Podcast appearances and mentions of Gary Foster

AKAPAD The Film Buff shares his memories of first seeing Daredevil and his later quest to track down the DVD Director's Cut. Back in 2003, Daredevil was poised to be Marvel's next big hit, following the world-changing success of 2002's Spider-Man. However, what audiences received was unexpected. Despite its serious tone and faithful portrayal of the character's arc, the film faced mixed reactions. Over time, the internet would prove unkind to Ben Affleck's portrayal of Marvel's blind vigilante. Writer-director Mark Steven Johnson had a deep appreciation for the character, incorporating many iconic elements from the comics that defined Daredevil's milestone storylines. Yet, the film's reception left fans divided—until the release of the Director's Cut, which many consider a redemption of the original vision. More about this film. DAREDEVIL (2003) – THE MAN WITHOUT FEAR HITS THE BIG SCREEN! Alright, true believers, strap in! In 2003, Hollywood took a blind leap of faith with Daredevil, bringing Marvel's roughest, toughest, most justice-obsessed street brawler to the big screen. Ben Affleck trades his Boston accent for a red leather suit as Matt Murdock, a blind lawyer by day and a no-holds-barred vigilante by night. Fueled by a tragic origin (radioactive goo—because, comics!), Murdock develops super-heightened senses, letting him "see" the world in a way no one else can. But what's a hero without some serious trouble? Enter Elektra (Jennifer Garner), the lethal love interest with daddy issues, and Wilson Fisk, aka The Kingpin (Michael Clarke Duncan), the crime lord pulling all the strings. And just to make sure things get extra insane, we've got Colin Farrell chewing up the scenery as Bullseye, a psycho assassin who can turn a paperclip into a deadly weapon. Packed with rooftop acrobatics, bone-crunching fights, and a soundtrack straight out of your early-2000s Napster playlist, Daredevil was Marvel's attempt to go dark and gritty before The Dark Knight made it cool. While the theatrical cut took some heat, the Director's Cut added more grit, more lawyering, and—believe it or not—a better story. So, was Daredevil the next Spider-Man, or did it get blindsided by its own ambition? Either way, one thing's for sure: The Devil of Hell's Kitchen got his time in the spotlight, and fanboys will be debating its legacy for years to come! Those who brought us this film. Main Cast: Ben Affleck – Matt Murdock / Daredevil Jennifer Garner – Elektra Natchios Colin Farrell – Bullseye Michael Clarke Duncan – Wilson Fisk / The Kingpin Jon Favreau – Franklin "Foggy" Nelson Joe Pantoliano – Ben Urich David Keith – Jack Murdock Leland Orser – Wesley Owen Welch Ellen Pompeo – Karen Page Erick Avari – Nikolas Natchios Derrick O'Connor – Father Everett Key Crew Members: Director: Mark Steven Johnson Writer: Mark Steven Johnson Producers: Avi Arad, Gary Foster, Arnon Milchan Executive Producers: Stan Lee, Kevin Feige, Bernie Williams Cinematography: Ericson Core Editor: Dennis Virkler Music Composer: Graeme Revell Production Designer: Barry Chusid Costume Designer: James Acheson

AKAPAD The Film Buff shares his memories of first seeing Daredevil and his later quest to track down the DVD Director's Cut.Back in 2003, Daredevil was poised to be Marvel's next big hit, following the world-changing success of 2002's Spider-Man. However, what audiences received was unexpected. Despite its serious tone and faithful portrayal of the character's arc, the film faced mixed reactions. Over time, the internet would prove unkind to Ben Affleck's portrayal of Marvel's blind vigilante.Writer-director Mark Steven Johnson had a deep appreciation for the character, incorporating many iconic elements from the comics that defined Daredevil's milestone storylines. Yet, the film's reception left fans divided—until the release of the Director's Cut, which many consider a redemption of the original vision.More about this film. DAREDEVIL (2003) – THE MAN WITHOUT FEAR HITS THE BIG SCREEN!Alright, true believers, strap in! In 2003, Hollywood took a blind leap of faith with Daredevil, bringing Marvel's roughest, toughest, most justice-obsessed street brawler to the big screen. Ben Affleck trades his Boston accent for a red leather suit as Matt Murdock, a blind lawyer by day and a no-holds-barred vigilante by night. Fueled by a tragic origin (radioactive goo—because, comics!), Murdock develops super-heightened senses, letting him "see" the world in a way no one else can.But what's a hero without some serious trouble? Enter Elektra (Jennifer Garner), the lethal love interest with daddy issues, and Wilson Fisk, aka The Kingpin (Michael Clarke Duncan), the crime lord pulling all the strings. And just to make sure things get extra insane, we've got Colin Farrell chewing up the scenery as Bullseye, a psycho assassin who can turn a paperclip into a deadly weapon.Packed with rooftop acrobatics, bone-crunching fights, and a soundtrack straight out of your early-2000s Napster playlist, Daredevil was Marvel's attempt to go dark and gritty before The Dark Knight made it cool. While the theatrical cut took some heat, the Director's Cut added more grit, more lawyering, and—believe it or not—a better story.So, was Daredevil the next Spider-Man, or did it get blindsided by its own ambition? Either way, one thing's for sure: The Devil of Hell's Kitchen got his time in the spotlight, and fanboys will be debating its legacy for years to come!Those who brought us this film. Main Cast:Ben Affleck – Matt Murdock / DaredevilJennifer Garner – Elektra NatchiosColin Farrell – BullseyeMichael Clarke Duncan – Wilson Fisk / The KingpinJon Favreau – Franklin "Foggy" NelsonJoe Pantoliano – Ben UrichDavid Keith – Jack MurdockLeland Orser – Wesley Owen WelchEllen Pompeo – Karen PageErick Avari – Nikolas NatchiosDerrick O'Connor – Father EverettKey Crew Members:Director: Mark Steven JohnsonWriter: Mark Steven JohnsonProducers: Avi Arad, Gary Foster, Arnon MilchanExecutive Producers: Stan Lee, Kevin Feige, Bernie WilliamsCinematography: Ericson CoreEditor: Dennis VirklerMusic Composer: Graeme RevellProduction Designer: Barry ChusidCostume Designer: James Acheson

Gary Foster aka Gary Smash stops by the show to chat about “the best job in the world” - being a dad to his son, Roman. Plus, upcoming Mest tours, their instant classic, “Hate You Sober”, and more!

We are still in disbelief after getting to chat with Gary Foster from Mest! He had so many great stories and experiences to share and we know you will enjoy the conversation as much as we did. From an iconic first concert to a truly amazing memorable concert moment. You don't want to miss this one!Find the music and artists referenced this week here: https://open.spotify.com/playlist/0DqBc87UgGW0a90eHlzFz0?si=7a7068254fcd4995Find Gary here: @gary_smashFind Mest here: @theofficialmestMusic Video Links:https://www.youtube.com/watch?v=n6P0SitRwy8https://www.youtube.com/watch?v=Su6U0t74ncsPlease send concert/event stories and questions to girlsattherockshowpod@gmail.comPlease follow us on IG, Facebook, and TikTok @girlsattherockshowpod*Note: We plan to read concert/event stories and questions on the podcast so if you would like to remain anonymous, please let us know. Hosted on Acast. See acast.com/privacy for more information.

The Rod and Greg Show Daily Rundown – Thursday, January 30, 20254:20 pm: Dr. Gary Foster, a state dental representative from Cache County, joins the program for a conversation about Senate Bill 81, which would remove fluoride from Utah's drinking water.5:05 pm: Jay Ratliff, iHeartMedia Aviation Expert, joins the program to discuss the latest from the tragic airplane-helicopter collision in Washington, D.C.6:05 pm: Steve Moore, Economist and co-founder of Unleash Prosperity, joins the program for his weekly conversation about politics and the nation's economy.6:38 pm: Author and journalist Bethany Mandel joins Rod and Greg to discuss her piece for the New York Post about Vice President JD Vance's pro-family priorities.

This episode of The Other Side of the Bell, featuring trumpeter, Sal Cracchiolo, is brought to you by Bob Reeves Brass. Tickets for the Youth Trumpet Scholars Trumpet Trilogy can be purchased here. About Sal Cracchiolo: Salvator William Cracchiolo II was born in Long Beach, California as the son of two talented music teachers.  His father, Sal Cracchiolo I, owned a music studio where he taught piano and played professional accordion.  His mother, Edith, was his first trumpet teacher and started Sal on trumpet at the age of 12.  He played in concert, marching and jazz band in high school.  By his Junior and Senior year of High School, he was attending Cerritos College playing in their jazz and concert bands. He started working as a professional musician at 15 in nightclubs with various R & B and Latin bands.   In 1975 he started a long musical friendship with Poncho Sanchez, which ultimately let to 18 albums.  Between working with Poncho, in the 1980s, he was a member of the Pasadena City College Big Band under the direction of saxophonist, Gary Foster.  While in this band, Sal played with such jazz greats as Warren Marsh, Lee Konitz, and Peter Erskine. In the late-80s, Poncho traveled internationally.  Since then, with Poncho and other acts, Sal has traveled to 45 countries globally.  With Poncho, he has played and recorded with Dizzy Gillespie, Freddie Hubbard, Cal Tjader, Chick Corea, Stanley Turentine, Tito Puente, Mongo Santamaria, Clare Fischer, Gary Foster, Arturo Sandoval, Eddie Harris, Joey DeFrancesco, Dianne Reeves, Justo Almario, Andy Martin, Celia Cruz and Pete Escovedo.  He performed for and with these artists at the Monterey, Playboy, Concord, and Nice Jazz Festivals plus many others throughout the U.S., Europe, Canada, Mexico, South America, Thailand and Japan. He has also done worldwide tours with such artists as Tom Jones, Vicki Carr, Harry Connick and Brian Setzer. He was with the Clayton/ Hamilton Jazz Orchestra and has played with them since 2003. The CHJO has been rated as the #1 Big Band in the USA by Downbeat Magazine from 2007 to 2010.  He also performing with his own sextet featuring his wife, Melanie Jackson, on vocals  In 2001 “Fly” was nominated for a Latin Grammy. He has performed on the latest albums of Michael Buble, Gladys Knight, Joss Stone, Jamiroquoi, and Dr. Dre and on various sountracks for HBO. In 2001,  their CD, “Fly”, was nominated for a Latin Grammy.  In 2002 they performed at the Du Maurier Vancouver International Jazz Festival.  In 2003 they will be performing for the warm-up for the Playboy Jazz Festival. In 2004 through 2006  Sal and Melanie's sextet was sponsored by the California Arts Council.

Ruth Alexander speaks to patients about their experiences of weight-loss drugs. The new class of drugs impact appetite, making you feel full sooner, and slowing the rate at which your stomach empties. Known as GLP-1 medications, studies suggest that patients can lose 10% or even up to 25% of their body weight depending on which drug they use. For many who have struggled with obesity and obesity related disease the drugs have the potential to transform their health. However some patients have struggled with the side effects of the drugs and the manufacturers' own studies indicate that if people stopping taking them, much of the weight lost is regained, making them drugs for life for some. Ruth Alexander speaks to Professor of Cardiometabolic Medicine, Naveed Sattar, at Glasgow University who is Chair of the UK government's obesity mission. He explains how these drugs work and the potentials costs and savings for the National Health Service, or NHS. Adrienne Bitar, historian at Cornell University in New York, is the author of ‘Diet and the Disease of Civilization', a study of diet books of the 20th century. She explains the ideas diet culture is built on. And Ruth asks Gary Foster, Chief Scientific Officer at WeightWatchers, what these weight-loss drugs will mean for the multi-billion-dollar diet industry. Presented by Ruth Alexander. Produced by Beatrice Pickup. Image: Michelle Herum in Denmark who currently uses a weight loss drug. Credit: Hanne Juul/BBC)

Gary Foster (https://www.linkedin.com/in/thegaryfoster/) is a Sales Hypnotist, sales trainer and salesman. In this interview he shares his thoughts on: Copying successful salespeople Making your sales pitch more comfortable and formal How to be a helpful salesperson Serving to sell Using language to increase sales Making selling fun LET'S CONNECT: Web: smashingselfemployment.com YouTube: @smashingselfemployment LinkedIn: @karlcraigwest Get the Smashing Self-Employment book : https://amzn.to/2GiBBEL

Bradley Olson has tried a lot of different diets over his 20-year weight-loss journey, including popular programs like WeightWatchers. But nothing was as successful for him as Mounjaro, one in a new class of drugs that people are taking for weight loss.  In this episode, Brad talks about his experience on the medicine and grapples with everything the drug couldn't fix, from his self image to our food system. He confronts the ghosts of diets past and wades into the larger cultural conversation around weight loss. Guests include: Gary Foster from WeightWatchers; Virgie Tovar, a body positivity advocate; Dr. Robert Lustig, an endocrinologist.  Listen to Episodes 1 and 2 of “Trillion Dollar Shot” now.  Learn more about your ad choices. Visit megaphone.fm/adchoices

In the dynamic world of weight loss, Weight Watchers, now rebranded as WW, has long been a prominent figure, dedicated to science-backed methods that promote sustainable weight management.However, the weight management landscape is experiencing notable shifts, that are reshaping the way individuals perceive their health and weight.In this discussion hosts Dr. Gautam Gulati and Dr. Jessica Shepherd are joined by two distinguished experts in the field of weight loss.Dr. Gary Foster, the Chief Scientific Officer at WW, brings a wealth of knowledge in obesity research and a deep commitment to scaling science-validated approaches for sustained weight management.Dr. Spencer Nadolsky serves as the Medical Director at WW and is a fervent advocate of telemedicine. He played a pivotal role in developing "Sequence," an online weight management program that Weight Watchers acquired in April 2023.The discussion walks listeners through the behavior changes, patient empowerment, and obesity-related stigma that need to be addressed for a more comprehensive and compassionate approach to treatment.Listen in as Dr. Foster and Dr. Nadolsky discuss the multifaceted aspects of obesity treatment and explore the evolving landscape of individualized and science-proven methods for sustainable weight management and improved health. About Dr. Gary FosterGary Foster, PhD is a clinical psychologist, obesity researcher and behavior change expert. He also serves as the Chief Scientific Officer at WeightWatchers and is an Adjunct Professor at the Perelman School of Medicine at the University of Pennsylvania. Previously, he was the Founder and Director of the Center of Obesity Research and Education and Laura Carnell Professor of Medicine, Public Health and Psychology at Temple University in Philadelphia, where Gary is based.Gary has authored more than 250 scientific publications and four books on the causes, prevention and treatment of obesity. He has received numerous honors including President of The Obesity Society, the Atkinson-Stern Award for Distinguished Public Service from The Obesity Society, and the George Bray Outstanding Scientific Achievements Award in Obesity Research from the American Society for Nutrition. His most recent book, The Shift: 7 Powerful Mindset Shifts for Lasting Weight Loss, is a national bestseller.At WeightWatchers, Gary leads the Science Team and is a member of the Leadership Team.     About Dr. Spencer NadolskySpencer Nadolsky, DO, is an obesity and lipid specialist physician with a passion for improving patient outcomes through innovative solutions. As the Medical Director for WeightWatchers, Dr. Nadolsky supports the WW clinical program research and development, bringing his knowledge and expertise from the field alongside his experience scaling Sequence, the online comprehensive chronic weight management program and telehealth platform which was acquired by WeightWatchers in April 2023. Dr. Nadolsky is committed to research and development, informing science-backed program creation to transform the way weight management is delivered to individuals in support of their overall health. With a background in telemedicine and fitness coaching, Dr. Nadolsky brings a unique perspective to the digital healthcare space. Topics CoveredThe shift away from unsustainable fad diets to more holistic and sustainable weight management approachesHow scientists are leveraging positive psychology, cognitive behavioral therapy, and mindset changes to improve the weight loss journeyHow WW is addressing the stigma associated with obesity by challenging societal biases and advocating for a compassionate and informed approachThe significance of maintaining an "adiposity-based" approach to addressing the root cause of obesityAdvancements in obesity treatment with the introduction of GLP-1 medications that offer substantial weight loss and minimal side effectsThe efforts to raise awareness about the biological factors influencing weight gainThe WW program's key components, including a points-based food system, activity, mindset, and sleep, provide science-based guidance for healthy habits Connect with Dr. Gary FosterDr. Foster on LinkedInDr. Foster on X Connect with Dr. Spencer NadolskyDr. Spencer NadolskyDr. Nadolsky on X Connect with Dr. Gautam Gulati & Dr. Jessica ShepherdHLTHDr. Gulati on XDr. Gulati on LinkedInDr. Jessica Shepherd MDDr. Shepherd on X ResourcesWeight Watchers (WW)The Shift by Gary Foster, PhD 

This week I have drummer and a good friend  over 2 decades: Gary Foster. Gary was one of the first drummers I met when I was on the Warped Tour 2002(fresh out of high school) and I got to meet his bass player Ronnie Ficarro who would eventually go on to do 4 different projects with me in the coming years. We talk about how Gary got his start, how we met, what he's been able to accomplish in music and everything else in between. I'm so stoked that he and I are still active drummers after all these years.  The post Gary Foster- Mest appeared first on idobi Network.

Gary Foster, PhD, serves as the Chief Scientific Officer at WW, overseeing the science-based program and all research initiatives. In this episode, Dr. Spencer Nadolsky and Dr. Gary Foster delve into topics of cognitive behavioral therapy and positive psychology in the context of weight loss.

This episode of ‘Peer2Peer: The Podcast' is the first from a series of four episodes dedicated to OMIDRIA®(phenylephrine and ketorolac intraocular solution) 1%/0.3%. Dr Arjan Hura, together with top surgeons Gary Foster, Rebecca Metzinger, Denise Visco, Neda Nikpoor, Inder Paul Singh, Kendall Donaldson, Keith Walter and Mitch Jackson share their thoughts and experience on the use of OMIDRIA in cataract surgery. They highlight the benefits of incorporating OMIDRIA, including an improved surgeon, practice, and patient perioperative experience.   This podcast is provided for general information purposes only. The presenters' views are their own. Nothing contained within this podcast is intended to offer medical advice for the treatment of any illness or disease, nor is it a substitute for professional medical advice, diagnosis or treatment. Nothing presented in this podcast is intended to give instruction or guidance on the use of any Rayner or other products; it is not designed to replace a surgeon's independent judgement about the appropriateness or risks of a procedure for a given patient. Rayner does not endorse off-label use. Users must refer to the product labelling and instructions for use for Rayner products in all cases. OMIDRIA Podcasts are for the attention of USA HCPs only. OMIDRIA is distributed by Rayner Surgical Inc. Rayner, the Rayner logo, OMIDRIA, and the OMIDRIA logo are proprietary marks of Rayner. © 2023 Rayner Group, all rights reserved. US-OM-2300030 07/23   IMPORTANT SAFETY INFORMATION  OMIDRIA® must be added to irrigating solution prior to use and is contraindicated in patients with known hypersensitivity to any of its ingredients. Systemic exposure of phenylephrine may cause elevations in blood pressure. The most commonly reported ocular adverse reactions at ≥2% are eye irritation, posterior capsule opacification, increased intraocular pressure, and anterior chamber inflammation. Please see the Full Prescribing Information for OMIDRIA: https://www.omidriahcp.com/documents/8/OMIDRIA-Prescribing-Information.pdf  

Ontario healthcare workers won a significant victory this week. An arbitrator awarded retroactive salary increases for each of the last two years. But healthcare worker unions in the province say it still isn't enough. Sharleen Stewart,President of SEIU Healthcare and representing those hospital workers spoke with us. Belleville Cemetery celebrates its 150 years of life. The landmark marks it's anniversary with visits from local dignitaries, walking tours and even actors playing characters from the city's past. Dan Atkinson, the President of Belleville Cemetery, and Gary Foster, former member of its Board of Directors raves about the event. Students and teachers both learn and pass on knowledge in a Simcoe County school board workshop to promote student mental health . We'll hear about the pilot program and how the students are part of the solution. Ayesha Maryam, a Grade 11 student at Nottawasaga Pines Secondary School, and Louise Pike, a wellbeing facilitator with the SCDSB, speak on this workshop and how it benefits the students.

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

Danny returns once more to Alanbrooke Hall in Belfast, and the supernatural saga of Room 611. He's joined by former Queens University students Ken and Gary Foster to talk about the case. Recorded live at UncannyCon 2023. Written and presented by Danny Robins Editor and Sound Designer: Charlie Brandon-King Music: Evelyn Sykes Theme Music by Lanterns on the Lake Produced by Danny Robins and Simon Barnard A Bafflegab and Uncanny Media production for BBC Radio 4

Weight loss is the topic with our guest, clinical psychologist Dr. Gary Foster,  He is an obesity researcher and behavior change expert who is the Chief Scientific Officer at Weight Watchers and the bestselling author of "The Shift: 7 Powerful Mindset Changes for Lasting Weight Loss".   Nom Nom uses the latest science and insights to make real, good food for dogs. Their nutrient-packed recipes are crafted by Board Certified Veterinary Nutritionists, made fresh, and shipped FREE to your door.  Nom Nom's already delivered over 40 million meals to good dogs like yours, inspiring millions of clean bowls and tail wags.  Nom Nom comes with a Money Back Guarantee. If your dog's tail isn't wagging within 30 days, Nom Nom will refund your first order.  No fillers. No nonsense. Just Nom Nom.  Go Right Now for 50% off your no-risk two week trial at trynom.com/Nobody

Adrianne Jones aus Mansfield ist eine gute Schülerin mit großen Zukunftsplänen. Doch die hübsche 16-Jährige testete auch ihre Grenzen aus und geht heimlich zu Partys - was ihrem Vater gar nicht passt, zumal Drogengangs in der Gegend ihr Unwesen treiben. Als Adrianne eines Morgens verschwindet, machen sich die Eltern große Sorgen und melden das Mädchen als vermisst. Währenddessen nimmt der Fall 15 Kilometer entfernt eine tragische Wendung, nachdem ein Nachbar namens Gary Foster im Gras neben seinem Grundstück eine weibliche Leiche entdeckt. Die Tote wurde regelrecht hingerichtet mit einem Kopfschuss zwischen die Augen. Handelt es sich um einen Auftragsmord oder stammt der Täter aus den eigenen Reihen? *** Werbung Hello Fresh Mit dem Gutscheincode HFMORDLAUSCH sparst Du in Deutschland und Österreich bis zu 90€ auf Deine ersten 4 Boxen von HelloFresh. Kostenlosen Versand für die 1. Box gibt's obendrauf dazu. Für die Schweiz sind es bis zu CHF 140.- auf Deine ersten 4 Boxen Link für DE/AT: http://hellofresh.de/podcast Link für CH: http://hellofresh.ch/podcast Der Code ist nur für Neukund*innen einlösbar. Emma Finde Deinen besten Schlaf mit den Produkten von Emma. Jetzt risikofrei 100 Nächte Probeschlafen. Spare kombinierbar 5% on top auf alle Angebote auf www.emma-matratze.de/emmalausch Code: EMMALAUSCH "Emma One Federkern ist Testsieger bei Stiftung Warentest, 10/21, 140x200cm, Produktgleich mit der getesteten Emma Dynamic" Babbel (CH) Mit dem Code Zeuge erhältst du das 6-Monatsabo von Babbel zum Preis von nur 3 Monaten. Das Angebot gilt bis zum 31.10.2022. Einfach auf www.babbel.com/audio einlösen und loslegen. *** Mehr Infos zu unserem Podcast auf: www.tlc.de/podcast *** Gerne könnt ihr mit uns auch über unsere TLC Social-Media-Accounts diskutieren. Schreibt uns einfach unter dem Hashtag #Mordlausch, stellt Fragen und gebt eure Meinung ab. Wir freuen uns auf Eure Kommentare! Facebook: www.facebook.com/TLCde Instagram: @tlc_de *** Wir übernehmen keine Haftung für die Inhalte externer Links *** Host & Redaktion: Golnar Ali-Panahi Redaktion: Lily Mertens Producer: Tobias Engl Exec. Producers: Aniko Augustin, Ioannis Bravakos © Discovery Communications Deutschland GmbH & Co. KG

On this episode of Moose Talks, we catch up with Northern Rockies Regional Municipality mayor Gary Foster. The community has faced some challenges lately due to the damage to the Sikanni Chief River Bridge caused by a collision several weeks ago, so we'll talk about how the community is handling those challenges.Then, Peace River North MLA Dan Davies will join us to talk about the life and passing of Queen Elizabeth II, Britain's longest-reigning monarch and Canada's head of state. Hosted on Acast. See acast.com/privacy for more information.

On the morning of Monday, December 4, 1995  Gary Foster was driving down his driveway to drop off some letters in the mailbox when he noticed that a part of his fence was down. He stopped his car, and got out to go fix it, but as he approached he noticed a body lying in the tall grass. As he approached he realized that the victim was dead. He stopped moving. Recently this land had become a popular location for drug deals and other nefarious activities, so he decided to leave everything as it was, and go call the police. At the same time Linda Jones realized that her 16 year old daughter, Adrianne, wasn't at home in her bed. In fact, it looked as though Adrianne's bed hadn't been slept in at all. Linda briefly considered the possibility that Adrianne had gone on an early morning run, but then she noticed her running shoes lying on the ground. Linda called Adrianne's school and her workplace. No one had seen her at either location so Linda immediately called the police to file a missing persons report. Sources:People Magazine Investigates - Season 1: Episode 7 In the Name of LoveTexas Love Triangle: The Murder of Adrianne Jones by Michelle Karr from MediumThe Texas Cadet Killers: Revisiting the Adrianne Jones Murder by Leigh Egan from Investigation DiscoveryAdrianne Jones' Murder: 5 Things to Know About the 'Sealed in Blood' Case - Teenage Lovers Turned Murderers by Bill Hewitt from People MagazineWho We Are | Civil Air PatrolDiane Zamora's Confession from NBC NewsDavid Graham's Confession from Mail Archive‘Human Lie Detector' analyzes Diane Zamora prison interview from Crime Watch Daily 

There are so many tools we can utilize during a wellness journey. Is social media one of them? How can it help? Could it possibly be a hindrance? Talking out some of the pros and cons of using social media this week.   Maggie's Instagram: maggietracksmagic Rachel's Instagram: balancing_that_life Ivana's Instagram: groceriesandgrace  Instagram profiles we like! Fit.with.iulia: https://www.instagram.com/fit.with.iulia/Nikkigets_fit: https://www.instagram.com/nikkigets_fit/Foodfitnessandfait: https://www.instagram.com/foodfitnessandfaith/Collegenutritionist: https://www.instagram.com/collegenutritionist/Fitnessmarshall: https://www.instagram.com/thefitnessmarshall/  YouTube profiles we like!Fitness Marshall: https://www.youtube.com/user/TheFitnessMarshallFitness Blender: https://www.youtube.com/c/fitnessblenderWhitney Simmons: https://www.youtube.com/c/WhitneySimmons The Shift by Dr. Gary Foster available on WW.comhttps://www.weightwatchers.com/us/shop/the-shift-7-powerful-mindset-changes-for-lasting-weight-loss Episode 12 on Support Systems:https://www.youtube.com/watch?v=XRLopbRDYFQ Merch Store!!!https://dropping-into-happiness.creator-spring.com/

Mentioned in this week's episode-“The Shift” by Dr. Gary Foster, WW CSO  Click HERE to get a copy of your own! -We also discussed the 5 Love Languages. If you would like more information..Click to take the quiz!-If you would like to get a super cute headband just like Maggie's, visit Honey Bear Bands!You can even use Maggie's special code: Maggie15

-The MERCH store is Open!!! If you would like to show some love to our little podcast, you can rock a t-shirt, carry a cute tote, or drink your first cup of joe out of a Dropping Into Happiness mug! Click HERE for merch!  -Maggie mentions “One-derland” ….which is in reference to when you are losing weight and go from weighing over 200lbs to being in the 100lb pound range.  -The book “The Shift” is mentioned. This book was written by the CSO at WW, Dr. Gary Foster. Click HERE to get your own copy of The Shift.

Maggie quote #1“Focus on the plan, you'll lose the weight. Focus on the weight, you'll lose the plan.” -WW member Maggie quote #2“What you say is what you hear, what you hear we make happen.” “Chase a life, not a loss.” -WW Member Jan Maggie's ‘The Shift' quote #1“If your starting assumption is ‘I am worth taking care of', you're in a position of strength.” -Dr. Gary Foster, from the book The Shift  Maggie's ‘The Shift' quote #2“Because thoughts, especially when fueled by an unhelpful thinking style, are not facts. They are simply things we say in our heads that we believe to be true.”-Dr. Gary Foster, from the book The Shift  Rachel's quote #1“When you eat because you are angry or upset, what you'll ultimately do is turn one problem into two.” -Unknown Rachel quote #2“You don't have to be great to start, but you have to start to be great.” -Bob Harper Rachel's ‘The Shift' quote #1“Your character can't be measured in M&M's.” -Dr. Gary Foster, from the book The Shift Rachel's ‘The Shift' quote #2“Perhaps nothing crystalizes internalized weight stigma as much as the routine use of the word CHEAT. When we say someone cheated on their taxes it's pointing out a crime. When we say a spouse cheated, it's usually such an explosive event that it can put the marriage in jeopardy. How is eating a muffin on the same level as these things?” -Dr. Gary Foster, from the book The Shift If you would like to get your own copy of The Shift, it is available where most books are sold, or you can click the link below. Click HERE to purchase The Shift 

Maggie mentioned that she works out at Orange Theory Fitness. Click the link for more information and to see if there is a location near you.  https://www.orangetheory.com/en-us/ The book “The Shift: 7 Powerful Mindset Changes for Lasting Weight Loss” was mentioned. This book was written by Dr. Gary Foster, CFO at WW (Formerly Weight Watchers) and can be purchased where books are sold.  https://www.weightwatchers.com/us/shop/the-shift-7-powerful-mindset-changes-for-lasting-weight-loss Rachel and Maggie both lost their weight on a previous WW program and are continuing their journey on the new PersonalPoints Program. People following the WW program can expect to lose 1-2lbs per week.  https://www.weightwatchers.com/us/ 

Have you noticed that all the best martial artists don't make a lot of noise, they just get on with it and let others do the shouting while they get on and do the real work. Mr Gary Foster is in the 'let's get on with it' mould and I got a chance to catch up with him to find out what makes him tick and why he gets out of bed to do what he does.  Gary Foster is the chief instructor at TSA Taekwon-Do, he runs his own full-time dojang in the Kent area and is passionate about his art and the people that he teaches.  Gary Still competes occasionally and he still has the tools to beat some of the younger opponents that he comes into combat with. He's a real inspiration and a great role model for the values that martial arts can bring to anyone. If you'd like to connect with Mr Foster please visit his website at; https://www.tsatkd.org/about-us I hope you enjoy our chat Please leave a review for living martial arts at; https://www.podchaser.com/podcasts/living-martial-arts-1629450 Sign up for the newsletter now! at; https://www.livingmartialarts.com

Join us as we chat about food, fitness, and feelings. First, Henny has been gifted a whole bunch of eggs and needs some recipe tips for ways to use them all up. Then we discuss some of our favourite (and recent) forays into online fitness videos (check out the YouTube channels listed in the Show Notes). Finally, Sandy started reading a book about the stress cycle and emotional tunnels. Feeling stuck? Don't worry! Even if the end isn't in sight, it's there somewhere! **Show Notes** YouTube Channels we mentioned: Up to the Beat with Gina B Get Fit with Rick Kyra Pro The Studio with Jamie Kinkeade Emkfit Books we mentioned: Burnout: The Secret to Unlocking the Stress Cycle by Amelia and Emily Nagoski The Shift: 7 Powerful Mindset Changes for Lasting Weight Loss by Dr. Gary Foster

Have you noticed that all the best martial artists don't make a lot of noise, they just get on with it and let others do the shouting while they get on and do the real work. Mr Gary Foster is in the 'let's get on with it' mould and I got a chance to catch up with him to find out what makes him tick and why he gets out of bed to do what he does.  Gary Foster is the chief instructor at TSA Taekwon-Do, he runs his own full-time dojang in the Kent area and is passionate about his art and the people that he teaches.  Gary Still competes occasionally and he still has the tools to beat some of the younger opponents that he comes into combat with. He's a real inspiration and a great role model for the values that martial arts can bring to anyone. If you'd like to connect with Mr Foster please visit his website at; https://www.tsatkd.org/about-us I hope you enjoy our chat Please leave a review for living martial arts at; https://www.podchaser.com/podcasts/living-martial-arts-1629450 Sign up for the newsletter now! at; https://www.livingmartialarts.com

Our guest today is Dr. Gary Foster, Chief Scientific Officer of WW, the company that many of us remember as Weight Watchers. Gary is one of the most respected scientists in the obesity field and is the author of a book released recently called "The Shift: 7 Powerful Mindset Changes for Lasting Weight Loss." Interview Summary So Gary, you and I have known each other now for about 40 years, having worked together at the University of Pennsylvania at the early stage of careers for both of us and I've always admired your work and was eager to read your new book and I expected that it would break new ground, and in fact it did. And it's not a topic that hasn't been written about a lot, so it was interesting to see how you would handle these issues. So, I'm so glad you can join us. We look forward to digging into the book. Thanks so much for being with us. My pleasure, Kelly, great to be with you. I was just thinking in preparation for this conversation that you were the person responsible for starting my career. You actually gave me my first job at Penn. So, for that I'll always be grateful. Well, I mean, that can't feel anything but good because your career has been amazing and you've accomplished and contributed so much. And it's been really fun to be friends and colleagues over all these years so I guess it's been a real source of pride for me. So, let me ask a career question of you. So, you spent many years as a highly regarded figure in academics, first at the University of Pennsylvania and then running a well-known obesity center at Temple University that you created but then you moved to the corporate world. Why make such a big career change? Yeah, it was an interesting process. I loved everything about what I was doing as a researcher and a clinician, and administrator, and academia both at Penn and at Temple and the opportunity at WW came up and I was actually approached and someone asked that I know somebody who would be suitable. And the more I heard about the position, the more it excited me. And the main reason is the ability to scale science and to have impact. One of the nice things about being a scientist and write papers and give talks is that you're actually creating science, and that has its own impact. And again, I'm not knocking it. That was one of the most gratifying things I ever did in my professional life. But the ability to take that science that I had done and broadly the whole field had done, and to scale that to impact the lives of literally millions was really compelling for me and it was just an offer I just couldn't pass up. Well, it's so interesting that you made that change and you're right boy, it's an opportunity to affect an awful lot of people and now you are expanding the opportunity even more with your new book. So, usually, in the world of advice written by professionals, and sometimes non-professionals, for people wanting to lose weight, it's filled with basically information on what the diet should be. Is it low carb or high carb or low fat or whatever. And there're just versions and versions and versions of these things over the years but you focus on mindset. So, what goes into the way a person's thinking is a really important determinant of weight loss according to you. So, tell me why you believe that and why is mindset so important? Yeah, I think first is the world doesn't need another diet book. To your point, most people, when they think of improving their weight or health or their overall wellness are told things like high this, low that as you just referenced. Then, what's been clear to me and this wasn't clear early in my career, but probably 10 or 15 years in patient after patient, study after study, what became clear is the people who were most successful in a weight and wellness journey are necessarily those who track their food intake every day or every week, or lost weight in some linear fashion, who worked out just as they had prescribed. Well, eating and activity were important. The thing that most distinguished people who were successful versus those were less successful are the people who had changed the way they thought and importantly, the way they thought about themselves and the way they thought about the journey. And that's really what the book's about, it's trying to help people think differently about themselves especially among people who are heavily stigmatized based on their weight and shape, but also to think about the journey because one of the most common off-ramps is when people had setbacks then they think in some erroneous ways that aren't helpful for overall health and wellness. So, we'll get back at setbacks in just a minute. But first I'd like to ask you the following question. It sounds like you have abundant personal and clinical experience working with individuals suggesting that the way people think is an important determinant of whether they can lose weight and keep it off. Is there a research that supports that as well? Yeah, but there's no long-term clinical trials on that. We're now just starting to measure things like self-compassion and our own clinical trials. What we find is a lot of experimental research. Kristin Neff has probably done the best work at this at the University of Texas where she can experiment totally manipulate self-compassion in the context of eating. So, there's a famous experiment that she talks about where people come in and they're given a classic preload where they're given some cookies under the guise of the taste test and then one group gets a self-compassion intervention and the other group gets a more general intervention having nothing to do with self-compassion. And when they look at the subsequent intake of things like M&M'S or various candies, people who get the self-compassion intervention actually less, and the hypothesized mechanism there is that if you violate some rule that you have or some guideline that I shouldn't eat this or I shouldn't eat that or I have to have a certain number of calories or a certain number of points, once you violate that, what you say to yourself really does matter. It goes back to the original premise and 60 years of research that what you think determines how you feel and how you feel determines what you do. So in short, how you think about yourself in the journey is going to affect your behavior. That leads us to maybe a little bit more thorough discussion of setbacks. You mentioned that dealing with setbacks, which really are inevitable for sort of anybody doing anything but especially when they're on a weight loss journey that how people are responding to these in their mind becomes really important. The first is to expect setbacks. They happen to 100% of the people, 100% of the time and this isn't just a weight and wellness play. This is in relationship and our role as parents and our role as workers in a workforce. It never goes perfectly. So, first thing is to expect them and then the second thing is to learn from them. Use it as Carol Dweck would say, use it from a growth mindset perspective. Instead of saying, "This is just the way it is, I'm in this rut and here I go again." Just say, "Okay, things didn't go as exactly as I planned, I wanted to eat this and I ate that. I wanted to move my body in a certain way and it didn't happen." Okay, can you view that? Be aware of it but in a nonjudgmental way in which you can learn. I think the other thing about setbacks that's important is to just increase your awareness of what you say to yourself. Sometimes we say the most nasty things to ourselves. Some are neutral like I've blown it. It's exaggerated, it's not true but others are like, "Can't believe you did this. You're such an idiot. Here you go again, you have no willpower." We wouldn't utter those things to any other human being, but somehow we feel justified to say very nasty things to ourselves. If it helped it be one thing, it would still be in my mind unconscionable to talk to yourself that way. But the data are very clear, it doesn't help. It actually depletes motivation. And it goes against this commonly held myth that the harder I am on myself, the more nasty things to myself, the better I'll do when in fact the data are pretty clear that self-compassion beats self-criticism every single time.   It's interesting because this sounds like a very modern and updated version of what the well-known psychologist talked about many years ago where he talked about people having the inevitable lapses but then it really was the way they were processing them psychologically that turned them into a full-blown relapse. And so, you've kind of taken that basic premise but enriched it a lot, given people more concrete ways of addressing and then also layering in this whole emotional part of it about compassion. It's very impressive how that's transformed over the years. Thanks you, I agree. I mean, probably from my exposure to you and training by you was very aware of my lapse model and the abstinence violation effect. And really it's trying to get at the crux of when people have setbacks, how do they view them? And one is how you view the setback itself. Is it a bump in the journey? Does it really say something about how you're doing on the journey overall? I would say, no, it's a bump that tells you nothing about the overall journey. It's a momentary snapshot but also importantly, I think this is where a slightly different angle than previous theories perhaps is how you think about yourself. The more you engage in self-criticism, the worst is going to be. So, this issue of compassion has come up a number of times in our discussion already. Let's talk about it a little bit more because I think it's really one of the most important and unique parts of your book. You talk a lot about compassion and kindness toward yourself, these are central themes. And you also want readers to feel this more often when they're addressing the inevitable setbacks. So, explain a little more concrete detail how they can go about doing that. Yes. One of the things that I'm really proud about the book is that we don't just talk about self-compassion is important and here's some science on it and here's a reason to believe and good luck to you. As a behavioral psychologist, it's really important to me to not just lay out the what, but the how. So at the back of each chapter, whether it's a self-compassion chapter, leaning into your strengths or experiencing happiness and gratitude, all of those things have science proven techniques at the back of each chapter to help you do that. So, the basic premise around self-compassion is you need to start the journey from a fundamental sense of worth as people are right now. So, no qualifications. If I was a little bit lighter, if I was a little bit fitter, if I was a better parent, if I... Not, just as you are right now, you have fundamental worth and that's why you're worth taking care of. And that's to me the cornerstone of any self-improvement project whether it's weight-based, wellness-based, relationship-based or anything else. And what that does is it turns the journey upside down. Instead of seeing yourself as deficient from the start and needing some remediation of all these deficiencies, you're really saying, "I'm worth taking care of." And because I am, that's why I'm going to engage in this. And what that does is this now makes something, feels like something you're doing for yourself, not against yourself. It's almost the analogy I say in the book it's like giving a gift to yourself. If this starts to feel like making up for past transgressions, it starts to feel moralistic. It starts to feel onerous. That's not a gift to yourself. And it probably is started with the premise that the harder I'm on myself, the better I'll do. And again, the science is just the opposite. Well, it's almost like going from swimming against the tide than going with the tide, isn't it? Because you're trying to take advantage of people's inherent strengths and have them feel that they deserve these sort of things. And then, the actions that they're taking are trying to fight off some evil force that makes people want to eat more but to do things that are nurturing and informing. Exactly, exactly. One of the techniques we talk about in the book is how you would talk to a friend given the same situation and think about your body postures, think about the words you would use, how you would talk to your child who is having a setback and contrast that against the ways you talk to yourself. And there's a pretty big fundamental difference for most people on a weight and wellness journey. And you're so right in terms of leaning into your strengths and otherwise it becomes a game of whack-a-mole where here's the deficiency, here's the weakness. It's exhausting and it doesn't feel like it's a gift you're giving to yourself. It feels like you're in never ending search of fixing one weakness after another. So, what role does a person's social network play in losing weight and maintaining it? It's critically important and your work many years ago sort of highlighted this in an empirical way where people had so-called at the time cooperative spouses and uncooperative spouses. And I think the field has evolved over time but there's certainly a few tenants that I think are important to consider when it comes to getting help. One is to believe that you deserve help. A lot of people say again, given the pervasive weight and shape based stigma that you know well about, been a pioneer in talking out against and studying its causes and consequences. A lot of people feel like, "I got myself into this situation, so I shouldn't ask for help." So again, that's the antithesis of self-compassion. So, start at a place that you're worthy of taking care of and you're worthy of asking help for it. The next step is really, and this is where most people I think get off track a little bit, is to ask for what you need in very specific terms. So, it's up to you to decide what's supportive and what's not, one of the landmines that can happen in relationships sometimes as people say, "Honey, please be supportive." And then honey gets to decide what's supportive or not, which may not be supportive to you. So, it may be things like, "When I order a dessert out of the restaurant, it's really not helpful for me when you roll your eyes or you make a comment, that's not helpful. So, I'd appreciate it in the future but if I order anything whether you think I should have it or not then you just don't make any comments about it." So, the first is that specific request and then of course the next step would be a specific follow-up. Not, "Honey, thanks for being supportive." Or, "You're a terrible partner because you're not supportive. But anyway thanks so much, I noticed when I ordered something the other night, you didn't make a comment." Or "Truly helpful for me, if you're going to have ice cream at night to have it in the other room and not to have it close to me while we're watching TV." So, first thing is you deserve it and the second thing is specificity both on the request and then on the follow up. It's really nice that you begin with a principle and describe why the principle is so important and justify it scientifically but then you give some very concrete examples, like you just have. So, that makes a book way more accessible than it might otherwise be. And I could see how we're be very helpful for people. Let me ask about another issue that you alluded to. And so, the subtitle of your books last chapter is "Experiencing Happiness and Gratitude." Again, this is something that makes your book unique. Tell us more about what you mean by that. A common myth and practice is that people often put their own lives on hold or put their happiness on hold as if their happiness is determined by some number on the scale or some size of their clothing. So, what the book really attempts to do is to say the more the journey can be, and this goes again for any self-improvement journey, can be a happy one and one filled with gratitude. A, you're just happier when you're more grateful, that's a good thing to be in and out of self. But B, it gives fuel to the journey. So, if I have this preset notion that I can only be happy once I've lost 50 pounds, boy, it's a long time between now and 50 pounds. And really, is that what determines your happiness? So, one of the things we talk a lot about in the book again are these techniques at the end of each chapter and there's a really great technique called three good things. It takes no more than five minutes a day and it doesn't have to be done every day. But if on most days at the end of the day, it could be at the beginning of the day, it could be at meal time, whatever it can be a ritualized routine for folks, it's truly important just to think about big, small, medium, don't worry about it. What brought you some pleasure today? It could be the smell of a great cup of coffee. It could be hearing from an old friend and just to wallow in those feelings and just think about what you'd liked about it. It could be some moment of pride around a young child having an accomplishment, just that process of remembering them and wallowing in it for a very short period of time has been empirically shown to improve people's happiness. So, the idea is to do those things now. The things that we've both heard from patients over the years like, "I'll wear nice bright colors when I lose weight, I'll get out of a bad marriage when I lose weight, I'll ask for a promotion when I lose weight." No. Live life now. Lean into your own happiness. You deserve to be happy and don't make a contingent on your weight or shape or any other thing. Bio: Gary Foster, Ph.D., is the Chief Scientific Officer at WW International, Inc. Foster, a psychologist, obesity researcher and behavior change expert, was previously the Founder and Director of the Center of Obesity Research and Education and Laura Carnell Professor of Medicine, Public Health and Psychology at Temple University in Philadelphia. Prior to Temple, he served as the Clinical Director of the Weight and Eating Disorders Program at the University of Pennsylvania School of Medicine. He has authored more than 225 scientific publications and three books on the causes, prevention and treatment   of obesity. Foster has received numerous honors including President of The Obesity Society, Honorary Member of the Academy of Nutrition and Dietetics, Outstanding Contributions to Health Psychology from the American Psychological Association, and the Atkinson-Stern Award for Distinguished Public Service from The Obesity Society. Dr. Foster's current focus is on scalable, evidence-based approaches to wellness for adults and children in community settings. Foster earned his Bachelor of Arts degree in Psychology from Duquesne University, an M.S. in Psychology from University of Pennsylvania, and a Ph.D. in Clinical Psychology from Temple University.

If you are interested in getting your own copy of "The Shift" by WW's Chief Scientific Officer, Gary Foster, PhD, visit https://www.weightwatchers.com/us/shop/the-shift-7-powerful-mindset-changes-for-lasting-weight-loss 

Today we are chatting with the Chief Scientific Officer at WW, formerly Weight Watchers International, Dr. Gary Foster about health and wellness for the New Year. For those looking to lose weight and keep it off, THIS is the episode for you! He reveals, with scientific backing, the key to achieve lasting weight loss. Trust us, it is not what you think. Lastly, Maria shares her own journey and explains the steps she took to lose 40 pounds!

Welcome to The JOINT..... It's Wednesday, December 22nd..... Today we talk with our favorite Savage, LEE SYATT! This episode is brought to you by Lucy.co, CBD Lion & DraftKings….. Go to https://www.Lucy.co Use PROMO CODE: JOEY for 20% OFF! Go to https://www.cbdlion.com Use Promo Code: JOEY For 20% OFF Your Order! Download the DraftKings SportsBook or Fantasy Apps & Enter Code: JOEY https://www.DraftKings.com/sportsbook to receive $150 in Free Bets when you Bet $5 on any NBA Team…. Follow Uncle Joey on Social Media: https://www.Twitter.com/madflavor https://www.Instagram.com/madflavors_world And don't forget..... The Mind Of Joey Diaz on PATREON: https://www.patreon.com/joeydiaz #JoeyDiaz #Madflavor #UncleJoeysJoint #TheJoint #LeeSyatt The JOINT is Produced by: Michael Klein aka @onebyonepodcast on Social Media: https://www.Instagram.com/onebyonepodcast https://www.twitter.com/onebyonepodcast Ep. 67 - Gary Foster aka The JOINT Drummer - https://youtu.be/o2svhBr59Js Huge Thanks to BEN TELFORD for the Tremendous intro video.....

Welcome to The JOINT..... It's Monday, December 20th..... This episode is brought to you by Better Help, Onnit & Blue Chew….. Go to https://www.BetterHelp.com/DIAZ Use PROMO CODE: DIAZ for 10% OFF your 1st Month! Go to https://www.onnit.com & Enter PROMO CODE: JOEY, JOINT or CHURCH Go to https://www.BlueChew.com Promo Code: JOEY & Try For Free! Just $5 for Shipping! Follow Uncle Joey on Social Media: https://www.Twitter.com/madflavor https://www.Instagram.com/madflavors_world And don't forget..... The Mind Of Joey Diaz on PATREON: https://www.patreon.com/joeydiaz #JoeyDiaz #Madflavor #UncleJoeysJoint #TheJoint The JOINT is Produced by: Michael Klein aka @onebyonepodcast on Social Media: https://www.Instagram.com/onebyonepodcast https://www.twitter.com/onebyonepodcast Ep. 67 - Gary Foster aka The Joint Drummer - https://youtu.be/o2svhBr59Js Huge Thanks to BEN TELFORD for the Tremendous intro video.....

Today, I catch up with man who played Drums on The UNCLE JOEY'S JOINT Theme Song, GARY FOSTER! Follow GARY Everywhere! Just not home... https://www.instgram.com/gary_smash https://www.twitter.com/gary_smash980 OneByOne with Michael Klein - Recorded 12/15/21 Come Follow along on Social Media! https://www.instagram.com/onebyonepodcast https://www.twitter.com/onebyonepodcast https://www.patreon.com/onebyone JOEY DIAZ on Youtube: https://www.youtube.com/c/JoeyDiaz JOEY DIAZ Clips on Youtube: https://www.youtube.com/channel/UCRCTq93p24P0FieBYFAjsoQ

Today I'm connecting with Dr. Gary Foster, Chief Science Officer at WW, a psychologist and obesity investigator. Statistics show that weight loss maintenance is extremely difficult, so much so that a majority of people who lose weight gain some (or all) of it back. After losing 70 pounds in college and keeping a majority of it off myself, I was excited about the opportunity to offer up what worked for me with some expert feedback in today's episode. Of note: This is NOT me suggesting that anyone needs to lose weight. Rather, having Dr. Foster weigh in on how to upkeep weight loss for those that are interested. SOCIAL Dr. Gary Foster on Twitter @emilyabbate @hurdlepodcast OFFERS AG1 from Athletic Greens | Head to AthleticGreens.com/hurdle to get 5 free travel packs and a year's supply of vitamin D with your first purchase Beam | Head to BeamOrganics.com/hurdle and use code "HURDLE" for 35% off your first month's subscription of Dream SUBSCRIBE to the Hurdle SMS by texting "WELCOME" to 732-HURDLER, or (732) 487-3537! JOIN: THE *Secret* FACEBOOK GROUP LEAVE ME A VOICE MESSAGE! Whether you just want to say hi or have a question you want to ask, I'd love to hear from you! Bonus: Your listener question could be answered in an upcoming episode of the show! P.S. No topics are off limits. --- Send in a voice message: https://anchor.fm/hurdle/message

Join us as we chat about how necessary it was for us to fully understand and believe that mindset was an important part of our weight loss and health journeys. We also invited another guest to join us today, and with her, we discuss make-up habits, sounds our bodies make, and ZeroPoint foods. Finally, the three of us talk about our relationships with the scale. Check-in, measure of worth, or obsession? Where do you weigh in on this discussion? (Pun intended.) *Show Notes* Book we mentioned: The Shift by Dr. Gary Foster

This week on Moose Talks, we'll sit down with Gary Foster, the mayor of the Northern Rockies Regional Municipality. We'll be chatting about the municipality's challenges with healthcare, BC Hydro, and connectivity. We'll also talk about their plan for a series of 911 call boxes along the Alaska Highway in the municipality and we'll get an update on the Peak Renewables pellet plant. Listen to Moose Talks every Friday morning at 10 on Moose FM and live on the Moose FM and Energeticcity.ca Facebook pages. Support the show: https://www.moosefm.ca See omnystudio.com/listener for privacy information.

Soaring sax man talks about getting comfortable on the bandstand and becoming a mainstay in the studios for decades.

Join us as we chat about how important it is to have the support that you need . . . in life . . . and in your weight loss/weight maintenance/wellness journey. Henny has really changed her thinking over the past few years about what support actually can look like, and she shares some recent 'aha' moments about her ongoing desire to shy away from asking for help. We also discuss gratitude, and Sandy has no problem identifying 3 good things at the moment of our conversation. Can you guess what they might have been? Book we mentioned: The Shift: 7 Powerful Mindset Changes for Lasting Weight Loss by Dr. Gary Foster

Join us as we chat about the unrolling of WW's new program: PersonalPoints! We discuss the things we love best about the program including its adherence to our own personal food preferences and they way it really incentivizing eating veggies! We also continue our discussion of Dr. Gary Foster's book. This week's chapter has us thinking about how our personal histories, our culture, and our self-talk impact the way we feel about ourselves and our bodies. *Show Notes* Book we mentioned: The Shift: 7 Powerful Mindset Changes for Lasting Weight Loss by Dr. Gary Foster Podcast we mentioned: Factually! With Adam Conover (episode titled What is Weight Stigma? with Dr. Rebecca Puhl)

Join us as we chat about mindset shifts three and four from Dr. Gary Foster's new book: The Shift. We chat about setting small goals and the importance of positive reinforcement for those goals. We marvel at the myth of the 21-day-to-make-a-habit mindset. We also consider some ways we can leverage our strengths to help us live our healthiest and happiest lives. If you want to take the same quiz we did, go to viacharacter.org/character-strengths and let us know your top character strengths! Books we mentioned: Hood Feminism by Mikki Kendall The Shift: 7 Powerful Mindset Changes for Lasting Weight Loss by Dr. Gary Foster

Join us as we chat about the first two mindset shifts presented in Dr. Gary Foster's new book: The Shift. We're talking all things self-compassion and thinking patterns. We've both had a few “aha” moments through the reading of the first third of the book, and we get deep into it in this episode. Also, Sandy is considering a new tattoo: THOUGHTS ARE NOT FACTS. What do you think? Should she do it? *Show Notes* Book we mentioned: The Shift: 7 Powerful Mindset Changes for Lasting Weight Loss by Dr. Gary Foster

WW Coaches Emily and Kelly discuss growth mindset and how to find fibre in foods they already love. The Shift: The Shift: 7 Powerful Mindset Changes for Lasting Weight Loss by Dr. Gary Foster https://www.amazon.ca/Shift-Powerful-Mindset-Changes-Lasting/dp/1250277752

Join us as we chat about a whole bunch of podcasts and documentaries that we've been consuming lately. We also preview a new book titled, The Shift, that is written by WW's Chief Scientific Officer, Dr. Gary Foster. We are so excited about it! Finally, we get really serious about butter knife etiquette. First, should you wipe off your knife before sticking it into a new jar of spread? And second, should you wipe off your knife before putting it in the dishwasher? Please weigh in. *Show Notes* Show we mentioned: Britney vs. Spears (Netflix) Podcasts we mentioned: Island Crime: Lisa is Missing Island Crime: Gone Boys Evil by Design Book we mentioned: The Shift: 7 Powerful Mindset Changes for Lasting Weight Loss by Dr. Gary Foster

On episode 507 of the 40+ Fitness Podcast, we talk to Dr. Gary Foster about his book, The Shift: 7 Powerful Mindset Changes for Lasting Weight Loss. You can find the full show notes at 40plusfitnesspodcast.com/507.

Beginning your journey with self-compassion creates a runway for success. This week Gary Foster discusses the importance of a compassionate mindset and how it is tied to human worth. Listen in as Gary and I explore why specificity creates action, how scientific proof lends itself to plan development, and how you can use health-based strategies to inspire your own success journey. Gary Foster is a psychologist, obesity researcher, and behavior change expert with a focus on scalable, evidence-based approaches to wellness for adults and children in community settings. As the chief science officer at WW, he oversees the science-based and science-proven program, all clinical research initiatives to advance behavior change and wellness science, and continued program advances. He also leads the Science team in translating clinical research so it’s accessible and actionable for everyone, and partnering across the organization to root solutions in science as experiences, features, partnerships, and strategies are developed. You can purchase Gary’s book, The Shift, here: https://www.amazon.com/Gary-Foster/e/B09585SW67?ref_=dbs_p_pbk_r00_abau_000000 Do you have what it takes to have it all? Book 15-minute clarity call to see how you can create the roadmap to your own Peaceful Achievement success story.See omnystudio.com/listener for privacy information.

Today on Roar I spoke with Producer Gary Foster, he is known for his work on Sleepless In Seattle, Tin Cup, The Score and Short Circuit. He is also the Co-Founder and CEO of Humanity On Set (HoS) and the LEAD Program teaching Producers and Directors leadership skills to combat the abusive behavior that Hollywood has become known for. He shares valuable insight on the industry and the belief and hope that with empowered training, support, tools, techniques and resources the industry can be transformed into a more engaged, productive and responsive (vs reactive) work setting.

Join us as we chat about our roots; that’s right, we’re both Hamilton girls and proud of it (Fun Fact: Henny is actually originally from Fruitland). We also discuss the emotional roller coaster that is the prime time television show: This Is Us. Finally, it would seem that our podcast isn’t complete with a quick update on our reading, and we take this opportunity to completely fan girl about an upcoming book authored by none other than WW Chief Science Officer, Dr. Gary Foster (a.k.a. Sandy’s major crush). Are you going to be reading The Shift with us in the Fall of 2021? *Show Notes* Books we mentioned: This is Me by Chrissy Metz The Shift by Dr. Gary Foster (comes out Oct. 5, 2021) Salt Sugar Fat by Michael Moss Hooked by Michael Moss Podcast we mentioned: Today is the Day Show we mentioned: This is Us Commercial we mentioned: https://twitter.com/danjlevy/status/1376537392736165895?lang=en

Rory Fallow and Matt Keeling are joined by Wise Men Say contributors Gary Foster and Craig Clark as they look back at Wednesday's victory at Accrington Stanley and preview Saturday's match against Lincoln City.