & Spotify – search ‘Guru Viking Podcast'.
 … Topics include:
 00:00 - Intro 01:57 - Looking back at ‘Mindful Geek' 03:09 - Reluctance to teach 04:49 - Secular mindfulness 10:09 - Diverging from Shinzen Young 12:52 - Michael's troubled upbringing 17:32 - Crippling anxiety attacks and discovering meditation 21:35 - Experiments with the occult 22:36 - Michael's magical explorations 25:40 - Chaos magic and massive doses of LSD 28:12 - The essence of Robert Anton Wilson 31:31 - David Chapman ruins everything 34:10 - Shapeshifting as a meditation teacher 41:36 - More on LSD 43:06 - Moving to Japan 46:46 - A transformative psychedelic experience 49:38 - Analysing Michael's psychedelic experience 54:32 - Living in the Jewel Ornament Sutra 56:48 - Seeing entities 01:00:17 - Learning to see other realms 01:04:20 - Extensive kundalini work 01:08:23 - Michael's practice of classical tantra 01:10:38 - Intensive underground retreat practice 01:11:16 - The essence of Michael's tantric journey 01:14:33 - Trauma healing and the energy body 01:17:20 - Integration and personal relationships ... To find out more about Michael Taft, visit: - https://deconstructingyourself.com/ For more interviews, videos, and more visit: - www.guruviking.com Music ‘Deva Dasi' by Steve James

In a tribute to the late luthier and designer of the Grateful Dead's iconic Wall of Sound, Rob goes back into the archive to bring you his conversation with Rick Turner. Originally aired in edited segments during episodes 16-19, you can now hear the unedited version where Rick speaks about his time as musician, starting in the NYC coffee houses and including playing with Ian and Sylvia, how he gets into guitar building, the founding of both Alembic and Modulus guitars and much more. Rick also goes into detail about how the Wall of Sound came to be and specifics on its design. Turner was cutting edge in both guitar and sound design circles and shares many details both technical and general, along with some great stories. Support the show (https://www.themusicplaystheband.net) Support the show (https://www.patreon.com/themusicplays) https://paypal.me/themusicplays Grateful Sweats Subtle and Unique Dead Inspired Gear Sarno Music Solutions Producing the finest musical instrument audio gear, designed and hand-built in St. Louis, Missouri Blue Jade Audio Mastering St louis's primary audio mastering service since 1999 The Authenticity Academy Get in touch with your authentic self. Offering you online courses and private coaching. CLEAN Store Software driven solutions and concierge service for all of your branding and apparel needs https://www.cleanuniform.com/branding-apparel-store/ Part of Pantheon Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

In a tribute to the late luthier and designer of the Grateful Dead's iconic Wall of Sound, Rob goes back into the archive to bring you his conversation with Rick Turner.Originally aired in edited segments during episodes 16-19, you can now hear the unedited version where Rick speaks about his time as musician, starting in the NYC coffee houses and including playing with Ian and Sylvia, how he gets into guitar building, the founding of both Alembic and Modulus guitars and much more.Rick also goes into detail about how the Wall of Sound came to be and specifics on its design. Turner was cutting edge in both guitar and sound design circles and shares many details both technical and general, along with some great stories.Support the show (https://www.themusicplaystheband.net)Support the show (https://www.patreon.com/themusicplays)https://paypal.me/themusicplaysGrateful SweatsSubtle and Unique Dead Inspired GearSarno Music SolutionsProducing the finest musical instrument audio gear, designed and hand-built in St. Louis, MissouriBlue Jade Audio MasteringSt louis's primary audio mastering service since 1999The Authenticity AcademyGet in touch with your authentic self. Offering you online courses and private coaching.CLEAN Store Software driven solutions and concierge service for all of your branding and apparel needshttps://www.cleanuniform.com/branding-apparel-store/Part of Pantheon Podcasts

In a tribute to the late luthier and designer of the Grateful Dead's iconic Wall of Sound, Rob goes back into the archive to bring you his conversation with Rick Turner.Originally aired in edited segments during episodes 16-19, you can now hear the unedited version where Rick speaks about his time as musician, starting in the NYC coffee houses and including playing with Ian and Sylvia, how he gets into guitar building, the founding of both Alembic and Modulus guitars and much more.Rick also goes into detail about how the Wall of Sound came to be and specifics on its design. Turner was cutting edge in both guitar and sound design circles and shares many details both technical and general, along with some great stories.Support the show (https://www.themusicplaystheband.net)Support the show (https://www.patreon.com/themusicplays)https://paypal.me/themusicplaysGrateful SweatsSubtle and Unique Dead Inspired GearSarno Music SolutionsProducing the finest musical instrument audio gear, designed and hand-built in St. Louis, MissouriBlue Jade Audio MasteringSt louis's primary audio mastering service since 1999The Authenticity AcademyGet in touch with your authentic self. Offering you online courses and private coaching.CLEAN Store Software driven solutions and concierge service for all of your branding and apparel needshttps://www.cleanuniform.com/branding-apparel-store/Part of Pantheon Podcasts

In a tribute to the late luthier and designer of the Grateful Dead's iconic Wall of Sound, Rob goes back into the archive to bring you his conversation with Rick Turner. Originally aired in edited segments during episodes 16-19, you can now hear the unedited version where Rick speaks about his time as musician, starting in the NYC coffee houses and including playing with Ian and Sylvia, how he gets into guitar building, the founding of both Alembic and Modulus guitars and much more. Rick also goes into detail about how the Wall of Sound came to be and specifics on its design. Turner was cutting edge in both guitar and sound design circles and shares many details both technical and general, along with some great stories. Support the show (https://www.themusicplaystheband.net) Support the show (https://www.patreon.com/themusicplays) https://paypal.me/themusicplays Grateful Sweats Subtle and Unique Dead Inspired Gear Sarno Music Solutions Producing the finest musical instrument audio gear, designed and hand-built in St. Louis, Missouri Blue Jade Audio Mastering St louis's primary audio mastering service since 1999 The Authenticity Academy Get in touch with your authentic self. Offering you online courses and private coaching. CLEAN Store Software driven solutions and concierge service for all of your branding and apparel needs https://www.cleanuniform.com/branding-apparel-store/ Part of Pantheon Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we get into our "On Bass" Bassist, thee legendary Stanley Clarke. Modulus, Alembic, Rick Turner (RIP), find out which one we're picking in GSG segment. Also, find out which song we're listening to "Because Of The Bass". You can listen to the songs featured on todays episode on our YouTube playlist titled Episode 6| https://youtube.com/playlist?list=PLCliC2En6Kk4dixUxM7Rse9LjrM3dBh37We'd love to here from you, please send feedback and questions to Bassfortheculture@gmail.comYou can catch us on Instagram @bassforthculture and on Facebook| Bass For The Culture

Intelligent Speech - June 25th - come hear me reveal possibly dangerous information about Gumbo. https://www.intelligentspeechconference.com/Regular Ticket Price: $30Purchase Tickets before May 15: $20Extra 10% Off? Use the code: FOODI read a whole bunch of stuff about distilling in the way back of history. It was messy and when it came to immortality potions and alcohol - kinda dangerous. Come hear about it, and all the places distillation happened - and how distillation seems to have met itself again in South America over Pulque.Source of the, "Don't eat in the Lab or you might turn into a Dinosaur!" References - The Tick v. Dinosaur Neil: https://www.youtube.com/watch?v=1J8HxakmkWUMusic Credit: Fingerlympics by Doctor TurtleShow Notes: https://thehistoryofamericanfood.blogspot.com/Email: TheHistoryofAmericanFood@gmail.com Twitter: @THoAFoodInstagram: @THoAFood

WR discusses his book Prophet of Evil on The Alembic Files with Keith Hanson in 2013. www.williamramseyinvestigates.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Tomás Puig, CEO of Alembic, joins Eric to discuss the intersection of marketing and technology, the age of the influencer, and what companies can expect moving into 2022.

In this incredible episode, Rock and Roll Legend & Master Guitar Maker, Rick Turner, talks over 50 years of Rock and Roll from his time with Autosalvage, helping design The Grateful Dead's "Wall of Sound", Alembic, thoughts on The Beatles, Fleetwood Mac, Lindsey Buckingham and designing the incredible, "Model 1" Electric Guitar & working in Gibson's R&D Department, trust us, this episode has it all.