Podcasts about Flatt

Songs include: Faith Can Move Mountains by Nat King Cole, When the Moon Comes Over the Mountain by Kate Smith, Foggy Mountain Breakdown by Flatt and Scruggs, Blueberry Hill by Louis Armstrong, I'd Climb the Highest Mountain by the Ink Spots and The Old Man of the Mountain by Cab Calloway. 

When I sat down with Lamar Flatt — former Harvard basketball player, USC law graduate, and now partner at Best & Flatt, P.A. — I knew we'd cover a lot of ground. Lamar's story takes him from the court to the courtroom, starting his law career in Savannah, GA, before returning to South Carolina, and he's built a reputation as both a sharp attorney and a lifelong learner. In our conversation, we talk about why curiosity matters, the importance of always seeking knowledge, and a perspective we discuss called “ant theory.” Imagine a closet that, to a colony of ants, is their entire world. They don't realize there's an entire house beyond it, or even more beyond the house. The same goes for us as humans: there's always more to discover if we keep looking and keep learning. Along the way, Lamar shares stories from his own path in law, how he approaches cases, and the mindset that's carried him through challenges and opportunities. If you're serious about growth, staying curious, and seeing the bigger picture in your own life and career, this episode will resonate. Get your sales in rhythm with The Sterling Method: https://SterlingSales.co I'm going to be sharing my secrets on all my social channels, but if you want them all at your fingertips, start with my book, Sales for Noobs: https://amzn.to/3tiaxsLSubscribe to our newsletter today: https://bit.ly/3Ned5kL #SalesTraining #B2BSales #SalesExcellence #SalesStrategy #BusinessGrowth #SalesLeadership #SalesSuccess #SalesCoaching #SalesSkills #SalesInnovation #SalesTips #SalesPerformance #SalesTransformation #SalesTeamDevelopment #SalesMotivation #SalesEnablement #SalesGoals #SalesExpertise #SalesInsights #SalesTrends#salestrends

Episode 70 – IBMA Convention Highlights from ChattanoogaIn this special extended edition of The Hometown Bluegrass Show, Tim and Josh take you right into the heart of the IBMA Convention, held for the very first time in Chattanooga, Tennessee.

Brookfield Asset Management CEO Bruce Flatt discusses the company's push into insurance annuities, the state of private credit markets and the opportunities in AI infrastructure with Dani Burger on "Bloomberg Markets."See omnystudio.com/listener for privacy information.

Quicksand – Tris Munsick & The Innocents Fumblin’ for Rhymes – Tylor & the Train Robbers She Couldn’t Change Me – Montgomery Gentry Another Round – Adam & The Armadillos Stranded on a Gravel Road – Wylie & The Wild West I Walk the Line – Leonard Nimoy Tear My Stillhouse Down (feat. Lindsay Lou) – AJ Lee & Blue Summit My Little Girl in Tennessee – Flatt & Scruggs El Dorado – Molly Tuttle & Golden Highway Winter Winds – Mumford & Sons

Ben Flatt -clouds by RealCUF

Casey Flatt joins host George Halford to reflect on his decades of service to Putnam County—as a police deputy, the county's first School Resource Officer, and former Director of Juvenile Detention. Inspired by both his parents—his father in law enforcement and his mother in education—Casey began as an auxiliary officer before going full-time, thanks to encouragement from current Baxter Mayor Danny Holmes. After graduating from the Donaldson Police Academy in 1997, he became Putnam County's first SRO, serving at Cookeville High School in the wake of the Columbine tragedy. Casey shares powerful insights into the juvenile justice system, the importance of having local detention resources, and stories of youth who turned their lives around—highlighting the real-life impact of second chances and early intervention. News Talk 94.1

Tiffany Anton sits down with Lee Flatt, founder and owner of Wrap World, to talk about how he turned a simple idea into a thriving business. Starting in a space barely bigger than a recording studio, Lee now leads a team that specializes in vehicle wraps, temporary signage, and banners for both indoor and outdoor use. He shares insight into the wrapping process, the different materials used, and the importance of preparation. Lee also opens up about the challenges he's faced along the way and tells a touching story, showing the personal impact behind his work. Listen To The Local Matters Podcast Today! News Talk 94.1

In this episode of the Faith First Podcast, host Ana Lee engages in a thought-provoking discussion about the significance of friendship within the Christian faith. Joined by Dr. Flat, they explore the complexities of cultivating deep, meaningful friendships, especially during the college years and beyond. Listeners will gain insights into the balance between duty and delight in friendships, the challenges men face in maintaining friendships as they age, and the importance of investing time and effort into these relationships. This episode is a heartfelt reminder of how friendship can be a source of joy, growth, and sanctification in our lives.References:Boyce Collegehttps://boycecollege.comThe Heart of Christ by Thomas Goodwinhttps://www.amazon.com/Heart-Christ-Thomas-Goodwin/dp/1848711039Gentle and Lowly by Dane Ortlundhttps://www.amazon.com/Gentle-Lowly-Heart-Christ/dp/1433576368The Faith First Podcast Music was created and produced by Samuel Silhavy, B.S. Worship and Pastoral Studies, Boyce College class of 2019.

Brookfield CEO Bruce Flatt recently joined Jonathan Brasse, PERE's senior editor of real estate, at the PERE Network Europe Forum to discuss our long-term approach to investing, the opportunities we see in today's real estate market, and the continued growth of our credit and insurance platforms. Listen to the full conversation here or on the PERE website (https://www.perenews.com/brookfields-bruce-flatt-at-pere-europe-forum-full-interview/).This episode was originally published on The PERE Podcast (https://open.spotify.com/show/7a5hPkEKwNgOWiI4F7UlvX).Read disclaimers (https://www.brookfield.com/brookfield-perspectives-podcast-disclaimer) for this episode.

Happy Pride Month GeriPal listeners! Transgender issues are in the news. Just today (June 17th) as we record this podcast: Ezra Klein released a wonderful interview with Sarah McBride, the first openly transgender member of congress A judge ruled that cuts to NIH grants focused on minority groups, including transgender people, were illegal and ordered the government to restore funding.  It's Pride month, and our guests remind us of the leadership of two trans women in the Stonewall riots, which started the modern fight for LGBTQI+ rights and liberation. Today's guests are Noelle Marie Javier, a geriatrician and palliative care doc who tells her story of transitioning as a faculty member at Mt. Sinai in New York, and Jace Flatt, who started their journey as a gerontology researcher at UCSF and is now faculty at UNLV. Jace was in the news recently for having multiple federal grants cancelled because they included transgender participants. We cover many topics, including: Terminology: gender identity, sexual orientation, gender expression, transgender, nonbinary, intersex, what's in LGBTQI+ Gender affirming care Major health and medical issues associated with aging as a transgender person Allostatic load Accelerated aging What can clinicians do - pointers, pearls, and attitudes Dementia risk  Caregiver issues Hormone replacement therapy at the end of life Sexual orientation and gender identity (SOGI) data, what is it, how to collect it respectfully and safely Mentioned: Harvey Chochinov's Dignity Therapy question, and our prior podcast on LGBT Care for older adults and serious illness with Carey Candrian and Angela Primbas So pleased to sing True Colors by Cyndi Lauper, with Kai on guitar for those of you listening to the podcast. -Alex Smith Many links! -Rainbows of Aging: Jace Flatt's research site. -LGBTQcaregivers -Callen-Lorde gender affirming trans health services -GLMA: organization for health professional advancing LGBTQ+ equality -Center of Excellence for Transgender Health at UCSF -World Professional Association for Transgender Health -Sage advocacy services for LGBTQ+ Elders: focus on impact of Medicaid cuts -Trans bodies, Trans selves: resource guide 

Bluegrass for me begins with the first recordings Bill Monroe made with Earl Scruggs. We'll hear that initial tune and some additional music from Bill and the Bluegrass Boys, some classics from Flatt & Scruggs and the Foggy Mountain Boys, and The Stanley Brothers. We'll have a set of brother duets and some great instrumental tunes from Kenny Baker, Chubby Wise and other great players. Honoring bluegrass pioneers … this week on The Sing Out! Radio Magazine.Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwaysRon Stewart / “Stewart's Dream” / Time Stands Still / RounderBill Monroe & his Blue Grass Boys / “Heavy Traffic Ahead” / The Essential Bill Monroe & his Bluegrass Boys / ColumbiaBill Monroe / “Footprints in the Snow” / In The Pines / CountyBill Monroe & his Bluegrass Boys / “Blue Moon of Kentucky” / Grand Old Opry Live Classics / Cracker Barrel-Opry ClassicsJunie Scruggs / “Sally Goodin-Sally Ann / American Banjo Scruggs and Three Finger Style / Smithsonian FolkwaysLester Flatt & Earl Scruggs & the Foggy Mountain Boys / “Pike County Breakdown” / Best of Bluegrass Vol 1 / MercuryFlatt & Scruggs / “Til the End of the World Rolls Round” / The Essential Flatt & Scruggs / ColumbiaFlatt & Scruggs / “You Are My Flower” / Recorded Live a Vanderbilt University / ColumbiaThe Stanley Brothers / “Little Maggie” / Earliest Recordings-Rich-R-Tone / RevenantThe Stanley Brothers / “I Am A Man of Constant Sorrow” / The Stanley Brothers 1949-52 / Bear FamilyRon Stewart / “Whistling Rufus” / Time Stands Still / RounderThe Blue Sky Boys / “Sunny Side of Life” / There'll Come a Time / BSRJim & Jesse / “Are You Missing Me” / 1952-55 / Bear FamilyThe Lilly Brothers & Don Stover / “Little Annie” / Bluegrass at the Roots / Smithsonian FolkwaysThe Goins Brothers / “I'm Getting Ready to Go” / Run Satan, Run / Hay HollerHazel Dickens & Alice Gerrard / “Tiny Broken Heart” / Won't You Come and Sing for Me / Smithsonian FolkwaysKenny Baker / “Brandywine” / Master Fiddler / CountyDon Reno & Red Smiley / “Dixie Breakdown” / On The Air / Copper CreekChubby Wise / “Stone's Rag” / An American Original / PinecastlePete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

In this episode, host Jeremy Wendt sits down with Meredith Flatt, a dance educator in Putnam County, shares her passion for teaching multiple dance styles and history, fostering a strong local dance community, and exposing students to diverse artistic expressions! Listen To The Local Matters Podcast Today! News Talk 94.1

In this episode of the Faith First podcast, host Ana Lee sits down with Dr. Tyler Flatt to discuss the significance of cultivating godly friendships during the college years. They explore how these relationships can shape one's faith and character, especially in a world where many students drift from their beliefs. Dr. Flatt shares insights on the true nature of godly friendships, emphasizing their foundation in virtue and the pursuit of goodness, truth, and beauty, ultimately centered around Christ. Tune in to discover how to navigate friendships in college and why they matter for your spiritual journey.References: Boyce Collegehttps://www.boycecollege.comC.S. Lewishttps://www.cslewis.comThe Four Loves (book)https://www.cslewis.com/the-four-lovesThe Faith First Podcast Music was created and produced by Samuel Silhavy, B.S. Worship and Pastoral Studies, Boyce College class of 2019.

Send us a textIn this powerful legislative recap, John Wilkerson and Bryan Flatt return from the front lines of the 89th Texas Legislative Session to break down the wins, battles, and behind-the-scenes grit it took to defend and advance law enforcement interests at the Capitol.From late-night negotiations to hard-hitting testimony, this episode dives deep into how TMPA's legislative team doesn't just push policy—they build trusted relationships that deliver results. Wilkerson and Flatt share candid reflections on key bills, political dynamics, and why simply showing up isn't enough—you need boots on the ground, trust in the halls, and a team that refuses to back down.

Un no parar de banjos, mandolinas, guitarras, violines y armonías vocales en este monográfico dedicado al bluegrass. Entre otros titanes del género: Bill Monroe, Reno and Smiley, Flatt and Scruggs, Jim and Jesse y Carl Story. A partir de las ocho de la mañana del sábado en la sintonía de Radio 3.Escuchar audio

This week, More Voices. Another collection of contemporary folk singers with unique and authentic voices recorded live at the Ozark Folk Center State Park. Ballad singing is a primary form of expression in folk music. Folk ballads merge melody and story to recount events but also transport the listener to an emotional space. How well a ballad can bring the listener into that space very much depends on the singer. Less important to an effective folk singer are the rudimentary aspects of singing than is the authentic sound of their voice. The timbre and character of the singer's voice in service to the ballad becomes the vehicle, transporting the listener into that emotional space. Ozark original and legendary folk balladeer Aunt Ollie Gilbert for an example. As much as the stories Aunt Ollie relates, it's the sound of her instantly recognizable and authentic voice that moves listeners deep into the hills and hollers of the Ozarks. Featured on this episode are an all-star lineup of contemporary singers including: renowned vocalist, songwriter and multi-instrumentalist Amythyst Kiah; Ozark original up and coming folk sensation Willie Carlisle; outlaw country music legends Malcolm Holcomb & Ozark original Billy Don Burns; singer-songwriter and educator Wil Maring; Paul Brock Band singer and multi-instrumentalist Dave Curley; famed folk duo The Secret Sisters; world champion mountain dulcimer player, vocalist and educator Sarah Kate Morgan; vocalist, multi-instrumentalist and musical time traveler Meredith Axelrod; folk blues superstar Taj Mahal; Jake Leg Stompers vocalist Lela Mae Smith; Kentucky Colonel and bluegrass sensation Dave Adkins. In this week's “From the Vault” segment, OHR producer Jeff Glover offers a 1984 archival recording of Ozark original Pam Setser with Mike Gavin performing the Flatt & Scruggs song “Rough & Rocky” from the Ozark Folk Center State Park archives. In his segment “Back in the Hills,” writer, professor, and historian Dr. Brooks Blevins profiles the legendary Ozark original balladeer Oscar Gilbert, husband of famed ballad singer Aunt Ollie Gilbert. Featured is an archival recording of Oscar performing the traditional Ozark ballad “The Ballad of Cole Younger,” courtesy of the Lyon College Wolf Folklore Collection.

Listen in as Brookfield's CEO Bruce Flatt joins Shane Parrish on “The Knowledge Project.” In the episode, titled “The Trillion-Dollar Blueprint (Value, Discipline, Durability),” Shane and Bruce discuss the unwavering investment philosophy behind one of the world's largest investment firms. You can read more about the episode here (https://fs.blog/knowledge-project-podcast/bruce-flatt/), or watch the video version here (https://youtu.be/VmcYu_kd7_0). Please read this disclaimer (http://brookfield.com/podcast-disclaimer) before listening.

Brookfield CEO Bruce Flatt reveals the investment philosophy behind building one of the world's largest alternative asset managers with over a trillion dollars under management.  At the core of Brookfield's strategy is a disciplined focus on downside protection that has delivered 19% annualized returns over 30 years. Flatt identifies three major trends driving their investments: digitalization (including AI infrastructure), global energy transition, and reindustrialization as supply chains shift. The conversation explores Brookfield's approach to risk management, their expansion into insurance, and their meritocratic culture. When Shane presses for clarity on Brookfield's complex corporate structure, Flatt provides rare insights into how the organization's design creates both operational flexibility and investment opportunities.  What separates Brookfield from competitors? Patient capital: the discipline to wait for extraordinary opportunities and the financial strength to act when others can't.  If you want to understand how the smartest capital allocators think and what it takes to build something enduring, this episode is essential listening.  Thanks to these sponsors for supporting our show:  NordVPN: EXCLUSIVE NordVPN Deal ➼ nordvpn.com/KNOWLEDGEPROJECT. Try it risk-free now with a 30-day money-back guarantee  Shopify: Sign up for your one-dollar-per-month trial period at shopify.com/shane. All lowercase. ShipStation: Get a 60-day free trial at www.shipstation.com/knowledgeproject. The opinions shared on this podcast belong solely to those expressing them. Hosts and guests may hold positions in the securities discussed. This podcast is intended to provide general information only and should not be considered financial advice.  (00:02:56) Changes in Investing Over the Past 25 Years (00:04:51) How Private Enterprise Has Built Our Tech Infrastructure (00:07:08) Implications and Opportunities of Passive Investing (00:09:08) Advantages of Private Companies (00:12:36) Three Investment Themes (00:15:11) Winners in Digitalization (00:16:45) Application of Artificial Intelligence in Businesses (00:21:44) Transition to Low-Carbon Energy (00:25:24) Future of Data Centers (00:27:32) De-globalization of Industry (00:29:59) Implications of Manufacturing Repatriation (00:31:11) Long-term Prospects for America (00:36:20) Approach to Risk and Debt (00:37:48) Impact of Interest Rates (00:40:47) Managing Market Dislocations (00:42:30) Long-term Investing Strategy (00:45:06) History and Future of Brookfield (00:47:55) Exploration of Private Markets and Insurance (00:48:48) Investment Decision Process (00:55:18) Understanding Brookfield's Structure (00:59:40) Positioning of Brookfield's Businesses (01:00:21) Talent and People Management at Brookfield (01:02:58) Focus on Downside Protection (01:05:03) Accountability in Investment Decisions (01:06:32) Understanding Investment Cycles (01:08:14) Learning and Training in the Organization (01:09:06) Postmortem Analysis of Investments (01:11:14) Consideration of Geopolitical Risks Newsletter - The Brain Food newsletter delivers actionable insights and thoughtful ideas every Sunday. It takes 5 minutes to read, and it's completely free. Learn more and sign up at fs.blog/newsletter Upgrade — If you want to hear my thoughts and reflections at the end of the episode, join our membership: ⁠⁠⁠⁠⁠⁠⁠fs.blog/membership⁠⁠ and get your own private feed. Watch on YouTube: @tkppodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Brookfield CEO Bruce Flatt spoke about the impact of tariffs and deal making at the Bloomberg Invest Conference in New York City. See omnystudio.com/listener for privacy information.

Brookfield Asset Management CEO Bruce Flatt told Bloomberg's Francine Lacqua that DeepSeek means more data center capacity is needed. As the costs of running AI comes down, “more use cases come about and that’s what’s going to happen in the next 10 years,” the investment firm’s chief executive officer told Bloomberg TV in an interview in London.See omnystudio.com/listener for privacy information.

Traditional North Carolina music and Appalachia has deep roots that belong to many family trees. In this episode, we uncover the musical history of the Shuffler Family. Music featured in this episode includes: Doc and Merle Watson, "Going Down This Road Feeling Bad" Earl Scruggs and Flatt and Scruggs, "Nine Pound Hammer" Valdese Quartet, "Just Over The Glory Land" The Stanley Brothers, "The Flood" Jim Shumate and John Shuffler, "Katie Hill" To learn more about the musical families of North Carolina, visit BlueRidgeMusicNC.com.

Traditional North Carolina music and Appalachia has deep roots that belong to many family trees. In this episode, we uncover the musical history of the Shuffler Family. Music featured in this episode includes: Doc and Merle Watson, "Going Down This Road Feeling Bad" Earl Scruggs and Flatt and Scruggs, "Nine Pound Hammer" Valdese Quartet, "Just Over The Glory Land" The Stanley Brothers, "The Flood" Jim Shumate and John Shuffler, "Katie Hill" To learn more about the musical families of North Carolina, visit BlueRidgeMusicNC.com.

This week we feature fiddler with Johnny Warren.  As most listeners will know, Johnny is the son of bluegrass fiddle legend Paul Warren who spent years performing with Flatt & Scruggs and then toured with Lester Flatt and the Nashville Grass after Flatt and Scruggs parted ways.  Johnny is the fiddle player for the Earls of Leicester.  We talk with Johnny about his father and about playing his father's role as the fiddler in the Earls of Leicester.

Today I chat with Becca Flatt, who is a therapist and advocate specializing in adoption-related trauma, grief, and estrangement. A queer, Black, interracial biracial adoptee, she provides therapy exclusively for adoptees and consultations for both adoptees and adoptive parents. Becca facilitates an estrangement support group for adoptees with Adoption Mosaic and teaches an estrangement course for adoptive parents, helping clients navigate relational challenges with compassion, boundaries, and clarity.We discuss:-How she found the balance between accountability and understanding. - How she defines what “Forced Empathy” looks like-What accountability looks like when you burn it to the ground- How she dealt with self hatred stemming from racism. - Why adoptees forgo their comfort to support their adoptive parents. - Misogynoir--what is it?-And Becca does touch on but does not go into detail how she is a sexual abuse survivor.GUEST: Becca Flatt@mending_the_adopted_heartwww.mendedheart.org Support the showCONNECT WITH HOST:@youngadoptee@lantoineswww.laniseantoineshelley.comWATCH ON YOUTUBE Here!MERCH here "I am my Hero" and "Courage, my love" TeesSPONSORSHIPS: BetterHelp Show Link HERE!DISCOUNT on WeUNIK Cosmetic Hair products15% off Code: WTWY ADOPTEE CONVERSATIONS WITH PARENTS:14 through18, and episode 28, and 29. WATCH PANELS: Here!JAMES BALDWIN'S ESSAY ON "WHITENESS": HISTORY of the word “Colored”:NYC ARTICLE ON THE USE OF "BIPOC":RESOURCES ON ...

In this episode of the Epigenetics Podcast, we talked with Natalia Gromak from the University of Oxford about her work on R-Loop biology in health and disease. In this interview Dr. Gromak delves into her significant research on transcription and RNA biology, particularly focusing on the molecular mechanisms involved at transcriptional pause sites. She describes her early work in understanding transcription termination and how her team investigated the role of specific RNA and DNA structures, including R-loops, that could influence polymerase progression. This exploration into R-loops—complexes formed by RNA and DNA interactions—was a key turning point in her research, as she and her colleagues identified their regulatory functions within the human genome. Discussion transitions into her findings regarding the implications of R-loops in diseases like Friedrich's ataxia and Fragile X syndrome. Dr. Gromak then elucidates how the pathological expansion of repeat sequences in these conditions interferes with normal gene expression, and how R-loops exacerbate transcriptional silencing. Throughout her reflection on these discoveries, she emphasizes the importance of studying R-loops beyond merely being a transcriptional byproduct, but as players in gene regulation and potential contributors to disease pathology. The episode also covers her innovative work in characterizing the R-loop interactome through various experimental techniques. She highlights the complexity of R-loop dynamics, including the discovery of protein factors that interact with R-loops and could influence their stability and regulatory functions. Furthermore, she discusses the exciting intersection of RNA modifications, such as m6A, which plays a role in R-loop regulation and presents new avenues for research, particularly pertaining to how disease-specific modifications might alter R-loop behavior.   References Cristini, A., Groh, M., Kristiansen, M. S., & Gromak, N. (2018). RNA/DNA Hybrid Interactome Identifies DXH9 as a Molecular Player in Transcriptional Termination and R-Loop-Associated DNA Damage. Cell reports, 23(6), 1891–1905. https://doi.org/10.1016/j.celrep.2018.04.025 Abakir, A., Giles, T. C., Cristini, A., Foster, J. M., Dai, N., Starczak, M., Rubio-Roldan, A., Li, M., Eleftheriou, M., Crutchley, J., Flatt, L., Young, L., Gaffney, D. J., Denning, C., Dalhus, B., Emes, R. D., Gackowski, D., Corrêa, I. R., Jr, Garcia-Perez, J. L., Klungland, A., … Ruzov, A. (2020). N6-methyladenosine regulates the stability of RNA:DNA hybrids in human cells. Nature genetics, 52(1), 48–55. https://doi.org/10.1038/s41588-019-0549-x   Related Episodes DNA Replication, Transcription and R-loops (Stephan Hamperl)   Contact Epigenetics Podcast on Mastodon Epigenetics Podcast on Bluesky Dr. Stefan Dillinger on LinkedIn Active Motif on LinkedIn Active Motif on Bluesky Email: podcast@activemotif.com

It's time to crack the final can of our Bluegrass 4-Pack! It contains the history of progressive bluegrass, when younger musicians began to expand and enhance the traditional sounds of Bill Monroe and Flatt and Scruggs.   Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart, Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Threads, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, covered by Frank Muffin. Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com.

We open another can from the Bluegrass 4-Pack today, as Patrick outlines the remarkable career of Lester Flatt and Earl Scruggs. They left Bill Monroe's Blue Grass Boys in 1948 and went on to take the music to a whole new audience and level of popularity.  Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart, Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Threads, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, covered by Frank Muffin. Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com. 

In this episode, Joe interviews 4 members of the Penn Psychedelics Collaborative: Co-Founder, Taylor Andrews Flatt, PMHNP; Associate Director, Victor Pablo Acero, Ph.D.; Professor in Fine Arts and Co-Director of the Weitzman School of Design, Jackie Tileston; and Executive Director and Director of the Penn Program for Mindfulness, Michael Baime, MD. Recorded earlier this month at the PhilaDelic conference – one of the primary initiatives of the PPC – they discuss their paths to psychedelics and why this transdisciplinary collection of faculty, researchers, and clinicians at the University of Pennsylvania was so necessary. Viewing psychedelics from different perspectives (Flatt from nursing, Acero from bioengineering, Tileston from the art and mysticism side of things, and Baime from a more mindfulness point of view), their group is a case study in collaboration – a place where connections can be catalyzed and shared goals can be addressed from different angles. How far can we go when different groups start working together? They discuss: The concept of psychedelics not just being used to treat conditions, but to make us healthier Psychedelic art and the idea of the art itself being psychoactive rather than just representations of trips The work of David Glowacki and bringing about non-ordinary states of consciousness through VR Research into salvia being used to alleviate stroke symptoms How a lack of funding can really create focus and more!  For links, head to the show notes page.

In today's episode, we're bringing you a timely conversation between Brookfield CEO Bruce Flatt and Mark Carney, the Chair of Brookfield Asset Management and Head of Transition Investing. With the global economy poised for big shifts over the next 10 to 15 years, Bruce and Mark will unpack how Brookfield built its business, how its approach has evolved over time, and where it's headed. They'll also touch on the impacts of AI, the green energy transition, and other developments that affect the evolving backbone of the global economy.Please read this disclaimer (https://www.brookfield.com/podcast-disclaimer) before listening.

Dennis is joined via Zoom by television writer Stan Zimmerman to talk about his memoir The Girls: From Golden to Gilmore, which documents his career working on such iconic shows as Roseanne, The Golden Girls and Gilmore Girls as well as The Brady Bunch Movie and A Very Brady Sequel. In this first part of a two-part interview, Stan talks about his midwest upbringing and how his mother bought him the ballet shoes he wanted behind his father's back. He also talks about meeting his longtime writing partner Jim Berg, why they work wll together and how they landed a gig on the first season of The Golden Girls when they were still in their 20's Stan also recalls feeling like he had to stay in the closet on that job but feeling like he had an ally in Estelle Getty. He talks about the culture of fear that was so common in TV writers rooms in those days and expresses hope that things are better today. He also talks fondly about working with director Betty Thomas on the first Brady Bunch Movie as a punch-up writer and feeling like his contribution was finally being properly appreciated...only to end up without a screen credit thanks to an old WGA rule. He also recalls Bea Arthur being concerned that the Golden Girls writing staff was too young, Rue McLanahan being extra funny when she said words ending in E-R, and the eyebrow raising thing Betty White would do when Estelle Getty flubbed her lines. Other topics include: the warm fuzzies Stan gets when he talks with Golden Girls fans, suggesting RuPaul for that cameo in The Brady Bunch Movie, Pia Zadora's giant cell phone and how when it comes to a career in entertainment, it's all about perseverance.  

The Dreadful Snakes kick-off this episode of the Back Porch Bluegrass Show, and then we've got Balsam Range, Jeremy Stephens, Dr Pete Wernick (playing some pretty way-out sounding banjo licks), Longview and Ramona Church. I've got Dale Jett & Hello Stranger back this week, and the Trenwiths (previewing their appearance at the Raglan Country & Blues Festival), and a classic from Flatt & Scruggs ( because it IS a bluegrass show!)

Ken went to the Canadian Fan Expo 2024 - he shared some of his experiences with the Toronto based conference that is focused on comics, film, tv and gaming. Plenty of fun!

Text the Blue Grit team now!How do you balance the demands of law enforcement with the principles of integrity and faith? Join us as we host John Wilkerson and Bryan Flatt in a captivating discussion on the legislative landscape impacting law enforcement. They share insights from their work at the Capitol, including testifying on crucial bills like the less lethal bill. Bryan reflects on his journey from the Potter County Sheriff's Office to TMPA, emphasizing perseverance and commitment. He also opens up about maintaining his faith while performing his duties and evolving into a respected chaplain within the law enforcement community. You don't want to miss this one!Support the Show.email us at- bluegrit@tmpa.org

Benjamin Flatt, originally from Sydney, is the CEO of the Noto Earthquake Area Reconstruction Support Association. He has been a resident of Noto Town, Ishikawa Prefecture for 28 years. He and his wife, Chikako Funashita, are busy every day working for what is needed and what they want to continue to protect. - シドニー出身の、ベンジャミン・フラットさんは、一般社団法人能登地震地域復興サポートの代表理事です。石川県能登町の人間になって28年。地元の人間だからこそわかる、必要なもの、守リ続けたいことのために、妻の船下智香子さんと毎日奔走しています。

Eight months have passed since the Noto Peninsula earthquake that occurred on January 1st this year. The first Obon festival is approaching. Benjamin Flatt, Sydney-born and Local of Noto, and his wife Chikako Funashita. - 今年、1月1日に起きた、能登半島地震から8か月が過ぎ、最初のお盆を迎えようとしています。現地の様子を、シドニー出身のベンジャミン・フラットさんと、妻の船下智香子さんに聞きました。

A great tune recorded by many bands, and here performed by Flatt and Scruggs. The track is from a concert at New River Ranch (Rising Sun, MD), in 1958.

A great tune recorded by many bands, and here performed by Flatt and Scruggs. The track is from a concert at New River Ranch (Rising Sun, MD), in 1958.

Becca Flatt is a Mixed Race, Black and white, closed, domestic infant, interracial adoptee. Becca's biological family and adoptive family mirror each other; however, Becca, being mixed race, does not share the racial identity of either set of her parents. Becca Graduated from The University of Southern California with her Master's in social work and a concentration in mental health in 2014. Becca provides mental health treatment to transracial, interracial, and same-race adoptees of color in Oregon. Websites: https://www.mendedheart.org/ https://adoptionmosaic.com/Instagram: @mending_the_adopted_heartAdoptee Consciousness Model: https://intercountryadopteevoices.com/wp-content/uploads/2022/06/adoptee-consciousness-model.pdfhttps://redthreadbroken.com/2022/06/23/out-of-the-fog-and-into-consciousness-a-model-of-adoptee-awareness/Music by Corey Quinn

On this episode of The Extra Yard, we sit down with Clark Flatt of the Jason Foundation and Dr. Don Arterburn of Baylor Athletics to discuss mental health awareness. May is Mental Health Awareness month, and Mr. Flatt and Dr. Arterburn talk about preparing coaches to recognize warning signs of mental health struggles in their players and staffs, how coaches can help players navigate through mental health struggles, and how to handle crises and emergencies should they arise.   Learn more about the Jason Foundation and the NCAA's Mental Health Best Practices here: https://jasonfoundation.com/ & https://www.ncaa.org/sports/2016/5/2/mental-health-best-practices.aspx  Show Notes:   0:47 Episode Introduction  2:20 Clark Flatt – President, Jason Foundation  17:32 Dr. Don Arterburn – Director of Mental Health Services, Baylor Athletics   42:01 Episode Conclusion 

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Original Air Date: May 22, 1959Host: Andrew RhynesShow: Grand Ole OpryPhone: (707) 98 OTRDW (6-8739) Exit music from: Roundup on the Prairie by Aaron Kenny https://bit.ly/3kTj0kK

Brookfield is one of the world's largest alternative investment companies. It owns hydroelectric plants, cellphone towers, power lines, wind farms, ports and even city skylines. Bruce Flatt has been in charge for more than two decades, overseeing over $900 billion of assets under management. On the latest episode of Leaders With Lacqua, Francine Lacqua speaks to Flatt about the secrets of his success, the outlook for commercial real estate, and his own future. See omnystudio.com/listener for privacy information.

(Aired February 15, 2024) The Earth Is Not Flatt - Get into the minds of the Sherpas with this DomainSherpa Review! In this show, The Sherpas play The Domain Game (starting at the 27:03 mark), where they guess what certain domains were bought and sold for by the Sherpas and discuss the reasons behind their evaluations. Today's domains are DefiU.com, HydroTherapy.com, and Perceptive.io. Drew checks in for the last time from the Far East. The Sherpas review a list of domains about to come up for auction on NameJet.com, including Akira.com, FutureTech.com, TopForum.com, and Crit.com. The Sherpas also discuss different domain landers, marketplaces, and more. Also, DomainSherpa is now integrating with Muse.ai for episode transcripts and an AI-driven video player to easily look for topics, words, phrases, etc., and jump to the points in the video where they occur. Let us know your feedback! Plus, all DomainSherpa podcasts are now up on our YouTube channel at DS.tv and much more! JT is joined by Drew, Jen, & special guest Logan Flatt - so be sure to tune in!!

Lydia and Jimmy join the podcast from Moses Coulee Nature Preserve in Washington State to share how they've experienced the outdoors, their hunting journey, and the purpose of Hunters of Color. 4:00 - Introduction of Jimmy Flatt and Lydia Parker of Hunters of Color 6:00 - What everyone listening to or consuming 8:30 - “Outdoor Story”13:30 - First experience and connection to hunting 18:30 - Redefining the ethos and identity of hunting 24:45 - What is a conservationist? 25:30 - HOC Hunting Program 5W's28:00 - Care and appreciation for nature 37:00 - How HOC supports an individuals curiosity 40:00 - Programming purpose and format 45:00 - When do we hit a critical mass with inclusion in the hunting industry? 48:00 - Words of advice for anyone interested in hunting 51:00 - Mentors that are supporting the growth of us as individuals 60:00 - Shout outs61:00 - Legacy you want to leave Books There There - Tommy OrangeThe Only Good Indians - Stephen Graham Jones My Side of the Mountain - Jean Craighead George Listen to Lydia's podcast, Oregon Uncorked Podcast, now on any audio stream platform. Support the showYouTube: https://www.youtube.com/@sincerelyyoursoutdoorspodcast Instagram: https://www.instagram.com/sincerelyyoursoutdoors/ Patreon: https://www.patreon.com/sincerelyyoursoutdoors Website: https://www.sincerelyyoursoutdoors.com/

Liz Flatt drove to Austin, Texas, mostly out of desperation. She had tried talking with the police. She had tried working with a former F.B.I. profiler who ran a nonprofit dedicated to solving unsolved murders. She had been interviewed by journalists and at least one podcaster. She had been featured on a Netflix documentary series about a man who falsely confessed to hundreds of killings.Although she didn't know it at the time, Flatt was at a crossroads in what she had taken to calling her journey, a path embarked on after a prayer-born decision five years earlier to try to find who killed her sister, Deborah Sue Williamson, or Debbie, in 1975. It was now 2021.She had come to Austin for a conference, CrimeCon, which formed around the same time that Flatt began her quest, at a moment now seen as an inflection point in the long history of true crime, a genre as old as storytelling but one that adapts quickly to new technologies, from the printing press to social media. Flatt met a woman who would later put her in touch with two investigators who presented at the conference that year: George Jared and Jennifer Bucholtz. They were podcasters, but Jared was also a journalist and Bucholtz an adjunct professor of forensics and criminal justice at the for-profit American Military University. Their presentation was on another cold case, the murder of Rebekah Gould in 2004, whose killer they claimed to have helped find using a technique that has quickly become a signature of the changing landscape of true crime: crowdsourcing.This story was recorded by Audm. To hear more audio stories from publications like The New York Times, download Audm for iPhone or Android.

Holiday listening, with some of my favourite musicians. Skaggs & Rice, Byron Berline (with 3 banjos!) John Reischman & the Jaybirds, Country Gentlemen, Jerry Douglas all get to present their songs and tunes, as do Flatt & Scruggs, Doyle Lawson, the HCBB, Frank Wakefield and Seldom Scene. George Jackson plays a fiddle tune, and I even get to play the end of the last show for 2023.

Listen in as Brookfield's CEO Bruce Flatt joins Norges Bank Investment Management's CEO, Nicolai Tangen, on the latest episode of NBIM's “In Good Company.” In a wide-ranging conversation, Bruce and Nicolai discuss the benefits of investing in private markets, global megatrends shaping these investments and the qualities that distinguish a good investor.Please read this disclaimer (http://brookfield.com/podcast-disclaimer) before listening.

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