Podcasts about folsom prison

The MOTM has been a long tradition on the Lambcast, well before I came along and took the reins. We are starting some innovations on the practice and they commence this week. The MOTM will now be focused on a different genre or theme each month. My hope is that it will make it easier for people with films they want to talk about to remember to submit their choices. I will also submit a number of options so that the community will have a minimum number of movies to vote for. This new process has just started, and Biopics were the genre for September. This week's episode is the first product of the changes, the winner by just a couple of votes, so this month we are going to “Walk the Line”. Howard Casner, who has never been to Reno, Matthew Simpson, who is not named Sue and Tony Cogan, who is as far from Folsom Prison as you can get, join us for this show. 

The Blue Wiggle has been doing financial crimes so now the rest of the Wiggles need to do a Folsom Prison-style live album after they lock him up. And Jelly Roll needs to be careful that the Wiggles don't pull him back into a life of crime. Full episode on Patreon: https://www.patreon.com/posts/138216396

We can't get together to record due to the summer being over and everything happening at once so we got together with our good friend Jon and talked a little Minnesota State Fair because Johnny Cash is the first person to ever sell out a concert there!    Listen up! This ep is funnier than I thought and has an all time "next album" joke that won't make you mad you stuck it through to listen to it! 

A rollicking episode about strange paranormal encounters, interdimensional portal areas, understanding the alien mind, and even serial killers. Joining Gene on this episode is Ronald Meyer, a seasoned paranormal experiencer, with encounters ranging from out-of-body experiences and cryptid sightings to non-dual awakenings. He is the owner of Centre Communications, a film production company, and has produced and directed feature films in Hollywood. In September 2023, Centre Communications premiered the feature film "The Mysteries of Bradshaw Ranch: Aliens, Portals, and the Paranormal" at a conference in Vernal, adjacent to Skinwalker Ranch. During the movie's production, the crew encountered intelligent alien entities and other paranormal phenomena. His partner in crime is Mark Reeder, whose novels can be found at Lulu Publishing (hard copies) and at Amazon (ebooks). He's also kicked around the universe long enough to have more than a few bumps and bruises. Roughed up and battered like his hat, he's still looking for the exit. Our special guest cohost is Paul Dale Roberts, aka The Demon Warrior, a Fortean investigator who looks into all things paranormal from ghosts to demons to cryptids to UFOs. He has investigated paranormal hot spots like Area 51; Skinwalker Ranch; Stonehenge; Bridge over River Kwai in Thailand; Napoleon Bonaparte's tomb; Bodie, CA (Ghost Town); Black Dahlia grave site; Alcatraz; San Quentin Prison and Folsom Prison; Edinburgh Castle; Notre Dame in Paris, France; and others.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-paracast-the-gold-standard-of-paranormal-radio--6203433/support.

From 2005 - Michael Streissguth, author of "Johnny Cash at Folsom Prison: The Making of a Masterpiece."

Penn, Matt, and Reddi are joined by Michael Goudeau with a big life update he's taking with all the positivity and humor you'd expect. Surprise guest Dr. Rich Ross is also back to talk secret octopus hunts, Penn's essay for the New York Times, an update on the closed Dylan Museum, a dog that runs really fast, playing Folsom Prison, and more.

The absolute broheem clocking back in for another fantastic installment. Nothing but swirled out love songs this week for my listening populous. A look into next episode, today I found a new UK Import Frank Sinatra record as well as Johnny Cash at Folsom Prison. I know some of these records are getting worn out but I'm the Captain Kirk around here and that's what I felt like blasting this episode so bing bong. Hope someone out there enjoyed it, until next time.. I remain your favorite C-List internet disc jockeyYour Host with the Most,DJ Witwicka Juan Don

Johnny Cash is one of the most iconic American singer-songwriters of the 20th century - with 68 albums to his name and over 1,000 songs written. He also lived quite a fascinating life, full of controversy, activism, and plenty of relationship drama. Part 2 of this two-part series goes into Johnny's recovery from drugs and alcohol, his marriage to June Carter, prison performances, later life, and health issues leading to his death.Listen to the accompanying playlist on Spotify at https://open.spotify.com/playlist/1tuC01xOM6z9qCF2Yg1Br2?si=LfTvHplERqykjKrj5JJoJw . Support the show

Johnny Cash is one of the most iconic American singer-songwriters of the 20th century - with 68 albums to his name and over 1,000 songs written. He also lived quite a fascinating life, full of controversy, activism, and plenty of relationship drama. Part 1 of this two-part series goes into his early life and rise to fame, up until his relationship with June of the famous Carter Family.Listen to the accompanying playlist on Spotify at https://open.spotify.com/playlist/1tuC01xOM6z9qCF2Yg1Br2?si=LfTvHplERqykjKrj5JJoJw . Support the show

Max dons his all-black outfit as he reviews the compilation album, "By Special Request" from Johnny Cash. Will he Walk the Line of a good review, or is it straight to Folsom Prison?Follow along with the songs we discuss with this week's Spotify Playlist.Discover more new music and hear your favourite artists with 78 Amped on Instagram and TikTok.

Dan and Andy provide a review of a recent show they attended at the Ames Center in Burnsville, MN. The Folsom Prison Experience starring Jay Ernest (Johnny Cash) and Kat Perkins (June Carter) was an excellent show! Right from the start when "doors open" you will know you are not in "Kansas" any longer. The sights. The sounds. The feel will be like you are at Folsom Prison on January 13th 1968. Don't mess with the guards or the warden. They have a job to do! Even the ever serious DJ/emcee Hugh Cherry has a job to do and won't let you forget it. Oh, and don't be late for "Roll Call" or you could end up in the hole! Sports and Songs Podcast Links: https://www.facebook.com/sportsandsongs1 https://twitter.com/SportsandSongs1 https://www.instagram.com/sportsandsongs/ https://www.sportsandsongspodcast.com/

Johnny Cash - the Man in Black - was almost more myth than man. But what it is undeniably true is the power of this week's record: At Folsom Prison.With his career hanging in the balance, Cash delivered a performance that deftly walked the line (pun fully intended) of addressing the harsh realities of his audience with moments of levity.Cash and the Tennessee Three are on fire, and the set lists contained timeless classics from his catalog to that point. And yet, the most storied track may be one that isn't his, but from an inmate at Folsom...Check out the episode, and like, subscribe, and share the show with folks who should know the story behind this iconic album!Thanks for listening! Check out everything we have going on via the info below: Instagram: @earwaxpod TikTok: @earwaxpod Amoeba on Instagram: @amoebahollywood @amoebasf @amoebaberkeley Questions, Suggestions, Corrections (surely we're perfect): earwaxpodcast@amoeba-music.com Credits:Edited by Claudia Rivera-TinsleyAll transition music written and performed by Spencer Belden"EarWax Main Theme" performed by Spencer Belden feat. David Otis

On this day in 1968, Johnny Cash performed at Folsom Prison. 

Embarquez avec nous dans les coulisses du concert légendaire de Johnny Cash à la prison de Folsom, en Californie, le 13 janvier 1968. Cette performance inédite, qui a donné naissance à l'album culte « At Folsom Prison », a marqué un tournant décisif dans la carrière de l'homme en noir.Écoutez comment Johnny Cash, alors en pleine traversée du désert, s'est senti « concerné par le sort réservé aux prisonniers » depuis qu'il avait vu le film « Inside the Walls of Folsom Prison » en 1951. Après des années de lutte contre la drogue, il a décidé de se racheter une conduite en se consacrant à la religion et en partageant son talent avec ceux qui étaient derrière les barreaux.Plongez dans l'atmosphère pesante et lugubre qui régnait dans la prison de Folsom ce jour-là. Vivez avec intensité les moments de stress et de trac de Johnny Cash, qui craignait que ses « cordes vocales ne lui jouent un mauvais tour ». Puis laissez-vous emporter par l'énergie électrique qui s'est dégagée lorsque l'artiste a commencé à chanter, porté par un public de détenus en délire.Découvrez comment cette prestation a permis à Johnny Cash de renaître de ses cendres et de redevenir une figure incontournable de la musique country-rock. Le Los Angeles Times le décrit alors comme n'ayant « jamais été aussi bon », tandis que le magazine Rolling Stone en fait « le chaînon manquant entre country et rock ».Ne manquez pas non plus ce détail fascinant : la veille du concert, Johnny Cash a découvert et appris une chanson écrite par un détenu condamné pour vol à main armée, qu'il a ensuite incluse dans sa setlist. Un geste symbolique qui en dit long sur la sensibilité de l'artiste.Alors préparez-vous à vivre une expérience musicale hors du commun, à la rencontre de l'homme en noir et de son public le plus inattendu.

Johnny Cash had a hard scrabble life before finding success in country music songs that focused on the underdogs of society. By 1968 he had hit tough times and needed a hit to revive his career. The boys get together to discuss sweating bullets on stage, authoritative delivery, and the bottom three strings on the guitar.Join our Mailing List here: https://linktr.ee/1001albumcomplaintsEmail us your complaints (or questions / comments) at 1001AlbumComplaints@gmail.comListen to our episode companion playlist (compilation of the songs we referenced on this episode) here:https://open.spotify.com/playlist/7DzFaovQlKgQ1B0oJxxZiW?si=c15becb42d924143And...check out Phil's "Prison Set" discussed in the episode here: https://open.spotify.com/playlist/3UtwnmMg8UBslkoEXKGvlo?si=a89ab9141cba462fListen to At Folsom Prison here:https://open.spotify.com/album/4TJIdlY9hGSSTO1kUs1neh?si=sgj7h4pIRCqy3IFfFKQ7qwIntro music: When the Walls Fell by The Beverly CrushersOutro music: After the Afterlife by MEGAFollow our Spotify Playlist of music produced directly by us. Listen and complain at homeFollow us on instagram @thechopunlimited AND @1001AlbumComplaintsJoin us on Patreon to continue the conversation and access 30+ hrs of bonus shows!https://www.patreon.com/1001AlbumComplaintsWe have 1001 Merch! Support us by buying some.US Merch StoreUK Merch StoreNext week's album: Ryan Adam - Heartbreaker

When Valentino Rodriguez started his job at a high-security prison in Sacramento, California, informally known as New Folsom, he thought he was entering a brotherhood of correctional officers who hold each other to a high standard of conduct.Five years later, Rodriguez would be found dead in his home. His unexpected passing  would raise questions from his family and the FBI. Before he died, Rodriguez was promoted to an elite unit investigating crimes in the prison. His parents and his widow say he had been hoping for the position for a long time. But once inside the unit, the job consumed him. From day one, his fellow officers began to undermine and harass him. Stressed and fed up with how he was being treated, Rodriguez reached a breaking point. He left the prison, but his experiences there still haunted him—so he went in for a meeting with the warden. He didn't know it would be his last.This week on Reveal, we partner with KQED reporters Sukey Lewis and Julie Small and the On Our Watch podcast to explore what this correctional officer's story shows about how the second-largest prison system in the country is failing to protect the people who live and work inside it.This is an update of an episode that originally aired in March 2024. Listen to the whole On Our Watch series here. Support Reveal's journalism at Revealnews.org/donatenow Subscribe to our weekly newsletter to get the scoop on new episodes at Revealnews.org/weekly Instagram

Randy Newman is one of the most misunderstood and under-celebrated musicians of the modern era. Reknowned Music Journalist/Author Robert Hilburn's new book, A Few Words in Defense of Our Country is the definitive Randy Newman biography and Bob joins us to spotlight the genius and the legend of a great American musician and storyteller.Robert Hilburn was the music critic for the Los Angeles Times for 35 years and he's written books about John Lennon, Paul Simon, Bruce Springsteen and Johnny Cash. Bob tells us that Newman (much like Simon) had to be convinced to have his legacy chronicled. Randy grew up in a legendary musical family in which tooting your horn (metaphorically) was frowned upon. His uncles composed movie scores and they taught Randy to let the work be your voice.We hear about Randy's challenging childhood, the pressure he felt to succeed in music and how success, once achieved, incurred his father's envy. Throughout his career, Randy's best childhood friend, Lenny Waronker (who became a record exec) believed in him, opened doors and cheered his efforts.Diving further into Randy's work flow, creative struggles and anxiety-taming efforts, Bob illuminates Randy's genre-bending and cultural interrogating musical achievements.We also delve, with Bob, into the influence once held by music critics in the golden ages of both print media and the music industry. We discuss the futures of recorded music and journalism and Bob tells us about his favorite interview ever… with Bob Dylan… and that one time he went to Folsom Prison with Johnny Cash.Plus, Weezy recommends the original Apple TV+ movie, Blitz and Fritz is currently into the new series Rivals, streaming on Hulu and other platforms.Path Points of Interest:Robert HilburnRobert Hilburn on WikipediaA Few Words In Defense of Our Country: The Biography of Randy Newman by Robert HilburnRobert Hilburn Amazon Author PageRobert Hilburn on XAmanda PetrusichBlitz on Apple TVRivals - On Several Platforms

The warden at a troubled prison in northern California is retiring this month, and the governor has just given the former chief deputy warden there a big promotion. KQED reporters Julie Small and Sukey Lewis investigated this prison for their podcast On Our Watch, and they have an article out this week that tells the emotional story of a pair of whistleblowers who work there and the challenges they faced. Guest: Julie Small, KQED The co-founders of failed Fresno startup Bitwise Industries have been sentenced to prison for wire fraud.  Reporter: Kerry Klein, KVPR  Learn more about your ad choices. Visit megaphone.fm/adchoices

For this episode we're joined – all the way from sunny Southern California – by L.A. Times legend Robert Hilburn. Bob beams in to discuss his new biography of the peerless Randy Newman, but we start by asking him about the early childhood memories (of his native Louisiana) that he shares with Randy himself. From there he takes us from the Eureka moment of hearing a then-unknown Elvis Presley on the radio for the first time – through his teen years in suburban SoCal – to his early freelance pieces for the Times. Which include his account of accompanying Johnny Cash to Folsom Prison in January 1968... Bob's famously influential 1970 review of Elton John at West Hollywood's beloved Troubadour club gives us a chance to discuss the halcyon days of singer-songwriters and leads directly on to Randy Newman, whose "Troub" debut in the same year Bob also reviewed. We talk at length about the satirical genius behind 'Sail Away', 'Short People' and 'I Love L.A.', revisiting the 50-year-old Good Old Boys in depth and listening to clips from John Hutchinson's 1983 audio interview with Randy. Pieces discussed: Doug Weston: A Man Who Had a Passion for Art of the Troubadour, Elton John @ the Troubadour, Randy Newman @ the Troubadour, Randy Newman audio interview, Thelonious Monk, The Problems of Being Roger McGuinn, Felton Jarvis: Nashville Producer and Cornershop.

The Texas Syndicate (TS) is a powerful and influential prison gang that originated in California's Folsom Prison in the early 1970s. It was formed by Hispanic inmates from Texas to protect themselves against other established prison gangs, such as the Aryan Brotherhood and the Black Guerrilla Family. Unlike other gangs that formed along ethnic lines, the Texas Syndicate was built on regional loyalty, particularly among Texan inmates, which gave it a unique identity.The Texas Syndicate operates with a strict hierarchical structure, including roles like president, vice president, generals, lieutenants, and soldiers. The gang follows a rigid code of conduct that demands absolute loyalty, secrecy, and participation in all gang activities, including drug trafficking, extortion, and murder. Betrayal or disobedience is met with severe consequences, often fatal.The gang quickly expanded its influence from California to Texas, where it found a stronghold in the state's prison system and beyond. The Texas Syndicate is heavily involved in various criminal enterprises, such as drug trafficking, often working closely with major Mexican drug cartels, and extortion, both within and outside prison walls.The Syndicate has had violent rivalries with other prison gangs like the Mexican Mafia and the Texas Mexican Mafia, while also forming strategic alliances, such as with the Aryan Brotherhood, when it benefits them. Despite numerous law enforcement crackdowns and internal power struggles, the Texas Syndicate has demonstrated remarkable resilience and adaptability, allowing it to maintain its influence and operations.Culturally, the Texas Syndicate reflects the broader issues of marginalization and identity within the Hispanic community, especially in the context of the American prison system. Today, it remains a significant force in the criminal underworld, showing an ability to adapt to new challenges and continue its operations both inside prisons and on the streets.(commercial at 9:44)to contact me:bobbycapucci@protonmail.com

I had a chance to sit down with Lisa, a woman I knew when we were littles in Citrus Heights, California, where it was freakin' HOT! (I just returned from there; I'm still hot.) She's a forensic toxicologist.Lisa became inspired by forensics shows on TV to pursue the field. You're gonna learn about fruit DNA and some "information" about horses I will let you discover.She references this movie on Netflix, How to Fix a Drug Scandal. (In the episode, we refer to it as How to Solve a Drug Problem. Oops).If you want to read about the guy who robbed me working at Blockbuster Video in 1995, I couldn't find the link to The Sacramento Bee, but his name was Michael Lee Monfort. He served some of his time at Folsom Prison, where I would eventually work for a bit. He died awhile ago but had he still been at Folsom Prison when I was hired, he would have been transferred.The Golden State Killer was caught in 2018 using DNA technology thanks to genealogy websites. (I didn't think to ask Lisa to elaborate because I already knew what she was talking about!)Do you have an interesting career you think people should know about it? Email me at ProfessionalAnomalies@gmail.com!Follow me on all social media at @anomaliespod.Twitter/XInstagramFacebook (but cannot remember the Facebook password because I'm Erica)Find new and old episodes and don't forget to subscribe!Apple PodcastsSpotify(and on any other podcast platform you use!)

Adam Hartshorn joins us to discuss Johnny Cash's “At Folsom Prison.”  Plenty of other discussion including Harley t-shirts, breakdance circles, Couer d'Alene Lake, Provo (the good and the bad), cautionary tales, knowing your audience, “I'm On A Train,” Jack Clement, and Wayne laments “should we have done San Quentin instead?”Check out Adam Hartshorn at: https://www.adamhartshorn.com/Check out Johnny Cash at:   https://www.johnnycash.com/Check out other episodes at RecordsRevisitedPodcast.com or one all your favorite podcast providers like Apple Podcasts, Castbox, iHeartMedia, and Spotify. Additional content is found at: Facebook.com/recordsrevisitedpodcast or twitter @podcastrecords or IG at instagram.com/recordsrevisitedpodcast/ or join our Patreon at patreon.com/RecordsRevisitedPodcast

On July 27th, 1903, thirteen convicts at California's Folsom Prison, led by Richard "Red" Gordon, attacked prison guards, took hostages, emptied the armory and made a dash for freedom. Some would be captured and punished for the murders they committed along the way, some would be killed themselves, and others would forever elude authorities. My guest is Josh Morgan, author of "The Folsom Prison Bloody 13: The Big Escape of 1903". He joins me to share details of this epic escape and it's aftermath. The book is officially out on June 3rd. Pre-order the book on Amazon here: https://www.amazon.com/Folsom-Prison-Bloody-13-Escape/dp/1467155934 More about the author and his book here: https://www.joshmorganauthor.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Seeing Them Live, Charles and Doug welcome members of the eclectic New York City band Mad Meg: Ilya Popenko, Dan Vexler, Jason Laney, and Igor Reznik. The conversation starts with an introduction to Mad Meg's unique sound, characterized by a blend of various music genres and fronted by Ilya's distinct vocals. The band members recount their formation story within the Russian-speaking community of New York City, with Jason humorously describing his determined efforts to join the band despite not speaking Russian. The discussion then shifts to the band's concert experiences, highlighting an unusual and memorable performance at a women's correctional facility in Lithuania. Charles praises the energy of the live recording from this concert, drawing a comparison to Johnny Cash's iconic Folsom Prison performance. The band members reflect on the spontaneous nature of the prison show, which was organized in just a few days due to a canceled gig, and the exceptional audio quality captured by their sound engineer, Augustine.The episode also delves into the band's live performance history in New York City, specifically their residency at New Blue 151, where they have built a strong local following. They talk about their 2022 album, Who Deserves Balloons and Medals, which was notable for having videos accompanying many of the songs. Ilya shares insights into the creative process behind these videos, emphasizing the importance of maintaining artistic control and integrating visual elements to expand the dimensions of their music.The band's creative versatility extends beyond their music to filmmaking. Ilya, a skilled filmmaker, directed several of Mad Meg's music videos and completed a feature-length documentary about Jeffrey Lewis and the antifolk scene in New York. This film, which premiered at SlamDance Film Festival and was nominated for Best Documentary, showcases Ilya's multifaceted talents and the band's commitment to creative storytelling across different mediums.Throughout the episode, the members of Mad Meg share anecdotes and behind-the-scenes stories, offering listeners a deep dive into their artistic journey and the dynamic synergy that fuels their innovative work. This conversation not only highlights the band's musical achievements but also their ability to merge music with compelling visual narratives, making for an engaging and multifaceted artistic experience.BANDS MENTIONED: Adrian Baloo, Blonde Redhead, Frank Zappa, Genesis, Iron Maiden, Johnny Cash, King Crimson, Kino, Lounge Lizards, Mad Meg, Nine Inch Nails, Rolling Stones, Social Distortion, The BearsVENUES MENTIONED: 930 Club (Washington, D.C.), Gramercy Theatre (New York City), Happy Ending (Lower East Side, New York City), New Blue 151 (New York City), Penevėžys Women's Correctional Facility (Lithuania) PATREON:https://www.patreon.com/SeeingThemLivePlease help us defer the cost of producing this podcast by making a donation on Patreon.WEBSITE:https://seeingthemlive.com/Visit the Seeing Them Live website for bonus materials including the show blog, resource links for concert buffs, photos, materials related to our episodes, and our Ticket Stub Museum.INSTAGRAM:https://www.instagram.com/seeingthemlive/FACEBOOK:https://www.facebook.com/profile.php?id=61550090670708

This week, you get ME! I decided to take you through a timeline of the eight different state jobs I've worked so you can one, get a sense of why I turned into a professional anomaly, and two, because you might learn there is a government job out there for you! I didn't even give you all the deets! But, I talk about working inside Folsom Prison (twice!), working for the Cemetery and Funeral Bureau, the Department of Consumer Affairs, and so on. I'll be back next week with an all new episode interviewing others (in case you're tired of hearing from yours truly).Find me on all the of the socials at @anomaliespod.Email me at professionalanomalies@gmail.com! (Especially if you have any questions about working for the government!)

Dave McArthur and Clint Lanier discuss the 1968 album At Folsom Prison while sipping beer in brown bottles. There might also be some discussion of Live at San Quentin due to a totally understandable and forgivable mishap. Dave McArthur assures you that he later listened to At Folsom Prison and it was a bona fide banger and classic that slaps for sure!

In this conversation, Tim from Mark Pro discusses the benefits and differences of their recovery device. Mark Pro is not a TENS unit but rather falls into the category of NMES (neuromuscular electrical stimulation). Unlike TENS units, Mark Pro creates large muscle contractions that improve blood flow and lymphatic drainage, aiding in muscle recovery. The conversation also touches on the problems with icing, the importance of waste removal, and the need for proper recovery in youth sports. Tim emphasizes the role of sleep, hydration, nutrition, and active recovery in optimizing recovery and preventing overuse injuries. The conversation explores the use of Mark Pro as a pre-warmup and its benefits for young athletes. It also addresses the challenges faced in softball and the pushback from naysayers. The discussion highlights alternatives to icing and shares success stories in professional sports. Finally, it delves into the feedback received from parents and players. The conversation covers various topics related to youth sports, including parental investment, the challenge of finding reliable information, the importance of rest and recovery, vetting trusted resources, upcoming events and demos, educating athletes and parents, the role of nutrition in athletic performance, the challenges of eating healthy on the road, the importance of protein intake, the need for education in youth sports, and the focus on education and recovery. The walkout song chosen by the guest is ‘Folsom Prison’ by Johnny Cash. Please email us for any questions or feedback. Help us grow!!! TheSlidePodcastShow@gmail.com Make sure to leave us a review!!!! Website: www.theslidepodcastshow.com All Links: https://linktr.ee/theslidepodcastshow Youtube: https://www.youtube.com/@theslidepodcastshow Facebook: https://www.facebook.com/TheSlidePodcast Instagram: https://www.instagram.com/theslidepodcastshow/ TikTok: https://www.tiktok.com/@theslidepodcastshow?lang=en LinkedIn: https://www.linkedin.com/company/theslidepodcast YouTube: https://www.youtube.com/@theslidepodcastshow X: https://twitter.com/theslidepod

California State Prison, Sacramento – also known as New Folsom Prison – is considered one of the state's most dangerous. It's one of several facilities in California that house the most violent offenders, and corrections officers there use force at a rate that's nearly 40% higher than in other prisons. It's also a notoriously difficult environment for prison workers, who face high rates of work-related mental health issues, as well as hazing and abuse if they report official misconduct. A new season of KQED's award- winning podcast “On Our Watch” looks at the pattern of abuse, cover-up and corruption at New Folsom and traces the stories of whistleblowers who tried to bring it to light. We learn more from the KQED reporters behind the investigation. Guests: Julie Small, criminal justice reporter, KQED; reporter, "On Our Watch" Sukey Lewis, criminal justice reporter, KQED; host/reporter, “On Our Watch”; co-founder, the California Reporting Project Valentino Rodriguez Sr., father of Valentino Rodriguez Jr. - a whistleblower who worked at New Folsom Prison

Frank Shamrock, the former UFC Champion and #1 ranked pound for pound fighter in the world joins Paul on the podcast. Frank told Paul about his tumultuous upbringing regarding family, being in foster homes and spending time in juvenile detention. Things turned around when he was emancipated then married at 17 and when his son arrived. That fell apart and Frank fell backwards and ended up in Folsom Prison. He told Paul about his time in prison and Paul learned of two famous inmates who were in prison when Frank was there.  Frank has been a voracious reader from a young age and he has traveled the globe teaching and studying martial arts. Frank discussed training his body and mind, his fighting style and how he approached each opponent. They finished by talking about what the future may hold for Frank as well as talking about his son and daughter and a new addition to the family.

Walk the Line is a film directed by James Mangold based on Johnny Cash's book of the same name. The film follows Johnny's life from his early days on a Arkansas cotton farm to his rise of fame at Sun Records. It also showcases the love story between Johnny and June Carter.   Timecodes: 00:00 - DMP Ad :30 - Introduction :46 - The Film Facts 7:52 - The Pickup Line 9:00 - Johhny's childhood 14:08 - Actors portraying villains 18:47 - Stars trying to kick drugs 25:40 - Actors process to get into character 39:19 - Head Trauma 39:51 - Smoochie, Smoochie, Smoochie 40:12- Driving Review 42:10 - To the Numbers   References from the episode: Mid Mangold direct the last Indian Jones film? - Yes Where was Phedon Papamichael? Athens Greece What is the Etymology of stupid? Sweat gloss     Next week's film will be The Sixth Sense (1999)   Subscribe, Rate & Share Your Favorite Episodes! Thanks for tuning into today's episode of Dodge Movie Podcast with your host, Mike and Christi Dodge. If you enjoyed this episode, please head over to Apple Podcasts to subscribe and leave a rating and review. Don't forget to visit our website, connect with us on Instagram, Facebook, LinkedIn, and share your favorite episodes across social media. Email at christi@dodgemediaproductions.com Need help editing or producing your podcast, let us help you. Also, you can get 2 months free on Libsyn click here: https://signup.libsyn.com/?promo_code=SMOOCHIE

When Valentino Rodriguez graduated from the academy to become a correctional officer for the California Department of Corrections and Rehabilitation, he was promised a brotherhood. At his graduation, the new officers took an oath to protect the innocent, be honest and hold each other accountable. But when he started his job at the high-security prison in Sacramento, informally known as New Folsom, he found the opposite. He told his wife and father about misconduct in the prison and harassment, threats and mistreatment of incarcerated people. KQED reporters Sukey Lewis and Julie Small learned of Rodriguez's experience after he was found dead, just six days after reporting the misconduct he witnessed. Their series, On Our Watch, follows Rodriguez's case and his father's investigation into his son's death.  This episode opens with Lewis and her reporting team meeting the Rodriguez family at their home and Rodriguez's wife, Mimy. They tell the reporters about who Rodriguez was and his journey through New Folsom. In the prison, Rodriguez earned a spot as a member of an elite unit investigating crimes committed in the prison. But his colleagues made it clear they didn't think he deserved the promotion and demeaned his work. As the job weighed on Rodriguez and his mental health, his father, Val Sr., started to see him change.    After his son's death, Val Sr. collects all the evidence he can on his son's experience in the prison and shares it with Lewis and Small. This includes a copy of Rodriguez's cellphone that he used for work, with proof of the misconduct he reported from members of his unit. Through this personal record of Rodriguez's life, along with disciplinary records obtained through a recent transparency law passed in California, Lewis and Small find a pattern of misconduct that goes deeper than Rodriguez's experience.  In our last segment, Reveal host Al Letson sits down with Lewis and Small to discuss any accountability taken by prison officials. Only two of the men who harassed Rodriguez were disciplined, but none of the supervisors with knowledge of the harassment seem to have faced consequences. The reporters talk about other cases of misconduct they uncovered from public documents from the state corrections department, and they share how Rodriguez's father and wife have been since their reporting became public.  Support Reveal's journalism at Revealnews.org/donatenow Subscribe to our weekly newsletter to get the scoop on new episodes at Revealnews.org/newsletter Connect with us on Twitter, Facebook and Instagram

03.18.24 Inflation Has the "Folsom Prison Blues" ---------------------Hello, I'm Jerome CashI hear inflation comin', it's rolling round the bend.And I ain't seen it tumblin' since I don't know when.I'm stuck in Biden's Prison, inflation draggin' on.Biden pushes on demand with old-fashioned Democrat economic policies constraining commerce and unrestrained spending. Adding in Yellen's global minimum corporate tax releases inflation that is beyond transitionary according to repentant Treasury Secretary Janet Yellen.As a result, Powell will not ease as quickly as the market wants, but he will give it QT relief.Far from Folsom Prison, That's where Jay wants to stay,so he'll blow that QT whistle, Blow our Blues away.----------------------------Song: Folsom Prison Blues (1955)https://www.youtube.com/watch?v=s_NLlOiD1Wo Johnny Cash

Johnny Cash was a prolific hitmaker in the mid 50's to early 60's.  In the late 60's  he released a couple of live albums which had crossover appeal:  "Johnny Cash at Folsom Prison," and "Johnny Cash at San Quentin."  By 1969, Johnny Cash had become an international musical success, selling more records than the Beatles at the time.Cash had left his original label, Sun Records, back in 1958.  However, he had left an extensive catalogue of songs with Sam Phillips at Sun.  Given his success and the upcoming Johnny Cash TV show, Sun Records decided it would be a good time to release a compilation of his earlier hits from 1954 through 1958.  This compilation was released on two albums, "Original Golden Hits, Volume I" and "Original Golden Hits, Volume II," which reached numbers 4 and 3 on the US Country charts respectively.  Cash would go on to fame in TV and film in the 70's, and would continue recording up until his death in 2003.While not strictly rock music, the Man in Black was an icon of American music and an inspiration for many in country, rock, and pop genres.  It is also a special memory for Wayne, as he listened to this  8-track as he traveled with his father out of California to Alabama.Wayne takes us through this greatest hits album for today's podcast. Home of the BluesThe inspiration for this song was the "Home of the Blues" record shop on Beale Street in Memphis, Tennessee.  The store which was open from the late 40's until the mid 70's was a place he used to hang out, buy records, and meet other musicians. Hey PorterThis is Cash's first recorded song.  The setting is just after World War II, and the song focuses on a man returning home from overseas who feels elated to be returning to his native South, the last leg of which is by train.  Note that there is no percussion in this song, but Cash played his guitar with dampened strings to acquire a percussive effect.I Walk the LineJohnny Cash's first number 1 hit on the Billboard country charts eventually crossed over to the US pop charts, reaching number 17 and selling over 2 million copies in the United States.  The lyrics reflect temptations and the need to be accountable for your actions.  The frequent key changes make this song distinctive.Get RhythmThis was the B-side to "I Walk the Line."  It was re-released in 1969 as an A-side, and went to number 60 on the Billboard pop chart.   ENTERTAINMENT TRACK:Main theme from the television series “Fat Albert”The origin of Bill Cosby's animated series was an animated primetime television special that first aired on NBC on November 12, 1969.  STAFF PICKS:Birthday by Underground SunshineRob starts off the staff picks with a cover of the Beatles song by a group from Wisconsin.  The band had been around for a few years, but this cover helped them attain greater success.  Their cover made it to number 26 on the Billboard Hot 100.  Down on the Corner by Credence Clearwater RevivalLynch's staff pick is one of the best known songs by CCR.  The song talks about a band called "Willy and the Poor Boys" playing in the street for spare change.  It went to number 3 on the Billboard Hot 100 by the end of 1969.  I Can't Get Next to You by The Temptations Bruce gets us all moving with the number 1 single from David Ruffin, Melvin Franklin, Otis Williams, Eddie Kendricks, and Paul Williams - better known as The Temptations.  This was the second of four number 1 hits from the group, and was written by Norman Whitfield and Barrett Strong for the Motown label. I'm Tired by Savoy BrownWayne's staff pick charted at number 74 on the top 100, and has a very heavy electric blues feel.  Three members of this group out of London would go on to form Foghat.  The group's name came from American Blues label Savoy Records - a name that had an elegant sound.  "Brown" was added as an extremely plain word that contrasted nicely with the elegance of "Savoy." INSTRUMENTAL TRACK:Treat by SantanaSantana would produce a number of excellent instrumental hits during his decades in the rock scene, and this one is from his debut album. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Welcome to the Instant Trivia podcast episode 1126, where we ask the best trivia on the Internet. Round 1. Category: Going For Ward. With Ward in quotation marks 1: Former name for what we today call a flight attendant. a stewardess. 2: All the clothes belonging to you, or a tall piece of furniture to put them all in. a wardrobe. 3: Michael S. Evans holds this top administrative position at Folsom Prison. warden. 4: It precedes "Christian Soldiers" in a 19th century hymn. "Onward". 5: "Cavalcade" and "Conversation Piece" are 2 of his most popular plays. Noël Coward. Round 2. Category: Old Testament Heroes 1: When presented with this son's bloodstained coat, Jacob assumed that "an evil beast hath devoured him". Joseph. 2: This man said, "This is now bone of my bones, and flesh of my flesh; she shall be called woman". Adam. 3: This prophet "prayed unto the Lord his god out of the fish's belly". Jonah. 4: When he came to present the Israelites with the tablets of the law, they were dancing around a golden calf. Moses. 5: Because of the many psalms he wrote, this king was called "The Sweet Psalmist of Israel". David. Round 3. Category: Sounds Serious 1: Alcohol and spicy foods can cause pyrosis, better known as this painful sensation. heartburn. 2: Cutis anserina is nothing to worry about; it's just this "fowl" reaction to cold or fear. goose bumps. 3: If you have pollinosis, you have this seasonal allergy and not necessarily to the crop in its name. hay fever. 4: Diplopia is what doctors call this, also the title of a Foreigner hit. double vision. 5: Runners know medial tibial stress syndrome better by this 2-word name; ice may help. shin splints. Round 4. Category: Legendary Creatures 1: It's a multiheaded sea serpent in Psalms and the title of a masterwork of political philosophy by Thomas Hobbes. Leviathan. 2: In heraldry a dragon is often depicted sticking this barbed feature out of its mouth; how rude. its tongue. 3: The hideous basilisk can be killed by showing it this, something a vampire can't see. its reflection in the mirror. 4: In ancient China they came in different colors, and yellow ones were superior. dragons. 5: After going to a lot of trouble building a nest of fragrant boughs and spices, the Phoenix does this to it. burns it. Round 5. Category: Broadway Musicals By Setting 1: In and around the royal palace in Bangkok in the 1860s. The King and I. 2: The land of Oz, before and after Dorothy dropped in. Wicked. 3: A junkyard on the night of the Jellicle Ball. Cats. 4: The small village of Anatevka in Russia. Fiddler on the Roof. 5: Mushnik's skid row florists. Little Shop of Horrors. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

Trial Of The Big Beef SextetEpisode 424 is not your typical heartwarming holiday story, but takes place on Thanksgiving day, 1927, when a pack of Folsom prisoners enact a long-laid plan to make a big break from the big house. Needless to say, it doesn't end particularly well for any of them when two guards and ten prisoners meet their deaths as a result.Ad-Free EditionBecome a supporter of this podcast: https://www.spreaker.com/podcast/true-crime-historian--2909311/support.

Labor historian Julie Greene on why Woody Guthrie's 1943 New Year's resolutions still resonate today. On this week's Labor History in Two: the year was 1968; that was the day Johnny Cash played Folsom Prison.   Questions, comments, or suggestions are welcome, and to find out how you can be a part of Labor History Today, email us at LaborHistoryToday@gmail.com Labor History Today is produced by the Labor Heritage Foundation and the Kalmanovitz Initiative for Labor and the Working Poor. @WoodyGuthrieCtr #LaborRadioPod #History #WorkingClass #ClassStruggle @GeorgetownKILWP #LaborHistory @UMDMLA @ILLaborHistory @AFLCIO @StrikeHistory #LaborHistory @wrkclasshistory  

Aujourd'hui dans notre rétrospective, Valentine Sabouraud nous emmène dans l'une des plus anciennes prisons des Etats-Unis, un endroit dangereux qui a aussi été le cadre de deux concerts donnés et enregistrés par Johnny Cash – l'un des chanteurs les plus engagés pour les droits des détenus. Récit en musique et avec les archives de CBS News.

Etiquette, manners, and beyond! This week, Nick and Leah are enjoying a well-deserved break, but they'll be back next week with an all-new episode. In the meantime, here's one of their favorite episodes from the archives in which they tackle following dress codes on invitations, copying roommates' décor, clearing plates in restaurants, and much more. Please follow us! (We'd send you a hand-written thank you note if we could.) Have a question for us? Call or text (267) CALL-RBW or visit ask.wyrbw.com EPISODE CONTENTS AMUSE-BOUCHE: Dress codes A QUESTION OF ETIQUETTE: Unsolicited advice QUESTIONS FROM THE WILDERNESS: What do I do about a roommate who is copying my décor? What do you do if someone accidentally drinks out of your wine or water glass? VENT OR REPENT: Speakerphones in the bathroom, Clearing plates in restaurants CORDIALS OF KINDNESS: Thanks for the New Year's cheer, Thanks for the flowers THINGS MENTIONED DURING THE SHOW Dwight Yoakam on Wikipedia Johnny Cash at Folsom Prison on Wikipedia "Single White Female" trailer Otohime episode YOU ARE CORDIALLY INVITED TO... Support our show through Patreon Subscribe and rate us 5 stars on Apple Podcasts Call, text, or email us your questions Follow us on Instagram, Facebook, and Twitter Visit our official website Sign up for our newsletter Buy some fabulous official merchandise CREDITS Hosts: Nick Leighton & Leah Bonnema Producer & Editor: Nick Leighton Theme Music: Rob Paravonian TRANSCRIPT Episode 122 Learn more about your ad choices. Visit megaphone.fm/adchoices

Etiquette, manners, and beyond! This week, Nick and Leah are enjoying a well-deserved break, but they'll be back next week with an all-new episode. In the meantime, here's one of their favorite episodes from the archives in which they tackle following dress codes on invitations, copying roommates' décor, clearing plates in restaurants, and much more. Please follow us! (We'd send you a hand-written thank you note if we could.)Have a question for us? Call or text (267) CALL-RBW or visit ask.wyrbw.comEPISODE CONTENTS AMUSE-BOUCHE: Dress codes A QUESTION OF ETIQUETTE: Unsolicited advice QUESTIONS FROM THE WILDERNESS: What do I do about a roommate who is copying my décor? What do you do if someone accidentally drinks out of your wine or water glass? VENT OR REPENT: Speakerphones in the bathroom, Clearing plates in restaurants CORDIALS OF KINDNESS: Thanks for the New Year's cheer, Thanks for the flowers THINGS MENTIONED DURING THE SHOW Dwight Yoakam on Wikipedia Johnny Cash at Folsom Prison on Wikipedia "Single White Female" trailer Otohime episode YOU ARE CORDIALLY INVITED TO... Support our show through Patreon Subscribe and rate us 5 stars on Apple Podcasts Call, text, or email us your questions Follow us on Instagram, Facebook, and Twitter Visit our official website Sign up for our newsletter Buy some fabulous official merchandise CREDITSHosts: Nick Leighton & Leah BonnemaProducer & Editor: Nick LeightonTheme Music: Rob ParavonianTRANSCRIPTEpisode 122See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Enjoy four new stories here- Anne Greene's 2nd Life- In 1650 a young woman is accused of infanticide and hanged at Oxford- but survives despite the attentions given her by the physicians Jackie Gleason & The Aliens' America's beloved comic befriends President Nixon in Florida and is treated to a rare view at 4 alien bodies in a secret broom at a Florida Air Force Base Steve McQueen Meets the Blob- the iconic actor Steve McQueen shows up in Phoenixville PA for his first movie role and later joins the cast of the Magnificent 7 in trying to upstage each other Johnny Cash Heads for Folsom prison in 1969 to record a live album which turned his flagging career around just when he needed it most Learn more about your ad choices. Visit podcastchoices.com/adchoices

Buckle up for a rollicking ride through 1968 with your trusty guides, Scott McLean, Luke Calicho, & Mark Smith, from the Music Relish Show. We'll take you back to the year that shook the music industry to its core. We've got everything: The Beatles, Johnny Cash's Folsom Prison recording, The Bee Gees American debut, and even the notorious national anthem performance by Jose Feliciano at the World Series! Peering into the cultural and political vortex of 1968, we'll discuss riot aftermaths, draft anxieties, and the seismic shifts in the media landscape. You're about to feel the pulse of history's most tumultuous year through its most compelling medium - music.Ever wondered about the bands that shook the world in 1968? We've got that covered, too. From the psychedelic rock of The Archies to the soulful sounds of Earth, Wind & Fire, we'll give you the lowdown on every band that made waves that year. And, of course, we won't shy away from the juicier stuff, like the infamous breakup of the McLean Family Band over a basketball game. Moving on, we'll channel our inner film buffs and take a deep dive into the cinematic marvels of the time. You're in for a treat as we reminisce about classics like Planet of the Apes, The Producers, and Night of the Living Dead.To top everything off, we'll honor the late Shane MacGowan, the unforgettable musician who left an indelible mark on Irish and English music. We'll explore his legacy and contributions to the world of music. This episode is not just a step back in time - it's a nostalgic journey through the sounds, sights, and stories that shaped a year of change, challenge, and creativity. So get comfortable, turn up the volume, and let's travel back to 1968!

Hello...my name is Little Dick Nick the Quick Hit Dip Shit, and this is the best podcast about Johnny Cash and the 164th greatest album of all time, At Folsom Prison. And for all you Teenage Mutant Ninja Turtle podcast fans, this is also the #1 Krang Live Mashup Podcast of All Time.    In all seriousness, we didn't have very lively stuff on this podcast, but we did make Paul Rudd laugh when we talked about claiming a best friend, the best way to talk to celebrities and kids who use their parents' first names. Then you can count on us to meet you in the parking lot to discuss the David Beckham Netflix series, whether a hall pass is good for a relationship, and what not to do on Beale Street.   Then at (53:00) we're combing our hair and going to Jackson to discuss Johnny Cash's first live album, At Folsom Prison. We cover the Johnny Cash career resurgence, singing along with the Man in Black, and the best country music vocal performances of all time.   Next up, for both of you listening, we are going to take a pilgrimage to a radio-free Europe and become the best R.E.M. podcast when we cover their debut album, Murmur.    

Listeners...we live in a world that has music podcasts, and those music podcasts have to be guarded by co-hosts with amazing jokes. Who's gonna do it? You, Bob Ross? You, John Popper? The Beck Did it Better podcast has a greater responsibility than you can possibly fathom. You weep for more music discussion, and you curse our Teenage Mutant Ninja Turtles talk. You have that luxury. You have the luxury of not knowing what we know....that this podcast, while tragic, is probably the best podcast about disco music; and that our existence, while grotesque and incomprehensible to you, is the best podcast about the Bee Gees and 163rd greatest album of all time, the Saturday Night Fever soundtrack.   You don't want that truth because deep down in places you don't talk about at parties, you WANT to hear song parodies about cow pee and you NEED to hear us talk about sex tourism in Ft. Pierre, South Dakota.   We have neither the time or the inclination to explain ourselves to the dumbshit single-finger shifters who skip ahead to (54:00) to listen to the amazing Saturday Night Fever analysis that we provide and then question the manner in which we provide it.    We would rather that you just said "thank you" and recommend Beck Did it Better to your friends. Otherwise, we suggest you join us next week for the best Johnny Cash podcast, when we pull back the Long Black Veil on At Folsom Prison. Either way, we don't give a DAMN what you think you're entitled to.   Did we talk about cock cages for a second week in a row on this podcast? We did the job!   Did we talk about the real big nasty ones on this podcast? YOU'RE GODDAMN RIGHT WE DID!!!

Eine Weltkarriere mit unfassbaren Tiefen. Ob Tablettensucht oder Krankheiten - Johnny Cash steht immer wieder auf und hinterlässt unvergleichliche Musik. Von Uwe Schulz.

In the final episode of the current series, Sir Richard Stilgoe joins Cerys Matthews and Jeffrey Boakye as they add the final five tracks, taking us from a live recording in California's Folsom Prison to a massive 1980s pop classic via a celebration of freedom with the dismantling of the Berlin Wall in 1989. Drummer Jeremy Stacey is also on hand to fill us in on the changing fashions of laying down the beat. Add to Playlist returns to Radio 4 on 13th October Producer Jerome Weatherald Presented, with music direction, by Cerys Matthews and Jeffrey Boakye The five tracks in this week's playlist: Folsom Prison Blues (Live) by Johnny Cash Ode to Joy (Freedom) from Beethoven's Symphony No 9, conducted by Leonard Bernstein Monkey Wrench by Foo Fighters What's Love Got to Do With It by Tina Turner Der Vogelfänger bin ich ja / The Birdcatcher am I indeed from The Magic Flute by Mozart Other music in this episode: Bad Guy by Billie Eilish I'd Rather Go Blind by Etta James Crescent City Blues by Gordon Jenkins, sung by Beverly Mahr Smells Like Teen Spirit (Live) by Nirvana Dreadlock Holiday by 10cc Running Up That Hill (A Deal with God) by Kate Bush

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

Celebrating Women's History Month I interviewed Corinna Delgado a poet, emcee, red carpet reporter, tv reporter at DCW 50 and radio broadcaster at Mix 106.5 Baltimore 94.7 the drive in Washington D.C and remotely at hot 95.9 Austin Texas. We discussed her journey into Broadcasting on the radio and becoming a highly sought after person in the industry. How being in the military helped her with the work ethic she has now. Corinna Delgado has been a voice in broadcasting for over 20 years on more than 12 stations across the country. ​ Delgado has been a Reporter & Anchor for ABC and FOX affiliates in Anchorage, AK. ​ As a Journalist, she has written for The Anchorage Daily News, The Anchorage Press and The Northern Light. Delgado has also published 4 books, including 3 poetry compilations and 1 therapeutic creative writing workbook. ​ In addition to opening for countless acclaimed artists, Def Poetry Jam, Grammy winning artists The Roots, World Poetry Champion Buddy Wakefield, and many more, Delgado has won 2 State-Wide poetry Championships, ranked Nationally within the top ten performance poets with PSI (Poetry Slam Incorporated), and has been to Folsom Prison twice to perform for inmates with the Arts in Correction Program. Delgado also took the stage at TEDx Anchorage, performing a multi-media poetic monologue entitled "The Divine Connection of the Human Condition". Corinna is a dedicated humanitarian. She is a former commissioner on the Municipal Arts Advisory Commission for Anchorage Alaska. Delgado taught a 3 part therapeutic Writing Course "Writing as Therapy" in schools districts and correctional facilities across the states for over a decade. Delgado was the Development Director for AWAIC (The Abused Women's Aid In Crisis Shelter) and most recently performed for numerous community focused events during the pandemic. She continues to use her broadcast connections and art to serve as a platform for human rights issues. Delgado credits the 6 years served as a Combat Medic in the military as her foundation of service to others. A sought after public speaker, Corinna has been an emcee and key note speaker for such groups as The United Way, The NAACP, The National Endowment for The Arts, and The YWCA, to name a few. ​ Delgado can be heard waking up our Nation's Capitol on 94.7 The Drive, as well as Mid-Days on Baltimore's MIX 106.5, remotely on HOT 95.9 in Austin, TX and Planet 102.3 in Corpus Christi, TX. From her website https://corinna-delgado.wixsite.com/my-site-2

This Week's Sponsors: – Athletic Greens – AG1 Powder + 1 year of free Vitamin D & 5 free travel packs – Boll & Branch Bedding & Sheets – 15% Off + Free Shipping | USE CODE: MONEWS Headlines: – More Classified Docs Found Next to Biden's Corvette in Locked Garage (01:30) – AG Appoints Special Counsel to Probe Biden Classified Documents (03:30) – Inflation is Finally Taming– But Will It Be Enough for the Fed? (12:15) – U.S. Cancer Death Rate Drops 33 Percent (17:10) – Renewed Prostate Cancer Concerns Among Men (18:25) – Child Vaccination Rates Drop (19:35) – Arizona Building More Homes Despite Lack of Water (20:45) – Update: California Extreme Weather & Rain (23:40) – Exxon Predicted Global Warming– But Spent Decades Debunking It (25:40) – JP Morgan Suing 30 Year Old Founder Who Duped Them Into $175 Million Acquisition (28:10) – Why Jill & Mosh Think Forbes Should Do a 40 OVER 40 List ! (31:15) – Lisa Marie Presley Dead at the Age of 54 (32:25) – Nursing Strike Ends In NYC (34:00) – On This Day: Happy Birthday TV, MC Hammer; Folsom Prison (35:00) – What We're Watching, Reading & Eating (36:15) Links: What Jill Is Reading: The New Case for Social Climbing What Mosh Is Reading: Buy Now, Pay Later Concerns – Please remember to subscribe to the podcast and leave us a review. – Mosheh Oinounou (@mosheh) is an Emmy and Murrow award-winning journalist. He has 20 years of experience at networks including Fox News, Bloomberg Television and CBS News, where he was the executive producer of the CBS Evening News and launched the network's 24 hour news channel. He founded the @mosheh Instagram news account in 2020 and the Mo News podcast and newsletter in 2022. Jill Wagner (@jillrwagner) is an Emmy and Murrow award- winning journalist. She's currently the Managing Editor of the Mo News newsletter and previously worked as a reporter for CBS News, Cheddar News, and News 12. She also co-founded the Need2Know newsletter, and has made it a goal to drop a Seinfeld reference into every Mo News podcast. Follow Mo News on all platforms: Instagram: https://www.instagram.com/mosheh/ Twitter: https://twitter.com/mosheh Facebook: https://www.facebook.com/MoshehNews Snapchat: https://t.snapchat.com/pO9xpLY9 Youtube: https://www.youtube.com/moshehnews TikTok: https://www.tiktok.com/@mosheh Learn more about your ad choices. Visit megaphone.fm/adchoices

January 13, 1968. American singer and songwriter Johnny Cash records his best selling live album in front of an audience of convicts.Go to HistoryDaily.com for more history, daily.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Most people are surprised to hear that Thom Knoles has spent time in prison. And not just one prison. Several in fact.And not just in one country. He's spent time in multiple prisons in Australia and the United States of America.Listen in as Thom shares the tale of how he took control of his own destiny, and changed the destiny of hundreds of others in the process. Episode Highlights[00:45] A Deep Conviction[03:01] The Starry World[05:08] Jyotish - Vedic Astrology[06:47] Prison is in Your Future.[08:27] "Go to Prison."[09:47] Freedom Behind Bars[12:53] Multiple Prison Stays[14:24] Meditation in Prison[18:01] The Light Inside Useful LinksThe Light Inside - https://www.the-lightinside.com/info@thomknoles.com  https://thomknoles.com/https://www.instagram.com/thethomknoleshttps://www.facebook.com/thethomknoleshttps://www.youtube.com/c/thomknoleshttps://thomknoles.com/ask-thom-anything/